skysight-inc/HackerNews huggingface dataset:
I'm the guy who started the Cython project and made up the name, so here are some random remarks that don't answer your question. Not only is Cython about 8 years old, it started as a fork of Pyrex (http://www.cosc.canterbury.ac.nz/greg.ewing/python/Pyrex/), which is itself over 11 years old, since I remember using it in 2004 when evaluating languages in which to implement http://sagemath.org.
The people who did the most work on Cython on probably Stefan Behnel and Robert Bradshaw (who was my Ph.D. student). I had to sort of twist their arms to get them to be involved in the project, and they both still only do it in their spare time basically for fun. Despite Cython being an incredibly useful and powerful tool for certain specific problem domains (e.g., for SageMath it is critical), and being very heavily used in some scientific python applications, there's no company behind Cython and few people involved in the project are interested in publicity. Cython is an open source labor of love and an extremely useful tool. People that know Cython very well, know how amazingly powerful it is, and have watched many other attempts to solve similar problems come and go over the years.
I really like it. Only issue I see is that some user will be confuse about what just happened.
The Evolution of Flux Frameworks
I would love for a Xeon in a Mac Book Pro (or in my dreams a Mac mini server), but I worry they will put it in the next Mac Pro.
To answer the question, that came up:

Yes, the 0.x number also put me down at first. But I am using this tool now several years, since 0.13 or maybe earlier and did never find a bug or problem.

Cython is great, in-spite of its version number!

I also inspected the generated code several times and it looks rock-solid. Also one big advantage (for me): It can produce code that runs equally on 2.x and 3.x versions (there are some limitations, though, like several really outdated versions are not supported any more).
> You present this as reasoning but, doesn't make it wrong.

In essence you are trying to say Rails philosophy is right and the other one is wrong ? This is exactly what's wrong with Rails too much opinionated that it makes me want to puke for it is promoting pseudo-science. Give us fact about any of the philosophy Rails uses, I remember, making too many SQL queries is "just fine".
Don’t only the right hand side of the bell curve take the SAT [1]? Also hasn’t there been significant inflation in SAT scores over time [2]?

1. http://nces.ed.gov/programs/digest/d10/tables/dt10_154.asp

2. http://www.ets.org/Media/Research/pdf/RR-02-04-Dorans.pdf

Edit. This article is rather interesting [3]. I am not sure how much we can draw from SAT marks from along time ago other than GWB was not an idiot nor the smartest person at Yale. No dumb person is going to graduate from Yale even if they are a legacy student.

3. http://www.slate.com/articles/briefing/articles/2000/01/bill...
I wouldn't say no one. It sounds amazing to me, but I also like Wesley Willis.
10 Mind Blowing Facts About Wall Street You Won't Believe Are True
love this lightweight app, great for marketing testing of a new idea etc
I notice you stopped short of rare.
Fruit+Cocktail+Household+Diversion+Safe
My thoughts exactly. find what they need, not what they want
One issue might be your landing page for the game in the App Store.

The static images and their text descriptions do not convey what the game is about. e.g. Platform action, puzzle solving. The description section helps, but I'm not sure how many potential customers go past the images as a first filter.

As someone not familiar with your previous games, it wasn't until I went and looked at the video on your website that I thought that yes, this is something I would find fun to play.

I think the reviews coming out should help to attract customers for you. That is, it will be the review that sells them, and then they'll go and buy your game, rather than making an impulsive choice while browsing the App Store.
the article says it was trained on a collection of MIDI music, which tends to lack the dynamic feel of live performance
A good option is to look for winners of science book prizes.

The Royal Society Winton Prize is excellent: http://www.theguardian.com/books/royal-society-science-book-....

Some personal favourites:

The Incredible Unlikeliness Of Being by Alice Roberts is a wonderful book that describes how a human being develops from conception to adulthood in minute biological detail.

The Code Book: The Science of Secrecy from Ancient Egypt to Quantum Cryptography by Simon Singh is fantastic, if a little out of date by now.

Cosmos: The Story of Cosmic Evolution, Science and Civilisation by Carl Sagan.
my guess is that the ECC aspect is really a hit or miss on the waffer fabrication, that's why they have such a huge pool of the market without it. also that is why intel has 200 models of each CPU. they waste nothing that cames out of the oven there.
Your downside risk remains the same (lose loaned money), but your upside gains increase substantially (interest vs interest+acquisition/ipo income). Thus the risk becomes more tolerable.
in a dark apartment in taiwan right now. love this idea. huge potential. you guys have patents?
I agree, that it is extremely useful, since before I knew Cython, I implemented some Python C extension modules by hand. That can become rather ugly and costs much sweat.

Today, I can use Cython. Or when I need even more speed, than I use Cython as wrapper-generator for a pure C module, that is still much, much easier to implement, as when I would have to do the wrapping work myself.

Cython is really enormous useful and precious to me!

Thank you for it!
Yes. Sorry, but as a music geek, this is actually pretty terrible - not even close to bad first year composition student pastiche, and a long way short of David Cope's EMI, which is probably the current state of the art.

I wish coders who are trying to do something in a creative domain would learn the basics and not just assume they can throw some simple algorithms at an artform and get anything close to an acceptable result.

No one is going to take a coder seriously if they can't code fizzbuzz.

Here's a thing to know: all the arts have their own equivalents. If you don't know what they are, learn them. Then maybe you can start thinking about non-toy algorithms and data structures that are going to impress an audience that cares more about quality of output than implementation details.

Most people who start working with domain-specific knowledge find it's much harder than they think.
A Critique of the Remote Procedure Call Paradigm (1988) [pdf]
Bit errors have been used to hijack communications. Just register a bunch of domains that differ from popular ones by a single bit and watch the requests come in.[1]

Typically, users don't recognize single bit errors. Something breaks and they think, "Stupid buggy software." With modern RAM capacities, you're pretty likely to get some bits flipped every few months.

1. http://dinaburg.org/bitsquatting.html
Oddly enough it has the characteristics of bad jazz, like prono music but classical.
I mean, not to the best of humans, but someone that is intermediate, I'm sure most people couldn't notice anything "wrong" with the first sample if they weren't told in advance.

I actually found them really enjoyable, I've been actually listening to them, and as the author says, except the part where it stays for a really long time in one chord, it's eerily similar IMHO.
Surely the quote is talking about average risk. Yeah, adding amy investment to a portfolio will increase overall risk, but debt in startups is a lot riskier than equity since most fail and debt caps your upside.
As a student of classical I'd like to point out what I believe to be the main in-humanness in the generated music that makes it stray from "real" classical.

Some have cried violation of counterpoint, but I don't think that is such an issue here. CP is mostly about how notes are linked together on a small scale, and this is rather the network's strong point: it seems to concentrate on the associativity between notes and between chords, and any given moment seems to be composed with a vision that only extends to a few bars (or even just a few beats) around that moment.

The main problem is therefore large-scale structure. For one, recurrence of melodies (at key moments and transpositions) is crucial to creating the emotional value of classical music. None of this appears here.

And secondly, possibly the greatest shortfall of the present neural network (I'm ignoring performance, of course) is the harmonic structure. Classical music, let's say later than medieval and earlier than late-romantic in style, generally has the harmonic structure of a recursive cadence. Harmonic cadences are what give emotional power to harmony, but this NN is painfully incapable of creating any.

That being said, I don't think this problem is inherent to the approach of creating music with NNs. Right now it sounds like what you'd get with a well-crafted Markov chain, but NNs can go beyond this, and this article is exactly the kind of thing that will instigate this evolution.
Currently reading this and while it's pretty good, there's a considerable amount of fluff in the earlier chapters.
I think the problem you're pointing to is not that pop music is somehow more difficult or more performance based - a lot of pop music is basically electronic music and has relatively little performance element. What you're noticing is that music (and not just pop music), and in fact, all art, is anti-inductive [1].

What I mean by that is that our expectations of music are constantly changing and evolving, and the minute something is created that captures our imagination, creating something similar becomes "not that interesting". It would probably be fairly easy to create an engine that produces pop music from the 80s or 90s or even 2000s, but the closer you get to today, the more the music is either a copy/rearrangement of an existing pop song, or it's not recognised as pop music.

The very nature of music is constantly reinventing itself, everyone always looking for that "new sound". These neural networks, as they are at the moment, can, it seems, pick up an existing "sound" and learn to reproduce it, but creating "new sound" is another matter, at the moment at least.

[1] http://slatestarcodex.com/2015/01/11/the-phatic-and-the-anti...
Memory bit flips happen all the time—not like daily or weekly per computer, but you can have multiple memory bit flip incidents during the multi-year life of an average computer. Either you detect them, or you get silent data corruption. If you're lucky it's in unused ram; if you're not, it may be in running code (possible crash or software misbehavior) or data (in a text document, one corrupted character; in some other kind of data, it could be much worse). Think about how a bit flip in code or data can affect things like ciphertext generation. It can become a huge deal.

Think of "bad ram" —the kind that fails memtest86— as ram that has an increased tendency (compared to "good ram") to flip certain bits that with a little more luck, or more conservative timings, wouldn't flip. The threshold between good ram and bad ram is not black and white.

Also see "rowhammer" — https://news.ycombinator.com/item?id=9171722 — ECC mitigates that to a significant degree.

Aggressive memory testing before use can weed out memory that's plain bad (one bit always screwing up), and certain borderline cases of memory that will flip bits under certain high stress loads or access patterns (I suppose that's due to thermal entropy?), but it's no guarantee, and it certainly offers no protection against cosmic ray induced bit flips, which happen too.

Ordinary consumer memory is not "quite reliable" if you care about data integrity or stability.

Google's study:
http://research.google.com/pubs/pub35162.html
(direct pdf link:
http://static.googleusercontent.com/media/research.google.co... )
Haven't read, but that's amazing!
Nope, no attempt at bandwidth controls from my end. My wife is watching some kind of HD stream from her home country, I'm watching netflix or youtube and web surfing, and have 3 torrents pulling down from archive.org right now at around 1-2Mb/s.

I'm sure there's some kind of fallback to SD from Netflix, their webpage claims I need 5Mb/s to get 720p, and 25Mb/s for "Ultra HD" (whatever that is and I'm pretty sure I'm not getting that for old episodes of Firefly) leaving me with somewhere between 25-45Mb/s. I'm pretty sure my wife isn't gobbling all that up with whatever it is she's watching. Web browsing is much lighter.

So all told, worst case I'm looking at

- 6Mb/s torrents

- 5Mb/s Netflix

- let's say 5Mb/s for my wife's video

- some fraction of 1Mb/s for our collective web surfing

Maybe 17-20Mb/s?

Amazingly, with all that going on, if I go do a speed test, it still showed me around 40/50 so I'm definitely under that.
The NSA isn't spying on you
I greatly enjoyed 1776:

http://books.simonandschuster.com/1776/David-McCullough/9781...
> However, we can easily falsify a given theory if we can produce even one single observation where the theory does not fit reality [...]

Actually, strictly speaking, it's not that easy. The Duhem-Quine Thesis quite nicely shows how critical experiments aren't quite as decisive as some like to think, especially as theoretical depth increases. A theory can depend on numerous other theories being true. The reason a theory in question is the subject of a critical experiment is because of the principle of economy. Once supporting theories have been sufficiently corroborated, we justifiably tend to trust them more than the theory that we are currently considering.
Although I agree with you about the music part, truth is the post actually is about proving the oposite. Sure you have scales and counter point and harmony to care about, but given enough computational means, a machine will eventually figure them out from previous examples without knowing the theory.
So why not do it yourself? Watson is merely Apache UIMA. An open source application.
You seem to have knowledge here, I have always had some of these same questions about "new" banks. What is the minimum liquid holdings that is required by the Fed to open a bank, and what is the leverage you can use against those assets (I'd assume it grows with the total liquidity values)? How does it work, is a smaller bank getting loans only from the Fed or from larger banks at "wholesale" rates? How does the Fed evaluate the risk profile of a small bank? Is it based on the leveraged assets or something more?

Ironically, I have done work for financial institutions but we worked on front line software and on basic web applications around peoples accounts, never the backend and no one I ran into understood how it really functions behind the scenes. Or maybe they just didn't want to take the time to explain to me.
It looks like Netflix is claiming 4k at 25Mb/s (at their standard degraded quality). So we'll need more bandwidth in the future, but I don't even have anything in my house that can display 4k anyways so I'm not too concerned.
Yes, in short the music doesn't have sense - there is no story in it, or some message. But anyway, that's impressive that the network has generated this music.
The point of this type of modeling is to see how far a black box can get. I don't think anyone is claiming this LSTM is creating "state of the art" art.
But I've listened for the music example and have heard previously of recurrent neural networks.
Why can't it just be the story of a random walk through classical-music-space?
The problem with this is the "wrong hands" are exactly the kind of programmers who are convinced they really need complex abstractions when a much simpler option is available.
I've been around the UK and Ireland so I know what you mean about the roads and the difficulty of running infrastructure around them.

I remember back when we had DSL we could saturate it, even with just some casual youtubing.

Funny thing is, we never asked for or paid for symmetric connections, our phone company just did it one day as part of a system upgrade and sent everybody new routers. And they've done at least one bandwidth upgrade since then.

I grew up pretty rural so I can definitely sympathize with your pain. The first world will arrive soon!
> it should be respected regardless of font size, monitor width, etc.

I don't think anyone would suggest it is magic. It is a convention that is somewhere near to being good, and is so widely used that it is heavily tool supported, so you should have a good reason not to use it.

Actually, 80 is a bit of a misnomer, PEP8 has it at 79, git convention is 72 (50 for first line, to allow git log to display sha-summary inline and fit into 80 cols), etc.

> You can just let it either wrap them or cut some lines off and scroll when you want to check them (what I do).

Ah, I see. In which case I take back many of my objections. I see what you're saying now. Thanks.
This isn't interesting because it generates the best algorithmic music, it's interesting because he trained it on data, and didn't implicitly encode (very much) music theory into it. In other words, the fact that it sounds musical at all is due to the power of the neural network, and not to a carefully human-curated set of music theoretical constraints, onto which an RNG selects the remaining free variables. It's learning music from reading music and it's generating music based on a model constructed from the data itself.
I say you're wrong - and I'm saying that as someone who has worked on both.

Bach, Mozart, and Beethoven are so complex there are no living human composers who can produce convincing imitations - never mind machines.

There are a few people who can do clever improvisations in-the-style-of, but that music completely lacks the big structures, broad relationships, and metaphorical depth of the real thing.

In comparison, electronic pop styles are much more formulaic, and the forms and changes are much more predictable.

I think we're less than ten years away from completely generative pop, vocals, sound design, and all. Good computer generated classical music is going to take quite a while longer.
It can of course. The same way I can just produce random noise and say it is music (avant-garde), and those who don't like just understand nothing in art.
What are you implying? That I'm not "really living my life" because I don't try to convince myself death is better if I was having fun just before it happened?

You really think a chainsaw juggler is going to have more fun getting mutilated by a chainsaw than dying in their sleep? Or that drowning is somehow not unbearably frightening just because you like water? Have you never heard of post traumatic stress? When you almost die doing something, it can make you not like it anymore. So why would you assume dying doing something you love isn't actually a good way to die losing the thing you love most?

Because you don't want to believe it.
Interesting - it's pretty linear right now, but it could be much more convincing if it also had some understanding of form, e.g. Sonata-Allegro form - themes, recapitulation, etc. I wonder if the training could involve a process that abstracts the seed data similar to Schenkerian Analysis and then extrapolating out from there.
Yeah, fuck simplicity, let's clobber and merge every fucking thing.
> We can always go full-retard with the utilitarianism. If you're going to allow injustice to happen to the few to the benefit the many, why even bother prosecute anyone for anything?

That is quite a strawman coming out of nowhere! You can use Kant's Categorical Imperative for all I care to formulate my previous comment with something like:

"It is acceptable to do an unjust action in order to determine a person's possible guilt in a suspected crime."

(And I am sure the proponents of Utilitarianism were not learning disabled).

> And that's also exactly what this extra knowledge [unjust action uncovering evidence of guilt] clarifies.

Sure, but it is also a great way to damage the general public's well-being. I'm ignoring the obvious hindsight bias that is required, though that could be a separate argument. I instead would like to point out that if there is the idea of a "second class citizen" (a non-victim) whose rights are allowed to be trumped in order to bring justice for a "first class citizen" (a victim), society as a whole will shift to be one full of victims. I don't believe such a society would be healthy and cooperative. I posit instead it would be better for a society as a whole to prevent having victims in the first place (through some sort of comprehensive set of methods, e.g.: community building, decriminalization, education, better mental health solutions, etc) while maintaining equal rights. There does not exist a perfect justice system for each individual, but having the net effect across all of society being positive is a worthy goal.

> Or perhaps we could remove the bubble wrap that we allow government to hide behind and hold law enforcement directly accountable for its harm to the public and to the falsely accused.

I agree.
I disagree. The sheer volume of data being pushed these days even by consumer computers is enough to be occasionally affected by a bit flip. ECC is used in the cache memory found on the CPU itself, so it's been important at that level for a long time even on consumer products.
I think he's more concerned about the Guardian, but I don't know why. Holocaust denial is a healthy part of understanding things, just as cranks are in science. Actually the holocaust suffers from a lack of serious objective research because of how strongly politicized it is. Universities don't want their names associated with politically unpopular researchers, and there are laws to stifle public expression of dissent.
Because for it to be that you'd need a workably good - if not fully complete - definition of classical-music-space. And this clearly doesn't have that.
Telsa considers its own ride sharing business
VBA is probably one of the easiest languages to get into and so powerful for anyone that uses excel.
Actual title of article:

"XKEYSCORE: NSA's Google for the World's Private Communications"

Summary:

"One of the National Security Agency’s most powerful tools of mass surveillance makes tracking someone’s Internet usage as easy as entering an email address, and provides no built-in technology to prevent abuse. Today, The Intercept is publishing 48 top-secret and other classified documents about XKEYSCORE dated up to 2013, which shed new light on the breadth, depth and functionality of this critical spy system — one of the largest releases yet of documents provided by NSA whistleblower Edward Snowden."
How high school makes people bad writers
I actually think for certain genres of music this could work.

Lots of pop, country, top-40 rock, certain jazz subgenres, could probably all just be generated continuously, streamed through some kind of low-bandwidth description language and a combination of local synthesis just build the song up.

In certain milieus (shopping malls, background music, elevators) nobody would even notice.

http://research.microsoft.com/en-us/projects/whistler/music....

https://en.wikipedia.org/wiki/Vocaloid

https://www.youtube.com/watch?v=rRHA8hhtyHs
Yes, desperately needs to make an app preview video. The screenshots look dull, but a lot of the video looks a lot more interesting and dynamic.
> Sadly, this is way less interesting and fun for us, the devs. Unfortunately this is how it works

I'm finishing up my first game now and I'm finding that monetizing and promoting it is going to be much less fun then building it was. This is a side project for me so interesting and fun is more important then money but I think I'm going to put in the effort to try to monetize and promote the game because I think it will be a good learning experience. And because my kids tell me my game is great!