Creation and knowledge production by experts

专家的创造和知识生产专家不仅拥有丰富的、结构良好的领域知识，而且经常能够产生新的知识。本研究旨在阐明专家认知的生成性，并构建其过程模型。1995年，我们对烹饪和视觉艺术的创作过程进行了一系列实验。在接下来的一年里，我们调查了知识产生的过程，超越了单个产品的生产，主要是在烹饪领域。在最近的一年里，我们发展了知识生成和潜在专业知识的理论公式，并进行了一些额外的实验。现在涉及烹饪的附加实验将根据不同的材料和需求以及一个领域(西方音乐)的专家如何将一个人的专业技能转移到另一个相关领域(日本传统音乐)而有所不同。结果如下：1)复制Unkno…更多的WN配方和识别所需材料的差异取决于参与者的领域知识的数量；2)识别配方的并向探索往往产生更坚定的搜索，但并不比个人尝试更成功，因为不同的想法并不总是被采用来整合。相比之下，经验测试有效地提高了食谱识别，尽管它是由参与者的知识量中介的；3)没有证据表明专家对烹饪的限制有选择性地放松。有经验的烹饪参与者在尝试修复食谱时表现得更好，他们会用其他人替换缺失的材料或设备，但在制作新菜肴方面倾向于更加保守；4)绘画的初学者和中间人在再现观察到的素描特征方面没有区别；5)缺乏接受经验阻碍了学习日本音乐的表演技能。西方音乐的经历大体上是有益的，但有时会让新手感到困惑。较少

Creation and knowledge production by expertsExperts not only possess a body of rich and well-structured domain knowledge but also can often produce new pieces of knowledge. The present study was aimed at clarifying this generative nature of eperts' cognition and building its process models. In 1995 we conducted a series of experiments on the process of creation in cooking and visual arts. ln the following year we investigated the process of knowledge generation, going beyond the production of individual pieces, mostly in the domain of cooking. ln the latest year, we developed a theoretical formulation of knowledge generation and underlying expertise, and conducted some additional experiments. The additional experiments dealt with now cooking would vary depending on different materials and demands and how an expert in one domain (Western music) would transfer one's expert skills to another, related domain (Japanese traditional music).The results were as follows : 1) Reproducing an unkno … More wn recipe and identifying needed materials differed greatly depending upon participant's amount of the domain knowledge ; 2) Dyadic explorations for identifying a recipe tended to produce more committed search but were not more successful than individual attempts, because different ideas were not always adopted for integration. In contrast, empirical testing was effective for enhancing the recipe identification, though it was mediated by the amount of participant's knowledge ; 3) There was no evidence for the selective relaxation of constraints in cooking among experts. Experienced participants in cooking were better in their attempt to repair a recipe, by replacing missing materials or devices by others, but tended to be more conservative in terms of producing new dishes ; 4) Beginners and intermediates in painting did not differ in reproducing features of observed drawings ; 5) Learning of performing skills for Japanese music was hindered by the lack of receptive experience. Experience in Western music was generally facilitative, but sometimes produced confusion for newcomers. Less