Page 440 - Deep Learning

Notes to Pages 135–146 423

10. See Bradshaw (1992) and Wright (1953/1988). As a second example, Carlson
and Gorman (1992) describe Edison as decomposing the design for a telephone
into three components, each of which received independent attention, at least
initially.
11. Hillier (1992; see pp. 104–105 for the quote, italics in original).
12. Carlson and Gorman (1992).
13. Strathern (2000).
14. Isaak and Just (1995, p. 299).
15. Hillier (1992).
16. Ohlsson and Regan (2001).
17. Chipp (1988).
18. Gruber (1992, p. 17).
19. See Chipp (1988, p. 43 and p. 133) for the dates on which Picasso began and ended
work on Guernica. Weisberg (1993, pp. 202–209) has used Chipp’s analysis of the
creation of Guernica into 10 major steps to argue that creative work proceeds in
a gradualist rather than a punctuated manner.
20. Picasso worked on Les Demoiselles d’Avignon from the fall of 1906 to July 1907,
when the painting was first shown publicly (Miller, 2001, Chap. 4).
21. Olby (1974/1994).
22. Gruber (1974).
23. Bradshaw (1992), and Wright (1953/1988).
24. According to McCann (1978), “Lavoisier’s first published results of his specula-
tions on air and the problem of weight gain in calcinations were his 1774 Opuscules
Physiques et Chymiques. It took several years, however, for these doubts and spec-
ulations to converge into a new theory, and the first formal description of the
oxygen theory came in papers presented to the Paris Académie des Sciences in
1977” (p. 31, italics in original). Thagard (1990, 1992, Chap. 3) describes Lavoisier’s
development of the theory from the early 1770s through the early 1780s as a series
of semantic networks.
25. Hillier (1992).
26. http://www.en.wikipedia.org/wiki/Fermat’s_last_theorem; http://www-gap/dcs.
st-and.ac.uk/~history/Biographies/Wiles.html.
27. Gruber (1992, p. 17), italics in original.
28. DeLatil (1954, pp. 25–38), describes the successive inventions that resulted in what
we now regard as standard snorkeling equipment (mask, snorkel and flippers) by
spear fishermen along the Mediterranean coast of France – the Cote D’Azur –
in the 1930s. Cousteau (1953, pp. 8–20), describes the invention of the aqualung
(i.e., the “self-contained underwater breathing apparatus,” or SCUBA, equipment
familiar to all sports divers). The story is retold in Matsen’s (2009) biography of
Cousteau.
29. The fact that superior creators work on multiple, mutually supporting but
semi-independent projects that are pursued more or less parallel is apparent
from almost any detailed case study of a creative life; see, e.g., Gruber (1974) on
Darwin, Westfall (1983) on Newton, Dubos (1976) on Pasteur, Baldwin (2001)
on Edison, Kilmurray and Ormond (1998) on Sargent and Cooper (1992) on
Beethoven. See also the collections of papers by Wallace and Gruber (1992) and