If you can tell it instructions, and you know you can tell it instructions, then how smart do you have to be to realize that "omit emojis" is an instruction you can use? If what you said is true, I have no hope...
There’s an option in ChatGPT’s settings to lessen the use of emojis. Though most people never bother to change the default setting and I didn’t know of it myself until recently.
Interseting - I have high radon (mitigeted in the house via a fan), if I burry fibre what will I need to do to get something that will work? I have an outbuilding that I want to give internet.
Well technically a nuclear bomb would also degrade the jacket of fiber cabling pretty badly, but we don't really concern ourselves with that since it means you're dead and the house is gone anyways.
Yes this seems more about protecting them from a lawsuit. I don’t think they actually give a shit about the weights or they wouldn’t release them at all. I suspect they just know they’re training dataset isn’t perfectly “clean” and don’t want to accept any more liability than they already have.
I think there is definable a connection between cannabis use and auto accidents. It slows your reaction time and that’s a known factor with accidents. That said, substance use data is notoriously underreported[1] in surveys. So that 20% data point is not very helpful. Also 12-15 year olds are bringing that number down in your data and also can’t drive making it even less useful for comparison.
And substance use impairment is overreported. If the driver was impaired it's counted even if the impairment has no bearing on the accident. A drunk hits a red light runner--it's called alcohol even if he had no hope of avoiding it.
My understanding of stoned drivers is they tend to be too conservative--waiting for the stop sign to turn green etc. If that's accurate it could also mean stoned drivers are worse at avoiding the mistakes of others.
They are too big to fail but they aren’t too big to have to pay out a huge settlement. Facebook annual revenue is about it twice that of the entire global recording industry. The strategy these companies took was probably correct but that calculation included the high risk of ultimately having to pay out down the line. Don’t mistake their current resistance to paying for an internal belief they never will have to.
> They are too big to fail but they aren’t too big to have to pay out a huge settlement. Facebook [...]
I think it's pretty clear from history that they are too big to have to pay out a huge settlement.
First, they never had to. There was never a "huge" settlement, nothing that actually did hurt.
Second, the US don't do any kind of antitrust, and if a government outside the US tries to fine a US TooBigTech, the US will bully that government (or group of governments) until they give up.
Self-supplied metadata in music catalogs is notoriously shit. The degree to which most rights owners don't give a damn is telling.
Spotify's own metadata is not particularly sophisticated. "Valence", "Energy", "Danceability", etc. You can see from a mile away that these are assigned names to PCA axes which actually correspond pretty poorly to musical concepts, because whatever they analyzed isn't nicely linearly separable.
I can't think of many situations where that would be particularly valuable, considering it favours recent plays and the cutoff date is already almost half a year old.
True but What.cd had a tremendous amount of notable music not available on Spotify though because it was also sourced from cds, bootlegs, vinyl, tape etc whereas Spotify only includes music explicitly licensed for streaming.
This is true and a category of music that got hit notably hard was live recordings. What had a wide array of live recordings made by sound engineers straight from the mixer. This is something that you simply cannot find now unless you maybe know a guy.
That's why I use YouTube Music as my streamer as they allow damned near anyone to upload any old rare record and then figure out the royalties somehow.
Redacted.sh is a worthy successor, but the average person just doesn’t care about “which release is best” anymore. I use YT Music as a backup but Redacted is my main source of music these days.
The private trackers are just as much about the community as they are about the content they host. Of course there are trade offs because communities can be very insular.
I’ve noticed in the past 10 years or so private trackers have become less strict because the economics of ratios only works if either a) everyone is equally uploading new material and b) there are more and more signups. So now there is value in the amount of time you seed your content which lowers your “required” ratio.
Generally speaking, trackers that require a ratio above 1.0 and don't have freeleech/point system are designed so that you pay the website to fix your ratio and/or rent a seedbox from one of their partner.
It's a 0 sum game; for every account with a >1.0 ratio, that implies other people will be <1.0.
And when you compete with 10gb/s seedboxes that have scripts to automatically grab all the new torrent the second they get posted, it's extremely difficult to improve your ratio. Even for super popular torrents, you have a few minutes to seed as much as you can before upload speed goes to 0 forever. You can't slowly accumulate upload over time the same way you would with a torrent from a public tracker.
Which also means almost always limited to the latest, almost always crappy (or blind to the original ambiance) remaster! One of the main reasons why I don't bother with streaming, really.
(And because they lack much obscure stuff and I don't like being dependent on the Internet and a renter's whims for something as essential as music, I guess)
This, a thousand times this. I have gone back to collecting CDs because it's often the only remaining way (short of pircay) to get original masters of many artists. Even lossless download stores like Qobuz don't have them.
Yeah, it was a great place. I have a paid Spotify account but finally got an ancient hard drive onto my network for all sorts of stuff Spotify doesn’t or can’t have (e.g., Coldcut: 70 Minutes of Madness).
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