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1 theoretical aspect
теоретический аспект, теоретическая сторона -
2 theoretical aspect
Англо-русский словарь по исследованиям и ноу-хау > theoretical aspect
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3 aspect
nаспект, сторона; взгляд, точка зренияto dwell on the political aspect — касаться политического аспекта / политической стороны (чего-л.)
to outline the important aspects of a conflict — обозначать важные аспекты конфликта; кратко обрисовывать / излагать важные аспекты конфликта
- demographic aspectsto touch on the political aspect — касаться политического аспекта / политической стороны (чего-л.)
- economic aspect
- financial aspect
- historical aspect
- international aspect
- key aspects
- legal aspect of smth
- main aspect
- main aspects of a problem
- major aspects of a problem
- military aspects
- political aspect
- progressive aspects
- social aspect
- socioeconomic aspects
- sociological aspect
- specific aspect
- tangible aspects
- theoretical aspect
- trade aspect -
4 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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5 ratio
отношение, соотношение, пропорция; степень; коэффициент, см. тж. coefficient; передаточное число [отношение]all-out level/stalling speed ratio — относительный диапазон скоростей полёта (отношение максимальной скорости горизонтального полёта к скорости сваливания)
base(-altltude, -height) ratio — отношение величины базиса фотографирования к высоте
burning (surface)-to-throat (area) ratio — отношение поверхности горения к площади критического сечения сопла (в РДТТ)
chamber volume-to-throat area ratio — приведенная [характеристическая] длина камеры сгорания
envelope-bulk to weight ratio — отношение объёма, занимаемого двигателем, к его сухому весу
lift-(over, to-)drag ratio — аэродинамическое качество
main rotor/engine r.p.m. ratio — степень редукции между двигателем, и несущим винтом, соотношение чисел оборотов несущего винта и вала двигателя
maintenance (man hours)-to-flight (hours) ratio — соотношение объёма работ по наземному обслуживанию (в человеко-часах) и налёта
mixing ratio of moist air — метео. влагосодержаиие
port(-to-)throat ratio — относительная свободная площадь (отношение свободной площади к площади критического сечения сопла)
ratio of specific heats — отношение удельных теплоёмкостей, показатель адиабаты
stoichiometric (equivalence, mixture) ratio — стехиометрическое соотношение компонентов топлива, стехиометрический коэффициент состава топлива
— - to-thrust ratio -
6 Fermi, Enrico
[br]b. 29 September 1901 Rome, Italyd. 28 November 1954 Chicago, USA[br]Italian nuclear physicist.[br]Fermi was one of the most versatile of twentieth-century physicists, one of the few to excel in both theory and experiment. His greatest theoretical achievements lay in the field of statistics and his theory of beta decay. His statistics, parallel to but independent of Dirac, were the key to the modern theory of metals and the statistical modds of the atomic nucleus. On the experimental side, his most notable discoveries were artificial radioactivity produced by neutron bombardment and the realization of a controlled nuclear chain reaction, in the world's first nuclear reactor.Fermi received a conventional education with a chemical bias, but reached proficiency in mathematics and physics largely through his own reading. He studied at Pisa University, where he taught himself modern physics and then travelled to extend his knowledge, spending time with Max Born at Göttingen. On his return to Italy, he secured posts in Florence and, in 1927, in Rome, where he obtained the first Italian Chair in Theoretical Physics, a subject in which Italy had so far lagged behind. He helped to bring about a rebirth of physics in Italy and devoted himself to the application of statistics to his model of the atom. For this work, Fermi was awarded the Nobel Prize in Physics in 1938, but in December of that year, finding the Fascist regime uncongenial, he transferred to the USA and Columbia University. The news that nuclear fission had been achieved broke shortly before the Second World War erupted and it stimulated Fermi to consider this a way of generating secondary nuclear emission and the initiation of chain reactions. His experiments in this direction led first to the discovery of slow neutrons.Fermi's work assumed a more practical aspect when he was invited to join the Manhattan Project for the construction of the first atomic bomb. His small-scale work at Columbia became large-scale at Chicago University. This culminated on 2 December 1942 when the first controlled nuclear reaction took place at Stagg Field, Chicago, an historic event indeed. Later, Fermi spent most of the period from September 1944 to early 1945 at Los Alamos, New Mexico, taking part in the preparations for the first test explosion of the atomic bomb on 16 July 1945. President Truman invited Fermi to serve on his Committee to advise him on the use of the bomb. Then Chicago University established an Institute for Nuclear Studies and offered Fermi a professorship, which he took up early in 1946, spending the rest of his relatively short life there.[br]Principal Honours and DistinctionsNobel Prize for Physics 1938.Bibliography1962–5, Collected Papers, ed. E.Segrè et al., 2 vols, Chicago (includes a biographical introduction and bibliography).Further ReadingL.Fermi, 1954, Atoms in the Family, Chicago (a personal account by his wife).E.Segrè, 1970, Enrico Fermi, Physicist, Chicago (deals with the more scientific aspects of his life).LRD -
7 aircraft
воздушное судно [суда], атмосферный летательный аппарат [аппараты]; самолёт (ы) ; вертолёты); авиация; авиационный; см. тж. airplane, boostaircraft in the barrier — самолёт, задержанный аварийной (аэродромной) тормозной установкой
aircraft off the line — новый [только что построенный] ЛА
B through F aircraft — самолёты модификаций B, C, D, E и F
carrier(-based, -borne) aircraft — палубный ЛА; авианосная авиация
conventional takeoff and landing aircraft — самолёт с обычными взлетом и посадкой (в отличие от укороченного или вертикального)
keep the aircraft (headed) straight — выдерживать направление полёта ЛА (при выполнении маневра); сохранять прямолинейный полет ЛА
keep the aircraft stalled — сохранять режим срыва [сваливания] самолёта, оставлять самолёт в режиме срыва [сваливания]
nearly wing borne aircraft — верт. ЛА в конце режима перехода к горизонтальному полёту
pull the aircraft off the deck — разг. отрывать ЛА от земли (при взлете)
put the aircraft nose-up — переводить [вводить] ЛА на кабрирование [в режим кабрирования]
put the aircraft through its paces — определять предельные возможности ЛА, «выжимать все из ЛА»
reduced takeoff and landing aircraft — самолёт укороченного взлета и посадки (с укороченным разбегом и пробегом)
rocket(-powered, -propelled) aircraft — ракетный ЛА, ЛА с ракетным двигателем
roll the aircraft into a bank — вводить ЛА в крен, накренять ЛА
rotate the aircraft into the climb — увеличивать угол тангажа ЛА для перехода к набору высоты, переводить ЛА в набор высоты
short takeoff and landing aircraft — самолёт короткого взлета и посадки (с коротким разбегом и пробегом)
single vertical tail aircraft — ЛА с одинарным [центральным] вертикальным оперением
strategic(-mission, -purpose) aircraft — ЛА стратегического назначения; стратегический самолёт
take the aircraft throughout its entire envelope — пилотировать ЛА во всем диапазоне полётных режимов
trim the aircraft to fly hands-and-feet off — балансировать самолёт для полёта с брошенным управлением [с брошенными ручкой и педалями]
turbofan(-engined, -powered) aircraft — ЛА с турбовентиляторными двигателями, ЛА с ТРДД
turbojet(-powered, -propelled) aircraft — ЛА с ТРД
undergraduate navigator training aircraft — учебно-тренировочный самолёт для повышенной лётной подготовки штурманов
water(-based, takeoff and landing) aircraft — гидросамолёт
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