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UdovicKennethProjectReport 100%

Relevant Data Fields in Experiments My software system is capable of performing iterative Naive Bayes and Logistic Regression analyses of existing solar panel owners to help determine at what increase in relative frequency of self ownership, the solar industry should transition to the promoting and sale of self-owned solar power systems.

https://www.pdf-archive.com/2016/06/13/udovickennethprojectreport/

13/06/2016 www.pdf-archive.com

ProjectReport 96%

Part 2 will then be to build the Naive Bayes algorithm and test it on a new set of data.

https://www.pdf-archive.com/2017/12/06/projectreport/

06/12/2017 www.pdf-archive.com

Tony Moffitt ROTK Presentation 90%

Kind, just, naive Zhuge Liang:

https://www.pdf-archive.com/2018/03/12/tony-moffitt-rotk-presentation/

12/03/2018 www.pdf-archive.com

InMemoryOfWhoKnows 86%

Der naive Glaube an eine "Verbindung"

https://www.pdf-archive.com/2017/12/09/inmemoryofwhoknows/

09/12/2017 www.pdf-archive.com

TimeandLightAlienationinContemporarySpace 86%

  Time and Light: Alienation in Contemporary Space   Traditional spaces serve to facilitate movement and commerce1, simplifying life through  efficient design. The mall, casinos, airports, and other commodity­centres function to encourage  a numbing alienation and propagate consumption. Alternative, non­traditional spaces undermine  these aims, instead providing a space for self­reflection and repositioning away from the  capitalist trajectory of space, and therefore the mechanics of the everyday through their  manipulation of time and light. A synartetic, or nonhistorical, approach to the analysis of these  alternative spaces provides an avenue that cannot be periodized or folded back into the more  traditional narratives of space.  Benjamin’s arcades and the shopping mall participate in the traditional trajectories of  capital, commerce and space. In this traditional narrative, spaces function to serve us by  facilitating movement and commerce through their architectural makeup. Benjamin references  An Illustrated Guide to Paris​  in his seminal​  Passagenwerk:   These arcades, a recent invention of industrial luxury, are glass­roofed, marble­paneled  corridors extending through whole blocks of buildings, whose owners have joined  together for such enterprises. Lining both sides of these corridors, which get their light  from above, are the most elegant shops, so that the passage is a city, a world in miniature2    These enclosed microcosms, with their monumental facades and wide array of consumer options,  parallel the 1960s American mall in both form and purpose. Victor Gruen, a prominent  shopping­plaza designer, believed that suburban malls could become the epicenter of suburban  1  Here I mean commerce as a signifier of the implicit narrative of traditional spaces.   Benjamin, Walter, and Rolf Tiedemann. ​ The Arcades Project​ . Cambridge, MA: Belknap, 1999. Print.  2   social interactions.3 The community sphere Benjamin detected in the Arcades was perhaps fully  realized by the American mall.4   This traditional trajectory directs us towards spaces that facilitate commerce and  movement. Space is treated as an engine of capital, chained to an insatiable desire for goods and  services. Although overlooked by this narrative, there is a rich history of non­consumable spaces  in the 20th century. These spaces resist us: they are non indexical, serving to neither facilitate  commerce or movement. These spaces manipulate time and light in order to motivate  self­reflection; through them we examine the positioning of our bodies in the contemporary  environment. Unlike in the mall, within the alternative spaces we are faced with an introspective  experience that unveils (rather than obscures) the true nature of alienation in the contemporary  environment.   For instance, James Turrell’s ​ A Frontal Passage ​ (Figure 1)​  ​ transforms the passivity of  light into an active force by endowing it with a physical presence as the singular artistic medium  utilized in the work. This manipulation increases the awareness of one’s own body, and therefore  one’s positioning in the space. Light becomes a marker of the existential moment in that to  become aware of one’s body and its temporal limitations is the feeling of existentialism. The  properties of light, when manipulated through structures, forces a reorientation that is  symptomatic of an experience with existential questions5. This existential moment hinges on  3  ​ Davidson, Ronald A.. “Parks, Malls, and the Art of War”. ​ Yearbook of the Association of Pacific Coast  Geographers​  73 (2011): 27–51. Web...  4  ​ I think it is important to note here the furthest articulation of this spatial impulse: e­commerce. However, this  conclusion of the narrative seems to function more to implode the dialogue in on itself rather than furthering it. In  this way, e­commerce becomes the ouroboros. By shedding it’s locus, e­commerce distances itself from a discourse  on physical structures or site and moves towards one regarding modes of consumption.   5  These existential questions, and the experience attached therefore, mark a new sublime differing from the historical  sublime in form and function. The sublime is no longer an individual experience, instead it is marked by a collective  existential experience. Furthermore, the new sublime is no longer strictly attached to “art space” or feats of god,  instead it is extended into commodity space and the everyday.      manmade structures with alienation as a key determinant of the contemporary experience. The  self­reflexive manipulation of time and light open the body to the feeling of existentialism and  causes a subsequent repositioning in the contemporary landscape. Turrell's work provides us a  lens through which to examine the intersection of time, space, and light as mechanics of the new  social existentialism. As the catalogue establishes: “​ Instead of diffusing freely from one side of  this wall to the other, the light ends abruptly in space, as if it had density. The power of the work  lies in this paradox, in which nothingness gains physical presence.”6  The physical presence of  nothingness, manifested through the physicality of light, confronts us with our own finitude. In  other words, we disappoint the desire to fill space undefined, as light can. Therefore,  disappointing the accompanying wish for immortality. As one moves around the work, the work  itself changes. The positioning of the body to the piece transforms it from a mere light show to  an expansive view of the abyss. Our body’s relationship to the piece is therefore of tantamount  importance. The experience of becoming re­aware of the limitations of our body is in fact the  experience of existentialism. Light, space, and time function in the work to trigger a new  awareness of our body in the space. Our awareness of our body in this space then triggers an  awareness of our body in the contemporary environment. This repositioning is symptomatic of  the new social existentialism.  This new understanding of the contemporary environment  includes an acknowledgement (or a purposeful un­acknowledgment) of our own alienation from  other bodies and space itself.    ​ Publication excerpt from The Museum of Modern Art, ​ MoMA Highlights​ , New York: The Museum of Modern Art,  revised 2004, originally published 1999, p. 343      6   Shopping malls and casinos are designed to encourage naive alienation; their windowless  facades obscure natural light, and the passing of time. Naive alienation encourages an acceptance  of our positioning and a continuation of the rhythm of neoliberalism through a shrouding of the  potential for collectivity. If we are all individual consumers, then we are alone and must  consume products to bridge the gap between ourselves and others. Alternatives to these  traditional structures, such as Isamu Noguchi’s ​ California Scenario (​ Figure 2)​ , ​ use light as a  physical force to express a revelatory alienation. Revelatory alienation functions to unveil our  positioning, allowing for self reflection and a radical repositioning. Revelatory alienation tears  down the constructed individualism of neoliberalism. In its place emerges a collective  existentialism experienced through the body's relationship to space. Noguchi’s work is  symptomatic of this type of unveiling. Nestled in between the largest mall in California, several  office centres, and a parking lot, ​ California Scenario​  is a dramatic pause in the monotony of the  everyday7. Light in Noguchi’s work is as present as the sculptural elements, arguably becoming a  sculptural object in itself. Standing in ​ California Scenario ​ feels similar to standing on a sundial­  one becomes aware of the passing of time as a physical presence. During the afternoon, the sun  bouncing off the neighboring parking lot causes the space to become so bright and hot that it is  physically overpowering for many viewers.8 The heat and light reflecting off the adjacent  parking garages dramatically changes the environment. It is through this heat that light becomes  a texture in the work; this heat makes it uncomfortable to be within the space and therefore  7  Ironically, in reading the Yelp reviews of the California Scenario it becomes clear that (when not reflected upon)  the work often becomes an elaborate stage for the everyday. Vivian A. writes “​ My friends and I took our prom  pictures here (...) It was an impeccable place to take pictures at; nice, quiet and may I add, very clean too! Although  it's a quite a small space, there's a lot of different artsy backgrounds you can choose from, which made it the perfect  photo spot!”  8  Yelp user Tilla L. writes “​ I came around 2 pm which was so hot that day so it could have a huge impact based on  my experience here.”    changes how one composes their body within the space. Compare this to the florescent lights of  an office building or mall, lights within these structures pass as neutral and unremarkable. They  work to neutralize the space, anesthetizing the aesthetic experience of existing within them and  therefore distancing us from a real awareness of our bodies and the passing of time. Light within  California Scenario ​ functions as the only real temporal marker. The piece does not change; the  landscape and sculptures are constantly preserved as to appear atemporal and unchanging. Even  in just moving across the plaza, one can observe how light is utilized as haptic and dynamic.  Approaching the forested area of the plaza feels like approaching a mirage, the heat reflecting off  the stone ground contrasts the lush grass and temperate shade (Figure 3). The transitioning  between the two environments within the larger scenario shocks the body into a revelatory  alienation. Using this experience as a key; one can then reconsider the positioning of their body  outside ​ California Scenario ​ instead of naively accepting the conditions of their positioning in the  world.     Naive alienation, or acceptance, suggests an abstraction or denial of space. To follow  Worringer’s ​ Abstraction and Empathy ​ to its conclusion would be to admit that to productively  exist in the contemporary environment one must mentally abstract space. Completely absorbing  the myriad of hyper­real contemporary spaces would be overwhelming to an individual.  Worringer elaborates;   While the tendency of empathy has as its condition a happy pantheistic relation of  confidence between man and the phenomena of the external world, the tendency to  abstraction is the result of a great inner conflict between man and his surroundings, and 

https://www.pdf-archive.com/2015/12/29/timeandlightalienationincontemporaryspace/

29/12/2015 www.pdf-archive.com

Discourse on The DAO Rules and resulting attacks 81%

The Naive Class This class of token holders neither understands the technical implementations nor is semiinformed.

https://www.pdf-archive.com/2016/05/26/discourse-on-the-dao-rules-and-resulting-attacks/

26/05/2016 www.pdf-archive.com

ueber den wahren Gott und ueber Hermes Trismegistus 81%

daß Naive : ... verlockend damit einfache naive Christen hausbackne :

https://www.pdf-archive.com/2017/05/11/ueber-den-wahren-gott-und-ueber-hermes-trismegistus/

11/05/2017 www.pdf-archive.com

User-Behavior-Electricity-Consumption 77%

• • • • • • Naive Bayes classifier which is a probabilistic classifier based on applying Bayes theorem with naive independence assumptions [8].

https://www.pdf-archive.com/2018/05/28/user-behavior-electricity-consumption/

28/05/2018 www.pdf-archive.com

Resume-MoChen 77%

improved support vector machine classification algorithm for brain signal decoding ● Improvement of Naive-Bayes Tree learning (Java and Weka):

https://www.pdf-archive.com/2017/01/05/resume-mochen/

05/01/2017 www.pdf-archive.com

genx 74%

BEDROOM - MANOR HOUSE - EARLY EVENING ELSE, slightly younger, more naive looking and now again with wild blond hair, sits hands in head staring vacantly into a large extravagant, gold framed mirror.

https://www.pdf-archive.com/2011/08/18/genx/

18/08/2011 www.pdf-archive.com

Thanksgiving 71%

Really naive and folksy.

https://www.pdf-archive.com/2015/10/12/thanksgiving/

12/10/2015 www.pdf-archive.com

Politicians 71%

Those politicians who swore to protect the Untied States but thought WE were too stupid, naive, apathetic or disorganized to fight back.

https://www.pdf-archive.com/2017/09/20/politicians/

20/09/2017 www.pdf-archive.com

D. ganzheitliche Anspruch 71%

"DER GANZHEITLICHE ANSPRUCH":

https://www.pdf-archive.com/2018/05/06/d-ganzheitliche-anspruch/

06/05/2018 www.pdf-archive.com

Erinnerungsklone. - 71%

ERINNERUNGSKLONE: - FAKT IST UND BLEIBT:

https://www.pdf-archive.com/2018/05/06/erinnerungsklone--/

06/05/2018 www.pdf-archive.com

ML EX04 MFDWDG 70%

sign(0.3466 · −2 + 0) = −1 Exercise 4.3 Probabilities (a) P (cancer) = 0.008 P (positive|cancer) = 0.98 P (positive|cancer) = 0.97 P (¬ cancer) = 0.992 P (¬ positive|cancer) = 0.02 P (¬ positive|¬ cancer) = 0.03 P (positive|cancer) · P (cancer P (positive 0.98 · 0.008 = 0.98 · 0.08 + 0.03 · 0.992 P (cancer|positive) = (Bayes) (Marginalization), (Law of Total Probability) ≈ 0.209 Exercise 4.4 Naive Bayes Classifier 4–3

https://www.pdf-archive.com/2015/08/25/ml-ex04-mfdwdg/

25/08/2015 www.pdf-archive.com

Shashi Roshan Resume 70%

K Means Clustering, K Nearest Neighbors, Naive Bayes.

https://www.pdf-archive.com/2016/01/22/shashi-roshan-resume/

22/01/2016 www.pdf-archive.com

Corrections 69%

I was naive for really thinking we could stay together like this forever.) ::::::::::::::::::::::::::::::::::::::::::::

https://www.pdf-archive.com/2010/12/20/corrections/

20/12/2010 www.pdf-archive.com

Science is Ethics as Electics 68%

Revelations of a math-moth and naive fysicist.

https://www.pdf-archive.com/2016/08/22/science-is-ethics-as-electics/

22/08/2016 www.pdf-archive.com

post late summer layout-print (1) 67%

I notice Rhonda notice the clipboard that maybe neither of us would have seen were it not that Pedro knew and spoke with Patricia, the nurseishly uniformed person – whose name I know because Pedro uses it – or, neither of us would have known where to find the clipboard without having been to see a counsellor here before, as I haven't, or talking to each other, which, aside from feeling too shy or not in the mood we do not do anyway, me at least because I feel naive comfort of having called in my appointment yesterday that second to last of days that would still qualify me for special enrollment except when Rhonda offers me a seat when I say excuse me, reaching for my backpack handle &

https://www.pdf-archive.com/2018/09/13/post-late-summer-layout-print-1/

13/09/2018 www.pdf-archive.com

Kris Kourtis 66%

But Kris was naive and sensitive.

https://www.pdf-archive.com/2017/05/05/kris-kourtis/

05/05/2017 www.pdf-archive.com

Katalog OAAH 65%

ANNE BLASS GLASFUSING Seite 8 ATELIERHAUS KELLER HEINRICH KELLER · STAHL Seite 10 ATELIERHAUS KELLER ANGELIKA KELLER · KERAMIK Seite 12 ALFRED MEVISSEN STEINSKULPTUREN Seite 14 CC PARISE MALEREI Seite 16 SCHAFFRATHHAUS SCHWANENGESANG Seite 18 KÜNSTLER UTE FUCHS KERAMISCHE KUNST Seite 30 ROMY JENSEN NAIVE MALEREI Seite 32 CARMEN KAHN OBJEKTE / MALEREI Seite 34 GABI SCHMERTZ FILZWERKE Seite 20 HEIKE SCHNORRENBERG WERKSTOFF Seite 22 VIKTOR STRICKER MALEREI Seite 24 MAIKE THOMAS GOLDSCHMIEDEKUNST Seite 26 FRIEDER WISTEN MALEREI Seite 28 ANDREAS KLOSE AIRBRUSH Seite 36 FRANZ-JOSEF KOCHS FIGUREN AUS PAPPE Seite 38 VERONIKA KROPIDLOWSKI ZEICHNUNGEN Seite 40 RENATE REMY DIGITALE MALEREI Seite 42 WILFRIED SCHÜLLER FOTOGRAFIE Seite 44 3 FRANZ-JOSEF KOCHS KUNSTVEREIN ALSDORF Im Jahr 2015 veranstaltete das Alsdorfer Stadtmagazin »undsonst?!« eine erste »Kunstroute«, die die Besucher zu fünf offenen Atelierhäusern führte.

https://www.pdf-archive.com/2016/07/19/katalog-oaah/

19/07/2016 www.pdf-archive.com

3-Unreal City 65%

In light of the Lowry exhibition soon to be opened here at the University of Nottingham, consideration of the above could inspire a reinterpretation of Lowry’s supposed naive celebration of the northern industrial cityscape.

https://www.pdf-archive.com/2015/10/25/3-unreal-city/

25/10/2015 www.pdf-archive.com

Happy Birthday Greg Ellis poem by The Archivist 64%

If you think he’s some sort of naive Amador Man, have I got some news for you Check out the many incarnations of this awesome actor You’ll be mind blown once you finish this tour He’s been a damn good sailor and a member of the British navy Who’s had more than one truck with Caribbean pirates To say he’s dead or alive would be deemed as hasty For although dead men tell no tales, who wants to be biased?

https://www.pdf-archive.com/2015/03/21/happy-birthday-greg-ellis-poem-by-the-archivist/

21/03/2015 www.pdf-archive.com

Lynch, Loretta 072716 64%

The Division's proposal is a naive and dangerous plan that attempts to regulate the behavior of a few corporate entities by fundamentally altering the landscape for everyone involved in the creation of music.

https://www.pdf-archive.com/2016/07/27/lynch-loretta-072716/

27/07/2016 www.pdf-archive.com