kolmogorov in A Sentence

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    Other tests based on compression or Kolmogorov complexity.

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    Now Kolmogorov joined the critics and turned against Luzin.

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    But Kolmogorov's interests inclined him in more philosophical directions, too.

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    Thanks to Kolmogorov, though, we can explain when and why we don't.

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    For Kolmogorov, his ideas neither eliminated chance, nor affirmed a fundamental uncertainty about our world;

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    It was through Luzitania that Kolmogorov's evaluation of probability took on a more personal turn.

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    At that moment, Kolmogorov decided to change his concentration to mathematics, where one proof would suffice.

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    Kolmogorov believed that the frequency of stress deviation from the classical meters offered an objective“statistical portrait” of a poet.

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    The most basic notion of Kolmogorov's theory was the“elementary event,” the outcome of a single experiment, like tossing a coin.

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    Kolmogorov objected, taking a radical probabilistic view of social interactions in which people acted as statistical samples of larger groups.

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    To measure the artistic merit of texts, Kolmogorov also employed a letter-guessing method to evaluate the entropy of natural language.

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    In the face of his own political conformity, Kolmogorov presented a radical and, ultimately, foundational revision of probability theory.

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    The moral dimension of Kolmogorov's decision aside, he had played the odds successfully and gained the freedom to continue his work.

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    During the Second World War, the Russian government asked Kolmogorov to develop methods for increasing the effectiveness of artillery fire.

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    Kolmogorov showed that the great circle has a measure zero, since it is a line segment and its area is zero.

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    After switching his major, Kolmogorov was initially drawn into the devoted mathematical circle surrounding Nikolai Luzin, a charismatic teacher at Moscow University.

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    Studying Pushkin, Pasternak, and other Russian poets, Kolmogorov argued that they had manipulated meters to give“general coloration” to their poems or passages.

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    Kolmogorov conceived complexity as the length of the shortest description of an object, or the length of an algorithm that produces an object.

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    Kolmogorov stressed that every true work of art was a unique creation, something unlikely by definition, something outside the realm of simple statistical regularity.

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    It is oddly appropriate that a chance event drove Kolmogorov into the arms of probability theory, which at the time was a maligned sub-discipline of mathematics.

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    Music and literature were deeply important to Kolmogorov, who believed he could analyze them probabilistically to gain insight into the inner workings of the human mind.

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    Kolmogorov drew analogies between probability and measure, resulting in five axioms, now usually formulated in six statements, that made probability a respectable part of mathematical analysis.

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    As a young man, Kolmogorov was nourished by the intellectual ferment of post-revolutionary Moscow, where literary experimentation, the artistic avant-garde, and radical new scientific ideas were in the air.

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    In 1944 and 1945, the government awarded Kolmogorov two Orders of Lenin for his wartime contributions, and after the war, he served as a mathematics consultant for the thermonuclear weapons program.

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    Kolmogorov privately remarked that, from the viewpoint of information theory, Soviet newspapers were less informative than poetry, since political discourse employed a large number of stock phrases and was highly predictable in its content.

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    It is one of the many intellectual innovations dreamed up by Andrei Kolmogorov, a mathematician of startling breadth and ability who revolutionized the role of the unlikely in mathematics, while carefully negotiating the shifting probabilities of political and academic life in Soviet Russia.

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