هل تولد الحياة من رحم الموت؟؟؟ دراسة بحثية - الصفحة 167



68-الساكسفون أدولف ساكس بلجيكي 1864م

- كان اكبر اخوته الـ 11.
-كان محظوظا ان ظل على قيد الحياة وان يعبر الطفولة حيا.
- اثناء فترة الطفولة تعرض لعدة حوادث فقد سقط من شباكل عمارة من ثلاث طباقات وظن من حوله انه مات في ذلك الحادث.
- ابتلع قلم حبر.
- تعرض للحرق بالبارود.
- تعرض للحرق مرة اخرى من زيت القلي.
- تعرض للتسمم 3 مرات من غازات الطلاء.
- ارتطم رأسه بكتلة من الفم الحجري.
- كان على وشك الغرق
- مأزوم

==
أنتوني-جوزيف آدولف" ساكس (6 نوفمبر 1814- 4 فبراير 1894 ) كان مصمم آلات موسيقية بلجيكي، وموسيقار يعزف على آلتي الفلوت والكلارينيت، يعرف باختراعه لآلة الساكسفون.
حياته

ولد آدولف في دينانت، والونيا في بلجيكا لوالده تشارلز-جوزيف ساكس والذي كان أيضا مصمم آلات موسيقية والذي أجرى العديد من التعديلات على تصميم آلة الهورن. بدأ أدولف بتصنيع الأدوات الموسيقية في عمر صغير، وشارك في مسابقات في عمر خمسة عشر عاما. ومن ثم درس طريقة عزف آلتي الفلوت والكلارينيت في المدرسة الملكية للغناء في بروكسل.
انتقل آدولف في عام 1841 إلى باريس ليبدأ بتصنيع الأدوات الموسيقية هناك. وهناك قام بتطوير ما يعرف باسم آلة الساكسفون في عام 1846.
عانى آدولف من سرطان الشفة بين 1853 و1858 ولكنه تعافي منه. توفي عام 1894 في باريس

==

, Adolphe
Encyclopedia of World Biography | 2008 | COPYRIGHT 2004 The Gale Group Inc. (Hide copyright information) Copyright

Adolphe Sax

The Belgian inventor Adolphe Sax (1814-1894) was the originator of the saxophone as well as several other musical instruments.
Sax became something of a footnote in history after his creation was almost forgotten after his death, until it was revived by jazz musicians who barely remembered his name. In his own time, however, Sax made musical headlines. His life story is a rich source of information about music—and musical politics—in the nineteenth century, full of controversy, public scenes, and dramatic reversals of fortune. Sax's life, wrote a contemporary observer quoted on the Web site of the inventor's home city of Dinant, “rises to the heights of a social event.”

Developed Interest in Music

Sax was born on November 6, 1814, in Dinant, which was part of France at the time and was then annexed by the Netherlands. The town, known for a particular type of yellow copper, lies in the southern, French-speaking part of what in 1830 became the independent country of Belgium.

The oldest of 11 children, he was lucky to survive his childhood, during which he fell from a third-story window (and was given up for dead), swallowed a pin, was burned in a gunpowder accident and burned again by a frying pan, was poisoned three times by varnish fumes, hit on the head with a cobblestone, and nearly drowned in a river.

In between these incidents, Sax took naturally to the trade of his father, Charles-Joseph Sax, a cabinetmaker who was ordered to provide musical instruments for a Dutch army band and turned out to have strong skills in that area.
Sax became his father's apprentice and also pursued the musical side of his education, studying singing and the flute. After the younger Sax's workshop in Paris became successful, their roles were reversed. He hired his father, who had run into financial problems in Belgium, to be his production manager. By the time he was 16, Sax was not only making good examples of existing instruments but also designing new ones. At 20 he exhibited an original 24-key clarinet, and his new bass clarinet won the admiration of Franc¸ois Antoine Habeneck, the conductor of the Paris Opera Orchestra, who was passing through Brussels, Belgium.
Before long, Sax concluded that Belgium was too small for his ambitions. At the Belgian Exhibition (an industrial fair) in 1840 he presented nine inventions, among them an organ, a piano tuning process and a sound-reflecting screen. The judges felt that Sax was too young to receive the gold medal, and instead awarded him the vermeil (gilded silver). Sax was interested in an early version of the saxophone from French opera composer Fromental Halévy, and he made a quick decision to head for Paris, the capital of musical life in the French-speaking world. He had only 30 francs in his pocket.

Lived in Shed

When he arrived in Paris, he was forced to live in a shed and to borrow money in order to get himself established. But his fortunes turned around when Halévy introduced him to Hector Berlioz, who in addition to being France's most controversial composer was also an influential music critic. In 1842 Sax showed Berlioz an early version of the baritone saxophone, an instrument different from any other that had been made up to that time. It had the power of brass instruments, but it was sounded with a reed and had the expressive, voice-like qualities of reed woodwinds. Berlioz sent Sax away with the remark that on the following day Sax would know what he, Berlioz, thought of the instrument. Sax spent a nervous night before picking up the Journal des Débats, the most influential arts publication of the day in Paris, where he read Berlioz's words, as quoted in an article contained on the Saxgourmet Web site: “He [Sax] is a calculator, an acoustician, and when required, a smelter, a turner and, if need be, at the same time an embosser. He can think and act. He invents, and he accomplishes.”
Berlioz went on to praise the sound of Sax's instrument, which he soon began to produce in seven sizes from sopranino all the way down to double-bass, and it was not long before composers started to write parts for them in the growing opera orchestras of the time. But this was when Sax's troubles began. According to the article on Saxgourmet, he “had exceptional gifts for the gentle art of making enemies.” Instrumentalists devoted to rival builders tried to sabotage his innovations, refusing to play Sax's bass clarinets, although Berlioz continued to defend Sax and wrote a piece for the new instrument. And after Sax showed his saxophones at the Paris Industrial Exhibition in 1844, he had to contend with accusations from a German military bandleader named Wieprecht that a pair of German inventors had actually been the first builders to devise both the saxophone and Sax's bass clarinet. German musicians backed up the fraud by ordering Sax's instruments from Paris, buffing out the etching of Sax's name in the brass, and sending the instruments back to France.
Sax defended himself vigorously. The German's accusations were dealt with at a momentous showdown in the German city of Koblenz, attended by such celebrities as the composer Franz Liszt: Wieprecht claimed that he and other German musicians were already familiar with Sax's instruments, but when handed actual examples, he could play the bass clarinet only poorly, and the saxophone not at all. Wieprecht underwent an instant transformation and became one of Sax's new backers, and Sax magnanimously announced that he would wait another year before finalizing his patent application to see if anyone else could produce a genuine saxophone.

Received His Patent

Sax received his patent in 1846 and won his gold medal at the Paris Industrial Exposition in 1849. This did not end his legal problems, however, as lawsuits continued to plague him for years. Sax's workshop sold some 20,000 instruments between 1843 and 1860, but he was not a talented money manager, and sales were not enough to keep him solvent. He filed for bankruptcy three times, in 1852, 1873, and 1877, and he was saved from a fourth debacle only by the intervention of another of his admirers, Emperor Napoleon III. Sax continued to devise improvements to his instruments, and he taught at the Paris Conservatory beginning in 1858.
In 1858 Sax was diagnosed with lip cancer, generally a death sentence at the time, but he was successfully treated by an Afro-French herbalist. He had five children by a Spanish-born mistress, Louise-Adèle Maor, whom he never married, reportedly because he did not want to acknowledge the liaison because he felt her family was too poor. Sax's son Adolphe-Edouard followed him into the business and maintained the Sax workshop into the twentieth century; it was absorbed by the Selmer company, which still exists today, in 1928. Sax wrote a method or learners' manual for the saxophone and continued to promote it vigorously in the field of classical music, but it never caught on strongly in the symphony orchestra.
In 1870 Sax's position at the Paris Conservatory was terminated in the aftermath of the Franco-Prussian War, and he lived his final years in straitened circumstances, kept out of poverty only by a small pension arranged for him by an admirer. By the time of his death on February 7, 1894, at the age of 80, Sax may have feared that his life's work had been compromised; the saxophone was well entrenched in band music but had little presence in the classical sphere. He had no way of knowing that his creation, transplanted to the United States and dispersed around the city of New Orleans by military bandsmen returning from the Spanish-American War around 1900, would evolve into an icon of American music, played enthusiastically by musicians ranging from schoolchildren up to Bill Clinton, the forty-second president of the United States.

11-11-2013, 10:56 AM

المشاركة 1662

ايوب صابر

مراقب عام سابقا



69-آلة النسخ الفوتوغرافي تشيستر كار لسون 1937م
-عندما كان كارلسون رضيعا مرض والده بمرض السل
-والدته مرضت بالملاريا ايضا وهو طفل.
-اضطر للعمل وهو طفل ليعيل عائلته
-ماتت والدته وهو في سن السابعة عشرة
- مات ابوه وهو في سن السابعة والعشرين

.

]كارلسون
]قصة مخترع الصور الفوتوغرافية

سوف أورد قصة مخترع وسوف نستقي منها كثيرا من الدروس على جميع المستويات. النظام الحازم والشفاف قد يكون غير مقبول عند كثير من الناس ولكنه قد يكون السبيل الوحيد للنجاح وحب الوطن.
قصة مُختَرع الصور الفوتوغرافية (تشستر كارلسون) الذي ولد عام 1906، في سياتل في ولاية واشنطن في الولايات المتحدة الأمريكية. كان والداه مريضين بالسل إضافة إلى أن والده كان يعاني من مرض خطير في الظهر مما اضطر كارلسون إلى تحمل مسؤولية منزله في سن مبكرة. ففي الصباح الباكر يقوم بتنظيف المنزل وبعد ذلك يذهب إلى مدرسته. كان طالبا نشيطا فقد أنشأ مجلة كيميائية للمدرسة. تنقل بين عدد من الولايات لتوفير الجو المناسب لوالديه ولكنهما توفيا وهو في سن مبكرة. توفيت والدته عندما كان عمره 17 سنة وبعد ذلك توفي والده.
بعد ما أصبح وحيداً, التحق كارلسون بمعهد كاليفورنيا التقني وحصل على درجة الباكالوريس في علوم الفيزياء، ولكنه كان مدينا للمعهد بمبلغ 140 ألف دولار، ولكي يسدد هذا المبلغ الباهظ، حاول العمل في أكثر من 80 شركة ولكنه لم يقبل.
في عام 1930 م حصل على وظيفة مهندس باحث في معمل بل للتلفونات ولكنه لم يستمر طويلاً في عمله حيث بدأ بدراسة القانون في عام 1936 م وتخرج بعد ثلاث سنوات وشغل منصبا في قسم الاختراعات في إحدى الشركات وكان يحتاج في عمله إلى عمل نسخ عديدة من الرسومات ومواصفات الاختراعات. ولكن لا توجد طريقة تمكنه من الحصول على مبتغاه إلا عن طريق النسخ يدوياً والذي كان يستهلك وقته وجهده. لذا قرر كارلسون الحصول على طريقة تجنبه العناء والتعب الذي يبذله للحصول على نسخ. قرأ كتابا عن الكهرباء الساكنة وبدأ بعمل تجارب في مطبخه الخاص واختبر عددا من المواد من بينها مادة الكبريت. انزعج منه الجيران وأطلقوا عليه اسم (العالم المجنون) وحصل بينه شجار شديد مع امرأة تدعى دوريس أصبحت زوجته فيما بعد.
في عام 1938 م تمكن كارلسون وبمساعدة عالم فيزيائي ألماني يدع اوتوكوريني من عمل أول صورة إلكترو- فوتوغرافية على ورقة شمع.
في عام 1948 م ظهر أول إعلان رسمي عن آلة تصوير من قبل شركة (زيروكس) وبيعت تجارياً أول آلة تصوير في عام 1950 م. وقد حصل كارلسون بعدها على مبلغ قدره 150 مليون دولار عن اختراعه وتبرع بمبلغ 100 مليون دولار للجمعيات الخيرية قبل وفاته عام 1968 م .
أدرج اسم كارلسون في قائمة مشاهير المخترعين الوطنيين، وقد استغرق اختراعه 15 عاماً من البحث لكي يتمكن من اختراع آلة تصوير. قضى معظم وقته في العمل وحيداً أو متنقلا من مكان إلى آخر وقد منح ميداليات وجوائز رفيعة المستوى.
لعل هذه القصة تكون حافزاً لشباب الأمة الإسلامية على الصبر وتحمل المصاعب في سبيل بلوغ الهدف. كذلك تعطينا مثالاً يحتذى به في عملية الإنفاق على مشاريع وأعمال الخير. كم أتمنى من رجال الأعمال أو من لديه إمكانيات المساعدة في إنشاء معامل بحثية في جامعاتنا ومراكز الأبحاث الوطنية .

Chester Carlson

From Wikipedia, the free encyclopedia

, Chester Floyd Carlson (February 8, 1906 – September 19, 1968) was an American physicist, inventor, and patent attorney born in Seattle, Washington.
He is best known for having invented the process of electrophotography, which produced a dry copy rather than a wet copy, as was produced by the mimeograph process. Carlson's process was subsequently renamed xerography, a term that literally means "dry writing."

Early life

Work outside of school hours was a necessity at an early age, and with such time as I had I turned toward interests of my own devising, making things, experimenting, and planning for the future. I had read of Thomas Alva Edison and other successful inventors, and the idea of making an invention appealed to me as one of the few available means to accomplish a change in one's economic status, while at the same time bringing to focus my interest in technical things and making it possible to make a contribution to society as well.

—Chester Carlson, to A. Dinsdale

Carlson's father, Olaf Adolph Carlson, had little formal education, but was described as "brilliant" by a relative. Carlson wrote of his mother, Ellen, that she "was looked up to by her sisters as one of the wisest.

When Carlson was an infant, his father contracted tuberculosis, and also later suffered from arthritis of the spine (a common, age-related disease). When Olaf moved the family to Mexico for a seven-month period in 1910, in hopes of gaining riches through what Carlson described as "a crazy American land colonization scheme," Ellen contracted malaria.

Because of his parents' illnesses, and the resulting poverty, Carlson worked to support his family from an early age; he began working odd jobs for money when he was eight. By the time he was thirteen, he would work for two or three hours before going to school, then go back to work after classes. By the time Carlson was in high school, he was his family's principal provider.[4] His mother died of tuberculosis when he was 17, and his father died when Carlson was 27.
Carlson began thinking about reproducing print early in his life. At age ten, he created a newspaper called This and That, created by hand and circulated among his friends with a routing list. His favorite plaything was a rubber stamp printing set, and his most coveted possession was a toy typewriter an aunt gave him for Christmas in 1916—although he was disappointed that it was not an office typewriter.[5]

While working for a local printer while in high school, Carlson attempted to typeset and publish a magazine for science-minded students like himself. He quickly became frustrated with traditional duplicating techniques. As he told Dartmouth College professor Joseph J. Ermene in a 1965 interview, "That set me to thinking about easier ways to do that, and I got to thinking about duplicating methods."[

==
Fascinating facts about Chester Carlson
inventor of Xerography in 1938.
Chester F. Carlson

AT A GLANCE:
Although Chester Carlson invented Xerography in 1938, it was twenty-one years later that the first office copier was available to the public. During the first eight months of production, Haloid (later renamed Xerox) sold more copiers then they expected to sell in the products entire life cycle.

Inventor:Chester F. Carlson
نقره لعرض الصورة في صفحة مستقلة

Criteria;First to invent. First to patent. Birth:February 8, 1906 in Seattle, WashingtonDeath:September 19, 1968 in Rochester, New YorkNationality:AmericanInvention:Xerography

Function:noun / Xerox copy machineDefinition:Forming an image by the action of light on a specially coated charged plate; the latent image is developed with powders that adhere only to electrically charged areasPatent:2,297,691 (US) issued October 6, 1942 for ElectrophotographyMilestones:
1906 Chester F. Carlson born February 8, in Seattle, Washington
1938 2,221,776 Filed September 8, application based on the principles of electron photography
1938 October 22, succeeded in obtaining his first 'dry-copy' in Astoria, Queens, New York
1939 Patent application filed April 4, 1939
1942 Patent issued October 6, 1942 for Electrophotography
1944 Battelle Memorial Institute becomes interested and provides research assistance and funding
1947 Haloid Company-later renamed Xerox-negotiated commercial rights to Carlson's xerographic
1959 The Xerox 914, first office copier that could make copies on plain paper, introduced
1968 Chester Carlson dies in Rochester, NY from a heart attack
CAPS: Carlson, Chester Carlson, Paul Selenyi, Otto Kornei, Battelle Memorial Institute, Haloid, ARY. xerography, copier, Xerox machine, photocopy, office copier, instant copies, SIP, history, biography, inventor, inventor of, history of, who invented, invention of, fascinating facts.The Story:
The astounding success of xerography is all the more remarkable because it was given little hope of surviving its infancy. For years, it seemed to be an invention nobody wanted. To know why it eventually prevailed is to understand the mind of Chester Carlson. For xerography, and the man who invented it, were both the products of hardship and travail.Chester Carlson was born in Seattle on February 8, 1906, the only child of an itinerant barber. The family settled in San Bernardino, Calif., and at the age of fourteen, Carlson was working after school and on weekends as the chief support of his family. His father was crippled with arthritis and his mother died of tuberculosis when he was seventeen.
Even as a boy, Carlson had the curious mind that always asked the how and why of things. He was fascinated with the graphic arts and with chemistry -- two disciplines he would eventually explore with remarkable result.
As a teenager he got a job working for a local printer, from whom he acquired, in return for his labor, a small printing press about to be discarded. He used the press to publish a little magazine for amateur chemists.
Upon graduating from high school, Carlson worked his way through a nearby junior college where he majored in chemistry. He then entered California Institute of Technology, and was graduated in two years with a degree in physics. More problems faced Carlson as he entered a job market shattered by the developing Depression. He applied to eighty-two firms, and received only two replies before landing a $35-a-week job as a research engineer at Bell Telephone Laboratories in New York City.
As the Depression deepened, he was laid off at Bell, worked briefly for a patent attorney, and then secured a position with the electronics firm of PR. Mallory & Co. While there, he studied law at night, earning a law degree from New York Law School. Carlson was eventually promoted to manager of Mallory's patent department.
"I had my job," he recalled, "but I didn't think I was getting ahead very fast. I was just living from hand to mouth, and I had just gotten married. It was kind of a struggle, so I thought the possibility of making an invention might kill two birds with one stone: It would be a chance to do the world some good and also a chance to do myself some good." As he worked at his job, Carlson noted that there never seemed to be enough carbon copies of patent specifications, and there seemed to be no quick or practical way of getting more. The choices were limited to sending for expensive photo copies, or having the documents retyped and then reread for errors. A thought occurred to him: Offices might benefit from a device that would accept a document and make copies of it in seconds. For many months Carlson spent his evenings at the New York Public Library reading all he could about imaging processes. He decided immediately not to research in the area of conventional photography, where light is an agent for chemical change, because that phenomenon was already being exhaustively explored in research labs of large corporations.
Obeying the inventor’s instinct to travel the uncharted course, Carlson turned to the little-known field of photoconductivity, specifically the findings of Hungarian physicist Paul Selenyi, who was experimenting with electrostatic images. He learned that when light strikes a photoconductive material, the electrical conductivity of that material is increased.
Soon, though, he began some rudimentary experiments, beginning first -- to his wife's aggravation -- in the kitchen of his apartment in Jackson Heights, Queens. It was here that Carlson unearthed the fundamental principles of what he called electrophotography --later to be named xerography -- and defined them in a patent application filed in September, 1938. "I knew," he said, "that I had a very big idea by the tail, but could I tame it?"
So he set out to reduce his theory to practice. Frustrated by a lack of time, and suffering from painful attacks of arthritis, Carlson decided to dip into his meager resources to pursue his research. He set up a small lab in nearby Astoria and hired an unemployed young physicist, a German refugee named Otto Kornei, to help with the lab work.
It was here, in a rented second-floor room above a bar, where xerography was invented. This is Carlson's account of that moment: "I went to the lab that day and Otto had a freshly-prepared sulfur coating on a zinc plate. We tried to see what we could do toward making a visible image.
Otto took a glass microscope slide and printed on it in India ink the notation '10-22-38 ASTORIA.'" We pulled down the shade to make the room as dark as possible, then he rubbed the sulfur surface vigorously with a handkerchief to apply an electrostatic charge, laid the slide on the surface and placed the combination under a bright incandescent lamp for a few seconds. The slide was then removed and lycopodium powder was sprinkled on the sulfur surface. By gently blowing on the surface, all the loose powder was removed and there was left on the surface a near-perfect duplicate in powder of the notation which had been printed on the glass slide.
"Both of us repeated the experiment several times to convince ourselves that it was true, then we made some permanent copies by transferring the powder images to wax paper and heating the sheets to melt the wax. Then we went out to lunch and to celebrate."
Fearful that others might be blazing the same trail as he -- which is not an uncommon occurrence in the history of scientific discovery -- Carlson carefully patented his ideas as he learned more about this new technology. His fear was unfounded. Carlson was quite alone in his work, and in his belief that xerography was of practical value to anyone. He pounded the pavement for years in a fruitless search for a company that would develop his invention into a useful product.
From 1939 to 1944, he was turned down by more than twenty companies. Even the National Inventors Council dismissed his work. "Some were indifferent," he recalled, "several expressed mild interest, and one or two were antagonistic. How difficult it was to convince anyone that my tiny plates and rough image held the key to a tremendous new industry. "The years went by without a serious nibble.. .I became discouraged and several times decided to drop the idea completely. But each time I returned to try again. I was thoroughly convinced that the invention was too promising to be dormant."
Finally, in 1944, Battelle Memorial Institute, a non-profit research organization, became interested, signed a royalty-sharing contract with Carlson, and began to develop the process. And in 1947, Battelle entered into an agreement with a small photo-paper company called Haloid (later to be known as Xerox), giving Haloid the right to develop a xerographic machine.
It was not until 1959, twenty-one years after Carlson invented xerography, that the first convenient office copier using xerography was unveiled. The 914 copier could make copies quickly at the touch of a button on plain paper. It was a phenomenal success. Today, xerography is a foundation stone of a gigantic worldwide copying industry, including Xerox and other corporations which make and market copiers and duplicators producing billions and billions of copies a year. And to Carlson, who had endured and struggled for so long, came fame, wealth and honor, all of which he accepted with a grace and modesty much in keeping with his shy and quiet personality.
Had he held onto it all, Carlson would have earned well over $150 million from his remarkable invention. But before he died he had given away some $100 million to various foundations and charities. During Carlson's last years he was given dozens of honors for his pioneering work, including the Inventor of the Year in 1964 and the Horatio Alger Award in 1966.

11-16-2013, 02:42 PM

المشاركة 1664

ايوب صابر

مراقب عام سابقا



يقول جوليان هكسلي:" العلم عبارة عن ذلك النشاط الذي نحصل به على قدر كبير من المعرفة بحقائق الطبيعة وعلى السيطرة عليها"، فالعلم هو إنتاج العقل الإنساني الذي جمع في وعيه المنطق الرياضي والتحليلي والنقدي، مكونا منهجا لغويا منطقيا هو التفكير العلمي في دراسة الطبيعة وظواهرها من أحياء و جمادات لمعرفة ما أمكن من حقائقها وأنشطتها ومميزاتها ليتمكن من السيطرة عليها".

فمن هو هذا الهكسلي؟

جوليان هكسلي
يتيم الام في سن الحادي والعشرين والتي ماتت بالسرطان وهي في سن السادسة والاربعين فقط.

جوليان سورل هكسلي Julian Sorell Huxley (عاش 22 يونيو 1887 - 14 فبراير 1975) عالم أحياء وفيلسوف إنكليزي. ولد في لندن ومات فيها ينتمي إلى أسرة لها مكانتها العلمية المرموقة، فهو حفيد العالم البيولوجي البريطاني الشهير، توماس هنري هكسلي Thomas Henry Huxley ت(1825-1895)، أبرز علماء التشريح في عصره دافع عن نظرية النشوء والارتقاء لدارون[ر]، ورفض الأناجيل وقصة الخلق التي تدعو لها. وهو الأخ البكر للروائي ألدوس هكسلي Aldous Huxley. درس في إيتون وأكسفورد ودرّس علم الأحياء وعلم الحيوان وعلم وظائف الأعضاء في الجامعات البريطانية والأمريكية قبل أن يتولى الإشراف على حديقة الحيوان بلندن، قام بعدد من البعثات العلمية لحفظ الحياة الحيوانية في أفريقيا الشرقية والغربية، كزيارته إلى كينيا من أجل إعداد خطة متكاملة لتحويل المستنقعات الراكدة إلى حدائق وطنية في إطار حملة عالمية واسعة لمكافحة مرض الملاريا في أفريقيا.
تولى عدة مناصب، منها محاضر في جامعة أكسفورد (1910)، ومنصب رئاسة قسم علم الأحياء في هيوستن بتكساس (1912)، وبعد انتهاء الحرب العالمية الأولى انتقل إلى الكلية الملكية البريطانية في لندن سنة 1925 أستاذاً لعلم الحيوان، وفي سنة 1927 ترك التدريس ليتفرغ للبحث العلمي، وتولى منصب الأمين العام لجمعية علم الحيوان في لندن.
أسهم سنة 1946 في تأسيس منظمة اليونسكو، وكان أول مدير لها (1946- 1948)، ورقّي إلى مرتبة «سير» Sir سنة 1958، كما أسهم إسهاماً فعالاً في تأسيس الجمعية الإنسانية البريطانية، وأصبح أول رئيس لها.
كتب «علم الحياة» Science of Life ت(1931) ومباحث عديدة في البيولوجيا ونقد وجهة نظر ليسنكو Lysenko في علم الوراثة. وتتجلى نزعته الإنسانية التطورية في مؤلفات عديدة منها: «التطور: التركيب الحديث» Evolution: the Modern Synthesis ت(1942)، «الوراثة شرق وغرب» Heredity East and West ت(1947)، «نحو فلسفة إنسانية جديدة» Towards a New Humanism ت(1957).
يرى هكسلي أن التطور بالمعنى الدارويني قد توقف بحكم الواقع، إذ إن التطور البيولوجي لم يعد يُنتج أيّ نوع جديد من حيث الأساس. ومع ذلك ما يزال الإنسان يتطور، لكن بطريقة مختلفة، فالإنسان يتميز بعقله والقدرة على توجيه التطور بنفسه، من أهم واجباته تجاه الطبيعة - بوصفه العامل الحر الوحيد - تطوير الحياة ومستقبل الأحياء جميعاً وتوجيه مصير الحياة توجيهاً أخلاقياً سليماً يؤدي بها إلى العلو والسمو والارتقاء، وإلا فسدت الأرض، وهلك كل شيء. وقد ظهر مع الإنسان منحى جديد للتطور، حل فيه الاختيار الواعي محل الاختيار الطبيعي، وأتاح نمو الدماغ المجال لمراكز النطق أن تنمو، وأصبح الإنسان قادراً على تسمية الأشياء، إما بالمحاكاة وإما بالإبداع، وذلك بقدرته على التفكير المجرد أو كما يسميه هكسلي الفكر التصوري conceptual thought ، وهكذا حلت صورة الشيء الذهنية - المتمثلة بالكلمة - محل الشيء الموجود بالعالم الخارجي، وأمكن التعامل مع الصورة الذهنية، وإيجاد علاقات فيما بينها بمعزل عن نماذجها الحسية، مما أتاح التفكير والتأمل واختزان التجارب السابقة في معلومات ينقلها السلف إلى الخلف. ومع ظهور الإنسان وعى الكون ذاته، وبوعي الكون لذاته، انقسم الإنسان إلى ذات وموضوع، وأصبح هو أداة التطور وهو موضوعه، وبما أن الإنسان هو موضوع التطور، وهو أداته، أصبح قادراً على تجاوز نفسه، والوصول إلى المرحلة التي يسعى بوساطتها إلى بلوغ مرحلة ما بعد الإنسان - حسب تعبير هكسلي - بحيث أصبح الإنسان قادراً على تحقيق ما يحلم به.
يرى هكسلي أن العلم هو ذلك النشاط الذي يحصل به أكبر قدر من المعرفة الطبيعية العلمية، وفي علم الوراثة يؤكد هكسلي أهمية القوانين الوراثية؛ لأنها ستؤدي حتماً إلى خلل لحفظ التوازن في الجنس البشري، فلابد من إيجاد طريقة لمعالجة الجينات البشرية بمعزل عن أي دافع عنصري، ومع ذلك اتهم هكسلي بالعنصرية بسبب استغلال الأيديولوجيات النازية والفاشية لمصطلح «علم تحسين النسل» الذي أرسى هكسلي دعائمه بالتشديد على استخدام العلم والتكنولوجيا قدر الإمكان لتحسين النسل وضرورة تحسين الشروط البيئية والاجتماعية المناسبة لحياة صحيحة للإنسان

Sir Julian Sorell Huxley FRS [1] (22 June 1887 – 14 February 1975)
was an English evolutionary biologist, eugenicist, and internationalist. He was a proponent of natural selection, and a leading figure in the mid-twentieth century evolutionary synthesis. He was Secretary of the Zoological Society of London (1935–1942), the first Director of UNESCO, and a founding member of the World Wildlife Fund.
Huxley was well known for his presentation of science in books and articles, and on radio and television. He directed an Oscar-winning wildlife film. He was awarded UNESCO's Kalinga Prize for the popularisation of science in 1953, the Darwin Medal of the Royal Society in 1956,[1] and the Darwin–Wallace Medal of the Linnaean Society in 1958. He was also knighted in that same year, 1958, a hundred years after Charles Darwin and Alfred Russel Wallace announced the theory of evolution by natural selection. In 1959 he received a Special Award of the Lasker Foundation in the category Planned Parenthood – World Population. Huxley was a prominent member of the British Eugenics Society and its president from 1959–1962.

Contents
See also: Huxley family
Huxley came from the distinguished Huxley family. His brother was the writer Aldous Huxley, and his half-brother a fellow biologist and Nobel laureate, Andrew Huxley; his father was writer and editor Leonard Huxley; and his paternal grandfather was Thomas Henry Huxley, a friend and supporter of Charles Darwin and proponent of evolution. His maternal grandfather was the academic Tom Arnold, his great-uncle was poet Matthew Arnold and his great-grandfather was Thomas Arnold of Rugby School.
Early life]

Family tree

Huxley was born on 22 June 1887, at the London house of his aunt, the novelist Mary Augusta Ward, while his father was attending the jubilee celebrations of Queen Victoria. Huxley grew up at the family home in Surrey, England, where he showed an early interest in nature, as he was given lessons by his grandfather, Thomas Henry Huxley. When he heard his grandfather talking at dinner about the lack of parental care in fish, Julian piped up with "What about the stickleback, Gran'pater?" Also, according to Julian himself, his grandfather took him to visit J. D. Hooker at Kew.[2]

T. H. Huxley with Julian in 1893

At the age of thirteen Huxley attended Eton College as a King's Scholar, and continued to develop scientific interests; his grandfather had influenced the school to build science laboratories much earlier. At Eton he developed an interest in ornithology, guided by science master W. D. "Piggy" Hill. "Piggy was a genius as a teacher… I have always been grateful to him."[3] In 1905 Huxley won a scholarship in Zoology to Balliol College, Oxford.

Student life]

In 1906, after a summer in Germany, Huxley took his place in Oxford, where he developed a particular interest in embryology and protozoa. In the autumn term of his final year, 1908, his mother died from cancer at only 46: a terrible blow for her husband, three sons, and eight-year old daughter Margaret. That same year he won the Newdigate Prize for his poem "Holyrood". In 1909 he graduated with first class honours, and spent that July at the international gathering for the centenary of Darwin's birth, held at the University of Cambridge. Also, it was the fiftieth anniversary of the publication of the Origin of species.

11-25-2013, 11:30 PM

المشاركة 1666

ايوب صابر

مراقب عام سابقا



لماذا يكون الفوز من نصيب الاقل حظا

خمسة اسباب

Five reasons underdogs win in the workplace
By Anna Akbari, Special to CNN
November 25, 2013 -- Updated 1155 GMT (1955 HKT)

Editor's note: Anna Akbari, Ph.D., is a sociologist and serial entrepreneur. She has taught at New York University and the New School for Social Research, and her research areas include technology/human relationships and happiness. She is the founder of Closet Catharsis, an image consulting company, and Sociology of Style. Follow her on Twitter.

(CNN) -- I am an underdog in life. From the moment I entered the world, I was handed a collection of circumstances that most first world people would label as "disadvantages."
I grew up in a poor, single parent family. My dark features and Middle Eastern last name further complicated my Midwestern upbringing. I didn't look like anyone else (including my mother). Racism, economic hardship, and familial struggles were my everyday reality from the beginning.

Anna Akbari, NYU Professor
But I am not the only underdog out there. Maybe you or someone close to you also has underdog status. Our individual stories are likely different, but the biographical details matter far less than the significant and perhaps surprisingly positive traits those obstacles have the power to nurture.
Ask someone who they are and how they got there, and many will begin by describing the hurdles they've encountered -- the repeated rejection, the failed pursuits, the periods of scrimping.
So much of how we understand ourselves is shaped by our losses and hardships, even more so than our victories.
But as uncomfortable as they are, these personal roadblocks make us stronger and better than our more privileged selves.
In Malcolm Gladwell's new book, David and Goliath: Underdogs, Misfits, and the Art of Battling Giants, he argues that being the underdog and experiencing disadvantages breeds "desirable difficulties."
But how much of what's "desirable" is about perspective? Challenges don't improve us merely because they exist. We have to reflect on them and proactively adapt their lessons into our life and work habits.
If you've never had a safety net, then you never feel like you have much to lose.
Anna Akbari
The immense potential of these desirable difficulties is especially salient in the workplace.
Read more: How 5 of world's leading executives streamline their productivity
Here's why underdogs win in the workplace:
1. We're less likely to take things (and people) for granted.
Once you've felt the pangs of struggle, you don't easily forget it, particularly if it's experienced early in life. At work, this means underdogs are more likely to notice the little things and demonstrate appreciation.
Gratitude makes people happier, and since happiness is contagious, it also positively affects your coworkers. That doesn't mean we're all 24/7 bundles of cheer, but when you grow up without and have a desire for something better, you develop an inherent optimism and immunity to complacency.
2. We have rich imaginations.
Learning to do without demands creativity. Underdogs are well-versed in the art of improvisation; it's necessary for our survival.
We're scrappy. Last minute changes to a presentation? An accelerated deadline? If all other qualifications are relatively equal, I'll choose the underdog to work on my team every time.
Underdogs spend their lives imagining "more," which is invaluable in business. Everyday improvisation leads to large-scale innovation, which transforms how we work and what we collectively produce.
Read more: Deadly sins needn't always be fatal for your career
3. We are hyper-actively observant.
When you're an outsider, you vigilantly pay attention to what it takes to "fit in." Details and differences are not lost on underdogs. We quickly size up a situation and analyze how to optimize it.
Obliviousness is difficult to correct, and underdogs are aware by necessity -- a sort of "mindful compensation."
If there's one thing I know how to do, it's hustle
Anna Akbari
Being an underdog doesn't mean you're a fraud when you do manage to find your way into more fortunate circles, but it does mean you had to become intimately familiar with the nuances of the rules to get there. This makes underdogs competitive players to watch (and hire).
4. We are not risk averse.
If you've never had a safety net, then you feel like you don't have much to lose.
That doesn't mean underdogs are inherently reckless, but it does bode well for taking calculated risks.
Being an entrepreneur, for instance, means you are likely to "fail" at some point -- but it also means you could score big eventually. And it's not about luck (though many will flippantly dismiss it as such), but rather perseverance, resilience, tenacity, and general strength of character that leads us to succeed.
Underdogs don't take no for an answer and, perhaps counter-intuitively, tend to be very confident (while arguably less arrogant) -- because without that unbridled confidence, we would still be stuck in our previous reality.
It takes a pretty serious belief in yourself to rise above those circumstances.
Read more: What football managers can teach you about leadership
5. We are very hungry.
If there's one thing I know how to do, it's hustle. With underdogs, the default answer is "yes." Yes, I can learn how to do that. Yes, I can make that happen. Yes, that is possible.
Will this can-do attitude backfire? Possibly, sometimes. But more often than not, that inner drive and hunger to excel means we're willing to acquire new skills, push ourselves out of our comfort zone (what comfort zone?), and work toward goals with laser-sharp focus.
Being an underdog in life has shaped my character and my career, making me more successful and, ultimately, happier.
Being an underdog in life has shaped my character and my career, making me more successful
Anna Akbari
But while being an underdog can make you pretty bad-ass in the workplace, let us not glamorize hardship.
Because make no mistake: It's difficult. Most of us wouldn't want to repeat the past, and we diligently strive for a better future with fewer difficulties for our offspring.
And yet, I for one would not change the personal challenges I've been dealt.
Underdog status is what you make of it. It's not a label I'm looking to overcome. It's a permanent state of being for me.
It reminds me everyday what it took to get where I am, how much I have to be grateful for, and how much room I still have to grow.
Being an underdog isn't a plea for sympathy. It's an invitation to triumph.
Read more: Women value ethics more than men
Read more: Are we ready for GenY leaders?
Read more: Five ways to quit in style

ترجمة المقال :
خمسة اسباب لفوز الاقل حظا في مكان العمل .
مقال بقلم انا اكباري
منشور في موقع س ان ان
تاريخ 25/11/2013 .

ملاحظة المحرر: تحمل أنا اكباري شهادة الدكتوراه في علم الاجتماع وكاتبة صحفية مستقلة. عملت في التدريس في جامعة نيويورك وجامعة نيويورك للأبحاث الاجتماعية. وهي تبحث في مجالات تشمل علاقة الإنسان بالتكنولوجيا والسعادة. وأسست شركة أسمتها (Closet Catharsis ) تعمل على تقديم الاستشارات المتعلقة بالصورة الذهنية وعلم اجتماع الأسلوب.

11-27-2013, 09:12 AM

المشاركة 1667

ايوب صابر

مراقب عام سابقا



آن هاتشينسون Anne Hutchinson يتيمة الاب في سن التاسعة عشرة.
ترجمة : ريم بدر الدين بزال

في تموز من العام 1591 رزقت بريدجت درايدن و فرانسيس ماربوري بمولودتهما آن في ألفورد لينكولنشاير في انجلترا
و كان والدها شماس كنيسة كامبريدج و طالما صرح بأن معظم المبشرين في الكنائس الانجليزية لم يتلقوا التدريب المناسب لكنهم عينوا في مناصبهم لأسباب سياسية. و استنكر بشكل علني هذه الخروقات في قلة الاختصاص ضمن رجال الدين مما أدى لاعتقاله و سجنه لمدة عام كامل بسبب آراءه المعارضة و المخربة.
و لكن هذا لم يمنع ماربوري من إعلان آراءه مرارا و تكرارا مما عرضه للسجن مرات عديدة أخرى. و لكنه في نهاية المطاف أصبح رئيس جامعة القديس مارتين و القديس بانكراس و أخيرا رئيس جامعة القديسة مارجريت.
لذا فليس من المستغرب بعد آن نهلت آن من علم والدها الأكاديمي و المتخصص أن تكون مهتمة بالدين و اللاهوت في سن صغيرة نسبيا.
و قد تلقت آن تعليمها في المنزل من خلال مكتبة والدها حيث بدأت تطرح أسئلة عديدة عن ماهية الإيمان و البحث عن إجابات لأسئلتها.
و كان إعجابها يزداد بمبادئ والدها و إصراره ولم تجد حرجا مطلقا من الاستفهام عن مبادئ الإيمان و سلطة الكنيسة كما هو حال كل من يحصلون على تعليم ممتاز.
و لدى بلوغها الحادية و العشرين تزوجت آن من ويل هاتشينسون و استقرت في نفس المدينة التي نشأت بها لتستلم مهامها كزوجة و أم دون أن تنسى اهتمامها الكبير باللاهوت و الكنيسة.
و تبعت مع عائلتها تعاليم جون كوتون و هو مبشر بروتستانتي تعكس دروسه مبادئ والدها التي أصبحت الآن أكثر قبولا مع الشعبية المتزايدة للبيورتانيين ( الطهوريين).
و بالقدر الذي انتُقدت به أفكار والد آن و أدينت رؤاه ، فإن الكثير من البيورتانيين رفعوا أصواتهم في انتقاد للفساد الذي يسري في مفاصل الكنيسة الكاثوليكية و إلى حد معين في الكنيسة البروتستانتية و لهذا نشأت حركة تجديدية دعيت بالبيورتانية و سميت كذلك لأن موضوعها الأساسي كان " تطهير" الكنيسة الانجليزية من كل التأثيرات الكاثوليكية.
و عندما عين جون كوتون كمبشر للمستعمرات البيورتانية في انجلترا الجديدة عام 1634 لم يرحل لوحده و إنما رافقه ويل و آن هاتشينسون مع أولادهما الخمسة عشر و مع جون لوثروب و عدد أخر من المستوطنين على متن السفينة جيفرين المغادرة باتجاه أميركا . كانوا جميعا يريدون أن يقيموا طقوس إيمانهم في بيئة تستطيع أن تتقبل الأفكار الجديدة البيورتانية . و كانت آن تتطلع إلى حياة مشوقة في المستعمرات اعتقادا منها أنها ستكون بمثابة فردوس لمن يريد أن يعبد الله كما يراه مناسبا.
و لكن آن اكتشفت شيئا فشيئا أن الحياة في المستعمرات قاسية جدا و أن العلاقة الوطيدة بين الكنيسة و السلطة كانت خانقة و لم يكن هناك في حقيقة الأمر أية حرية للتعبير عن الرأي في مستعمرة ماساشوستس خصوصا لامرأة انجليزية متعلمة مثلها.
و كانت آن قد صاغت منذ وقت طويل منهجها الشخصي معتمدة على شروحاتها لتعاليم جون كوتون .فكان إيمانها بالعلاقة الشخصية مع الله مما يساء فهمها من قبل الآخرين و اعتبرها البعض نوعا من الغرور فيما اعتبرها البعض الآخر فكرا محرما. و لكنها أحجمت عن الكلام في هذا علنا على الأقل ريثما تصل عائلتها إلى أميركا.
و كانت تؤمن أن طريق الإنسان إلى الجنة يكون عبر الإيمان لكن هذه النظرة البسيطة و النقية لطريق الخلاص لا تمنح الكنيسة الكثير من السلطات لتقود الناس كقطيع تحت مسمى خشية الله و لذلك رفضت أفكار آن من قبل الكنيسة بشكل حازم.

==
من وكيبيديا

آن هاتشينسون (1591-1643) سيدة بروتارية ومستشارة روحية ، شاركت في الجدل حول تناقض القوانين التي هزت وضع مستعمرة خليج ماساتشوستس 1636 حتي 1638. كانت قناعاتها الدينية القوية على خلاف دائم مع رجال الدين البروتستانت الراسخة في منطقة بوسطن. كاريزمتها وشعبيتها ساعدت في خلق شقاق اللاهوتية الذي هدد بتدمير تجربة المتشددون الدينية في نيو إنجلاند , وقد حاولت في نهاية المطاف إدانتهم، ثم نفيت من المستعمرة مع العديد من مؤيديها.

In 1605, when Anne was 14, the family moved from Alford to the heart of London, where her father was given the position of vicar of the Church of Saint Martin's in the Vintry. Here his expression of puritan views, though somewhat muffled, were tolerated, because of a shortage of pastors.Marbury took on additional work in 1608, preaching in the parish of Saint Pancras, several miles northwest of the city, travelling there by horseback twice a week. In 1610 he replaced that position with one much closer to home, and became rector of Saint Margaret's, on New Fish Street, only a short walk from Saint Martin in the Vintry.

He was at a high point in his career, but in February 1611, when Anne was 19 years old, he died suddenly at the age of 55.

Adulthood—following John Cotton]
The year after her father's death, Anne Marbury, aged 21, married William Hutchinson, a familiar acquaintance from Alford, who was a fabric merchant then working in London. The couple was married at St Mary Woolnoth Church in London on 9 August 1612, shortly after which they moved back to their hometown of Alford.[

12-08-2013, 11:13 AM

المشاركة 1668

ايوب صابر

مراقب عام سابقا



بمحض الصدفة علمت بوجود شاب طبيب فلسطيني يتخصص حاليا ويسعى لنيل الدكتوراه في مجال علم الاعصاب neuropsychology في احد الجامعات الامريكية...وكل ما عرفته عنه انه عبقرية فذة في المجال حيث قام على نشر عدة ابحاث متخصصه ويتوقع له استاتذه الامريكان حصوله على جائزة نوبل في الطب نظرا لان استنتاجاته واكتششافاته استثنائية...

وقد حصلت على عنوانه وارسلت له الرساله ادناه لعلني استطيع معه او من خلاله من اجراء الفحوص المخبرية اللازمة لاثبات نظريتي بأن صدمة اليتم تؤدي الى زيادة في نشاط الدماغ وهذا النشاط الزائد في سر العبقرية.
طبعا نجري فحوص لمحاولة فهم ماذا يجري تحديدا في الدماغ عند وقوع صدمة اليتم والتجارب الصادمة الاخرى وفي فترات زمنية لاحقة؟
- وهل الامر يعود لتغير كيميائي في الدماغ؟
- او ان السبب هرموني ؟
- ام ان السبب له علاقة بالطاقة وما طبيعة هذه الطاقة وهل هناك احتمال ان تكون هي الطاقة البوزيترونية ؟ وهو الافتراض الاساس الذي تقوم عليه نظريتي في تفسير الطاقة الابداعية.

هذا هو الخطاب الاول الذي ارسلته للدكتور محمد حرزالله وسوف اعمل على ترجمته ثم اسرد الرد وهكذا في متابعة لما يجري بالخصوص... ولعلنا هذه المرة نستطيع استكمال هذا البحث العلمي المخبري ونحصل على نتائج وادلة علمية مهمة بهذا الخصوص.

Dec. 5 /2013
Hello Dr. Mohammad

Few days ago I met by chance one of your friends his name is Dr. Abdulftah Khodair. We were travelling to Amman – Jordan together and while chatting I told him about my theory of creativity and told him that I am in the process of finding a neuropsychology center where I can do some testing to prove my theory and he mentioned your name and advised me to contact you. He also told me about your father so I met your father and got your email from him.
Just to give you an idea of the issue at hand which I hope you will be able to help me with:
I am the owner of a theory that tries to explain what is behind the creative impulse. I have been working on the issue for almost 40 years by now.
My initial observation that there is some kind of a relation between death and creativity goes back to the beginning of the 1970 when I was around 16 years old. Before that date I didn't give much attention to the fact that I was an orphan. I lost my mother when I was 2 years old and I have never seen her picture because there was no photography where I was born in 1954 and at that age I was fond with literature and was already writing verse as well as poetry until one day I was reading about the life of the great Russian writer Leo Tolstoy and discovered that he lost his mother in similar circumstances and he never so her picture either. This triggered something in me, and led me to think of the possible connections between the love of literature and in particular creativity i.e. the urge to create and parental loss.
I then decided to focus my attention on finding that possible connection. I started searching the biographies of known writers and discovered that many of them did in fact go through an experience of loss of some sort and few of them did lose one or both their parents. At the university I majored in English Literature and took advantage of this to deepen my search; and the more I dogged in the more obvious the possible relation became.
For my M.A degree at San Diego State University which commenced at the beginning of the year 1980, I wrote a thesis entitled " Creativity and the search for fulfillment" in which I discussed the possible connection between creativity and parental loss. To prove my argument I used basic analysis of the life and works of 3 well known writers; and I was able to convince the supervising committee that my argument is sound and valid and that there is in fact a relation/ connection between the experience of loss and the urge to create at least in the case of the mentioned 3 writers. A copy of my thesis is available at the library at San Diego State University and it abstract can probably be viewed at the "Dissertations Abstract".
My interest in the issue continued and didn’t stop there; but rather intensified after my graduation with an M.A. Degree in literature by the year 1983 from San Diego State University.
Later on I carried out further research on the issue trying to find more evidence on the said relation/connection. In conclusion I now have statistical evidence that among any group of genius achievers in any field; more than 50% have lost one or both of their parents , and the rest of the group members have experienced some sort of traumatic experiences or their childhood is not known. With such an astonishing findingI became convinced more than ever that there is a connection and my interest turned into finding out how does the experience of loss affect the brain and avail the urge to create.
Initially and as reflected in my thesis I theorized that it is some kind of compensation or a search for fulfillment caused by the emptiness resulting from the object loss and this is mainly because the supervising committee ruled out other possibilities at the mentioned time and for lack of evidence.
I then thought that there is something more to it, and I now have a theory on what really happens in the brain that makes it creative. It is not what the major psychologists have said before i.e. (Freud, Adler, or Carl Young) , it is something else.
In brief I believe the object loss causes a heightened level of brain energy and this is what intensifies the creative impulse and the creative activity. And parental loss being the most critical traumatic experience with mega effect produces the highest level of energy therefore, if and when the proper conditions are made available to the subject orphan, it results in genius achievement.
Such finding on the issue ( statistical and historical evidences ) which I came about so far are published in a book I wrote a couple of years ago entitled " Orphans are genius in the making " the book is sin my mother language Arabic.
Now I am at the stage looking forward of finding a neuropsychology center through which we can do some testing to prove that parental loss does have an effect on the brain. And I really hope that you will be in a position to help me do the necessary testing whether here in Palestine or jointly here and there in the United states.
I will use the findings for a PhD.
I will be glad to further discuss the issue with you when you come for a visit.
BR

مرحبا د. محمد
قبل أيام التقيت صدفة بأحد أصدقائك واسمه د. عبد الفتاح خضير. كنا نسافر معا إلى عمان- الأردن وبنما كنا نتبادل أطراف الحديث أخبرته عن نظريتي في الإبداع وأخبرته أنني بصدد البحث عن مركز لعلم الأعصاب للقيام ببعض الأبحاث لتأكيد نظريتي بصورة علمية وعندها ذكر لي اسمكم ونصحني بالاتصال معكم لهذا الغرض. كما اخبرني عن مقر عمل والدك القريب من مركز عملي فالتقيت به وحصلت منه على بريك الالكتروني.

فقد دعني أعطيك فكرة عن موضوع البحث، والذي ارج وان تكون قادر على مساعدتي على انجازه.
أنا صاحب نظرية تحاول أن تقدم تفسير لسر الطاقة الإبداعية وان تبين مصدر الطاقات الإبداعية والحافز الإبداعي. اعمل على هذا الموضوع منذ أربعين عاما تقريبا.

لقد بدأت رحلتي البحثيةفي المجال والتي تدور حول العلاقة المفترضة ما بين اليتم والعبقرية تعود إلى بداية العام 1970 عندما كنت في سن السادسة عشرة.

قبل ذلك التاريخ لم اكترث كثيرا لكوني يتيم. لقد فقدت والدتي وأنا في ن الثانية ولم أشاهد صورتها أبدا لعدم وجود تصوير في مكانسكناي في حينه وبعد ولادتي في العام 1954 .

في سن السادسة عشرة أصبحت مغرمابالأدب مطالعة وكتابة وكنت قد بدأت فعلا في كتابة بعض المحاولات الكتابية النثريةوالشعرية.

وفي احد الأيام وبنما كنت اقرأ عن حياة الكاتب الروسي الشهير ليو تولستوياكتشفت انه هو أيضا فقد والدته في ظروف مشابهه أي وهو في سن الثانية ولم يشاهد صورةلها أيضا. هذا الاكتشاف احدث هزة في داخلي وقادني للتفكير في احتمالية وجود علاقةبين حب الأدب خاصة والكتابة الإبداعية والدافع الإبداعي بشكل عام من ناحية والفقدان ألوالدي.من ناحية اخرى.

ثم قررت أن أركز اهتمامي على إيجاد ذلك الرابط بين اليتم والعبقرية. فبدأت ابحث في تراجم الأدباء ( السير الذاتية ) المشهورين واكتشفت أن عدد كبير منهم مر في تجربة فقد من نوع أو آخر وان بعضهم فقد الأب أو الأم أو كلأيهما.

في الجامعة تخصصت في مجال الأدب الانجليزي واستثمرت وجودي في كلية الآداب لأتعمق في البحثوتبين لي انه كلما تعمقت في البحث كلما ظهر جليا تلك العلاقة المحتملة بينالأمرين.

ومن ضمن متطلبات شهادة الماجستير التي عملت على الحصول عليها من جامعة سان دياغو – كاليفورنيا فيمطلع الثمانينيات من القرن الماضي، كتبت رسالة ماجستير بعنوان "الإبداع والبحث عنالاكتمال" وقد ناقشت بتلك الرسالة الرابط بين اليتم – فقدان الوالدين- والإبداع.

ولإثبات طرحي استخدمتمنهجية التحليل لحياة وكتابات ثلاثة كتاب مشهورين وقد تمكنت من إقناع اللجنة بوجودعلاقة واثر لفقد الوالدين والحاجة للإبداع. علما بان نسخة من رسالة الماجستيرمتوفرة في مكتبة جامعة ساندياغو كما يمكن العثور على ملخصها ضمنDissertations Abstract

وقد تواصل اهتمامي بالموضوع بعد انجازي رسالة الماجستير وتخرجي من الجامعة بشهادة ماجستير فيالأدب عام 1983 ولم يتوقف عند ذلك الحد بل هو تضاعف...
وقد قمت على إجراء أبحاثأخرى لإيجاد مزيد من الأدلة عن العلاقة بين اليتم و العبقرية.
وبتلخيص امتلك حاليامجموعة من الأدلة الإحصائية تؤكد انه من بين أي مجموعة من العباقرة أو أصحابالانجاز العالي ما يزد على 50% منهم فقد واحد أو كلا والديه، وسنجد أن باقي أفرادالمجموعة قد مروا في تجارب فقد أو مآسي من نوع ما في الطفولة المبكرة كما نجد أنعدد منهم مجهول الطفولة.

من خلال هذه الاكتشافات المذهلة أصبحت على قناعة اكبر وأكثر من أي وقت مضى بوجود تلك العلاقة بين العبقرية والإبداع في أعلى حالاته. وبدأ اهتمامي يتمحور حول الآلية التي يتم فيها تأثير تجربة الفقد على الدماغ وكيف تخلق الحافز أو الدافع على الإبداع.

فيالبداية وكما تذكر رسالة الماجستير كنت أتصور بأن الأثر عبارة عن عملية تعويض أوعملية بحث عن الاكتمال من الفراغ الذي تحدثه تجربة الفقد، وكان ذلك بشكل أساسي لاناللجنة رفضت الاحتمالات الأخرى في حينه.
بعد ذلك تصورت أن الأمر أكثر من عملية تعويض وألانلدي نظرية حول ما يجري في الدماغ والذي يجعله مبدعا. انه ليس كما يقول علماء النفسيالرئيسيين فرويد وادلر وكارل يونغ ، إنما هو شيء آخر.
باختصار أتصور أن فقدان شخص يتسبب في ارتفاع منسوبالطاقة الدماغية وهذا هو الذي يقف وراء الدافع الإبداعي والنشاط الإبداعي وحيث أنفقدان الوالدين يعتبر أكثر التجارب مأساوية ولها تأثير عظيم لا بد انه يتسبب في ارتفاعحاد في طاقة الدماغ وعليه وإذا ما وحينما تتوفر الظروف الصحيحة لليتيم فأن ذلك يؤديإلى انجاز عبقري.

هذا وقد أصدرت استنتاجاتي حول الموضوع وهي ( النتائج الإحصائية والتاريخية) ، في كتاب الفته قبل عامين تقريبا بعنوان " الأيتام مشاريع العظماء" وهو بلغتي الأم وهي اللغة العربية.

12-12-2013, 07:55 PM

المشاركة 1670

ايوب صابر

مراقب عام سابقا



بتاريخ 7/12/2013 قمت بالرد على رسالة الدكتور محمد على النحو التالي وسوف اعمل على ترجمة الرسالة بانتظار الرد او اللقاء مع الدكتور محمد حيث سابقي المهتمين على اطلاع :

Thank you very much for your prompt response. It is nice to hear that you are interested in an area that is very close to what I am searching, this will certainly make it easier for us to pursue the testing required.
As for the use of the terms, you already know that my background is literature and the only thing I know about the brain is the things I have read about it through the psychological studies related to the issue at hand. And to further explain my theory of creativity and what type of experiment I need to prove it please note the following:
- Psychologists and in particular clinical psychologists ( Freud School of psychology ) theories that traumatic experiences in early childhood have major effect on the personality and later life.
- Non have given specific explanation how does that effect takes place.
- Freud for example thinks it is sexual deprivation assimilated into creative energy. Adler talked about compensation.
- Through my contacts with a number of psychologist close to the field I am told by Dr. Stuart Shanker , D PHll – OXON , Director, the Milton & Ether Harris Research Initiative , Distinguished research Professor of pHlilophy and Psychology; Toronto ; Canada. I am told that Fogel has discuss the issue in his "the Psychophysiology of Self-Awareness" and mentioned that earlier traumatic experiences results in what is known as ( cortisolemia ). He add " you might be right in your hypothesis: some sort of neurohormonal inbalance (an increase in dopamine, a decrease in gaba?) which is what would be involved in your 'increased energy' idea.
- There are few other psychologists who did write about the relation between parental loss and genius. One of them is Dr. Marvin Eisenstadt PhD his telephone No. 001 516 4339568 and who seems to be close to where you are located wrote an article on the issue in 1978.
- This guy seems to be the only one who wrote about this issue before me, I did my thesis on 1983.
- Marth Farah from Penn. Sylvania Center of neuropsychology wrote an article entitled "How poverty might change the brain" In which she says she had proof through a field experiment that lasted for few years that there strong relation between social glass and creativity. I have been in contact with her but she apologized to work with me due to time constrains.
- Dr. Dean Keith Simonton is a authority on the issue and has published a number of books on creativity, genius and leadership but rules out parental loss as the most significant factor. I have been in contact with Dr. Dean who suggested after explaining to him my theory that I contact somebody like yourself to explore the effect of parental loss on the brain

Now what do I theorize on the issue?
- Statistical results shows abundance evidence that there is some sort of a relation between parental loss and genius. I have found that more than 50% of any sample of group of genius achievers in any field are orphans. ( statistical studies done on 10 samples so far from the different fields with very close results ).
- Analytical studies in the field of literature show strong evidence on the effect of the experience of loss on the writers as shown on their creative works.
- The abundant statistical evidence shows that earlier theories has fell short of offering explanation how the experience of loss affects and results in genius achievements.
- It is not compensation, not sexual deprivation!
- It must have something to do with brain chemicals.
- It could be hormonal.
- But physics offers a possible explanation and this is what I believe happens.
- It seems to me that the traumatic experiences and parental loss comes in top of the list does have some kind of chemical effect on the brain.

- The changes in the brain chmicals allow a positron reaction to take place.
" The positron is explained in Wikipedia as " The positron or antielectron is the antiparticle or the antimatter counterpart of the electron. The positron has an electric charge of +1e, a spin of ½, and has the same mass as an electron. When a low-energy positron collides with a low-energy electron, annihilation occurs, resulting in the production of two or more gamma ray photons (see electron–positron annihilation). Positrons may be generated by positron emission radioactive decay (through weak interactions), or by pair production from a sufficiently energetic photon."

- This reaction results in a heightened level of energy.
- If channeled in proper ways it will results in creative activity and genius.
- You must already know that the positron technology is currently in use the field of the brain.

The testing I am looking forward for is to compare the status of 10 orphans' brains versus 10 non orphans to see if we can determine how are the orphans' brains are different from non orphans.

I am almost certain that we will find:
- Brain chemicals will be different.
- And/or Hormonal variations will be evident.
- The level of energy will be variant.
- Most probably the level of energy is heightened in orphans' brains due to some sort of positron chemical reaction that is possible only in the brain while physicist have failed to carry out in the real world so far. Wikipedia explains the technique as

" Positron emission tomography (PET)[1] is a nuclear medical imaging technique that produces a three-dimensional image or picture of functional processes in the body. The system detects pairs of gamma rays emitted indirectly by a positron-emitting radionuclide (tracer), which is introduced into the body on a biologically active molecule. Three-dimensional images of tracer concentration within the body are then constructed by computer analysis. In modern scanners, three dimensional imaging is often accomplished with the aid of a CT X-ray scan performed on the patient during the same session, in the same machine.

Looking forward to meeting you to further explain in person and looking forward to do the necessary testing.