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试论述发散性思维与逻辑思维的联系与区别。

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正确答案:

逻辑思维为主的创新思维方法,是演绎、归纳和类比的综合应用。创新思维的逻辑方法,有些类似于我们从心理学角度对思维的发散和收敛之分,但它们之间又有一些根本的区别。

一、联系

1、归纳方法和类比方法,类似于心理学中的发散性思维。利用这样的思维方式,我们提出假说、推测或者方案。我们用已知的前提所获得的结论是扩展性的.两者都是一种开放式的思维过程

2、演绎方法则有些近似于收敛性思维。利用这样的思维方式,我们依据已经给出的假说或者猜测来进行分析和推断。我们用已知的前提所获得的结论是内敛性的,两者都是一种封闭式的思维过

二、区别

1、使用归纳方法和类比方法,同样的已知条件推出的是一个假说,不是多个假说。归纳方法和类比方法的扩展性是指在推导过程中,推出的假说扩展了已知条件的断定范围。

2、使用发散性思维.同样的已知条件获得的是多个假说,不是一个假说。发散性思维的扩展性是指在思维过程中,我们为同一个问题,提出了多个解决问题的f段说、推测和设想。

3、使用演绎方法,从前提到结论的思雏过程虽然是封闭性的,但这种封闭性是指在推导过程中,我们用已知条件获得的结论,没有超越已知条件所断定的范围。演绎推理中的已知条件,已经包含了结论中的东西。

4、而收敛性思维所体现的封闭性,则是在众多的假说和猜测之中,选择其中优化的假说和猜测。收敛性思维中的已知条件是多个方案,它是从多个方案中,选定其中的一个或者几个方案。

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Selling Digital Music without Copy-protection Makes Sense A. It was uncharacteristically low-key for the industry’s greatest showman. But the essay published this week by Steve Jobs, the boss of Apple, on his firm’s website under the unassuming title “Thoughts on Music” has nonetheless provoked a vigorous debate about the future of digital music, which Apple dominates with its iPod music-player and iTunes music-store. At issue is “digital rights management” (DRM)—the technology guarding downloaded music against theft. Since there is no common standard for DRM, it also has the side-effect that songs purchased for one type of music-player may not work on another. Apple’s DRM system, called FairPlay, is the most widespread. So it came as a surprise when Mr. Jobs called for DRM for digital music to be abolished. B. This is a change of tack for Apple. It has come under fire from European regulators who claim that its refusal to license FairPlay to other firms has “locked in” customers. Since music from the iTunes store cannot be played on non-iPod music-players (at least not without a lot of fiddling), any iTunes buyer will be deterred from switching to a device made by a rival firm, such as Sony or Microsoft. When French lawmakers drafted a bill last year compelling Apple to open up FairPlay to rivals, the company warned of “state-sponsored piracy”. Only DRM, it implied, could keep the pirates at bay. C. This week Mr. Jobs gave another explanation for his former defence of DRM: the record companies made him do it. They would make their music available to the iTunes store only if Apple agreed to protect it using DRM. They can still withdraw their catalogues if the DRM system is compromised. Apple cannot license FairPlay to others, says Mr Jobs, because it would depend on them to produce security fixes promptly. 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Consumers would gravitate to the best player and the best store, and at the moment that still means Apple’s. Mr Jobs is evidently unfazed by rivals to the iPod. Since only 3% of the music in a typical iTunes library is protected, most of it can already be used on other players today, he notes. (And even the protected tracks can be burned onto a CD and then re-ripped.) So Apple’s dominance evidently depends far more on branding and ease of use than DRM-related “lock in”. F. The music giants are trying DRM-free downloads. Lots of smaller labels already sell music that way. Having seen which way the wind is blowing, Mr Jobs now wants to be seen not as DRM’s defender, but as a consumer champion who helped in its downfall. Wouldn’t it lead to a surge in piracy? No, because most music is still sold unprotected on CDs, people wishing to steal music already can do so. Indeed, scrapping DRM would probably increase online-music sales by reducing confusion and incompatibility. 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