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In computer science, the count-distinct problem [1] (also known in applied mathematics as the cardinality estimation problem) is the problem of finding the number of distinct elements in a data stream with repeated elements. This is a well-known problem with numerous applications.
The initialization of the count array, and the second for loop which performs a prefix sum on the count array, each iterate at most k + 1 times and therefore take O(k) time. The other two for loops, and the initialization of the output array, each take O ( n ) time.
The counting measure is a special case of a more general construction. With the notation as above, any function : [,) defines a measure on (,) via ():= (), where the possibly uncountable sum of real numbers is defined to be the supremum of the sums over all finite subsets, that is, := , | | < {}.
Monty Python's Flying Circus: Between 1974 and 1980 (Live at the Hollywood Bowl was released in 1982, but was performed in 1980), the Pythons made three sketch-based stage shows, comprising mainly material from the original television series. Monty Python's Spamalot: Written by Idle and directed by Mike Nichols, with music and lyrics by John Du ...
First Time! The Count Meets the Duke is an album by American pianists, composers and bandleaders Duke Ellington and Count Basie with their combined Orchestras recorded and released on the Columbia label in 1961. [1] On stereo releases of the album, Basie's band is featured on the left channel and Ellington's on the right.
where the power series on the right-hand side of is expressed in terms of the (generalized) binomial coefficients ():= () (+)!.Note that if α is a nonnegative integer n then the x n + 1 term and all later terms in the series are 0, since each contains a factor of (n − n).
Count Zero is a science fiction novel by American-Canadian writer William Gibson, originally published in 1986. [1] It presents a near future whose technologies include a network of supercomputers that created a "matrix" in "cyberspace", an accessible, virtual, three-dimensionally active "inner space", which, for Gibson—writing these decades earlier—was seen as being dominated by violent ...