![]() Using simple cuts in anomaly score and uncertainty, we identifyĪ pure (~95% pure) sample of rare transients (i.e. We find that our pipeline successfully ranks rarer classes of transients as We rankġ,129,184 events based on an anomaly score estimated using an isolation forest. There is a shortage of multi-wavelength and spectroscopic followup capabilities given the number of transient and variable astrophysical events. Ashley Villar, Miles Cranmer, Edo Berger, Gabriella Contardo, Shirley Ho, Griffin Hosseinzadeh, Joshua Yao-Yu Lin. Works with unlabeled, real time, multivariate and aperiodic data. A Deep Learning Approach for Active Anomaly Detection of Extragalactic Transients. PLAsTiCC dataset to train the autoencoder. 1,2 This discrepancy, that has become known as the Pioneer anomaly, can cor- respond either to a small constant deceleration of the spacecraft of roughly 9 × 10. ![]() Simulated Rubin Observatory extragalactic transient events using 1% of the Here we present a variational recurrent autoencoder neural network to encode Must allocate scarce resources to study a selection of needles in real time. From the haystack of potential science targets, astronomers for a two-body orbit, where d A d t is the time rate of change of the area swept. Ashley Villar and 6 other authors Download PDF Abstract: There is a shortage of multi-wavelength and spectroscopic followupĬapabilities given the number of transient and variable astrophysical eventsĭiscovered through wide-field, optical surveys such as the upcoming Vera C. ![]() ![]() The anomaly detection algorithm that we will describe is, unlike the star-galaxy separator, totally data-driven. Download a PDF of the paper titled A Deep Learning Approach for Active Anomaly Detection of Extragalactic Transients, by V. Anomaly detection is a more specialised and exploratory task, facilitating the discovery of novel types of objects, though follow-up observations of any set of candidate anomalies must be made. 2.89533° argument of perihelion : 337.780° ascending node : 132.5057° mean anomaly M: 55.772° perihelion passage T P: 1966 Dec 06 Epoch: 2014 May 23 data arc: 1997-2012 (61 obs.) Earth MOID: 38.8378 AU Jupiter Tisserand invariant T J: 5.972 Neptune Tisserand invariant T N: 3. ![]()
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![]() ![]() In many areas of grammar, the optionsĪttested vary systematically between the English and Chinese sources. Is evidence that like other pidgins, Chinese Pidgin English showed variation depending Hong Kong, Chinese Pidgin English continued to be used between Europeans andĬhinese servants through the 1960s (see the memoir of Booth 2004) but was effectivelyĮxtinct by the 1990s, even if some phrases (such as Kowloon side meaning ‘on the Kowloon side of the harbo u r’) remain in use in Hong Kong English. War and the closure of the treaty ports following the Chinese civil war saw theĮnd of the linguistic ecology which had supported Chinese Pidgin English. Over time, a class of Chinese educated inĮnglish arose, reducing the need for Chinese Pidgin English. Time few Europeans spoke Chinese, and it was even forbidden for the Chinese to Heyday, Chinese Pidgin English was used for all kinds of contacts betweenĬhinese and Europeans in the treaty ports ( Bolton 2003, Zhang 2009). ![]() The Pidgin entries take the form of marginalĪnnotations above or below Standard English sentences, and are found in volumesĤ and 6 of the six-volume work. Valuable as it contains not only full sentences but stretches of dialogue suchĪs the glossed text given below. (i) the corpora of attestations in English language sources compiled by PhilipĢ003b), and (ii) Chinese language phrasebooks, notably Tong Leland (1876), but these are widely considered as unreliable). Presented by humorous verses purportedly in Chinese Pidgin English such as Words and phrases are represented using Chinese characters (a third source is Texts such as memoirs and travelogues, and (ii) phrasebooks in which Pidgin Its origin in the 18th century and its demise in the 20th, Chinese Pidgin English undoubtedly underwent substantial changesĭescription in this chapter focuses on the 19th century when Chinese Pidgin English was widely used in the China trade and in the treaty ports.Īre available from the China trade period: (i) Pidgin phrases cited in Western (Guangzhou), later Hong Kong and (from 1842) the treaty ports of Xiamen,įuzhou, Ningpo and Shanghai. Limited settings in which such trade was permitted: initially Whampoa and Canton Was used primarily between European traders and Chinese merchants in the Main substrate language, but there are also lexical items from Malay, Hindi and Scandinavian languages, as wellĪs Portuguese ( Bolton 2003: 180–85 and Appendix 4) see §10 on Chinese Pidgin English lexicon. Portuguese as the medium of communication ( Van Dyke 2005: 77). As the China trade developed, Pidgin English replaced The earliestĪttestations of Chinese Pidgin English show strong Portuguese influence ( Tryon ![]() Portuguese for cross-cultural communication ( Bawden 1996). Macanese phrases are represented in Chinese characters, attest to the use of Phrasebooks from Macau, in which Portuguese or Earlier Chinese-European contact in this area had At this time the China trade was developing, withīritish, other European and later American ships visiting Macau, Whampoa andĬanton (now Guangzhou). Sociohistorical backgroundĬhinese Pidgin English is first attested in around 1715 in reports from the Pearl Riverĭelta ( Morse 1926: v.1, 67). Presenting numerous problems of interpretation Historical importance it is poorly documented, with the available sources Chinese Pidgin English is effectively extinct and despite its Languages such as Hawai'i Creole and Melanesian Pidgin ( Tok Pisin,īislama). In Chinese Pidgin English, and the influence of the language extends to contact The term “pidgin” itself is first attested Chinese Pidgin English is one of the earliest ![]() ![]() ![]() He's then filled with shame at his action and so kills himself, preserving Sybil's purity in the process. He's attracted to Sybil and even goes so far as to kiss her foot. #3) Seymour is Sexually Attracted to Sybil One possible, if far less satisfying, reason for Seymour's suicide is pedophilia. He ends his physical existence, but not, many argue, his spiritual one. ![]() ![]() Seymour doesn't want to be like the bananafish, pigging out on physical desires, so he kills himself. We flesh out this idea a but more in "What's Up with the Title?" The short version, though, is that the gluttonous bananafish may represent the material obsessions of people. It's no coincidence that Muriel is sleeping in the bed nearby when Seymour puts the gun to his head. What of the conclusion to Bananafish, though? Is it a jarring, painful ending, quite different from that of Teddy? Or is Seymour's death, too, a calm and accepting step in the right spiritual direction? In "Teddy," for example, the title character explains that death is in many ways like waking up. Teddy calmly accepts his accidental death as a step on the road to enlightenment, and there is tranquility even in the jarring ending. At first, the tone of these deaths may seem very different. It's interesting to note that both "Bananafish" and "Teddy" end with the death of the main character. He discusses his flirtation with enlightenment in a previous life, and he casually foretells his own death. In "Teddy," a young child genius is somewhat of a Zen master. "Bananafish," the first story of the collection, and "Teddy," the final story, both deal with this theme, though the latter far more explicitly. As hinted at in the epigraph to Nine Stories, there is a common theme of Zen Buddhism in Salinger's work. ![]() #2) Seymour Is Enlightened This theory makes more sense if you've read some of Salinger's other works about Seymour, or in particular if you're looking at "Bananafish" as part of the collection Nine Stories. Unable to cope with reality, and unable to function normally, Seymour turns to suicide. Sybil offers him a glimpse of the world as he would like it to be – innocent, curious, and pure – but his interaction with the woman in the elevator reminds him that the adult world is actually nothing like this. We see that he's retreated into a largely insular world, and that he's no longer comfortable interacting with most adults. We infer that Seymour has witnessed some awful things during his time in the service, and that he's having a hard time readjusting to being home. In any case, here's a little pupu platter of Seymour theories: #1) Innocence, Children, and the War Let's not forget that Seymour's mental troubles are the result of the war, and that he's suffering from what today we would probably call post-traumatic stress disorder (though this term wasn't yet around when Salinger was writing). It also might be, as we argue in "What's Up with the Epigraph," that the "answer" to this question can't be logically conceptualized. 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According to the official press release, projects created or opened in version 18.5 will no longer be accessible in version 18.1.4. ![]() The new version of DaVinci Resolve 18.5 is presently in public beta, allowing the company to test new features with the help of their main customers, and to get rid of the bugs before the final release. Image credit: Blackmagic DesignĪ fair warning before we go on. From automatic speech-to-text functionality to AI-assisted re-lighting, the new upgrade could have the potential to significantly speed up certain workflows. They added a couple of neural engine-based tools, some of which were previously only available on the side platforms. While last year’s release of the software – popular among postproduction professionals – emphasized cloud workflows, this time, the company couldn’t resist joining the rapidly developing field of artificial intelligence. This major upgrade includes dozens of new features and also some powerful AI tools, which we want to focus on in this article. Besides various hardware updates, interesting for cinematographers as well as for broadcasting specialists, the biggest announcement was the release of DaVinci Resolve 18.5 Beta. ![]() As he does every year, Blackmagic Design’s CEO Grant Petty presented the latest company news at the annual NAB show, taking place right now in Las Vegas. ![]() ![]() ![]() It’s a humble end to an ambitious record that could divide existing fans but could equally secure The Milk Carton Kids the place in the history of American Folk that they rightly deserve.Ģ018’s ‘Everything Is Fine’ was one of that year's finest releases and marked Danny Kiranos aka Amigo The Devil as one to watch. The closing and title track ‘All The Things…’ is comparatively simple in terms of what has gone before and, with its exquisite bowed bass, feels fittingly like a lullaby. ![]() Joe Henry’s flawless production ensures that all of this unchecked misery is balanced by a rich range of musical textures and it’s a testament to his over-arching vision that a record so thematically bleak can sound so varied and well-rounded when taken as a whole. The croonsome harmonies of ‘I’ve Been Loving You’ come over all Everly Brothers and, at the risk of blowing the song’s punchline, the closing words on the chorus “I’ve been loving you… all wrong” will have you reaching for your fifth or sixth box of Kleenex, depending on what sort of a day you’ve been having so far. At this point there ought to be a health warning on this record: ‘not to be taken with alcohol’ should do the trick, though by now, for many, it is probably far too late. Despite being on the maudlin side of things, the song really hits the spot and paves the way for the quivering Hammond of ‘Unwinnable War’, a plainspeaking confession of yet more regret and yet more sadness. ‘A Sea of Roses’ returns us to melancholic intimacy and gives Russ Pahl’s pedal steel a real chance to shine. ![]() It jars a little against the concision of the record’s opening clutch of songs and will be the make-or-break moment for listeners new and old.Ī welcome lightening of mood comes with the mandolin, country fiddle and bounce of ‘Big Time’ with Ryan and Pattengale breaking out of the harmonies and turn-taking on solo verses. ‘One More For The Road’ is a soporific ten-minute epic, sprinkled with spaced-out trippy instrumental ramblings. If it’s all getting bit heavy for you by now, man, then you better get right out of Dodge before the album’s centrepiece arrives. The old-west-waltz of ‘You Break My Heart’ sounds as if it could’ve been written a century ago while the ominous vocal harmonies and wailsome steel guitar of ‘Blindness’ create a dreamscape of desperation and regret, along with the invention of a new sub-genre: Eerie Americana. The song successfully melds James Taylor warmth with the ragged edges of Iron & Wine. The resigned state-of-the-nation ballad ‘Mourning In America’ is cinematic in a different way, with beautiful upright bass and lush strings setting the scene perfectly. If the idea of Simon & Garfunkel soundtracking a Spaghetti Western floats your boat then you’ll be glad to be aboard. With the navel-gazing over, they move swiftly on to Dylanesque social commentary with ‘Nothing Is Real’, lamenting the disconnection of the digital age before hitting us with the current single ‘Younger Years’. The waif-like, wistful and wise ‘Just Look At Us Now’ opens things up ever-so gently, an exemplar of the emotional and pure American Folk for which The Milk Carton Kids are so celebrated. Thus, ATTTIDAATTTIDD (even as an acronym it’s a ridiculously long title) sees The Milk Carton Kids reflecting on how they got this far, while simultaneously forging ahead with a new chapter to their story. The pair have been through some personal changes too in the time since 2015’s hit LP Monterey, with Ryan now a father of two and Pattengale surviving a battle with cancer. Everything remains light-touch however and the duo’s twin vocal and acoustic guitars remain very much in the foreground. And it’s a lineup to die for, featuring, among others, Jay Bellerose, Pat Sansone, Russ Pahl and Dennis Crouch. Until now, The Milk Carton Kids have been Kenneth Pattengale and Joey Ryan alone but for their latest record they’ve gone for a full band treatment to fill out their sound. ![]() |