Black-Box Study—A Black Box Study Assesses the Accuracy of Examiners’ Conclusions Without Considering How the Conclusions Were Reached
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Prince of Networks: Bruno Latour and Metaphysics
Open Access Statement – Please Read This book is Open Access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. Copyright Notice This work is ‘Open Access’, published under a creative commons license which means that you are free to copy, distribute, display, and perform the work as long as you clearly attribute the work to the authors, that you do not use this work for any commercial gain in any form and that you in no way alter, transform or build on the work outside of its use in normal aca- demic scholarship without express permission of the author and the publisher of this volume. Furthermore, for any reuse or distribution, you must make clear to others the license terms of this work. For more information see the details of the creative commons licence at this website: http://creativecommons.org/licenses/by-nc-nd/2.5/ This means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, you cannot: • gain financially from the work in anyway • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions such as schools and universities) • reproduce, distribute or store the cover image outside of its function as a cover of this work • alter or build on the work outside of normal academic scholarship Cover Art The artwork on the cover of this book is not open access and falls under traditional copyright provisions and thus cannot be reproduced in any way without written permission of the artists and their agents. -
Selection Guide for Oil Spill Applied Technologies: Volume 1
****ATTENTION**** Disclaimer: The information provided in this document by Region III and IV Regional Response Teams is for guidance purposes only. Specific information on countermeasure categories and products used for oil spill response listed in this document does not supersede the National Oil and Hazardous Substances Pollution Contingency Plan (NCP), Subpart J, Product Schedule rule. 40 CFR Part 300.900 addresses specific authorization for use of spill countermeasures. Part 300.905 explains, in detail, the categories and specific requirements of how a product is classified under one of the following categories: dispersants, surface washing agents, bioremediation agents, surface collecting agents, and miscellaneous oil spill control agents. Products that consist of materials that meet the definitions of more than one of the product categories will be listed under one category to be determined by the USEPA. A manufacturer who claims to have more than one defined use for a product must provide data to the USEPA to substantiate such claims. However, it is the discretion of RRTs and OSCs to use the product as appropriate and within a manner consistent with the NCP during a specific spill. For clarification of this disclaimer, or to obtain a copy of a current Product Schedule, please contact the USEPA Oil Program Center at (703) 603-9918. This page intentionally left blank. SSeelleeccttiioonn GGuuiiddee ffoorr OOiill SSppiillll AApppplliieedd TTeecchhnnoollooggiieess VVoolluummee II –– DDeecciissiioonn MMaakkiinngg NOTE: This revision of Volume I of the “Selection Guide for Oil Spill Applied Technologies” reflects many changes from the previous versions. Scientific and Environmental Associates, Incorporated and the Members of the 2002 Selection Guide Development Committee. -
(2018) the Artificial Intelligence Black Box and the Failure of Intent And
Harvard Journal of Law & Technology Volume 31, Number 2 Spring 2018 THE ARTIFICIAL INTELLIGENCE BLACK BOX AND THE FAILURE OF INTENT AND CAUSATION Yavar Bathaee* TABLE OF CONTENTS I. INTRODUCTION .............................................................................. 890 II. AI, MACHINE-LEARNING ALGORITHMS, AND THE CAUSES OF THE BLACK BOX PROBLEM ...................................................... 897 A. What Is Artificial Intelligence? ................................................ 898 B. How Do Machine-Learning Algorithms Work? ....................... 899 C. Two Machine-Learning Algorithms Widely Used in AI and the Black Box Problem ................................................... 901 1. Deep Neural Networks and Complexity................................ 901 2. Support Vector Machines and Dimensionality ...................... 903 D. Weak and Strong Black Boxes ................................................. 905 III. THE BLACK BOX PROBLEM AND THE FAILURE OF INTENT ......... 906 A. Non-AI Algorithms and Early Cracks in Intent ........................ 908 B. AI and Effect Intent .................................................................. 911 C. AI-Assisted Opinions and Basis Intent ..................................... 914 D. AI and Gatekeeping Intent ....................................................... 919 IV. THE FAILURE OF CAUSATION ..................................................... 922 A. Conduct-Regulating Causation ................................................ 923 B. Conduct-Nexus Causation ....................................................... -
Globalization.Pdf
GLOBALIZATION Yesterday, Today, and Tomorrow i GLOBALIZATION Yesterday, Today, and Tomorrow Edited by Jim Sheffi eld, Victoria University of Wellington Andrey Korotayev Russian State University for the Humanities Leonid Grinin Volgograd Center for Social Research 3810 N 188th Ave Litchfi eld Park, AZ 85340 iii Globalization: Yesterday, Today, and Tomorrow Edited by: Jim Sheffi eld, Andrey Korotayev, & Leonid Grinin Library of Congress Control Number: 2013xxxxxx ISBN: 978-1-938158-08-7 Copyright © 2013 3810 N 188th Ave, Litchfi eld Park, AZ 85340, USA All rights reserved. No part of this publication may be reproduced, stored on a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfi lming, recording or otherwise, without written permission from the publisher. Printed in the United States of America iv v vi ABOUT THE EDITORS Jim Sheffi eld is a systems theorist at the School of Management at Victoria University of Wellington, New Zealand. In this capacity and his previous role as Director of the Decision Support Centre, University of Auckland he has designed, implemented and evaluated more than 100 action research initiatives. Major projects focussed on the facilitation of national policy in response to globalization. Jim has published widely in the systems perspectives that underpin aspects of globalization, especially those related to decision making, knowledge management, systemic development and ethical inquiry. He has over 150 scholarly publications and is coeditor of the Journal of Globalization Studies. He serves on the editorial board of journals and is active in professional societies, including the International Society for the Systems Sciences (ISSS). -
ENGLISH-LANGUAGE THEATRES in POST-COMMUNIST PRAGUE By
TITLE PAGE PERFORMING CULTURES: ENGLISH-LANGUAGE THEATRES IN POST-COMMUNIST PRAGUE by Gwendolyn Alaine Orel AB English, AB Classics, Stanford University, 1987 AM English, Stanford University, 1987 Submitted to the Graduate Faculty of Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 COMMITTEE PAGE UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Copyright © by Gwendo lyn Alaine Orel Gwendolyn2005 Alaine Orel It was defended on December 1, 2005 and approved by Nancy Condee, Associate Professor, Slavic Languages and Literatures Attilio Favorini, Professor, Theatre Arts Kathleen George, Professor, Theatre Arts Kiki Gounaridou, Associate Professor, Theatre Studies, Smith College J. Thomas Rimer, Professor Emeritus, Theatre Arts, Department of East Asian Languages and Literatures Dissertation Advisor: Attilio Favorini, Professor, Theatre Arts ii ABSTRACT PERFORMING CULTURES: ENGLISH-LANGUAGE THEATRE IN POST-COMMUNIST PRAGUE Gwendolyn Alaine Orel, PhD University of Pittsburgh, 2005 The presence of English-language theatres (ELTs) in Prague in the nineties coincided with the ongoing transition to a market economy in the Czech Republic, as the English language itself became increasingly the international language of business and culture. Under Communism, Czech theatre had been highly political through veiled protests against the system of power. After 1989, Czech theatre began moving into spheres of commodification and tourism. How the ELTs in Prague negotiated their place in a shifting society reveals a performance of identity. The ELTs tracked the turning points in Czech post-revolutionary history of the 1990s. The history of the ELTs has been constructed through personal and telephone interviews and emails, as well as reviews, articles, manuscripts and production videotapes. -
4.2 Sentence Emotion Recognition Model (Serm)
Ricardo Manuel da Silva Malheiro Emotion-based Analysis and Classification of Music Lyrics Doctoral Program in Information Science and Technology, supervised by Prof. Dr. Rui Pedro Pinto de Carvalho e Paiva and Prof. Dr. Paulo Jorge de Sousa Gomes and submitted to the Department of Informatics Engineering of the University of Coimbra August 2016 Thesis submitted to the University of Coimbra in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Information Science and Technology The argument of this thesis took place on 27th April, 2017, in Sala dos Capelos, University of Coimbra. The candidate was unanimously approved with distinction and honors by the following jury: Ernesto Jorge Fernandes Costa, Professor Catedrático, Faculdade de Ciências e Tecnologia da Universidade de Coimbra - FCTUC (Chair) Aníbal João de Sousa Ferreira, Professor Associado, Faculdade de Engenharia da Universidade do Porto - FEUP Matthew Davies, Senior Researcher, Instituto de Engenharia de Sistemas e Computadores, Tecnologia e Ciência - INESC TEC Bruno Emanuel da Graça Martins, Professor Auxiliar, Instituto Superior Técnico da Universidade de Lisboa - IST Fernando Amílcar Bandeira Cardoso, Professor Catedrático, Faculdade de Ciências e Tecnologia da Universidade de Coimbra - FCTUC Rui Pedro Pinto de Carvalho e Paiva, Professor Auxiliar, Faculdade de Ciências e Tecnologia da Universidade de Coimbra - FCTUC This work was carried out under the supervision of Professor Doutor Rui Pedro Pinto de Carvalho e Paiva Professor Auxiliar do Departamento de Engenharia Informática da Faculdade de Ciências e Tecnologia da Universidade de Coimbra and Professor Doutor Paulo Jorge de Sousa Gomes Professor Auxiliar do Departamento de Engenharia Informática da Faculdade de Ciências e Tecnologia da Universidade de Coimbra to Paula and Marta v ABSTRACT Music emotion recognition (MER) is gaining significant attention in the Music Information Retrieval (MIR) scientific community. -
EURASIA MAILORDER British List 2021/8/2 Updated How to Order
EURASIA MAILORDER British List 2021/9/1 updated How to Order 10CC [HOW DARE YOU!] (UK / MERCURY / 75 / FOC/WI) EX/EX USD 16 / EURO14 10CC [SAME] (UK / UK RECORD / 74 / WI) EX/EX USD 25 / EURO21 10CC [SHEET MUSIC] (UK / UK RECORD / 74 / WI) EX/EX USD 23 / EURO19 11.59 [THIS OUR SACRIFICE OF PRAISE] (UK / DOVETAIL / 74 / WI) EX+/EX USD 180 / EURO152 9.30 FLY [SAME] (UK / EMBER / 72 / FOC) EX+/EX USD 342 / EURO288 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB) EX/EX USD 61 / EURO52 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB/SOC) EX/EX USD 34 / EURO29 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB) EX+/EX USD 52 / EURO44 ACHOR AND FRIENDS [HOSANNA TO THE SON OF DAVID] ( / / / ) EX+/EX+ USD 52 / EURO44 ADRIAN WAGNEFR [DISTANCES BETWEEN US] (UK / ATLANTIC / 74 / ) M-/EX USD 43 / EURO36 ADRIAN WAGNEFR [INSTINCTS] (UK / CHARISMA / 77 / ) EX/EX USD 34 / EURO29 AFFINITY [SAME] (ITA / AKARMA / / FOC) M-/M- USD 34 / EURO29 AFTER THE FIRE [SIGNS OF CHANGE] (UK / RAPID / 78 / WI) EX/EX USD 144 / EURO121 AFTER THE FIRE [SIGNS OF CHANGE] (UK / RAPID / 78 / ) EX/EX USD 108 / EURO91 AL ET AL [STRANGE AFFER] (UK / ARNY'S SHACK / / ) VG/VG+ USD 252 / EURO212 ALAN BOWN [STRETCHING OUT] (UK / ISLAND / 71 / FOC) EX/EX USD 34 / EURO29 ALAN BOWN [STRETCHING OUT] (UK / ISLAND / 71 / FOC) EX/EX USD 25 / EURO21 ALAN COHEN BAND [BLACK BROWN & BEIGE] (UK / ARGO / 73 / WI) EX/EX USD 90 / EURO76 ALAN SKIDMORE QUINTET [TCB] (UK / PHILIPS / 70 / ) EX+/EX+ USD 295 / EURO248 ALEANNA [SAME] (UK / -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
The Black Box Society
THE BLACK BOX SOCIETY THE BLACK BOX SOCIETY The Secret Algorithms That Control Money and Information FRANK PASQUALE Cambridge, Massachusetts London, En gland 2015 Copyright © 2015 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Library of Congress Cataloging-in- Publication Data Pasquale, Frank. The black box society : the secret algorithms that control money and information / Frank Pasquale. pages cm Includes bibliographical references and index. ISBN 978- 0-674- 36827- 9 1. Power (Social sciences) 2. Elite (Social sciences) 3. Knowledge, Theory of. 4. Observation (Psychology) I. Title. HN49.P6.P375 2015 303.3—dc23 2014013480 For Ray In Memory of my Parents CONTENTS 1 Introduction—The Need to Know 1 2 Digital Reputation in an Era of Runaway Data 19 3 The Hidden Logics of Search 59 4 Finance’s Algorithms: The Emperor’s New Codes 101 5 Watching (and Improving) the Watchers 140 6 Toward an Intelligible Society 189 Notes 221 Ac know ledg ments 305 Index 307 [T]here is one world in common for those who are awake, but [when] men are asleep each turns away into a world of his own. —Heracleitus Million- fuelèd, ꞌ nature’s bonfi re burns on. But quench her bonniest, dearest ꞌ to her, her clearest- selvèd spark Man, how fast his fi redint, ꞌ his mark on mind, is gone! Both are in an unfathomable, all is in an enormous dark Drowned. —Gerard Manley Hopkins 1 INTRODUCTION—THE NEED TO KNOW EVERYBODY KNOWS the story about the man crawling intently around a lamppost on a dark night. -
Exhibit-Pitch-1982-07.Pdf
LK RATE ALL THE NEWS S. POSTAGE THAT'S FIT TO PITCH . ~p.rm~rw,.2419. ~. PI~Ctl FREE Jul y 1982 marks the two year pus) the summer of '80 heat LeRoL of course has hi s legion ~~F i~~e t~~ k~~5~r s~o~~l tgRdMor- wave) the Kansas City Black of followers (pg. 4). Brian Col ~~nng~~af~a~f tf~t PR~~~a~o. ris) William Burroughs and Al Educational Broadcasting sit gan's heavy meta I fanat 1c i sm Ci ty readers have experienced len Ginsberg) Frank Sinatra) uation. the Westport Ballet. (pg. 15) is backed by a cogent an incredible flux of events. Pere Ubu) Darius Milhaud. De the experimental years of musical philosophy. And Unkel Funkt) i-ela) and Chorne Parker. the K.C. Philharmonlc. and Bob Mossman (the world's old ~~~~~n~~a?nK~t~rpI~gR~ of the progress i ve film showings. est active radio DJ) keeps Various members of the PITCH a close watch on traditional The first year of PITCH pub- staff have conducted personal K.C. PITCH finds its way to good-time Jazz (pg. 9). Will ie I ication. under editor Warren interviews wi th such top of 46 states coast -to-coast. I rie. Donna Trussel L John Heu Styl us is now legendary. the pop personali ties as Tony and overseas. too. It has re- ertz. and Saul Tucker make Charles Chance. Jr.) editor Bennett (see next ish). John significant and lively contri- for one year thus far. has Hartford. Blue Riddlm Band) ~g~ar~ne~e~~ f~~dG~6t~¥~r g~~d. -
Cronologia Dei Principali Album E Delle Migliori
1 Cronologia dei principali album 1963 The Beatles Please, Please Me mar With the Beatles nov 1964 The Rolling Stones Rolling Stones apr 12X5 nov The Beatles A Hard Day's Night lug Beatles for Sale dic The Yardbirds Five Live Yardbirds dic 1965 The Kinks Kinda Kinks mar The Rolling Stones Now apr Out of Our Heads lug Donovan Whats Bin Did and What’s Bin Hid mag Fairytale ott Moody Blues The Magnificent Moodies lug The Beatles Help ago Rubber Soul dic The Kinks Face to Face ott The Who My Generation dic 1966 The Rolling Stones Aftermath apr John Mayall, Eric Clapton Mayall’s Blues Breakers with Eric Clapton lug The Yardbirds Roger the Engineer lug The Beatles Revolver ago Donovan Sunshine Superman set The Who A Quick One dic Cream Fresh Cream dic 1967 Donovan Mellow Yellow gen 2 The Rolling Stones Between the Buttons gen Their Satanic Majesties Request dic John Mayall Hard Road feb Crusade set Small Faces Small Faces giu The Beatles Sgt Pepper giu Magical Mystery Tour dic The Bee Gees The Bee Gees 1st lug The Yardbirds Little Games lug Pink Floyd The Piper at the Gate of Down ago Animals Winds of Change set Ten Years After Ten Years After ott The Who The Who Sell Out nov Cream Disraeli Gears nov Moody Blues Days of Future Passed nov Nice The Thought of Emerlist Davjack dic Traffic Mr Fantasy dic The Kinks Something Else m s Brian Auger Open m s 1968 The Bee Gees Horizontal gen Procol Harum Procol Harum gen Shine on Brightly dic John Martyn London Conversation feb Small Faces Ogden’s Nut Gome Flake mag Pentangle Pentangle giu Sweet Child -
Terrace Martin No Barriers
February 2017 VOLUME 84 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Kevin R. Maher 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian,