This book develops an integrative view of individuality that relies on a polysystemic approach. It considers and combines two systems, namely, individuality and intelligence with creativity in a theoretical and empirical way. It focuses on cross-theoretical and empirical integrations, unifying the theory of integral individuality of V. S. Merlin with the structural-dynamic theory of intelligence of D. V. Ushakov and the theory of divergent (creative) thinking of J. Guilford. As the book shows, these theories hold together, describing and revealing a new fragment of the integral individuality at the expense of intelligence and creativity.
The contributing authors to this book, all pre-eminent scholars in their fields, present their current thinking about the processes that underlie creativity and aesthetic experience. They discuss established theory and research and provide creative speculation on future problems for inquiry and new approaches to conceptualising and investigating these phenomena. The book contains many new findings and ideas never before published or new by virtue of the novel context in which they are incorporated. Thus, the chapters present both new approaches to old problem and new ideas and approaches not yet explored by leading scholars in these fields. The first part of the book is devoted to understanding the nature of the perceptual/cognitive and aesthetic processes that occur during encounters with visual art stimuli in everyday settings, in museums and while watching films. Also discussed in Part I is how cultural and anthropological approaches to the study of aesthetic responses to art contribute to our understanding about the development of a culture's artistic canon and to cross-cultural aesthetic universals. Part II presents new dimensions in the study of creativity. Two approaches to the development of a comprehensive theory of creativity are presented: Sternberg's Investment Theory of Creativity and a systems perspective of creativity based on a metaindividual world model. Also covered are the factors that contribute to cinematic creativity and a film's cinematic success, and the complex nature of the creative processes and research approaches involved in the innovative product design necessitated by the introduction of electronics in consumer products. Part III deals with the application of concepts and models from cognitive psychology to the study of music, literary meaning and the visual arts. The contributors outline a model of the cognitive processes involved in real-time listening to music, investigate what readers are doing when they read a literary text, describe what research shows about the transfer of learning from the arts to non-arts cognition and discuss the kinds of thinking skills that emerge from the study of the visual arts by high school students. In Part IV, the authors focus on the interactive contribution of observers' personalities and affect states to the creation and perception of art. The chapters include a discussion of the internal mechanisms by which personality expresses itself during the making of and the response to art; the relationship between emotion and cognition in aesthetics, in terms of the interaction of top-down and bottom-up processes across the time course of an aesthetic episode; the affective processes that take place during pretend play and their impact on the development of creativity in children and the causes and consequences of listener's intense experiences while listening to music.
The theory of soliton equations and integrable systems has developed rapidly during the last 30 years with numerous applications in mechanics and physics. For a long time, books in this field have not been written but the flood of papers was overwhelming: many hundreds, maybe thousands of them. All this output followed one single work by Gardner, Green, Kruskal, and Mizura on the Korteweg-de Vries equation (KdV), which had seemed to be merely an unassuming equation of mathematical physics describing waves in shallow water.Besides its obvious practical use, this theory is attractive also because it satisfies the aesthetic need in a beautiful formula which is so inherent to mathematics.The second edition is up-to-date and differs from the first one considerably. One third of the book (five chapters) is completely new and the rest is refreshed and edited.
The theory of soliton equations and integrable systems has developed rapidly during the last 20 years with numerous applications in mechanics and physics. For a long time books in this field have not been written but the flood of papers was overwhelming: many hundreds, maybe thousands of them. All this followed one single work by Gardner, Greene, Kruskal, and Miura about the Korteweg-de Vries equation (KdV) which, had seemed to be merely an unassuming equation of mathematical physics describing waves in shallow water.This branch of science is attractive because it is one of those which revives the interest in the basic principles of mathematics, a beautiful formula.
Deterministic and stochastic control systems with aftereffect are considered. Necessary and sufficient conditions for the optimality of such systems are obtained. Various methods for the construction of exact and approximate solutions of optimal control problems are suggested. Problems of adaptive control for systems with aftereffect are analyzed. Numerous applications are described. The book can be used by researchers, engineers, and graduate students working in optimal control theory and various applications.
The straight-forward clarity of the writing is admirable." — American Mathematical Monthly. This work provides an elementary and easily readable account of linear algebra, in which the exposition is sufficiently simple to make it equally useful to readers whose principal interests lie in the fields of physics or technology. The account is self-contained, and the reader is not assumed to have any previous knowledge of linear algebra. Although its accessibility makes it suitable for non-mathematicians, Professor Mirsky's book is nevertheless a systematic and rigorous development of the subject. Part I deals with determinants, vector spaces, matrices, linear equations, and the representation of linear operators by matrices. Part II begins with the introduction of the characteristic equation and goes on to discuss unitary matrices, linear groups, functions of matrices, and diagonal and triangular canonical forms. Part II is concerned with quadratic forms and related concepts. Applications to geometry are stressed throughout; and such topics as rotation, reduction of quadrics to principal axes, and classification of quadrics are treated in some detail. An account of most of the elementary inequalities arising in the theory of matrices is also included. Among the most valuable features of the book are the numerous examples and problems at the end of each chapter, carefully selected to clarify points made in the text.
The contributing authors to this book, all pre-eminent scholars in their fields, present their current thinking about the processes that underlie creativity and aesthetic experience. They discuss established theory and research and provide creative speculation on future problems for inquiry and new approaches to conceptualising and investigating these phenomena. The book contains many new findings and ideas never before published or new by virtue of the novel context in which they are incorporated. Thus, the chapters present both new approaches to old problem and new ideas and approaches not yet explored by leading scholars in these fields. The first part of the book is devoted to understanding the nature of the perceptual/cognitive and aesthetic processes that occur during encounters with visual art stimuli in everyday settings, in museums and while watching films. Also discussed in Part I is how cultural and anthropological approaches to the study of aesthetic responses to art contribute to our understanding about the development of a culture's artistic canon and to cross-cultural aesthetic universals. Part II presents new dimensions in the study of creativity. Two approaches to the development of a comprehensive theory of creativity are presented: Sternberg's Investment Theory of Creativity and a systems perspective of creativity based on a metaindividual world model. Also covered are the factors that contribute to cinematic creativity and a film's cinematic success, and the complex nature of the creative processes and research approaches involved in the innovative product design necessitated by the introduction of electronics in consumer products. Part III deals with the application of concepts and models from cognitive psychology to the study of music, literary meaning and the visual arts. The contributors outline a model of the cognitive processes involved in real-time listening to music, investigate what readers are doing when they read a literary text, describe what research shows about the transfer of learning from the arts to non-arts cognition and discuss the kinds of thinking skills that emerge from the study of the visual arts by high school students. In Part IV, the authors focus on the interactive contribution of observers' personalities and affect states to the creation and perception of art. The chapters include a discussion of the internal mechanisms by which personality expresses itself during the making of and the response to art; the relationship between emotion and cognition in aesthetics, in terms of the interaction of top-down and bottom-up processes across the time course of an aesthetic episode; the affective processes that take place during pretend play and their impact on the development of creativity in children and the causes and consequences of listener's intense experiences while listening to music.
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