A Quote by Cathy O'Neil
I know how models are built, because I build them myself, so I know that I'm embedding my values into every single algorithm I create and I am projecting my agenda onto those algorithms.
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[The Euclidean algorithm is] the granddaddy of all algorithms, because it is the oldest nontrivial algorithm that has survived to the present day.
First you destroy those who create values. Then you destroy those who know what the values are, and who also know that those destroyed before were in fact the creators of values. But real barbarism begins when no one can any longer judge or know that what he does is barbaric.
We obsess about celebrities. We create them, build myths around them, and then hunt them and destroy them. I don't know where it's taking us or what it means, but I know we do it. I have seen a lot of it myself.
Many are concerned about the monuments of the West and the East -- to know who built them. For my part, I should like to know who in those days did not build them -- who were above such trifling.
As a child, I wanted to know how things worked and to control them. With a friend, I built a number of complicated models that I could control. It was a natural next step to want to know how the universe works.
These algorithms, which I'll call public relevance algorithms, are-by the very same mathematical procedures-producing and certifying knowledge. The algorithmic assessment of information, then, represents a particular knowledge logic, one built on specific presumptions about what knowledge is and how one should identify its most relevant components. That we are now turning to algorithms to identify what we need to know is as momentous as having relied on credentialed experts, the scientific method, common sense, or the word of God.
Every time I think I’m getting smarter I realize that I’ve just done something stupid. Dad says there are three kinds of people in the world: those who don’t know, and don’t know they don’t know; those who don’t know and do know they don’t know; and those who know and know how much they still don’t know. Heavy stuff, I know. I think I’ve finally graduated from the don’t-knows that don’t know to the don’t-knows that do.
Every single year, I tell myself I am going to drive. It never happens. I don't know how to drive. I am already 20. This needs to happen.
For a variety of reasons, I have always felt myself an outsider. I don't know how to classify myself in economics. I am a loner. I do not like groupthink, which, if anything, has become more important in economics. In addition, a lot of the values I hold are not the mainstream values in the profession.
No matter how sheltered [my students] are, no matter how their parents try to do right by them, every single one of them, you know, every single one of us, that's what we all face.?And so it's made me - that's the one change I've marked in myself - it's made me change in the way I relate to my students. I've become a different teacher in that way.
As a child, I wanted to know how things worked and to control them. With a friend, I built a number of complicated models that I could control.
I am not an evangelist. I am not a preacher. I am a musician. That is what I know how to do. I know how to write songs. I know how to write things that relate to my heart. I feel that I talk about God in every song, in everything I do - all of it! I really do not know how to respond. I do not relate to that.
I don't know how I made those movies. I went out every single night, I smoked pot every single day. I drank. We did everything, but I never became a drug addict or an alcoholic. Other friends are dead, many of them. So many people in this retrospective...in Female Trouble, almost everyone is dead.
You have to teach your algorithm what it can do and what it cannot do because, otherwise, there is a risk that the algorithms will learn the tricks of the old cartels.
Like, that was weird in 'Hamlet 2,' because I played myself there, fully myself, but then I realized, 'Oh, I'm not playing myself. I'm some weird version of myself.' So as an actress, you're always playing something, I don't even know who I am, how could I become me? I don't know what that is.
Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.
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