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DILLARD,RODNEY COLLIER,TERRY K THOMPSON,G M AYLWARD,E W BECK,HOWARD
GOLDFARB,GENE PECORI,HELEN W DOWELL,ANTHONY W FOSTER,RIDGLEY M SNIDER,E
e question this way and go through the mathematical literature, you discover that there’s one generally best way to do this. It’s called “distributed Thompson sampling,” a mathematical algorithm used in choosing, out of a set of possible actions with unknown payoffs, the action that maximizes the expected r
spectacular, she says, “they might have a larger influence on art,” because they provide artists with further possibilities in their creative work. McDowell added that he, too, believes there are false expectations around AI. “Tve observed,” he said, “that there’s a sort of magical quality to the idea of
e question this way and go through the mathematical literature, you discover that there’s one generally best way to do this. It’s called “distributed Thompson sampling,” a mathematical algorithm used in choosing, out of a set of possible actions with unknown payoffs, the action that maximizes the expected r
spectacular, she says, “they might have a larger influence on art,” because they provide artists with further possibilities in their creative work. McDowell added that he, too, believes there are false expectations around AI. “Tve observed,” he said, “that there’s a sort of magical quality to the idea of
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