I’m no expert in obscure 17th century Italian baroque opera. I would guess that few people alive today are. When such an opera is reconstructed for the first time in three centuries, as apparently was the case for the recent performance of Ars Minerva’s solidly entertaining production of Domenico Freschi’s 1681 opera Olimpia Vendicata, one can’t help but have all kinds of thoughts and questions about the nature of the production itself. Researching and producing such a thing at this level is, without doubt, an impressive undertaking. And while the production was a great achievement, it is heavily entangled with queries about historical context, cultural values, authenticity, research, archival practices and on and on.
facebook/prophet in 2023 and beyond
Since Sean Taylor and Ben Letham open-sourced Prophet in 2017, it has remained a popular tool for forecasting time series, especially in business and planning contexts where we want to…