-
21 voie
voie [vwa]1. feminine noun• expédier qch par voie de mer or maritime to send sth by sea• voyager par voie de terre or terrestre to travel overlandb. ( = partie d'une route) lane• route à 3/4 voies 3-lane/4-lane roadc. (Railways) trackd. [de corps] voies digestives/respiratoires/urinaires digestive/respiratory/urinary tracte. (figurative) way• ouvrir/tracer/montrer la voie to open up/mark out/show the way• préparer la voie à qn/qch to pave the way for sb/sthf. ( = filière, moyen) par des voies détournées by devious means• par la voie hiérarchique/diplomatique through official/diplomatic channelsg. ► en voie de2. compounds• se livrer à des voies de fait sur qn to assault sb ► voie ferrée railway (Brit) or railroad (US) line• c'est la voie royale vers or pour it's the pathway to ; [+ carrière, pouvoir] it's the fast track to* * *vwɑêtre sur la bonne voie — [personne] to be on the right track
2) ( intermédiaire) channels (pl)3) ( subdivision de route) lane; ( route) road; ( rue) streetvoie à sens unique — ( en ville) one-way street
4) ( rails) track‘défense de traverser les voies’ — ‘keep off the tracks’
5) ( mode d'administration)par voie buccale or orale — orally
•Phrasal Verbs:* * *vwa1. vbSee:2. nf1) (= chemin, moyen) wayêtre en bonne voie — to be shaping up, to be going well
2) [corps]par voie buccale; par voie orale — orally
3) CHEMINS DE FER track, line4) AUTOMOBILES lane* * *voie nf1 fig ( chemin) way; la voie de la paix/modernisation/sagesse the way to peace/modernization/wisdom; être sur la voie d'un accord to be on the way to an agreement; montrer la voie à qn to show sb the way; montrer la voie [personne, pays, entreprise] to lead the way; ouvrir la voie à to pave the way for; la voie est libre the way is clear; chercher/trouver sa voie to look for/find one's way in life; entreprise en voie de devenir le cinquième groupe européen company on its way to becoming number five in Europe; sur or dans la voie de on the road to; s'engager sur or dans une voie dangereuse to embark on a dangerous course; choisir/suivre une voie médiane fig to choose/follow a middle course; être sur la bonne/mauvaise voie [personne] to be on the right/wrong track; les travaux/négociations sont en bonne voie the work is/the negotiations are progressing; la voie royale vers le pouvoir the fast track to power; les sociétés déficitaires ou en voie de l'être companies in deficit or (in the process of) becoming so; en voie de désintégration disintegrating ( après n); par voies de conséquence consequently; espèce en voie d'extinction or de disparition endangered species; pays en voie de développement developing country; ⇒ impénétrable;2 ( intermédiaire) channels (pl); par la voie diplomatique through diplomatic channels; par la voie du référendum by means of a referendum; par voie de presse through the press; par des voie détournées by roundabout means; par voie de tracts/d'affiches through leaflets/posters; par voie de mer by sea; par la voie des airs by air; par voie d'action Jur by bringing action; ⇒ concours, conséquence, scrutin;3 ( subdivision de route) lane; ( route) road; ( rue) street; route à trois voies three-lane road; voie réservée aux autobus bus lane; voie à sens unique ( en rase campagne) one-way road; ( en ville) one-way street; voie à double sens ( en rase campagne) road for two-way traffic GB, two-way road US; ( en ville) street for two-way traffic GB, two-way street US;4 Rail ( rails) track; voie large/étroite wide-/narrow-gauge track; ligne à voie unique/à double voie single- /double-track line; ne rien jeter sur la voie do not throw anything onto the track; ‘défense de traverser les voies’ ‘keep off the tracks’; le train entre en gare voie 2 the train is arriving at platform 2;5 Pharm ( mode d'administration) par voie injectable by injection; par voie rectale rectally; par voie intraveineuse intravenously; par voie buccale or orale orally; par voie nasale nasally; ⇒ racolage, scandale, violence.voie d'accélération acceleration lane; voie aérienne Transp air route; voie de communication Transp transport link; voie à contresens contraflow lane; voie de décélération deceleration lane; voie d'eau Naut leak; voie d'évitement Rail siding; voie express expressway; voie ferrée Rail ( infrastructure) railway track GB, railroad track US; Transp (mode de transport, ligne) railway GB, railroad US; voie fluviale Transp (inland) waterway; voie de garage Rail siding; mettre qn sur une voie de garage fig to shunt sb onto the sidelines; voie de gauche fast lane; voie hertzienne Télécom Hertzian waves (pl); par la voie hertzienne by Hertzian waves; voie hiérarchique Admin right channels (pl); Voie lactée Astron Milky Way; voie maritime Transp sea route; voie navigable Transp waterway; voie privée Admin private road; voie publique Jur public highway; sur la voie publique on the public highway; voie de raccordement Rail connecting track; Gén Civ slip road; voie rapide expressway; voie de recours Jur path for appeal; voie sans issue Gén Civ, fig dead end; ( sur panneau) no through road; voie souterraine underpass; voies de fait Jur ( agression) battery (sg); Admin, Jur ( atteinte aux droits) ≈ infringement of civil liberties; voies nasales Anat nasal passages; voies respiratoires Anat respiratory tract (sg); voies urinaires Anat urinary tract (sg).[vwa] nom féminin1. [rue] roadvoie express ou rapide express wayvoie de passage/raccordement major/access roadvoie sans issue no through road, cul-de-sacvoie romaine Roman way ou road2. [moyen d'accès] way[itinéraire] routepar voie de terre overland, by landouvrir la voie à quelqu'un/quelque chose to pave the way for somebody/something, to make way for somebody/somethingvoie fluviale ou navigable (inland) waterwayvoie aérienne air route, airwayvoie maritime sea route, seawayentrer dans l'Administration par la voie royale to take the most prestigious route into the Civil Service3. RAIL‘ne pas traverser les voies’ ‘do not cross the tracks’voie de garage ou de service ou de dégagement siding4. [procédure, moyen]suivre la voie hiérarchique/diplomatique/normale to go through the official/diplomatic/usual channelspar des voies détournées by devious means, by a circuitous route5. RELIGIONb. (figuré) [en devinant] to give somebody a cluec. [dans une enquête] to put somebody on the right trackb. (figuré) to be on the right track ou lines7. PHARMACIEpar voie orale ou buccale orallypar voie nasale/rectale through the nose/the rectumvoies respiratoires airways, respiratory tract9. CHIMIEvoie humide/sèche wet/dry process[de communication] channel11. NAUTIQUE12. ASTRONOMIE————————voies nom féminin plurielvoies de fait [coups] assault and batteryen bonne voie locution adjectivalemaintenant, les affaires sont en bonne voie business is looking up————————en voie de locution prépositionnelleen voie de construction being built, under constructionen voie de guérison getting better, on the road to recovery————————par la voie de locution prépositionnelle -
22 Sache
Sa·che <-, -n> [ʼzaxə] f\Sachen gibt's[, die gibt's gar nicht]! ( fam) [well] would you credit it?, isn't it amazing?; s. a. Natur2) ( Angelegenheit) matter;eine aussichtslose \Sache a lost cause;in eigener \Sache on one's own behalf;das ist eine andere \Sache that's another matter [or something else];eine gute \Sache ( angenehm) a good thing;( wohltätig) a good cause;es ist eine \Sache seiner Abstammung it's a question of his origins;jds \Sache sein to be sb's affair [or business];nicht jedermanns \Sache sein to be not everyone's cup of tea;eine \Sache für sich sein to be a matter apart [or chapter in itself];warme \Sachen warm clothes [or clothing];beschlossene \Sache sein to be [all] settled [or a foregone conclusion];( tu das bloß nicht) don't be daft! ( fam)was machst du bloß für \Sachen! ( fam) the things you do!;was sind denn das für \Sachen? what's going on here?;das sind doch keine \Sachen! ( fam) he/she/you etc. shouldn't do thatin \Sachen [o in der \Sache] Meier gegen Müller in the case [of] [or ( form) in re] Meier versus Müller;zur \Sache vernommen werden to be questionedmit 255 \Sachen at 255 [kph [or (Am) (sl) klicks] ]mit jdm gemeinsame \Sache machen to make common cause with sthkeine halben \Sachen machen to not do things by halves, to not deal in half-measures;er macht seine \Sache gut he's doing well; ( beruflich) he's doing a good jobbei der \Sache bleiben to keep to the point;die \Sache ist die, dass... (es geht darum, dass...) the matter so far is that...;( einschränkend) the thing is [that]...;zur \Sache kommen to come to the point;neben der \Sache liegen ( fam) to be beside the point;er war nicht bei der Sache his mind was wandering;die \Sache steht gut things are going [or shaping] well;die \Sache steht unentschieden things are undecided;nichts zur \Sache tun to be irrelevant, to not matter;zur \Sache! come to the point; (in Parlament a.) [the] question! -
23 Li Jie (Li Chieh)
SUBJECT AREA: Architecture and building[br]fl. 1085–1110 China[br]Chinese architect who revised the Chinese treatise on architectural method, Ying Zao Fa Shi.[br]He was a first-rate architect and from 1092 was an assistant in the Directorate of Buildings and Construction. He must have shown promise as an architect for he was commissioned to revise the old manuals of architecture. The work was completed in 1100 and printed three years later as the treatise for which he is best known, the Ying Zao Fa Shi (Treatise on Architectural Method). This work has been called the greatest and definitive treatise of any age in the millennial tradition of Chinese architecture. The work is noted for the comprehensive range of constructions covered and the thoroughness of its instruction to architects. The detailed instructions for the construction and shaping of woodwork are not found in European literature until the eighteenth century. The illustrations are fine and the excellence of the constructional drawings makes them the earliest working drawings. He was a distinguished practising builder, as well as a writer, for he erected administrative offices, palace apartments, gates and gate towers, together with the ancestral temples of the Sung dynasty as well as Buddhist temples.[br]Further ReadingJ.Needham, Science and Civilisation in China, Cambridge: Cambridge University Press, 1965, Vols IV. 2, pp. 49, 549, 551; 1971, IV. 3, pp. 84–5, 107.LRD -
24 entwickeln
entwickeln v 1. COMP develop, evolve (System, Software); 2. GEN, IND, LOGIS, V&M develop, evolve* * *v 1. < Comp> System, Software develop, evolve; 2. <Geschäft, Ind, Transp, V&M> develop, evolve--------: sich entwickeln< Geschäft> shape up, take shape ■ sich sehr schnell entwickeln <Vw> boom* * *entwickeln
to develop, (fördern) to promote, to further, (Handel) to grow up;
• sich entwickeln to expand;
• sich aus etw. entwickeln to evolve from s. th.;
• sich bedenklich entwickeln to grow into an awkward position;
• sich zu einem Industriestaat entwickeln to become an industrial nation;
• Industriezweig entwickeln to expand a branch of industry;
• sich lebhaft entwickeln (Geschäft) to rush;
• sich programmgemäß entwickeln to come off all right;
• sich schnell entwickeln (Konjunktur) to advance with a rush, to boom;
• sich in einer Stellung entwickeln to improve one’s position;
• lebhafte Tätigkeit entwickeln to display great activity;
• sich ungünstig entwickeln to go to the bad;
• sich zufrieden stellend entwickeln to be shaping well. -
25 sich zufrieden stellend entwickeln
sich zufrieden stellend entwickeln
to be shaping well.Business german-english dictionary > sich zufrieden stellend entwickeln
-
26 arte
vb:[ arte sig]( opføre sig godt) behave;( udvikle sig) shape, develop,( vise sig at blive) turn out;[ drengen arter sig vel] the boy is shaping well. -
27 F43.2
рус Расстройство приспособительных реакцийeng Adjustment disorders. States of subjective distress and emotional disturbance, usually interfering with social functioning and performance, arising in the period of adaptation to a significant life change or a stressful life event. The stressor may have affected the integrity of an individual's social network (bereavement, separation experiences) or the wider system of social supports and values (migration, refugee status), or represented a major developmental transition or crisis (going to school, becoming a parent, failure to attain a cherished personal goal, retirement). Individual predisposition or vulnerability plays an important role in the risk of occurrence and the shaping of the manifestations of adjustment disorders, but it is nevertheless assumed that the condition would not have arisen without the stressor. The manifestations vary and include depressed mood, anxiety or worry (or mixture of these), a feeling of inability to cope, plan ahead, or continue in the present situation, as well as some deg -
28 profiliranje
n defining, definition, becoming well-defined, giving/developing a distinctive quality (ili identity), giving/developing a thematic quality, differentiation, specialization; shaping up; giving/developing prominence (ili status) | novo profiliranje redefinition, resh* * *• profiling -
29 Arnold, John
SUBJECT AREA: Horology[br]b. 1735/6 Bodmin (?), Cornwall, Englandd. 25 August 1799 Eltham, London, England[br]English clock, watch, and chronometer maker who invented the isochronous helical balance spring and an improved form of detached detent escapement.[br]John Arnold was apprenticed to his father, a watchmaker, and then worked as an itinerant journeyman in the Low Countries and, later, in England. He settled in London in 1762 and rapidly established his reputation at Court by presenting George III with a miniature repeating watch mounted in a ring. He later abandoned the security of the Court for a more precarious living developing his chronometers, with some financial assistance from the Board of Longitude. Symbolically, in 1771 he moved from the vicinity of the Court at St James's to John Adam Street, which was close to the premises of the Royal Society for the Encouragement of Arts, Manufactures \& Commerce.By the time Arnold became interested in chronometry, Harrison had already demonstrated that longitude could be determined by means of a timekeeper, and the need was for a simpler instrument that could be sold at an affordable price for universal use at sea. Le Roy had shown that it was possible to dispense with a remontoire by using a detached escapement with an isochronous balance; Arnold was obviously thinking along the same lines, although he may not have been aware of Le Roy's work. By 1772 Arnold had developed his detached escapement, a pivoted detent which was quite different from that used on the European continent, and three years later he took out a patent for a compensation balance and a helical balance spring (Arnold used the spring in torsion and not in tension as Harrison had done). His compensation balance was similar in principle to that described by Le Roy and used riveted bimetallic strips to alter the radius of gyration of the balance by moving small weights radially. Although the helical balance spring was not completely isochronous it was a great improvement on the spiral spring, and in a later patent (1782) he showed how it could be made more truly isochronous by shaping the ends. In this form it was used universally in marine chronometers.Although Arnold's chronometers performed well, their long-term stability was less satisfactory because of the deterioration of the oil on the pivot of the detent. In his patent of 1782 he eliminated this defect by replacing the pivot with a spring, producing the spring detent escapement. This was also done independendy at about the same time by Berthoud and Earnshaw, although Earnshaw claimed vehemently that Arnold had plagiarized his work. Ironically it was Earnshaw's design that was finally adopted, although he had merely replaced Arnold's pivoted detent with a spring, while Arnold had completely redesigned the escapement. Earnshaw also improved the compensation balance by fusing the steel to the brass to form the bimetallic element, and it was in this form that it began to be used universally for chronometers and high-grade watches.As a result of the efforts of Arnold and Earnshaw, the marine chronometer emerged in what was essentially its final form by the end of the eighteenth century. The standardization of the design in England enabled it to be produced economically; whereas Larcum Kendall was paid £500 to copy Harrison's fourth timekeeper, Arnold was able to sell his chronometers for less than one-fifth of that amount. This combination of price and quality led to Britain's domination of the chronometer market during the nineteenth century.[br]Bibliography30 December 1775, "Timekeepers", British patent no. 1,113.2 May 1782, "A new escapement, and also a balance to compensate the effects arising from heat and cold in pocket chronometers, and for incurving the ends of the helical spring…", British patent no. 1,382.Further ReadingR.T.Gould, 1923, The Marine Chronometer: Its History and Development, London; reprinted 1960, Holland Press (provides an overview).V.Mercer, 1972, John Arnold \& Son Chronometer Makers 1726–1843, London.See also: Phillips, EdouardDV -
30 Polhem, Christopher
SUBJECT AREA: Mining and extraction technology[br]b. 18 December 1661 Tingstade, Gotland, Sweden d. 1751[br]Swedish engineer and inventor.[br]He was the eldest son of Wolf Christopher Polhamma, a merchant. The father died in 1669 and the son was sent by his stepfather to an uncle in Stockholm who found him a place in the Deutsche Rechenschule. After the death of his uncle, he was forced to find employment, which he did with the Biorenklou family near Uppsala where he eventually became a kind of estate bailiff. It was during this period that he started to work with a lathe, a forge and at carpentry, displaying great technical ability. He realized that without further education he had little chance of making anything of his life, and accordingly, in 1687, he registered at the University of Uppsala where he studied astronomy and mathematics, remaining there for three years. He also repaired two astronomical pendulum clocks as well as the decrepit medieval clock in the cathedral. After a year's work he had this clock running properly: this was his breakthrough. He was summoned to Stockholm where the King awarded him a salary of 500 dalers a year as an encouragement to further efforts. Around this time, one of increasing mechanization and when mining was Sweden's principal industry, Pohlem made a model of a hoist frame for mines and the Mines Authority encouraged him to develop his ideas. In 1693 Polhem completed the Blankstot hoist at the Stora Kopparberg mine, which attracted great interest on the European continent.From 1694 to 1696 Polhem toured factories, mills and mines abroad in Germany, Holland, England and France, studying machinery of all kinds and meeting many foreign engineers. In 1698 he was appointed Director of Mining Engineering in Sweden, and in 1700 he became Master of Construction in the Falu Mine. He installed the Karl XII hoist there, powered by moving beams from a distant water-wheel. His plan of 1697 for all the machinery at the Falu mine to be driven by three large and remote water-wheels was never completed.In 1707 he was invited by the Elector of Hanover to visit the mines in the Harz district, where he successfully explained many of his ideas which were adopted by the local engineers. In 1700, in conjunction with Gabriel Stierncrona, he founded the Stiersunds Bruk at Husby in Southern Dalarna, a factory for the mass production of metal goods in iron, steel and bronze. Simple articles such as pans, trays, bowls, knives, scissors and mirrors were made there, together with the more sophisticated Polhem lock and the Stiersunds clock. Production was based on water power. Gear cutting for the clocks, shaping hammers for plates, file cutting and many other operations were all water powered, as was a roller mill for the sheet metal used in the factory. He also designed textile machinery such as stocking looms and spinning frames and machines for the manufacture of ribbons and other things.In many of his ideas Polhem was in advance of his time and Swedish country society was unable to absorb them. This was largely the reason for the Stiersund project being only a partial success. Polhem, too, was of a disputatious nature, self-opinionated almost to the point of conceit. He was a prolific writer, leaving over 20,000 pages of manuscript notes, drafts, essays on a wide range of subjects, which included building, brick-making, barrels, wheel-making, bell-casting, organ-building, methods of stopping a horse from bolting and a curious tap "to prevent serving maids from sneaking wine from the cask", the construction of ploughs and threshing machines. His major work, Kort Berattelse om de Fornamsta Mechaniska Inventioner (A Brief Account of the Most Famous Inventions), was printed in 1729 and is the main source of knowledge about his technological work. He is also known for his "mechanical alphabet", a collection of some eighty wooden models of mechanisms for educational purposes. It is in the National Museum of Science and Technology in Stockholm.[br]Bibliography1729, Kort Berattelse om de Fornamsta Mechaniska Inventioner (A Brief Account of the Most Famous Inventions).Further Reading1985, Christopher Polhem, 1661–1751, TheSwedish Daedalus' (catalogue of a travelling exhibition from the Swedish Institute in association with the National Museum of Science and Technology), Stockholm.IMcN -
31 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
-
32 גליפא
-
33 גְּלִיפָא
- 1
- 2
См. также в других словарях:
Body shaping — Body contouring is a general term that refers to any surgical procedure that alters different areas of the body, whether it is in a massive weight loss patient or not. Body contouring after massive weight loss refers to a series of procedures… … Wikipedia
Traffic shaping — (also known as packet shaping ) is the control of computer network traffic in order to optimize or guarantee performance, lower latency, and/or increase usable bandwidth by delaying packets that meet certain criteria. [… … Wikipedia
Femtosecond pulse shaping — In optics, Femtosecond pulse shaping refers to various techniques to modify the temporal profile of an ultrashort pulse from a laser. Pulse shaping can be used to shorten/elongate the duration of optical pulse, or to generate more complex… … Wikipedia
Noise shaping — is a technique typically used in digital audio, image, and video processing, usually in combination with dithering, as part of the process of quantization or bit depth reduction of a digital signal. Its purpose is to increase the apparent signal… … Wikipedia
Laser engineered net shaping — or LENS is a technology developed by Sandia National Laboratories for fabricating metal parts directly from a computer aided design (CAD) solid model by using a metal powder injected into a molten pool created by a focused, high powered laser… … Wikipedia
Social ecological model — The Social Ecological Model, also called Social Ecological Perspective, is a framework to examine the multiple effects and interrelatedness of social elements in an environment. SEM can provide a theoretical framework to analyze various contexts… … Wikipedia
Arkansas toothpick — The Arkansas Toothpick is essentially a heavy dagger with a pointed, straight 12 20 inch blade. The toothpick is balanced and weighted for throwing and can also be used for thrusting and slashing. James Black, known as a potential inventor of the … Wikipedia
Renaisi — is a leading, not for proft regeneration consultancy based in Shoreditch, East London. It was set up in 1998 to deliver regeneration consultancy services for clients and partners in the public, private and voluntary and community sectors. The… … Wikipedia
Arakis — Dieser Artikel befasst sich mit dem Romanzyklus Dune (dt. Der Wüstenplanet). Für weitere Artikel zum Stichwort Dune, siehe Dune (Begriffsklärung). Endlose Wüste Dune Dune (deutscher Titel Der Wüstenplanet) ist der Titel der ersten Folge einer… … Deutsch Wikipedia
Dune — (deutscher Titel Der Wüstenplanet) ist der Titel der ersten Folge einer Reihe von Science Fiction Romanen von Frank Herbert und zugleich einer der Namen des Planeten Arrakis, auf dem der größte Teil der Handlung spielt. Dune gewann 1965 als… … Deutsch Wikipedia
Fedaykin — Dieser Artikel befasst sich mit dem Romanzyklus Dune (dt. Der Wüstenplanet). Für weitere Artikel zum Stichwort Dune, siehe Dune (Begriffsklärung). Endlose Wüste Dune Dune (deutscher Titel Der Wüstenplanet) ist der Titel der ersten Folge einer… … Deutsch Wikipedia