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Machine learning is the subfield of computer science that “gives computers the ability to learn without being explicitly programmed” (Arthur Samuel, 1959). Evolved from the study of pattern recognition and computational learning theory in artificial intelligence, machine learning explores the study and construction of algorithms that can learn from and make predictions on data – such algorithms overcome following strictly static program instructions by making data driven predictions or decisions, through building a model from sample inputs.
Machine learning is employed in a range of computing tasks where designing and programming explicit algorithms is unfeasible; example applications include spam filtering, detection of network intruders or malicious insiders working towards a data breach, optical character recognition (OCR), search engines and computer vision.
| Specifications | Values |
|---|---|
| Aperture | ƒ/9.0 |
| Focal Length | 24.0 mm |
| Exposure time | 1/250 |
| ISO | 250 |
Machine learning is closely related to (and often overlaps with) computational statistics, which also focuses in prediction-making through the use of computers. It has strong ties to mathematical optimization, which delivers methods, theory and application domains to the field.
Machine learning is sometimes conflated with data mining, where the latter subfield focuses more on exploratory data analysis and is known as unsupervised learning.
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Machine learning can also be unsupervised and be used to learn and establish baseline behavioral profiles for various entities and then used to find meaningful anomalies, such as in the way LightCyber detects active network attacks leading up to data or asset theft or damage.
Moog became interested in the design and construction of complex electronic music systems in the mid-1960s while completing a Ph.D. in Engineering Physics at Cornell University. The burgeoning interest in his designs enabled him to establish a small company to manufacture and market the new devices.
In the period from 1950 to the mid-1960s, studio musicians and composers were also heavily dependent on magnetic tape to realize their works. The limitations of existing electronic music components meant that in many cases each note or tone had to be recorded separately, with changes in pitch often achieved by speeding up or slowing down the tape, and then splicing or overdubbing the result into the master tape.
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