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similarity matrices

  • 1 matriz de similitud

    Ex. These graphs are represented in the form of similarity matrices which are asymmetric.
    * * *

    Ex: These graphs are represented in the form of similarity matrices which are asymmetric.

    Spanish-English dictionary > matriz de similitud

  • 2 asimétrico

    adj.
    asymmetric, asymmetrical, irregular, disproportionate.
    * * *
    1 asymmetric, asymmetrical
    * * *
    ADJ asymmetric, asymmetrical
    * * *
    - ca adjetivo asymmetric
    * * *
    = asymmetric, asymmetrical.
    Ex. These graphs are represented in the form of similarity matrices which are asymmetric.
    Ex. MPEG is more expensive and complicated but more powerful and better suited to asymmetrical applications such as CD-ROM data bases.
    ----
    * amenaza asimétrica = asymmetric threat.
    * conflicto asimétrico = asymmetric conflict.
    * enemigo asimétrico = asymmetric enemy.
    * guerra asimétrica = asymmetric war, asymmetric warfare.
    * * *
    - ca adjetivo asymmetric
    * * *
    = asymmetric, asymmetrical.

    Ex: These graphs are represented in the form of similarity matrices which are asymmetric.

    Ex: MPEG is more expensive and complicated but more powerful and better suited to asymmetrical applications such as CD-ROM data bases.
    * amenaza asimétrica = asymmetric threat.
    * conflicto asimétrico = asymmetric conflict.
    * enemigo asimétrico = asymmetric enemy.
    * guerra asimétrica = asymmetric war, asymmetric warfare.

    * * *
    asymmetric, unsymmetrical
    * * *

    asimétrico
    ◊ -ca adjetivo

    asymmetric
    asimétrico,-a adjetivo asymmetric, asymmetrical

    ' asimétrico' also found in these entries:
    Spanish:
    asimétrica
    English:
    asymmetric
    - asymmetrical
    - lop
    * * *
    asimétrico, -a adj
    asymmetric, asymmetrical
    * * *
    adj asymmetrical
    * * *
    asimétrico, -ca adj
    : asymmetrical, asymmetric

    Spanish-English dictionary > asimétrico

  • 3 desigual

    adj.
    1 different (diferente).
    2 changeable.
    3 unequal, irregular, different, asymmetric.
    4 rough, uneven, up-and-down.
    * * *
    1 (gen) unequal, uneven
    2 (diferente) different, unequal
    3 (irregular) uneven, irregular
    4 (no liso) uneven, rough
    5 (variable) changeable
    * * *
    adj.
    * * *
    ADJ
    1) (=diferente) different

    los ciudadanos reciben un trato desigual — people are treated differently, people are not treated equally o the same

    2) [lucha, batalla] unequal
    3) (=irregular) [terreno, calidad] uneven; [letra] erratic
    4) (=variable) [tiempo] changeable; [carácter] unpredictable
    * * *
    1)
    a) ( diferente)
    b) ( desequilibrado) < lucha> unequal; < fuerzas> unevenly-matched
    2) ( irregular) <terreno/superficie> uneven; < letra> uneven, irregular; < calidad> variable, varying (before n); < rendimiento> inconsistent, erratic
    * * *
    = patchy [patchier -comp., patchiest -sup.], uneven, unequal, asymmetric, inequal, inequitable, spotty, ragged, asymmetrical, craggy [craggier -comp., craggiest -sup.], lumpy [lumpier -comp., lumpiest -sup.], unbalanced, imbalanced.
    Ex. The retrospective bibliographic control mechanism is somewhat patchy but there are some large scale works.
    Ex. Not surprisingly this can lead to gaps in coverage, and uneven coverage of subjects.
    Ex. However, problems arose as a result of combining headings of unequal importance and the multiplicity of languages involved.
    Ex. These graphs are represented in the form of similarity matrices which are asymmetric.
    Ex. Statistics show the inequal geographical distribution of these libraries, with 74% of university libraries to be found in the north and central regions, while only 26% are found in the south.
    Ex. Librarianship is an occupation dominated by women and subject to inequitable compensation.
    Ex. Enforcement of library policies is spotty at best.
    Ex. Even in more mainstream publishing, despite the ubiquity of word processors, which can so easily produce justified text, ragged right margins are becoming more common, even fashionable.
    Ex. MPEG is more expensive and complicated but more powerful and better suited to asymmetrical applications such as CD-ROM data bases.
    Ex. This is a series of meditative poems in which the author chronicles an encounter with the craggy Atlantic coastline of Brittany.
    Ex. Between 9 and 12 months, lumpy or chopped foods, such as vegetables, meats, or cottage cheese, may be introduced.
    Ex. Another problem with the main classes is that are unbalanced.
    Ex. The article includes two great maps, which show regions in which there may be a danger of imbalanced markets.
    * * *
    1)
    a) ( diferente)
    b) ( desequilibrado) < lucha> unequal; < fuerzas> unevenly-matched
    2) ( irregular) <terreno/superficie> uneven; < letra> uneven, irregular; < calidad> variable, varying (before n); < rendimiento> inconsistent, erratic
    * * *
    = patchy [patchier -comp., patchiest -sup.], uneven, unequal, asymmetric, inequal, inequitable, spotty, ragged, asymmetrical, craggy [craggier -comp., craggiest -sup.], lumpy [lumpier -comp., lumpiest -sup.], unbalanced, imbalanced.

    Ex: The retrospective bibliographic control mechanism is somewhat patchy but there are some large scale works.

    Ex: Not surprisingly this can lead to gaps in coverage, and uneven coverage of subjects.
    Ex: However, problems arose as a result of combining headings of unequal importance and the multiplicity of languages involved.
    Ex: These graphs are represented in the form of similarity matrices which are asymmetric.
    Ex: Statistics show the inequal geographical distribution of these libraries, with 74% of university libraries to be found in the north and central regions, while only 26% are found in the south.
    Ex: Librarianship is an occupation dominated by women and subject to inequitable compensation.
    Ex: Enforcement of library policies is spotty at best.
    Ex: Even in more mainstream publishing, despite the ubiquity of word processors, which can so easily produce justified text, ragged right margins are becoming more common, even fashionable.
    Ex: MPEG is more expensive and complicated but more powerful and better suited to asymmetrical applications such as CD-ROM data bases.
    Ex: This is a series of meditative poems in which the author chronicles an encounter with the craggy Atlantic coastline of Brittany.
    Ex: Between 9 and 12 months, lumpy or chopped foods, such as vegetables, meats, or cottage cheese, may be introduced.
    Ex: Another problem with the main classes is that are unbalanced.
    Ex: The article includes two great maps, which show regions in which there may be a danger of imbalanced markets.

    * * *
    A
    1
    (diferente): las mangas me quedaron desiguales one sleeve turned out longer ( o wider etc) than the other
    reciben un trato muy desigual they are treated very differently
    2 (desequilibrado) ‹lucha› unequal; ‹fuerzas› unevenly-matched
    B (irregular) ‹terreno/superficie› uneven; ‹letra› uneven, irregular; ‹calidad› variable, varying ( before n)
    su rendimiento ha sido desigual his performance has been variable o irregular o inconsistent
    * * *

    desigual adjetivo
    1

    ◊ las mangas quedaron desiguales one sleeve turned out longer (o wider etc) than the other


    ‹ fuerzas› unevenly-matched
    2 ( irregular) ‹terreno/superficie› uneven;
    ‹ letra› uneven, irregular;
    ‹ calidad› variable, varying ( before n);
    ‹ rendimiento› inconsistent, erratic
    desigual adjetivo
    1 (irregular, poco igualado) uneven
    2 (descompensado) unequal
    3 (variable, cambiante) changeable
    ' desigual' also found in these entries:
    English:
    irregular
    - patchy
    - ragged
    - rough
    - unequal
    - variable
    - bumpy
    - erratic
    - mixed
    - one
    - uneven
    * * *
    1. [diferente] different;
    recibieron un trato desigual they weren't treated the same, they were treated differently;
    un triángulo de lados desiguales a triangle with unequal sides
    2. [irregular] [terreno, superficie] uneven;
    [alumno, actuación] inconsistent, erratic;
    su filmografía es de desigual calidad his movies o Br films are of varying quality;
    ha publicado varias novelas con desigual fortuna he has published several novels, with mixed results
    3. [poco equilibrado] [lucha, competición] unequal;
    [fuerzas, rivales] unevenly matched
    4. [variable] [tiempo] changeable;
    [temperaturas] variable; [persona, humor] changeable
    * * *
    adj
    1 reparto unequal
    2 terreno uneven, irregular
    * * *
    1) : unequal
    2) disparejo: uneven
    * * *
    1. (distinto) different
    2. (combate) unequal
    3. (tiempo, carácter) changeable
    4. (superficie, terreno) uneven

    Spanish-English dictionary > desigual

  • 4 matriz

    adj.
    1 parent (empresa).
    casa matriz head office
    2 holding.
    La compañía matriz The holding company.
    3 matrix.
    f.
    1 womb (anatomy).
    2 (check) stub.
    3 mold (molde).
    4 matrix (math & computing).
    5 die, swage, hub, swage block.
    6 parent, parent company.
    * * *
    1 ANATOMÍA womb
    2 TÉCNICA mould (US mold)
    3 (original) original, master copy
    4 (de talonario) stub, counterfoil
    5 MATEMÁTICAS matrix
    1 principal
    * * *
    1. SF
    1) (Anat) womb, uterus
    2) (Téc) mould, mold (EEUU), die; (Tip) matrix
    3) [de talonario] stub, counterfoil
    4) (Jur) original, master copy
    5) (Mat) matrix; (Inform) array
    2.
    ADJ

    casa matriz — (Com) (=sede) head office; (=compañía) parent company; (=convento) parent house

    * * *
    1)
    a) ( útero) womb, uterus
    b) ( molde) mold*
    c) ( de documento) original; ( de disco) master
    d) ( de talonario) stub
    e) ( de un test) master copy
    f) ( esténcil) stencil
    2) (Inf, Mat) matrix
    3) ( de empresa) headquarters (sing or pl)
    * * *
    = hose, master, matrix [matrixes/matrices, -pl.], type image, matrix [matrixes/matrices, -pl.].
    Nota: En imprenta, molde usado para la fundición de los tipos de imprenta.
    Ex. Further down still the shank of the spindle, rounded again, entered the hose, which was an oblong rectangular wooden box, 25 cm. long by 12.5 cm. square bored with a hole to take the spindle down its long axis.
    Ex. The great significance of a fully developed network will be that it will relieve libraries of the necessity of maintaining their own copies of the master data base.
    Ex. The combination of material type and borrower type specifies one cell in each of these matrices.
    Ex. An edition is all those copies of an item produced from substantially the same type image, whether by direct contact or by photographic method.
    Ex. The rate of production of ordinary matrices was slightly increased by the use of a screw press instead of a hammer for striking the punches, and of simple jigs for justification = El ritmo de producción de las matrices normales aumentó ligeramente por el uso de las prensas de tornillo en lugar de un martillo para golpear los tipos movibles y de unas simples plantillas de guía para la justificación.
    ----
    * documento matriz = master document.
    * matrices = matrices [matrix, -sing.].
    * matriz de puntos de impacto = impact dot matrix.
    * matriz de similitud = similarity matrix.
    * número matriz = master number.
    * Procesador de Matrices de Texto (TAP) = Text Array Processor (TAP).
    * registro matriz = master record.
    * * *
    1)
    a) ( útero) womb, uterus
    b) ( molde) mold*
    c) ( de documento) original; ( de disco) master
    d) ( de talonario) stub
    e) ( de un test) master copy
    f) ( esténcil) stencil
    2) (Inf, Mat) matrix
    3) ( de empresa) headquarters (sing or pl)
    * * *
    = hose, master, matrix [matrixes/matrices, -pl.], type image, matrix [matrixes/matrices, -pl.].
    Nota: En imprenta, molde usado para la fundición de los tipos de imprenta.

    Ex: Further down still the shank of the spindle, rounded again, entered the hose, which was an oblong rectangular wooden box, 25 cm. long by 12.5 cm. square bored with a hole to take the spindle down its long axis.

    Ex: The great significance of a fully developed network will be that it will relieve libraries of the necessity of maintaining their own copies of the master data base.
    Ex: The combination of material type and borrower type specifies one cell in each of these matrices.
    Ex: An edition is all those copies of an item produced from substantially the same type image, whether by direct contact or by photographic method.
    Ex: The rate of production of ordinary matrices was slightly increased by the use of a screw press instead of a hammer for striking the punches, and of simple jigs for justification = El ritmo de producción de las matrices normales aumentó ligeramente por el uso de las prensas de tornillo en lugar de un martillo para golpear los tipos movibles y de unas simples plantillas de guía para la justificación.
    * documento matriz = master document.
    * matrices = matrices [matrix, -sing.].
    * matriz de puntos de impacto = impact dot matrix.
    * matriz de similitud = similarity matrix.
    * número matriz = master number.
    * Procesador de Matrices de Texto (TAP) = Text Array Processor (TAP).
    * registro matriz = master record.

    * * *
    A
    1 (útero) womb, uterus
    2 (molde) mold*
    3 (de un documento) original; (de un disco) master
    4 (de un talonario) stub, counterfoil
    5 (de un test) master copy
    6 (esténcil) stencil
    B ( Mat) matrix
    C (de una empresa) headquarters ( sing o pl); (de una orden religiosa) mother church
    * * *

     

    matriz sustantivo femenino

    b) ( molde) mold( conjugate mold)


    matriz sustantivo femenino
    1 Anat womb, uterus
    2 (molde) mould
    3 Mat matrix
    ' matriz' also found in these entries:
    Spanish:
    casa
    - talón
    English:
    matrix
    - parent company
    - stub
    - womb
    - counter
    - master
    - parent
    - uterus
    * * *
    ♦ nf
    1. Anat womb, Espec uterus
    2. [molde] mould
    3. Imprenta [espacio] character
    4. [de talonario] (cheque) stub
    5. Informát matrix
    matriz activa active matrix
    6. Mat matrix
    7. [empresa] parent company
    ♦ adj
    [empresa] parent;
    casa matriz head office
    * * *
    f
    1 MAT, TÉC, GEOL matrix
    2 ANAT womb
    * * *
    1) : uterus, womb
    2) : original, master copy
    3) : main office, headquarters
    4) : stub (of a check)
    5) : matrix
    matriz de puntos: dot matrix

    Spanish-English dictionary > matriz

  • 5 Creativity

       Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)
       Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)
       There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)
       he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)
       he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)
       From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)
       Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)
       The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)
       In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)
       he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)
        11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder
       Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)
       New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)
       [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....
       Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)
       A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....
       Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

    Historical dictionary of quotations in cognitive science > Creativity

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