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121 Nipkow, Paul Gottlieb
[br]b. 22 August 1860 Lauenburg, Pommern (now Lebork, Poland)d. 24 August 1940 Berlin, Germany[br]Polish electrical engineer who invented the Nipkow television scanning disc.[br]In 1884, while still a student engineer, Nipkow patented a mechanical television pick-up device using a disc with a spiral of twenty-four holes rotating at 600 rpm in front of a selenium cell. He also proposed a display on an identical synchronous disc in conjunction with a light-modulator based on the Faraday effect. Unfortunately it was not possible to realize a working system at the time because of the slow response of selenium cells and the lack of suitable electronic-sig-nal amplifiers; he was unable to pay the extension fees and so the patent lapsed. Others took up the idea, however, and in 1907 pictures were sent between London and Paris by wire. Subsequently, the principle was used by Baird, Ives, and Jenkins.For most of his working life after obtaining his doctorate, Nipkow was employed as an engineer by a company that made railway-signalling equipment, but his pioneering invention was finally recognized in 1934 when he was made Honorary President of the newly formed German Television Society.[br]Principal Honours and DistinctionsPresident, German Television Society 1934.Bibliography1884, German patent no. 30,105 (Nipkow's pioneering method of television image-scanning).Further ReadingR.W.Hubbell, 1946, 4,000 Years of Television, London: G.Harrap \& Co.KF -
122 Roberts, Richard
[br]b. 22 April 1789 Carreghova, Llanymynech, Montgomeryshire, Walesd. 11 March 1864 London, England[br]Welsh mechanical engineer and inventor.[br]Richard Roberts was the son of a shoemaker and tollkeeper and received only an elementary education at the village school. At the age of 10 his interest in mechanics was stimulated when he was allowed by the Curate, the Revd Griffith Howell, to use his lathe and other tools. As a young man Roberts acquired a considerable local reputation for his mechanical skills, but these were exercised only in his spare time. For many years he worked in the local limestone quarries, until at the age of 20 he obtained employment as a pattern-maker in Staffordshire. In the next few years he worked as a mechanic in Liverpool, Manchester and Salford before moving in 1814 to London, where he obtained employment with Henry Maudslay. In 1816 he set up on his own account in Manchester. He soon established a reputation there for gear-cutting and other general engineering work, especially for the textile industry, and by 1821 he was employing about twelve men. He built machine tools mainly for his own use, including, in 1817, one of the first planing machines.One of his first inventions was a gas meter, but his first patent was obtained in 1822 for improvements in looms. His most important contribution to textile technology was his invention of the self-acting spinning mule, patented in 1825. The normal fourteen-year term of this patent was extended in 1839 by a further seven years. Between 1826 and 1828 Roberts paid several visits to Alsace, France, arranging cottonspinning machinery for a new factory at Mulhouse. By 1826 he had become a partner in the firm of Sharp Brothers, the company then becoming Sharp, Roberts \& Co. The firm continued to build textile machinery, and in the 1830s it built locomotive engines for the newly created railways and made one experimental steam-carriage for use on roads. The partnership was dissolved in 1843, the Sharps establishing a new works to continue locomotive building while Roberts retained the existing factory, known as the Globe Works, where he soon after took as partners R.G.Dobinson and Benjamin Fothergill (1802–79). This partnership was dissolved c. 1851, and Roberts continued in business on his own for a few years before moving to London as a consulting engineer.During the 1840s and 1850s Roberts produced many new inventions in a variety of fields, including machine tools, clocks and watches, textile machinery, pumps and ships. One of these was a machine controlled by a punched-card system similar to the Jacquard loom for punching rivet holes in plates. This was used in the construction of the Conway and Menai Straits tubular bridges. Roberts was granted twenty-six patents, many of which, before the Patent Law Amendment Act of 1852, covered more than one invention; there were still other inventions he did not patent. He made his contribution to the discussion which led up to the 1852 Act by publishing, in 1830 and 1833, pamphlets suggesting reform of the Patent Law.In the early 1820s Roberts helped to establish the Manchester Mechanics' Institute, and in 1823 he was elected a member of the Literary and Philosophical Society of Manchester. He frequently contributed to their proceedings and in 1861 he was made an Honorary Member. He was elected a Member of the Institution of Civil Engineers in 1838. From 1838 to 1843 he served as a councillor of the then-new Municipal Borough of Manchester. In his final years, without the assistance of business partners, Roberts suffered financial difficulties, and at the time of his death a fund for his aid was being raised.[br]Principal Honours and DistinctionsMember, Institution of Civil Engineers 1838.Further ReadingThere is no full-length biography of Richard Roberts but the best account is H.W.Dickinson, 1945–7, "Richard Roberts, his life and inventions", Transactions of the Newcomen Society 25:123–37.W.H.Chaloner, 1968–9, "New light on Richard Roberts, textile engineer (1789–1864)", Transactions of the Newcomen Society 41:27–44.RTS -
123 Sopwith, Sir Thomas (Tommy) Octave Murdoch
SUBJECT AREA: Aerospace[br]b. 18 January 1888 London, Englandd. 27 January 1989 Stockbridge, Hampshire, England[br]English aeronautical engineer and industrialist.[br]Son of a successful mining engineer, Sopwith did not shine at school and, having been turned down by the Royal Navy as a result, attended an engineering college. His first interest was motor cars and, while still in his teens, he set up a business in London with a friend in order to sell them; he also took part in races and rallies.Sopwith's interest in aviation came initially through ballooning, and in 1906 he purchased his own balloon. Four years later, inspired by the recent flights across the Channel to France and after a joy-ride at Brooklands, he bought an Avis monoplane, followed by a larger biplane, and taught himself to fly. He was awarded the Royal Aero Society's Aviator Certificate No. 31 on 21 November 1910, and he quickly distinguished himself in flying competitions on both sides of the Atlantic and started his own flying school. In his races he was ably supported by his friend Fred Sigrist, a former motor engineer. Among the people Sopwith taught to fly were an Australian, Harry Hawker, and Major Hugh Trenchard, who later became the "father" of the RAF.In 1912, depressed by the poor quality of the aircraft on trial for the British Army, Sopwith, in conjunction with Hawker and Sigrist, bought a skating rink in Kingston-upon-Thames and, assisted by Fred Sigrist, started to design and build his first aircraft, the Sopwith Hybrid. He sold this to the Royal Navy in 1913, and the following year his aviation manufacturing company became the Sopwith Aviation Company Ltd. That year a seaplane version of his Sopwith Tabloid won the Schneider Trophy in the second running of this speed competition. During 1914–18, Sopwith concentrated on producing fighters (or "scouts" as they were then called), with the Pup, the Camel, the 1½ Strutter, the Snipe and the Sopwith Triplane proving among the best in the war. He also pioneered several ideas to make flying easier for the pilot, and in 1915 he patented his adjustable tailplane and his 1 ½ Strutter was the first aircraft to be fitted with air brakes. During the four years of the First World War, Sopwith Aviation designed thirty-two different aircraft types and produced over 16,000 aircraft.The end of the First World War brought recession to the aircraft industry and in 1920 Sopwith, like many others, put his company into receivership; none the less, he immediately launched a new, smaller company with Hawker, Sigrist and V.W.Eyre, which they called the H.G. Hawker Engineering Company Ltd to avoid any confusion with the former company. He began by producing cars and motor cycles under licence, but was determined to resume aircraft production. He suffered an early blow with the death of Hawker in an air crash in 1921, but soon began supplying aircraft to the Royal Air Force again. In this he was much helped by taking on a new designer, Sydney Camm, in 1923, and during the next decade they produced a number of military aircraft types, of which the Hart light bomber and the Fury fighter, the first to exceed 200 mph (322 km/h), were the best known. In the mid-1930s Sopwith began to build a large aviation empire, acquiring first the Gloster Aircraft Company and then, in quick succession, Armstrong-Whitworth, Armstrong-Siddeley Motors Ltd and its aero-engine counterpart, and A.V.Roe, which produced Avro aircraft. Under the umbrella of the Hawker Siddeley Aircraft Company (set up in 1935) these companies produced a series of outstanding aircraft, ranging from the Hawker Hurricane, through the Avro Lancaster to the Gloster Meteor, Britain's first in-service jet aircraft, and the Hawker Typhoon, Tempest and Hunter. When Sopwith retired as Chairman of the Hawker Siddeley Group in 1963 at the age of 75, a prototype jump-jet (the P-1127) was being tested, later to become the Harrier, a for cry from the fragile biplanes of 1910.Sopwith also had a passion for yachting and came close to wresting the America's Cup from the USA in 1934 when sailing his yacht Endeavour, which incorporated a number of features years ahead of their time; his greatest regret was that he failed in his attempts to win this famous yachting trophy for Britain. After his retirement as Chairman of the Hawker Siddeley Group, he remained on the Board until 1978. The British aviation industry had been nationalized in April 1977, and Hawker Siddeley's aircraft interests merged with the British Aircraft Corporation to become British Aerospace (BAe). Nevertheless, by then the Group had built up a wide range of companies in the field of mechanical and electrical engineering, and its board conferred on Sopwith the title Founder and Life President.[br]Principal Honours and DistinctionsKnighted 1953. CBE 1918.Bibliography1961, "My first ten years in aviation", Journal of the Royal Aeronautical Society (April) (a very informative and amusing paper).Further ReadingA.Bramson, 1990, Pure Luck: The Authorized Biography of Sir Thomas Sopwith, 1888– 1989, Wellingborough: Patrick Stephens.B.Robertson, 1970, Sopwith. The Man and His Aircraft, London (a detailed publication giving plans of all the Sopwith aircraft).CM / JDSBiographical history of technology > Sopwith, Sir Thomas (Tommy) Octave Murdoch
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124 Stevenson, Robert
[br]b. 8 June 1772 Glasgow, Scotlandd. 12 July 1850 Edinburgh, Scotland[br]Scottish lighthouse designer and builder.[br]After his father's death when he was only 2 years old, Robert Stevenson was educated at a school for children from families in reduced circumstances. However, c. 1788 his mother married again, to Thomas Smith, Engineer to the Northern Lighthouse Board. Stevenson then served an apprenticeship under his new stepfather. The Board, which is still an active force in the 1990s, was founded in 1786 to oversee the lights and buoyage in some of the wildest waters in Western Europe, the seas around the coasts of Scotland and the Isle of Man.After studies at Andersen's College (now the University of Strathclyde) and later at Edinburgh University, Stevenson assumed responsibility in the field for much of the construction work sanctioned by the Board. After some years he succeeded Smith as Engineer to the Board and thereby the long connection between the Northern Lights and the Stevenson family commenced.Stevenson became Engineer to the Board when he was about 30 years old, remaining in that office for the best part of half a century. During these years he improved catoptric lighting, adopted the central lamp refracting system and invented the intermittent flashing light. While these developments were sufficient to form a just memorial to the man, he was involved in greater endeavours in the construction of around twenty lighthouses, most of which had ingenious forms of construction. The finest piece was the Bell Rock Lighthouse, built on a reef off the Scottish East Coast. This enterprise took five years to complete and can be regarded as the most important construction of his life.His interests fitted in with those of the other great men living in and around Edinburgh at the time, and included oceanography, astronomy, architecture and antiquarian studies. He designed several notable bridges, proposed a design for the rails for railways and also made a notable study of marine timber borers. He contributed to Encyclopaedia Britannica and to many journals.His grandson, born in the year of his death, was the famous author Robert Louis Stevenson (1850–94).[br]Principal Honours and DistinctionsFRS Edinburgh.Further ReadingSir Walter Scott, 1982, Northern Lights, Hawick.FMW -
125 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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