Sublime
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The idea in MCMC is to do a random walk, like the proverbial drunkard, jumping from state to state of the network in such a way that, in the long run, the number of times each state is visited is proportional to its probability. We can then estimate the probability of a burglary, say, as the fraction of times we visited a state where there was a bu
... See morePedro Domingos • The Master Algorithm: How the Quest for the Ultimate Learning Machine Will Remake Our World
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add a filter constructed as follows: we’ll assign the variable “x” a +1 value whenever two closes in a row are in the same direction, up or down. If it’s an up followed by a down or vice versa, then x=0. If over a given number of days, x is greater than or equal to a given threshold, we’ll activate our basic breakout entries.
Art Collins • Beating the FINANCIAL FUTURES MARKET: Combining Small Biases Into Powerful Money Making Strategies
Kierkegaard and Marx are not only Hegel’s most trenchant critics but also his most important appropriators.
Jamie Aroosi • The Dialectical Self: Kierkegaard, Marx, and the Making of the Modern Subject
Markov chains tell you the statistically likely future without knowing the past; blockchains enable the real-life future by indelibly recording the past.
George Gilder • Life After Google
By adding these links between notes, Luhmann was able to add the same note to different contexts. While other systems start with a preconceived order of topics, Luhmann developed topics bottom up, then added another note to his slip-box, on which he would sort a topic by sorting the links of the relevant other notes.
Sönke Ahrens • How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking – for Students, Academics and Nonfiction Book Writers
Introducere în opera lui M. Blecher
Analysis of M. Blecher's literary work, focusing on his themes of human vulnerability, existential ephemerality, illness, inner imaginary, onirism, and the interplay between reality and dream, especially in his novels and journal.
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