RESOLUTIONS OF INDICATIVE INEQUALITIES BY THE METHOD FEEDBACK

Author(s):  
A.K. Alpusov ◽  
◽  
A.B. Кokazhaevа ◽  

The article discusses examples of solving exponential inequalities by the inverse action method, as well as a rationalization method that simplifies the solution of exponential inequalities. The purpose of considering these methods is the development of logical thinking in solving mathematical problems. When solving problems, you need good knowledge of theoretical material and the ability to use it, mastery of general approaches to solving problems, and experience in solving exponential inequalities. The process of solving significant inequalities develops creative activity and shapes logical thinking. Logical thinking develops in students the skills of critical perception of the world around them, the desire to understand the causes and essence of the most diverse concepts and phenomena, contributes to academic success.

Author(s):  
Simon Nicholls ◽  
Michael Pushkin ◽  
Vladimir Ashkenazy

An introduction by Boris de Schloezer gives the genesis of the final text in the section, the Preliminary Action, and explains its relation to Skryabin’s projected life-work, the Mystery. Section I: an effusion of Orthodox religious feeling from teenage years. Sections II-VII: Around 1900, an expression of rejection of God in the face of disillusion is followed by the text of the choral finale of the First Symphony, declaring faith in the power of art. An unfinished opera libretto, symbolic in narrative, expressing belief in Art’s power to seduce and persuade. Three notebooks develop a world view in which the world is the result of the self’s creative activity. The creation of art and of the universe are identical. There is a higher self, identical with divinity. Forgetfulness of individuality leads to freedom and universal consciousness. Section VIII: The literary poem written during the composition of the symphonic Poem of Ecstasy summarises the scenario developed in the notebooks. Life starts with the desire to create, delight in creative play meets opposition, the creative goal is achieved and disappointment sets in. The process is repeated until it is realized that the struggle is itself joyful and self-affirmation is achieved. Section IX: The text of the Preliminary Action is symbolic in structure. Primal Male and Female Principles emerge; the Female is identified with Death. Life arises from the union of energies. Struggle and bloodshed follow. The conclusion is an impulse towards unification, the synthesis of experience and dematerialisation. Both the complete first draft and the incomplete revision are included.


Author(s):  
Terezinha Nunes

Before children learn to use language, they learn about the world in action and by imitation. This learning provides the basis for language acquisition. Learning by imitation and thinking in action continue to be significant throughout life. Mathematical concepts are grounded in children’s schemas of action, which are action patterns that represent a logical organization that can be applied to different objects. This chapter describes some of the conditions that allow deaf or hard-of-hearing (DHH) children to learn by imitation and use schemas of action successfully to solve mathematical problems. Three examples of concepts that can be taught by observation and thinking in action are presented: the inverse relation between addition and subtraction, the concepts necessary for learning to write numbers, and multiplicative reasoning. There is sufficient knowledge for the use of teaching approaches that can prevent DHH children from falling behind before they start school.


1952 ◽  
Vol 5 (4) ◽  
pp. 355-361
Author(s):  
Harold Knight

The purpose of this study is to elucidate the significance underlying the concept of miracle in the world of Old Testament thought and theology, in the hope that the results attained may shed fresh light upon something which touches the very centre of religious life and is a frequent cause of genuine doubt and perplexity for modern man. Perhaps the word miracle itself is ambiguous in this connexion, for it has gathered around itself a penumbra of associations derived from its use in our modern scientifically determined modes of thought and speech. Broadly speaking the background which it implies is that of nature conceived as an independent system presupposing fixed laws or if, with the more modern scientific outlook we reject the notion of materialistic determinism and mechanism, then, at any rate, we must substitute for ‘laws’ the tendency for uniform patterns and processes to emerge. Against such large uniformities, miracle, in the modern sense, stands out somewhat sharply as an exception, mysterious and apparently inexplicable, repugnant in its arbitrariness to the spirit of pure science. Such presuppositions do not exist in the Old Testament World of ideas where we are confronted by a type of thought which is through and through theological rather than philosophical and scientific. The corner-stone of the Old Testament system of ideas is the primacy of God as self-existent Creator whose creative activity is unceasing, upholding and interpenetrating by His watchful redeeming care all that is.


2021 ◽  
Vol 66 (05) ◽  
pp. 168-172
Author(s):  
Leyla Mobil Khankishiyeva ◽  

One of the realities of modern times is the evolution of new technologies around the world, as well as the use of artificial intelligence (AI) and robotics in different spheres of society. Artificial intelligence, which was founded in the middle of the last century, has been one of the most invested in and interesting fields in recent times. Recently one of the most discussed and important issues is the relationship between artificial intelligence (AI) and intellectual property rights (IPR). Thus, the ownership of works created by artificial intelligence is one of the most discussed issues. In recent years, on the initiative of President Ilham Aliyev, modern achievements of world science have been applied in the life of society in the Republic of Azerbaijan. Considering all of this, the significance and urgency of the situation are clear. In other words, this is an issue that is high on both our national and international agendas. Key words: Artificial intelligence technology, creative activity, concept of "author", “work made for hire” doctrine,computer-generated works


2020 ◽  
Vol 65 ◽  
pp. 323-334
Author(s):  
Inga V. Zheltikova

The concept of O. Spengler suggests that the history of any culture goes through certain stages of development, the last of which is civilization. During this period creative activity in culture is replaced by mechanical imitation and lost connection with the culture formed by the «pra-phenomenon». The author correlates Spengler’s postulates with the processes of actual social reality and comes to the conclusion that contemporary Russia is going through the stage of civilization. The article raises the question of how the future is seen in this situation. The author uses the term “image of the future”, introduced by F. Polak to understand the disinterest of modern post-war Europe in its future. Thus, the lack of interest in the future can be recognized as another characteristic of the state of civilization. The existence in contemporary Russia of distinct images of the future is an open question. Using the methods of content analysis, the author comes to the conclusion that in Russian contemporary society there exists a retrospective image of the future, focused on conservative values, hierarchy of society and its closed nature to the world. Thus, it is concluded that it is wrong to talk about complete absence of images of the future in contemporary Russia. But the nature and content of these images demonstrate the low level of interest in the future, which also indicates the transition of Russian culture to civilization.


2019 ◽  
Vol 12 (3) ◽  
pp. 1156
Author(s):  
Alceu Raposo Junior

Com o advento do racionalismo, tendo como um dos principais precursores René Descartes, surge um novo modelo de pensar o mundo, colocando o pensamento lógico acima de qualquer questão. As ideias de Descartes influenciaram diversos pensadores, entre os quais se destacam o holandês Spinoza e o alemão Leibniz. Leibniz era filósofo, matemático e político. Dada esta inegável contribuição social e filosófica para o mundo moderno é fato que os desdobramentos contemporâneos do método e da racionalidade trouxeram consequências negativas para a sociedade pós-moderna, não pela teoria em si, mas pelo fato de que a sociedade sempre se apega aos modelos prontos, sem questionar ou contextualizar historicamente sua funcionalidade. Desta forma, com efeito, no qual carrega todo sistema sem distinção, na medida em que consistia em uma verdadeira exacerbação do racionalismo, ao mesmo tempo, se deu o seu ponto de partida para o “declínio”. É então a partir do início do século XX que começam a tornarem-se visíveis as consequências destrutivas da exacerbação do pensamento racionalista. As intervenções ambientais indistintamente por este Ser que acredita ser Deus, vão acumulando, na forma de riscos naturais por meio de suas consequências deletérias e ao mesmo tempo ele vai se distanciando do contato intimista e subjetivo (sinais) com a natureza, culminando assim nos desastres ambientais de grandes proporções no mundo Pós-Modernos, que aqui chamamos de catarses ambientais em forma de barragens.  Why is Logical Thinking (reason) Collapsing in our Heads? Environmental Catharses in the form of Dams A B S T R A C TWith the advent of rationalism, with René Descartes as one of its main precursors, emerges a new model of thinking about the world, putting logical thinking above any question. The ideas of René Descartes influenced several thinkers, among them the Dutchman Spinoza and the German Leibniz. Leibniz was a philosopher, mathematician, and politician. Given this undeniable social and philosophical contribution to the Modern world, it is a fact that the contemporary unfoldings of method and rationality have brought negative consequences to Postmodern society, not by the theory itself, but by the fact that society always clings to models without questioning and historically contextualizing their functionality. As all the system carries its own germ of destruction, insofar as it consisted in a true exacerbation of rationalism, at the same time, it became the starting point for the "decline". It is at the beginning of the twentieth century when the destructive consequences of the exacerbation of rationalist thinking start to become visible. The environmental interventions indistinctly made by this Being that believes himself to be God, accumulate in the form of natural risks through its deleterious consequences and at the same time distances itself from intimate and subjective contact (signs) with nature, culminating in the environmental disasters of great proportions in the Post-Modern world, hereby called environmental catharsis in the form of dams.Keywords: rationalism; Rene Descartes; environmental disasters; dams.


2019 ◽  
Vol 3 (I) ◽  
pp. 4-15
Author(s):  
Надія ГОЛІВЕР

The article is devoted to the problem of formation of creative abilities and cognitive interests of students. The main directions of development of the creative person according to the social needs of the present are considered. It is noted that creative activity becomes a form of knowledge of the material-objective world; identifies personality possibilities, new ways of one’s personal development. Therefore, the problem of developing the creative abilities of students in the course of educational and cognitive activity is of an exceptional relevance. The author believes that influencing the organization of creative activity is possible only under certain conditions, in particular: to conduct classes in an atmosphere of mutual understanding and co-creation, perceiving each student as a person; to give preference to the dialogical form of conducting classes, when students have an opportunity: to think independently, to make suggestions, to defend their own point of view, presenting their own arguments; it is advisable to create situations of choice at classes and to enable students to carry it out. The author notes that the observance of certain organizational and methodological conditions can significantly contribute to the development of creative potential of students, namely: the creative vision of the world through the systematic organization of work with students; development of creative values through the proper level of teacher's teaching skills; deepening the perception of the world picture through the integration of various types of students’ creativity, works of art and their figurative reproduction in their own creative activity; individual peculiarities of perception and emotional attitude through the use of the educational potential of the family, organization of creative activity. When performing creative tasks the individual characteristics of students to select the material of the appropriate level of complexity must be taken into account. The article examines the examples of students' creativity during the European Cultures Festival, debates and clubs on the basis of the Kryvyi Rih National University.


2021 ◽  
pp. 81-85
Author(s):  
Ke Wang

Problem statement and its relevance. One of the pioneers of Chinese contemporary piano art, whose creative activity certainly contributed to its formation, further rapid rise and recognition of creative achievements on the world art horizon, is a prominent pianist — Liu Shikun, who today has received complete recognition as a brilliant performer, composer and teacher thus marked the beginning of the so­called piano boom in China, and with it — the gradual formation and confident rise of the Chinese piano school. If various aspects of contemporary Chinese performing arts have repeatedly been subjected to musicological discourse in the scientific community, the direct and comprehensive coverage of Liu Shikun’s leading role in the process of forming the foundations of Chinese piano performing arts, as well as careful analysis and representation of his creative achievements and pedagogical fields are still relevant for basic musicological research. The purpose of this article is to highlight and analyze the main vectors of creative activity of the famous Chinese musician Liu Shikun in the context of the development of piano art in China in the second half of the XX — early XXI centuries. The methodology of the work focuses on the principles of historicism and source studies, which provides coverage of Liu Shikun’s musical work in a single context with cultural, historical and artistic phenomena and their interaction. In addition, methods of retrospective, structural­system analysis, interpretation of facts, argumentation and generalization are involved. The results obtained during the achievement of the goal of this work focus on the representation and characterization of Liu Shikun’s creative achievements in the field of concert performance, teaching and composition and the artist’s contribution to the development of Chinese piano culture. The topicality of the article lies in the first attempt in Ukrainian musicology to comprehensively cover the main directions of creative activity of the famous Chinese pianist Liu Shikun in the projection of his influence on the formation of the current state of Chinese piano art. The practical significance of the facts and analysis of the main vectors of Liu Shikun’s creative activity carried out in this work is the possibility of using this material in courses on the history and theory of modern piano art, in particular in sections on the Chinese piano school, as well as for further more thorough research of Liu Shikun’s musical creativity, systematization of scientific information on his contribution to the development of musical art of this country. Conclusions. Summarizing the above given material, it should be noted that the fruitful and multifaceted work of this artist directly influenced the development and professionalization of piano performance in China at that time. This influence was due to the comprehensive recognition of the artist’s creative achievements by the world music community, in particular through numerous concert performances in leading countries (especially in partnership with leading orchestras and outstanding musicians); creation of original samples of concert repertoire on the basis and with specificity of the Chinese traditional melody; organization of a dense network of author’s music schools (art centers) and formation of the foundations of the Chinese national piano pedagogy.


2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.


Love Divine ◽  
2020 ◽  
pp. 76-113
Author(s):  
Jordan Wessling

There are two prominent and opposing Christian views about why God created, and consequently governs, the world. On the one hand, there is the view that God’s creative and providential activity is fundamentally motivated by God’s desire for self-glorification. God creates not ultimately for the creature, but for Himself, specifically for the enjoyment of the ad extra expression of His attributes. On the other hand, a rival theological group contends that God’s creative activity and care for the world is fundamentally motivated by love. God creates not primarily for Himself, but out of a self-giving love for the creature. Chapter 3 contains an exposition and defence of the second of these views as the more plausible of the two Christian views on why God created, and thereby governs, the world.


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