Перевод и анализ слов искусственным интеллектом ChatGPT
На этой странице Вы можете получить подробный анализ слова или словосочетания, произведенный с помощью лучшей на сегодняшний день технологии искусственного интеллекта:
- как употребляется слово
- частота употребления
- используется оно чаще в устной или письменной речи
- варианты перевода слова
- примеры употребления (несколько фраз с переводом)
- этимология
abstract symbol - перевод на греческий
![A run of a [[Turing machine]].](https://commons.wikimedia.org/wiki/Special:FilePath/2-state 3-symbol Turing Machine.png?width=200 "A run of a [[Turing machine]].")
![Pictorial representation of a [[Krivine machine]].](https://commons.wikimedia.org/wiki/Special:FilePath/Machine de Krivine.jpg?width=200 "Pictorial representation of a [[Krivine machine]].")
![Black Square]]'', 1923, [[The Russian Museum]]](https://commons.wikimedia.org/wiki/Special:FilePath/Black Square.jpg?width=200 "Black Square]]'', 1923, [[The Russian Museum]]")
![[[Kurt Schwitters]], ''Das Undbild'', 1919, [[Staatsgalerie Stuttgart]]](https://commons.wikimedia.org/wiki/Special:FilePath/DasUndbild.jpg?width=200 "[[Kurt Schwitters]], ''Das Undbild'', 1919, [[Staatsgalerie Stuttgart]]")
![[[František Kupka]], ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in ''Au Salon d'Automne "Les Indépendants"'' 1912, Exhibited at the 1912 Salon d'Automne, Paris.](https://commons.wikimedia.org/wiki/Special:FilePath/František Kupka, 1912, Amorpha, fugue en deux couleurs (Fugue in Two Colors), 210 x 200 cm, Narodni Galerie, Prague.jpg?width=200 "[[František Kupka]], ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in ''Au Salon d'Automne \"Les Indépendants\"'' 1912, Exhibited at the 1912 Salon d'Automne, Paris.")
![date=2012-01-12}}, retrieved April 12, 2009</ref> [[Detroit Institute of Arts]]](https://commons.wikimedia.org/wiki/Special:FilePath/James Abbot McNeill Whistler 012.jpg?width=200 "date=2012-01-12}}, retrieved April 12, 2009</ref> [[Detroit Institute of Arts]]")
![A 1939–1942 oil on canvas painting by [[Piet Mondrian]] titled ''Composition No. 10''. Responding to it, fellow [[De Stijl]] artist [[Theo van Doesburg]] suggested a link between non-representational works of art and ideals of peace and spirituality.<ref>Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 "Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's ''Composition 10'', Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'."</ref>](https://commons.wikimedia.org/wiki/Special:FilePath/Piet Mondriaan, 1939-1942 - Composition 10.jpg?width=200 "A 1939–1942 oil on canvas painting by [[Piet Mondrian]] titled ''Composition No. 10''. Responding to it, fellow [[De Stijl]] artist [[Theo van Doesburg]] suggested a link between non-representational works of art and ideals of peace and spirituality.<ref>Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 \"Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's ''Composition 10'', Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'.\"</ref>")
![A ''[[hilya]]'', a decorated description of [[Muhammad]]’s physical appearance, dating to the 19th century.](https://commons.wikimedia.org/wiki/Special:FilePath/Signed Abdülkadir Şükri Efendi - Hilye-i Şerif (written portrait of the Prophet) - Google Art Project.jpg?width=200 "A ''[[hilya]]'', a decorated description of [[Muhammad]]’s physical appearance, dating to the 19th century.")
![[[Albert Gleizes]], 1910–1912, ''Les Arbres (The Trees)'', oil on canvas, 41 × 27 cm. Reproduced in ''[[Du "Cubisme"]]'', 1912](https://commons.wikimedia.org/wiki/Special:FilePath/Albert Gleizes, 1910-12, Les Arbres, oil on canvas, 41 x 27 cm. Reproduced in Du "Cubisme", 1912.jpg?width=200 "[[Albert Gleizes]], 1910–1912, ''Les Arbres (The Trees)'', oil on canvas, 41 × 27 cm. Reproduced in ''[[Du \"Cubisme\"]]'', 1912")
![[[Arthur Dove]], 1911–12, ''Based on Leaf Forms and Spaces'', pastel on unidentified support. Now lost](https://commons.wikimedia.org/wiki/Special:FilePath/Arthur Dove, 1911-12, Based on Leaf Forms and Spaces, pastel on unidentified support. Now lost.jpg?width=200 "[[Arthur Dove]], 1911–12, ''Based on Leaf Forms and Spaces'', pastel on unidentified support. Now lost")
![[[Francis Picabia]], 1912, ''Tarentelle'', oil on canvas, 73.6 × 92.1 cm, [[Museum of Modern Art]], New York. Reproduced in ''[[Du "Cubisme"]]''](https://commons.wikimedia.org/wiki/Special:FilePath/Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg?width=200 "[[Francis Picabia]], 1912, ''Tarentelle'', oil on canvas, 73.6 × 92.1 cm, [[Museum of Modern Art]], New York. Reproduced in ''[[Du \"Cubisme\"]]''")
![[[Wassily Kandinsky]], 1912, ''Improvisation 27'' (''Garden of Love'' II), oil on canvas, 120.3 × 140.3 cm, The [[Metropolitan Museum of Art]], New York. Exhibited at the 1913 [[Armory Show]]](https://commons.wikimedia.org/wiki/Special:FilePath/Vassily Kandinsky, 1912 - Improvisation 27, Garden of Love II.jpg?width=200 "[[Wassily Kandinsky]], 1912, ''Improvisation 27'' (''Garden of Love'' II), oil on canvas, 120.3 × 140.3 cm, The [[Metropolitan Museum of Art]], New York. Exhibited at the 1913 [[Armory Show]]")
![[[Pablo Picasso]], 1913–14, ''Head'' (''Tête''), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 × 33 cm, [[Scottish National Gallery of Modern Art]], Edinburgh](https://commons.wikimedia.org/wiki/Special:FilePath/Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh.jpg?width=200 "[[Pablo Picasso]], 1913–14, ''Head'' (''Tête''), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 × 33 cm, [[Scottish National Gallery of Modern Art]], Edinburgh")
![[[Henri Matisse]], 1914, ''French Window at Collioure'', [[Centre Georges Pompidou]], Paris](https://commons.wikimedia.org/wiki/Special:FilePath/Porte-Fenetre a Collioure 1914.jpg?width=200 "[[Henri Matisse]], 1914, ''French Window at Collioure'', [[Centre Georges Pompidou]], Paris")
![[[Hilma af Klint]], ''Svanen'' (''The Swan''), No. 17, Group IX, Series SUW, October 1914–March 1915. This abstract work was never exhibited during af Klint's lifetime.](https://commons.wikimedia.org/wiki/Special:FilePath/Hilma af Klint Svanen.jpg?width=200 "[[Hilma af Klint]], ''Svanen'' (''The Swan''), No. 17, Group IX, Series SUW, October 1914–March 1915. This abstract work was never exhibited during af Klint's lifetime.")
![[[Theo van Doesburg]], [[Neo-Plasticism]]: 1917, ''Composition VII'' (''The Three Graces'')](https://commons.wikimedia.org/wiki/Special:FilePath/Theo van Doesburg Composition VII (the three graces).jpg?width=200 "[[Theo van Doesburg]], [[Neo-Plasticism]]: 1917, ''Composition VII'' (''The Three Graces'')")
![[[Fernand Léger]] 1919, ''The Railway Crossing'', oil on canvas, 53.8 × 64.8 cm, [[The Art Institute of Chicago]]](https://commons.wikimedia.org/wiki/Special:FilePath/Leger railway crossing.jpg?width=200 "[[Fernand Léger]] 1919, ''The Railway Crossing'', oil on canvas, 53.8 × 64.8 cm, [[The Art Institute of Chicago]]")
![[[Joseph Csaky]], ''Deux figures'', 1920, relief, limestone, polychrome, 80 cm, [[Kröller-Müller Museum]], Otterlo](https://commons.wikimedia.org/wiki/Special:FilePath/Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm, Kröller-Müller Museum, Otterlo, Holland.jpg?width=200 "[[Joseph Csaky]], ''Deux figures'', 1920, relief, limestone, polychrome, 80 cm, [[Kröller-Müller Museum]], Otterlo")
![[[Albert Gleizes]], 1921, ''Composition bleu et jaune'' (''Composition jaune''), oil on canvas, 200.5 × 110 cm](https://commons.wikimedia.org/wiki/Special:FilePath/Albert Gleizes, 1921, Composition bleu et jaune (Composition jaune), oil on canvas, 200.5 x 110 cm DSC00547.jpg?width=200 "[[Albert Gleizes]], 1921, ''Composition bleu et jaune'' (''Composition jaune''), oil on canvas, 200.5 × 110 cm")
![[[Piet Mondrian]], ''Composition with Yellow, Black, Blue, Red, and Gray'', 1921, [[Art Institute of Chicago]]](https://commons.wikimedia.org/wiki/Special:FilePath/Piet Mondrian - Lozenge Composition with Yellow, Black, Blue, Red, and Gray - 1921 - The Art Institute of Chicago.jpg?width=200 "[[Piet Mondrian]], ''Composition with Yellow, Black, Blue, Red, and Gray'', 1921, [[Art Institute of Chicago]]")
![[[Paul Klee]], ''Fire in the Evening'', 1929](https://commons.wikimedia.org/wiki/Special:FilePath/Fire in the Evening.JPG?width=200 "[[Paul Klee]], ''Fire in the Evening'', 1929")
![[[Otto Gustaf Carlsund]], ''Rapid'' (1930), a [[Concrete Art]] restaurant mural, Stockholm](https://commons.wikimedia.org/wiki/Special:FilePath/Carlsund Rapid (1930).jpg?width=200 "[[Otto Gustaf Carlsund]], ''Rapid'' (1930), a [[Concrete Art]] restaurant mural, Stockholm")
![[[Barnett Newman]], ''Onement 1'', 1948, [[Museum of Modern Art]], New York](https://commons.wikimedia.org/wiki/Special:FilePath/Newman-Onement 1.jpg?width=200 "[[Barnett Newman]], ''Onement 1'', 1948, [[Museum of Modern Art]], New York")
Определение
Википедия
In computer science, an abstract machine is a theoretical model that allows for a detailed and precise analysis of how a computer system functions. It is similar to a mathematical function in that it receives inputs and produces outputs based on predefined rules. Abstract machines vary from literal machines in that they are expected to perform correctly and independently of hardware. Abstract machines are "machines" because they allow step-by-step execution of programmes; they are "abstract" because they ignore many aspects of actual (hardware) machines. A typical abstract machine consists of a definition in terms of input, output, and the set of allowable operations used to turn the former into the latter. They can be used for purely theoretical reasons as well as models for real-world computer systems. In the theory of computation, abstract machines are often used in thought experiments regarding computability or to analyse the complexity of algorithms. This use of abstract machines is fundamental to the field of computational complexity theory, such as finite state machines, Mealy machines, push-down automata, and Turing machines.
