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So we will be talking about heroes what are they what are they to you how does your definition differ

 
 

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1.In this problem and the next one, we’re going to make a very simple spam checker program by just looking ...

ooking at how likely a given email is to be spam based on the words it contains. In particular, in this problem we’re going to count how often words are present in spam emails within some set of training data (which here means a set of emails that have already been marked as spam or not spam manually). We have already started to write a function spam_score(spam_file, not_file, word), which takes in two filenames, along with a target word (a lowercase string). Both filenames refer to text files which must be in the same directory as hw07.py (we’ve provided several such files in hw07files.zip). The text files contain one email per line (really just the subject line to keep things simple) - you can assume that these emails will be a series of words separated by spaces with no punctuation. The first file contains emails that have been identified as spam, the second contains emails that have been identified as not spam. Since you haven’t learned File I/O yet, we’ve provided code that opens the two files and puts the data into two lists of strings (where each element is one line - that is, one email). You then must complete the function, so that it returns the spam score for the target word. The spam score is an integer representing the total number of times the target word occurs across all the spam emails, minus the total number of times the word occurs in not-spam emails. Convert all words to lowercase before counting, to ensure capitalization does not throw off the count.
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2.This first part of the Individual Research Project is an Outline and Annotated Bibliography. The Outline should provide a very brief ...

tline should provide a very brief overview of what you think you will do in the Policy Brief. The Annotated Bibliography requires you to summarize at least three peer-reviewed scholarly sources you will cite in the Policy Brief. This assignment is designed to get you thinking about your topic in a way that clearly anticipates the writing you will do for the Policy Brief. We want you to brainstorm and do a bit of research well in advance of the deadline for the Policy Brief and, most importantly, we want you to put your ideas down on paper so that we can give you feedback before writing the actual Policy Brief. In other words, we are asking you to submit an Outline and Annotated Bibliography so that we can help you write the best Policy Brief possible. Your Outline should be divided into the following five sections and should be written in complete sentences: I. Audience: Identify the audience you are addressing and consider what that audience is interested in. Who are you talking to in the Policy Brief and what does this suggest about the approach you should take? (75-100 words). II. Problem: State how you know the issue exists. What is the proof that students need to improve this skill? (125-150 words). III. Importance of Problem: Indicate why this problem matters. What are the consequences of the problem not being addressed? Why do students need to improve this skill? (100 words) IV. Solution: Identify your preferred solution. What solution will work in your context and why? (75-100 words) V. Alternative Solution: Identify at least one other possible solution. What other solutions did you consider? (75-100 words) The total length of the Outline should be between 450 and 550 words. When you submit your Outline, you must also include an Annotated Bibliography. An Annotated Bibliography is an alphabetical list of research sources that provides bibliographical data (the title, author, date, publisher, etc.) and a short summary or annotation of the source. Your Annotated Bibliography should contain a minimum of three scholarly or peer-reviewed sources, each with an accompanying annotation that is between 150 and 250 words long. The annotations must summarize the research question or thesis, research methodology, results, and conclusion. Annotations must include summaries and paraphrased information, NOT quotations. A good annotation will include two separate paragraphs: 1) a paragraph summarizing the research question or thesis, research methodology, results and conclusion; and 2) a paragraph commenting on why this source is relevant for your research.
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3.Hi, Is the article below non-fiction or creative non-fiction? What makes it either of these titles? Rose By: Tomson Highway Should ...

Rose By: Tomson Highway Should Only Native Actors Have the Right to Play Native Roles? Deep in my Cree heart of hearts, I had two-millennium projects on the go, though this only in hindsight. One was for the year 2000, the other for 2001, and thus just to make sure I had the right year for actually beginning this brand new, and incredibly exciting, millenium. Those two projects? For the year 2000, an English language production, in Toronto, of the third play in what I call my “Rez Septology,” a play called Rose. And for the year 2001, the Japanese-language premiere, in Tokyo, of the second play in the septology, a play called Dry Lips Oughta Move to Kapuskasing. And this is how the two projects affected me and my life: When it dawned on me, one cloudy day, that my career as a playwright had been destroyed by political correctness, I just about died. I wanted to throw myself under a subway train and just call it a day. I was horrified! After all that work? After all those years of struggle and of hope and of prayer and of pain and of tears and of more struggle, against odds that were impossible to begin with? But how can it be? How can the voice of a playwright be silenced? By a method so brutally effective as political correctness? In a country supposedly as civilized as Canada? Questions like this, and others like them, resounded through my brain over and over and over again. As they do to this day. Permit me, therefore, to start off with the “backdrop” before I go into “the projects,” please: First of all, I don’t happen to have the good fortune of coming from a city such as Montreal or Vancouver or Toronto or Ottawa or New York or any other major city where educational (and employment) opportunities, right from age one, are virtually unlimited (believe me, you can be a movie star by age one in such cities!). And I don’t come from a city where English (or French) is the language of the day. I come, instead, from one of the tiniest, most remote, most inaccessible, most underprivileged and most troubled Indian reserves in the country, Brochet, Manitoba, population 700, one thousand five hundred kilometers directly north of Winnipeg (further than Churchill but on the opposite side of the province). I come from a place where the language spoken is Cree. AND Dene, incidentally; because we are located so far north, we spill over into the land of such sub-arctic peoples as the Dene (linguistically speaking) to the Navajo and other southwest Native nations. In fact, to fly from Toronto (my home until recently) to Brochet costs more than a ticket to Sydney, Australia or to Rio de Janeiro. To fly home to visit my family (which I do regular as clockwork), I could fly from Toronto to London, England and back - three times each way- for the same amount of money, easy. No jumping in a taxi or a car or on a bus or a train or a “seat sale” seat on a plane from Toronto to Vancouver for the likes of us, not to go have lunch with Mom, not to go to a funeral. Plane ticket prices for Canada’s northerners? Brutal. Brutal, brutal, brutal. And that’s just the distance barrier, never mind the linguistic. For Cree is as different from English as English is from Cantonese; not one shred of resemblance exists. In fact, the two languages are often completely at odds with each other. In one language, for instance, God is male, in the other, female. And that’s just the start… So along comes this little Indian boy from one such remote northern Native community and into the big, big city of Toronto and he dares to dream of a career in the theatre, or, at the very least, in the world of Canadian letters. Fat chance, baby! Forget it. He doesn’t listen. He goes ahead anyway. “No matter how they laugh, let them laugh. I can do it,” he says to himself. And he puts his shoulder to the grindstone, as they say in movies. People always say The Rez Sisters was my first play. That’s not true. It’s not true at all. It may have been my first play to be successful with the general public. But there were five plays that came before that, every one of them self-produced, with money from my very own pocket. And some of these plays were awful, some of them were good, at least two of them were very, very good. But only with The Rez Sisters did my work suddenly, finally get noticed by, as I say, a wider public. By which time, I was almost forty. And what I had to go through to get those first five plays self-produced, you don’t even wanna know! How do you make money standing with your back against the wall in some big city, downtown back alley? Late, late at night? Guess. When it came to that “first” play, however - and I speak here about The Rez Sisters, which, in fact, was my sixth - it was the fall of 1986. In those days, of course, you could count the number of professional Native actors in this country on the fingers on one hand alone. In my wildest dreams - keeping in mind that my work was totally unknown then - I dared to write this play for “them,” meaning for those four or five professional Native actors then in existence. The reason? I adored them. I just absolutely adored these people AND their work. They were my heroes. They kept my dreams alive. So it came to the casting of the show. Finally, my play was going to get done! I was so excited I could hardly sleep at night. So then I approached them, these Native actors, for you see, as always, I was the producer, again, or at least in this case, one of the two co-producers, god bless the other co-producer, may he rest in peace. These Native actors, however, all said “no.” They were all too busy working on other projects, many of them on Native subject matter written by - horrors! - white people! I pleaded with them and pleaded with them and pleaded with them but, still, they said “no.” God bless them and their courageous careers but they made me cry. They made me want to give up and die. So what choice did I have? Either I forget the play and kill myself. OR I go right ahead and hire - horrors! - white actors! Which is what I did, exactly. And these white actors, they were SO generous, they were so kind, so supportive, so confidence generating that, with their help as with that of those Native actors who did say “yes,” god bless them - I simply bloomed. The play opened. The play was successful. And it has never really stopped playing ever since, somewhere in the world, giving continued employment to many, many, many actors both Native and non-Native. As it will do probably forever - your grandchildren will be playing in The Rez Sisters! - something that would NEVER have happened if not for the help of extremely generous people who happened NOT to be Native, actors who happened to be white! Several years later, I experienced a similar situation. This time, it was with a play called Rose. Again I wrote it for Native actors - of which, by this time (1991), there were many more - actors whom I absolutely adored, whose work I absolutely adored. And again, for some strange reason, they said “no.” They were NOT interested. I couldn’t get them interested. If their objective was to make me cry, then they were certainly utterly successful. So then I waited ten years. Ten years! And by this time, I’m almost fifty years old, okay? Until some incredibly generous non-Native person comes along and offers to produce it, albeit, in a university setting, that is, a non-professional (i.e., non-paying) setting. I was thrilled. I was so thrilled I could have danced myself to shreds! So then they went to work on it, this group of “white kids,” none of whom was older than twenty-five. And they worked. And they worked and they worked and they worked and they worked. Never seen such a group of people work so hard. And with so much faith and so much conviction and so much love. It was a blessing from heaven to be sitting there beside them, to be in the same room as them. They glowed, they glowed like lightbulbs. You’ve never seen people so happy, so high. And by the time the show opened, you couldn’t get a ticket; it had been sold out way before opening; hundreds of people were turned away. On virtually no advertising; it all happened by word of mouth. And, to me -as to most people who saw it - the production was FANTASTIC! It was rich, it was beautiful, it was spectacular, it was moving, it was...miraculous! Not perfect, perhaps, but pretty gall-darned good. But these were the things about this experience that most struck me, that most stayed with me: Not one of these actors got paid; they were students; in fact, because they were students of the drama programme at the University of Toronto, they were paying for the experience through their tuition fees which, if I understand correctly, can be as much as $8,000 a year at that particular institution. Pardon me - ONE of those actors DID get paid, a little girl we needed who, of course (being little), came from outside the drama programme. And she, by the way - and god bless her - was the only performer in that production who was Native. But how many Native actors do YOU know who would be willing to pay $8,000 to be in a show? Any show? That question stunned me. All the other performers? Well, we had French-Canadians and Anglo-Canadians and Dutch-Canadians and Polish-Canadians and Ukrainian-Canadians and Jewish-Canadians and Peruvian-Canadians and Lebanese-Canadians and Portuguese-Canadians and god only knows what else! And none of them have even met a Native person, up until then. They pretty well all came from the city of Toronto, or somewhere very close by (such as Barrie, or Sudbury) so they had never, ever been privy to any even remotely “Native experience” in their lives. Now, for the first time, in their third year of university, at ages 21-25, here they were getting this heavy-duty immersion course in “Native Studies,” meaning Native culture, Native history, Native spirituality, Native language - they were learning to speak Cree for god’s sake, something you can’t get Cree kids to do these days! - Native art, Native music, and just generally, Native life in this country, today. And you know what? They all fell in love with it. Now, as the direct result of such an experience, what they have for Native culture and people and languages is endless respect, even awe. And love. And what’s more, they will pass on that knowledge and that love and respect - and wisdom - on to their children and their grandchildren and their great grandchildren, etc., etc., etc…. The experience changed their lives. And both communities - Native AND non-Native - will benefit from it, both in the long term AND permanently. The experience certainly changed MY life. It shocked me. The shock? That generosity and kindness and love know no racial boundaries. And that, contrariwise, UN generosity and lack of kindness and just plain cruelty ALSO know no racial boundaries. Coming out of Rose, I ended up with the immense gift of, minimum, 30 gorgeous, fantastically kind new friends, people whose friendship and generosity - and laughter - I will cherish right up until the day I die. And the icing on the cake? A show was born that otherwise would never have been born, that otherwise would have died forever. A show was born that will give useful, meaningful, enriching employment - and enjoyment - to many, many people for many, many years. Like, I say, the whole thing was a shock. And it took ten years! One more story before I close off on my point, the story, that is of my second “millennium project,” so-called. As it turns out, I’m writing this from Japan, specifically Tokyo, where the Japanese-language production of another play of mine, Dry Lips Oughta Move to Kapuskasing, just opened. It was awesome. And, again, it wasn’t so much the production - which was absolutely stunning! Imagine, if you will, the Seven Samurai doing Dry Lips.. - that move me so much as the generosity of the cast and crew, Japanese every one of them. That generosity, that kindness, that largeness of heart, just astonished me. It made me cry. To be the beneficiary of kindness on that scale is a gift one could easily die for. As a result of just that one project, I now have a hundred friends, easy, in Japan. For the rest of my life! I LOVE Tokyo! And again, none of these people had ever met a Native person - well, two had, but…- much less knew anything about Native culture first hand. By the end of the six-week rehearsal process, however, some of them were speaking Cree AND some Ojibway. And let me tell you, to hear your own Native tongue being spoken with a Japanese accent is a bittersweet experience indeed. (I mean, come on, folks! To be unilingual in a language that’s not even your own? If the Japanese can learn Cree, YOU can learn Ojibway!) And, again, these people will pass their respect for Native people and culture on to their children, their grandchildren, their great great grandchildren etc., etc., etc…. The experience changed their lives. It changed mine. The one question I kept being asked over and over? How does it feel to have Japanese actors playing Native parts? (In the aforementioned Canadian production of The Rez Sisters, it was more like, “how dare these two white women STEAL Native parts from Native actors!” Well, good grief! The show would never have been born without them in the first place!) Anyway, my answer to the question in Japan was this: 1) These Japanese actors, they’re human beings, for god’s sake. What they are, first, foremost and last, is real-life, flesh-and-blood human beings with feelings, human beings who happen to be incredibly talented. And incredibly generous. If they hadn’t agreed to do it, it would never, EVER have happened. 2)To me, saying that only Native actors have the right to play Native roles - on stage, anyway, as opposed to film, which another thing entirely and not at all what I’m talking about here - well, that’s like saying only Italian actors have the right to play in Romeo and Juliet, or only Danish actors have the right to play in Hamlet, or only Spanish actors have the right to play in Blood Wedding. It would be like saying to someone like Canadian film-maker Atom Egoyan, “you have the right to work with Armenian actors only,” which, of course, would automatically bring his career to a standstill; it would destroy it, it would kill it, right there on the spot. Or as I asked, one sunny day, a respected, much admired Jewish theatre artist, “how would you like to work with no but Jews for the rest of your life?” You could almost see his hair stand on end; the very thought horrified him. My argument with someone else at that same summer gathering? “Theatre is about illusion, the better the magic, the more profound the experience.” Besides, working in a situation of cultural, ethnic and linguistic diversity can be the most empowering, most liberating, most exhilarating experience in anyone’s life. Working in a pressure cooker environment by comparison? Working in the context of a “ghetto” of any kind whatsoever, be that “ghetto” Native or black or French or English or Jewish or female or male or gay or…? Remember the expression, “familiarity breeds contempt”? Well, only too frequently, such a working environment can only mean THAT kind of disaster. Or one of plain, out-and-out hatred. And hatred, as who doesn’t know, kills and kills completely. It kills relationships, it kills communities, it kills love. Look at what the Argentinians did TO EACH OTHER during the so-called “dirty war” of the 1970s. Look at what the Spanish did TO EACH OTHER during the Spanish Civil War. Look at what the Chileans have done TO EACH OTHER. Look at the Irish in Northern Ireland. Look at the Balkans, at Cambodia in the ‘80s, at Haiti, at Rwanda, etc., etc., etc…. Does anybody out there actually want to live like that? Internally directed hatred, internally directed violence - which, in essence, is what civil war is - well, there is nothing more destructive, we all know that. Diversity! What we all need is diversity! What we all need, desperately, is room to breathe! That’s what makes Canada work as a society; precisely its diversity. If we - all of us - were Cree, I would have had my head macheted off a long, long time ago! All by way of saying the following: “Only Native actors have the right to play Native roles?” Music to Native actor’s ears, perhaps, yes, god bless them. But death to a Native playwright’s career. Because chances are that the show will NEVER, ever get done. No producer in the country has balls that size, balls big enough, that is to say, of going against the political grain. Not today. Not tomorrow. Stop it, you people! It’s killing us! Myself, I had to move out of the country, finally. I could no longer live there, not really. I kind of live, well...all over the world now. I do where I can find work. Because I certainly am NOT finding it in my own country. I go where I can find the kindness, I go where I can find the generosity, I go where I can find the friendship and support. The working situation in Canada, for someone like me? Well, it has simply become unworkable. I find it stultifying, asphyxiating. I CAN’T work under such artificial constraints. No one can. Sooner or later, it will drive you crazy. Not to mention kill your imagination. AND your career. All as you watch, with envious eyes, the careers of your non-Native playwright colleagues (whom you love) bloom like a garden everywhere around you… It seems to me that what we have here are two distinct choices: a) either we cast a show politically correctly (meaning only Native actors play Native parts) and the show never, ever gets produced (trust me; I waited ten years for Rose to happen, more for others which will NEVER get done), or b) cast it any way you want, in whatever way you can afford it budget-wise (plane tickets are a waste of money, trust me), let the show be born, let the show become successful, and THEN it will live on forever to employ many, many, many more actors, Native and otherwise, for many, many, many more years. And the upshot of the latter arrangement? Having Native and non-Native actors working side by side like that? There is no better healing agent for bringing two only-too-frequently disparate, disharmonious communities together. And, in the process, making our country an even better, richer, healthier country than it is already. The life of an artist is so incredibly challenging, after all, a Native artist’s most especially, in Canada today, or anywhere in the world. Everywhere you turn, insurmountable obstacles meet you square in the face. Everywhere you turn, events, or people, conspire to bring you down, to destroy you. What those artists need, and need most desperately, is as much breathing space as you can give them, the freedom to create, the freedom to employ, the freedom to fly with their souls and imaginations. Don’t hold them down. Don’t shoot them down. You will kill them. Or drive them away. They need all the help they can possibly acquire. They’ve already almost killed themselves just to get to where they are today. Someone said to me one day: “Artists are here to break down barriers, not to create them.” So, myself, I’ve moved away. I’ve left my own country, to continue helping to break down barriers in whatever way I still can, at my age, in the only way I know how, and to have a good time doing it. The thing is, I can do that. I can take it. I’ve had, as they say in the business, my “fifteen minutes of fame.” Enough already. I’ve been very, very lucky (not to mention being the beneficiary of extraordinary teachers, absolutely extraordinary parents and many dear, dear friends). And I’ve moved on, to other things. I have had, after all, no choice. The sad thing is this: what about the next generation of Native playwrights? Will they, too, one day find themselves standing on that subway platform - late, late at night, stoned, drunk out of their skulls, not a penny in their pockets, no future in sight - and those long, silvery tracks down below gleaming up at them in a manner most, most enticing?
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4.1) Which of the following statements about scientific methods / theories is correct? (1/0/0) a) A scientific theory must be able to ...

a) A scientific theory must be able to be proven. b) A scientific theory has been derived from known facts and always applies. c) A scientific method should give different results depending on who performs the method. d) Knowledge of our surroundings usually emerges through an interplay between theory and experiment. 2) The sides of a straight block are measured to 3,202 cm; 0.0012 cm and 11.2 cm, respectively. Calculate the volume of the straightening block and enter it with the correct number of value digits. (2/0/0) Number of words: 0 3) A 9.2 dm long and evenly thick rod rests on a support. 0.55 dm from one end, a dynamometer is hung so that the rod will hang horizontally. Then the dynamometer shows 4.4 N. How much does the bar weigh? (1/1/0) Number of words: 0 4) A bar AB that is homogeneous and evenly thick has a length of 2.70 m and is rotatable about an axis at A. The bar weighs 25 kg and is kept in equilibrium by a force F which has its point of attack in B. is 45 degrees. How big is the force F? (1/1/0) Saved! 25 * 9.82 = 245.5 N Number of words: 6 5) A trolley rolls at a constant speed to the right. On the cart is an upward cannon that suddenly shoots a bullet. The carriage continues to the right with the same speed as before. Where does the bullet end up when it falls? For a detailed reasoning. (1/1/1) Number of words: 0 6) A river is 200 m wide. The water in the river flows at a speed of 2.5 m / s. A motorboat steers across the river at its maximum speed, which in stagnant water is 5.0 m / s. The boat is constantly heading perpendicular to the banks of the river. Where does the motorboat land on the other shore? (2/0/0) Number of words: 0 7) A ball with a mass of 2.0 hg moves at a constant speed in a circular path. The radius of the track is 1.5 m and it takes the ball 3.0 seconds to move one turn. How big is the centripetal force? (1/1/0) Number of words: 0 8) A bullet moves at a constant speed. Can we then safely say that the resultant of the forces acting on the bullet is zero? Motivate and discuss your answer. (0/1/1) Number of words: 0 9) A conductor is located between the poles of a permanent magnet. The current in the conductor goes in the direction of the plane of the paper (away from the reader). How is the force acting on the leader directed? (1/0/0) a) To the right of the figure b) To the left in the figure c) Downwards in the figure d) Upwards in the figure 10) Protons enter horizontally from the left between two large metal plates at a speed v = 0.80 Mm / s. The plates are connected to a voltage source with the pole voltage U. Between the plates there is a homogeneous magnetic field with a flux density of 38 mT directed perpendicular to the plane of the paper. The distance between the plates is 1.5 cm. They want the protons to continue with unchanged direction and speed between the plates. Which of the plates should be connected to the positive pole of the voltage source and how large should the voltage U be? (0/2/0) Number of words: 0 11) The magnetic flux Φ through a 700-speed coil decreases linearly with time according to the diagram below. Calculate the voltage across the coil at time t = 1.0 ms. 12) The current in a coil with an inductance of 35 mH has a growth rate of 6.2 A / s at a given moment. What is the instantaneous value of the ems induced in the coil?
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5.I have an exam in an hour and I want someone to solve it for me. Statistics including normal distribution, ...

ution, regression, decision trees Past paper has 5 questions (attached), we will have 4. Complexity of questions will be reduced slightly for decision trees and regression. Visualisation question – written in word file or hand-written and scanned or photographed. Normal distribution: Sketch using online normal distribution visualisation applet (add notes around this to discuss if necessary) or sketch by hand and scan or photograph. For mathematical workings, use formulae sheet, copy, paste and adapt, or scan / photograph your workings and upload. Decision tree – use Office smart shapes, or sketch by hand and scan or photograph. If formulae are required, then use formula sheet, copy, paste and adapt. Regression – written in word file or hand-written and scanned or photographed. MCDA – written in word file or hand-written and scanned or photographed. Remember if they appear, decision trees and regression will be a little less technical than they have been in the past. (To allow more of a buffer with regards to time available to complete and upload). Visualisation and MCDA questions will be more general (strengths and weaknesses, key messages, make some recommendations). Exam questions will be set so as to minimise practical and logistical difficulties in uploading answers.
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6.In Activity 1.4, we saw that when there are 4 players there will be 6 matches and when there are ...

layers, there will be 10 matches. Note also that when there are two players, there will be only 1 match and when there are 3 players, there will be 3 matches. This same principle may be applied to a room full of people shaking hands with one another. If there are 2 people, there will be 1 handshake, 3 people, 3 handshakes, and so on. If I were to tell you that if there are 6 people, there will be 15 handshakes, set up a sequence with the number of handshakes for 2, 3, 4, 5, and 6 people in the room. (2 marks) Examine the sequence above and determine how many handshakes will take place if there are 7, 8,or 9 people in the room and each person shakes hands with every other person. (3 marks)
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7.Task 1 You are asked to carry out a study on behalf of a business analytics specialised consultancy on a subsample ...

on a subsample of weekly data from Randall’s Supermarket, one of the biggest in the UK. Randall’s marketing management team wishes to identify trends and patterns in a sample of weekly data collected for a number of their loyalty cardholders during a 26-week period. The data includes information on the customers’ gender, age, shopping frequency per week and shopping basket price. Randall’s operates two different types of stores (convenient stores and superstores) but they also sell to customers via an online shopping platform. The collected data are from all three different types of stores. Finally, the data provides information on the consistency of the customer’s shopping basket regarding the type of products purchased. These can vary from value products, to brand as well as the supermarket’s own high-quality product series Randall’s Top. As a business analyst you are required to analyse those data, make any necessary modifications in order to determine whether for any single customer it is possible to predict the value of their shopping basket. Randall’s marketing management team is only interested in identifying whether the spending of the potential customer will fall in one of three possible groups including: • Low spender (shopping basket value of £25 or less) • Medium Spender (shopping basket value between £25.01 and £70) and • High spenders (shopping basket greater than £70) For the purpose of your analysis you are provided with the data set Randall’s.xls. You have to decide, which method is appropriate to apply for the problem under consideration and undertake the necessary analysis. Once you have completed this analysis, write a report for the Randall’s marketing management team summarising your findings but also describing all necessary steps undertaken in the analysis. The manager is a competent business analyst himself/herself so the report can include technical terms, although you should not exceed five pages. Screenshots and supporting materials can be included in the appendix. Requirements After completing your analysis, you should submit a report that consists of two parts. Part A being a non-technical summary of your findings and Part B a detailed report of the analysis undertaken with more details. Part A: A short report for the Head of Randall’s Marketing Management (20 per cent). This should briefly explain the aim of the project, a clear summary and justification of the methods considered as well as an overview of the results. Although, the Head of Randall’s Marketing Management team who will receive this summary is a competent business analytics practitioner, the majority of the other team members have little knowledge of statistical modelling and want to know nothing about the technical and statistical underpinning of the techniques used in this analysis. This report should be no more than two sides of A4 including graphs, tables, etc. In this report you should include all the objectives of this analysis, summary of data and results as well as your recommendations (if any). Part B: A technical report on the various stages of the analysis (80 per cent). The analysis should be carried out using the range of analytics tools discussed: • SPSS Statistics Ensure that the exercise references: • Binary and multinomial logistic regression • Linear vs Logistic regression • Logit Model with odds Ratio • Co-efficients and Chi Squared • MLR co-efficients • Assessing usefulness of MLR model • Interpreting a model • Assessing over-all model fit with Psuedo R-Squared measures • Classification accuracy (Hit Ratio) • Wald Statistic • Odd ratio exp(B) • Ratio of the probability of an event happening vs not happening • Ratio of the odds after a unit change in the predictor to the original odds • Assumptions • Residuals analysis • Cook’s distance • DfBeta • Adequacy (with variance inflation factor VIF and tolerance statistic) • Outliers and influential points cannot just be removed. We need to check them (typo? – unusual data?) • Check for multicollinearity • Parsimony Write a short and concise report to explain the technical detail of what you have done for each step of the analysis. The report should also cover the following information: • Any type of analysis that might be useful and check whether the main assumptions behind the analyses do not hold or cannot be • Give evidence of the understanding of the statistical tools that you are using. For example, comment on the model selection procedure and the coefficient interpretation, e.g. comment on the interpretation of the logistic regression coefficients if such a method is used and provide an example of • Conclusions and explanation, in non-technical terms, of the main points
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8.1. For this question, you will review a process, identify problem areas ( such as wastes, cycle time inefficiencies, etc), ...

inefficiencies, etc), and suggest an improved process. Open and read the Process Improvement (Final Q 1) document which describes the process steps in words and also includes a process map as a visual tool for understanding what's going on in each step. You will need to respond to the following three sub-questions: FINAL Q1: 3 Attachments are the Q1 ------------------------------------------------------------------------------------------------------------------------------------------------------------------ I need the 3 part question answered. This is everything in the question.. Understand that there is NOTHING INCOMPLETE, I have added everything that was sent to us. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ a. Of the 9 process steps in the Process Improvement (Final Q 1) document, which specific steps in that process are experiencing lean wastes and/or process cycle time issues (please note, there is more than one step experiencing issues). In your response, name the process step, and/or the transfer interface between steps, and what waste(s) or cycle time issue is involved. Be sure to use standard lean/six sigma terminology that we used in the course when referring to any of the quality concepts; e.g., transportation waste when referring to situations involving a lot of moving around from one place to another. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- b. Which of the process steps you identified in part a do you believe could benefit from process improvement and why? --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- c. What changes would you institute in the process to improve the steps you cited in part b of this question and describe how those changes improves the process. Be specific about which process step(s) your improving and thoroughly describe the improvement to that step. [Note: This question ties to what you decided was important in part b question above.] Also, when answering how you would improve a given process step, assume you have an unlimited budget and personnel resources and you can do mostly anything you want as long as it doesn't violate the laws of physics or the judicial system. Be cautious though because process improvement is designed to save time, money, and resources in doing the needed work.For example, automation is good, and also potentially expensive, so is it worth it for the improvement? - you will have to be the judge of that.
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics