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101 Hodgkinson, Eaton
[br]b. 26 February 1789 Anderton, Cheshire, Englandd. 18 June 1861 near Manchester, England[br]English engineer who devised d new form of cast-iron girder.[br]Eaton Hodgkinson's father, a farmer, died when he was 6 years old, but his mother was a resourceful woman who set up a business in Salford and ensured that her son received a sound schooling. Most important for his education, however, was his friendship with the Manchester scientific luminary Dr. Dalton, who instructed him in practical mathematics. These studies led Hodgkinson to devise a new form of cast-iron girder, carefully tested by experiments and which was widely adopted for fire-proof structures in the nineteenth century. Following Dalton, Hodgkinson became an active member of the Manchester Philosophical Society, of which he was elected President in 1848. He also became an active member of the British Association for the Advancement of Science. Hodgkinson's work on cast-iron girders secured him a Fellowship of the Royal Society, and the Royal Medal of the Society, in 1841. It was Hodgkinson also who verified the mathematical value of the pioneering experiments carried out by William Fairbairn for Robert Stephenson's proposed wrought-iron tube structure which, in 1849, became the Britannia Bridge over the Menai Straits. He received a Silver Medal for this work at the Paris Exhibition of 1858. Hodgkinson served as a member of the Royal Commission appointed to enquire into the application of iron to railway structures. In 1847 he was appointed Professor of the Mechanical Principles of Engineering at University College, London, but his health began to fail shortly after. He was elected an Honorary Member of the Institution of Civil Engineers in 1851. Described as "singularly simple and guileless", he was widely admired and respected.[br]Principal Honours and DistinctionsPresident, Manchester Philosophical Society 1848. FRS 1841. Royal Society Medal 1841.Further ReadingDictionary of National Biography, London.Proceedings of the Institution of Civil Engineers 21:542–5.AB -
102 Smeaton, John
SUBJECT AREA: Civil engineering, Mechanical, pneumatic and hydraulic engineering, Steam and internal combustion engines[br]b. 8 June 1724 Austhorpe, near Leeds, Yorkshire, Englandd. 28 October 1792 Austhorpe, near Leeds, Yorkshire, England[br]English mechanical and civil engineer.[br]As a boy, Smeaton showed mechanical ability, making for himself a number of tools and models. This practical skill was backed by a sound education, probably at Leeds Grammar School. At the age of 16 he entered his father's office; he seemed set to follow his father's profession in the law. In 1742 he went to London to continue his legal studies, but he preferred instead, with his father's reluctant permission, to set up as a scientific instrument maker and dealer and opened a shop of his own in 1748. About this time he began attending meetings of the Royal Society and presented several papers on instruments and mechanical subjects, being elected a Fellow in 1753. His interests were turning towards engineering but were informed by scientific principles grounded in careful and accurate observation.In 1755 the second Eddystone lighthouse, on a reef some 14 miles (23 km) off the English coast at Plymouth, was destroyed by fire. The President of the Royal Society was consulted as to a suitable engineer to undertake the task of constructing a new one, and he unhesitatingly suggested Smeaton. Work began in 1756 and was completed in three years to produce the first great wave-swept stone lighthouse. It was constructed of Portland stone blocks, shaped and pegged both together and to the base rock, and bonded by hydraulic cement, scientifically developed by Smeaton. It withstood the storms of the English Channel for over a century, but by 1876 erosion of the rock had weakened the structure and a replacement had to be built. The upper portion of Smeaton's lighthouse was re-erected on a suitable base on Plymouth Hoe, leaving the original base portion on the reef as a memorial to the engineer.The Eddystone lighthouse made Smeaton's reputation and from then on he was constantly in demand as a consultant in all kinds of engineering projects. He carried out a number himself, notably the 38 mile (61 km) long Forth and Clyde canal with thirty-nine locks, begun in 1768 but for financial reasons not completed until 1790. In 1774 he took charge of the Ramsgate Harbour works.On the mechanical side, Smeaton undertook a systematic study of water-and windmills, to determine the design and construction to achieve the greatest power output. This work issued forth as the paper "An experimental enquiry concerning the natural powers of water and wind to turn mills" and exerted a considerable influence on mill design during the early part of the Industrial Revolution. Between 1753 and 1790 Smeaton constructed no fewer than forty-four mills.Meanwhile, in 1756 he had returned to Austhorpe, which continued to be his home base for the rest of his life. In 1767, as a result of the disappointing performance of an engine he had been involved with at New River Head, Islington, London, Smeaton began his important study of the steam-engine. Smeaton was the first to apply scientific principles to the steam-engine and achieved the most notable improvements in its efficiency since its invention by Newcomen, until its radical overhaul by James Watt. To compare the performance of engines quantitatively, he introduced the concept of "duty", i.e. the weight of water that could be raised 1 ft (30 cm) while burning one bushel (84 lb or 38 kg) of coal. The first engine to embody his improvements was erected at Long Benton colliery in Northumberland in 1772, with a duty of 9.45 million pounds, compared to the best figure obtained previously of 7.44 million pounds. One source of heat loss he attributed to inaccurate boring of the cylinder, which he was able to improve through his close association with Carron Ironworks near Falkirk, Scotland.[br]Principal Honours and DistinctionsFRS 1753.Bibliography1759, "An experimental enquiry concerning the natural powers of water and wind to turn mills", Philosophical Transactions of the Royal Society.Towards the end of his life, Smeaton intended to write accounts of his many works but only completed A Narrative of the Eddystone Lighthouse, 1791, London.Further ReadingS.Smiles, 1874, Lives of the Engineers: Smeaton and Rennie, London. A.W.Skempton, (ed.), 1981, John Smeaton FRS, London: Thomas Telford. L.T.C.Rolt and J.S.Allen, 1977, The Steam Engine of Thomas Newcomen, 2nd edn, Hartington: Moorland Publishing, esp. pp. 108–18 (gives a good description of his work on the steam-engine).LRD -
103 Kürperschalldämpfer
mDämmung von Schall und Wärme structure-borne sound absorber -
104 Körperschall
m1. mechanical vibration2. structure-borne sound -
105 ضعيف
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض( خفيض)، خافت (خَافِت)، واهن (واهِن) \ ضَعِيف (شَخْص) \ weakling: a weak person. \ See Also واهن (وَاهِن) \ ضَعِيف جدًّا \ feeble: very weak: feeble health; a feeble light; a feeble explanation. -
106 علم
عِلْم \ knowledge: what one knows: His knowledge of radio is very wide. His general knowledge is slight. learning: knowledge that is gained by long serious study: He is a man of great learning. scholarship: the qualities of a very learned person: This writer on Shakespeare is famous for his scholarship. science: the careful study of any serious subject: political science; the science of language. \ بِغَير عِلْمِه \ behind sb.’s back: when someone is not present: He tells untrue stories about me behind my back. \ عِلْم الآثار القَديمة \ archaeology, archeology: the scientific study of life in the distant past by digging up ancient cities, examining buried objects, etc. \ عِلْم الاجْتِماع \ sociology: the study of society and human behaviour in groups. \ عِلْم الإِحْصَاء \ statistics: (with pl. verb) facts that are shown by numbers; (with sg. verb) the science of showing facts by numbers: National statistics of births and deaths are collected regularly. Statistics is a modern science. \ عِلْم الأَحْياء \ biology: the science of living things. \ عِلْم الأخلاق \ ethics: the study of good and bad in human behaviour. \ عِلْم الأرصاد الجوّيّة \ meteorology: the science of the weather. \ عِلْم الأساطير \ mythology: myths in general; the study of myths. \ عِلْم الاشْتِقاق (في علم اللُّغَة) \ etymology: the study of the history of words. \ عِلْم الأصوات \ phonetics: (as subject of study; pl. as a practical activity) the science of speech sounds; the signs used for these sounds; the practical use of this science: Phonetics is a modern science. Are these phonetics correct? Phonetics help foreigners to pronounce words. \ عِلْم الاقتصاد \ economics: the science of national economy. \ عِلْم الإنْسَان \ anthropology: the scientific study of man, his way of life, religions, races, etc. \ عِلْم بالوُصُول \ acknowledg(e)ment: a note of receipt: I sent the money but I’ve had no acknowledgement. \ عِلْم التاريخ \ history: an orderly record or study of past events: a student of history; the history of Europe. \ عِلْم التَّحْليل النَّفْسي \ psychoanalysis: (the scientific study of) a way of treating disorders ot the mind by examination of all that sb. can remember of his past life, dreams, feelings, etc.. \ عِلْم التَّدْبِير المنزليّ \ domestic science: the study of cooking and other housekeeping skills. \ عِلْم التَّنْجيم \ astrology: the study of the stars in relation to human fate. \ عِلْم الجَبْر \ algebra: a branch of mathematics, using signs and letters as well as numbers. \ عِلْم الجُغْرافيا \ geography: the scientific study of the structure, produce and use of the earth’s surface. \ عِلْم الحَرْب \ warfare: the science of making war; fighting. \ عِلْم حَرَكة السوائل \ hydraulics: the science of controlling and using liquid pressure, esp. for engineering purposes. \ عِلْم الحَشَرات \ entomology: the study of insects. \ عِلْم الحَيَوان \ zoology: the scientific study of animal life. \ عِلْم الرِّياضيّات \ mathematics: the science of numbers and space; the practical use of this science: Mathematics is an exact science. maths: the usual shortening of mathematics. \ عِلْم الزراعة بدون تُربة \ hydroponics: the science of growing plants in water, without soil. \ عِلْم السِّيَاسَة \ politics: (sg. as an art or activity; pl. as personal beliefs, etc.) the art of government; the affairs of government; one’s opinions on government: Is politics an art or a science? My politics are my private concern. \ عِلْم الصحّة \ hygiene: the study and practice of how to keep good health, esp. by paying attention to cleaniness. \ عِلْم صيانة الأحراش \ forestry: the science of growing trees for man’s use as wood. \ عِلْم الطّبّ \ medicine: the science and the art of dealing with disease. \ عِلْم طَبَقات الأرض \ geology: the study of the rocks that make up the earth. \ عِلْم الطبيعة \ physics: the science of heat, light, sound, Motion, etc.: Physics is an important branch of science. \ See Also الفيزياء \ عِلْم طبيعيّ \ science: the study of the substances, forces, etc. found in nature (esp. Biology; Chemistry; Physics): Schools teach science. \ عِلْم الطُّيُور \ ornithology: the scientific study of birds. \ عِلْم الفَلَك \ astronomy: the scientific study of the stars. \ عِلْم الكِيمْياء \ chemistry: the science that studies the nature and behaviour of all substances. \ عِلْم المالية \ finance: the science of controlling money. \ See Also إدارة المال \ عِلْم المَنْطِق \ logic: the science of reasoning. \ عِلْم النَّبَات \ botany: the scientific study of plants. \ عِلْم النَّفْس \ psychology: the scientific study of the mind. \ عِلْم الهَنْدَسة \ geometry: the science of lines, angles, surfaces and solid figures, and of their measurements. -
107 faint
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
108 flabby
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
109 flimsy
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
110 frail
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
111 poor
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
112 powerless
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
113 rickety
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
114 slim
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
115 soft
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
116 weak
ضَعِيف \ faint: (of the body) weak: I was faint from loss of blood, (of thoughts and feelings) weak; uncertain I haven’t the faintest idea where she is, (of things seen, heard, smelt, etc.) weak; not clear; slight a faint smell of smoke; a faint taste of coffee. flabby: (of muscles, flesh, etc.) soft and weak: a flabby stomach. flimsy: light and thin; weak, easily damaged: a flimsy dress; a flimsy piece of furniture. frail: weak, esp. in body: a frail old lady. poor: of bad quality; weak: poor soil; a poor attempt. powerless: lacking power: She was powerless to stop the fight. rickety: shaky and likely to fall to pieces: a rickety old chair. slim: (of hopes or chances, etc.) weak: a slim chance of escape. soft: (of sound) not loud: a soft voice. weak: not strong; easily broken or defeated, faint: weak eyes; a weak structure; a weak team. \ See Also خائر القوى (خَائِر القوى)، مترهل (مُتَرَهِّل)، متداع (مُتَدَاعٍ)، متخاذل (مُتَخَاذِل)، رخو (رَخْو)، هش (هشّ)، خفيض (خفيض)، خافت (خَافِت)، واهن (واهِن) -
117 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 DisorderEven 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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118 Cybernetics
1) The Parallel Nature of Feedback in Living Individuals and Communication MachinesIt is my thesis that the physical functioning of the living individual and the operation of some of the newer communication machines are precisely parallel in their analogous attempts to control entropy through feedback. Both of them have sensory receptors as one stage of their cycle of operation: that is, in both of them there exists a special apparatus for collecting information from the outer world at low energy levels, and for making it available in the operation of the individual or of the machine.In both cases these external messages are not taken neat, but through the internal transforming powers of the apparatus, whether it be alive or dead. The information is then turned into a new form available for the further stages of performance. In both the animal and the machine this performance is made to be effective on the outer world. In both of them, their performed action on the outer world, and not merely their intended action, is reported back to the central regulatory apparatus. (Wiener, 1954, pp. 26-27)[The job of the cyberneticist] is the study of information transfer: the converting of information from one form to another-the human voice into radio waves and back into sound once more, or a complex mathematical equation into a set of punched holes on a tape, to be fed into a computer and then into a set of traces on reels of magnetic tape in the computer's "memory store."... To him, protein synthesis is just such another case. The mechanism for ensuring the exact replication of a protein chain by a new cell is that of transferring the information about the protein structure from the parent to the daughter cell. (Rose, 1970, p. 162)The theme of all these tales [("Fisherman and the Jinni" in the Thousand Nights and a Night; The Sorcerer's Apprentice; and "The Monkey's Paw" by W. W. Jacobs)] is the danger of magic. This seems to lie in the fact that the operation of magic is singularly literal-minded, and that if it grants you anything at all it grants what you ask for, not what you should have asked for or what you intend....The magic of automation, and in particular the magic of an automatization in which the devices learn, may be expected to be similarly literal-minded. If you are playing a game according to certain rules and set the playing-machine to play for victory, you will get victory if you get anything at all, and the machine will not pay the slightest attention to any consideration except victory according to the rules. If you are playing a war game with a certain conventional interpretation of victory, victory will be the goal at any cost, even that of the extermination of your own side, unless this condition of survival is explicitly contained in the definition of victory according to which you program the machine. (Wiener, 1964, pp. 59-60)Historical dictionary of quotations in cognitive science > Cybernetics
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119 List
The list relies on discontinuity rather than continuity; it depends on physical placement, on location; it can be read in different directions, both sideways and downwards, up and down, as well as left and right; it has a clear-cut beginning and a precise end, that is, a boundary, an edge, like a piece of cloth. Most importantly it encourages the ordering of the items, by number, by initial sound, by category, etc. And the existence of boundaries, external and internal, brings greater visibility to categories, at the same time as making them more abstract. (Goody, 1977, p. 81)Historical dictionary of quotations in cognitive science > List
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120 binynalvokselba'u
Construction: jbini+na'e+voksa+se+bacru buffer sound [interconsonantal] Structure: x1 = bacru2 (utterance)
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