加拿大论文代写：因子分析

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加拿大论文代写：因子分析

主成分分析与因子分析有着密切的关系。在典型意义上，因子分析包含了特定于域的关于基础结构的假设，而在矩阵上求解特征向量略有不同。此外，PCA得到的结果对变量尺度有关键依赖关系，而PCA的发展是以不变尺度的形式出现的(Abdi & Williams, 2010)。在推导主成分分析的过程中，由于假设的特殊性，存在一定的局限性。第一个假设是在线性方面，数据集将是每一个相关变量的线性组合。第二个假设是关于协方差和均值的意义。似乎没有任何保证，在指导最大方差，包括良好的属性歧视(Bowen & Guo, 2011)。第三个假设是关于具有显著动态的大方差。
这说明，具有较大方差的分量对应于关键动力学，而较小的分量对应于噪声。在统计术语中，使用varimax旋转来简化关于某些主要项目的特定子空间的表达式。实际的坐标系不会改变。不会发生任何变化，因为它是正交基，旋转以确保不同坐标之间的对齐(Bro & Smilde, 2014)。PCA子空间的发现可以表示为一个密度较大的基，具有多个非零权值，难以解释。Varimax是需要旋转，因为它有助于最大限度的总方差的平方负荷。载荷的平方可以确定为因素和变量之间的平方相关性。正交性的保持要求旋转保持子空间不变。

加拿大论文代写：因子分析

PCA has close relation with the analysis of factor. Analysis of factor, in the typical sense, incorporates assumptions specific to domain regarding the underlying structure, while solving eigenvectors over a matrix that is slightly different. In addition, the results obtained from PCA have key dependence upon the variables scales, while there is a development of PCA in form of invariant scale (Abdi & Williams, 2010). There is limitation of applicable PCA by specific assumption while drafting out its derivation.
The first presumption is in terms of linearity that data set will be linear combinations of each and every variable involved. The second presumption is regarding the significance of co- variance and mean. There does not seem to any guarantee in directing maximum variance that consists of good attributes for discrimination (Bowen & Guo, 2011). The third presumption is about large variances having significant dynamics.
This states that components having large variance will be corresponding with the crucial dynamics, while the lower ones will be corresponding with noise. In statistical terms, there is use of varimax rotation for simplifying the expression of a specific sub- space with respect to some major items. The actual system of coordinate will not change. No change will take place as it is the orthogonal base, rotating for ensuring alignment between different coordinates (Bro & Smilde, 2014). The discovery of sub- space with PCA can be expressed as a dense base with a number of non- zero weight, creating difficult interpretation. Varimax is needed as rotation as it helps in maximizing the total variances across the squared loadings. Squared loading can be identified as squared correlations between factors and variables. The preservation of orthogonality requires that the rotation will be leaving the invariant of sub- space.

留学申请文书：山水画的布局

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留学申请文书：山水画的布局

在这些画中，对象的位置时常不同。树、岩石和动物都被精心放置在适当的位置，以保证最后的平衡情绪。正是在文艺复兴时期，这些山水画获得了重要的意义，对人们吸引他人去欣赏意大利文化显得尤为重要。虽然这种情况发生在16世纪晚期，但随着风景艺术家的流行和大旅游的普及，这种情况一直延续到17、18世纪。当时，意大利被认为是风景画家的故乡。尼古拉斯·普桑(Nicolas Poussin)和克劳德·洛兰(Claude Lorrain)就是这样两位杰出的艺术家，他们以不断地通过绘画为理性清晰奠定基础而闻名(Whyte, 2002)。作品中明暗的运用各不相同，这些不同之处主要是为了带来真实，表现出良好的平衡感，同时也增强了意大利山水画家的素质。随着时间的推移，景观艺术的焦点在题材和性质上发生了变化。不同形式的山水画出现了，没有山水画消失的例子。
然后，除了历史、文化和社会时刻之外，它还被用作一种展示哲学思想的模式(Hill and Minghelli, 2014)。当风景艺术作品被转化为摄影时，摄影实践也随之发展起来，而这恰好是一种比艺术作品更容易捕捉照片的方式。在意大利语境中，中庸是一种新的制度，具有良好的文化和制度维度。此外，摄影被认为是次要的比山水画和艺术评论家坚持认为，激进的思想和知识实践只能通过绘画比摄影的手段来揭露。新物品被用来创作这些艺术品。除了表现历史事件和文化实践，它还被用来探索空间研究、文化变迁、电影、文学、美学、地理和音乐。人们对中心问题的承诺仍然是令人关注的领域(Hill and Minghelli, 2014)。因此，使用新的属性来描述相同的内容。主题的改变，使山水画可以作为一个完美的推动者，以获得关注的目标观众。

留学申请文书：山水画的布局

The positioning of the objects differed from time to time in these paintings. Tree, rock and animals were well placed with extreme care to deliver a balanced mood in the end. It was the period of Renaissance when these landscape paintings gained significance and appeared to be extremely crucial for people to attract others towards Italian cultures. While this happened in the late 16th century, it extended to 17th and 18th centuries when landscape artists became popular and popularity of Grand Tour increased. Italy was then considered as the land known and meant for landscape artists. Nicolas Poussin and Claude Lorrain were two such eminent artists known for their continuous works to develop the base for rational clarity through paintings (Whyte, 2002). The usage of light and dark differed among the paintings and these differences were mainly to bring the reality and express the style with good balance and also to empower the quality of Italian landscape artists.Over the period, the focus of landscape art changed in terms of the subject and properties. Different forms of landscape paintings came into existence and there were no instances when landscape paintings diminished.
It was then used as a mode to demonstrate philosophical thoughts in addition to historical, cultural and social moments (Hill and Minghelli, 2014). Photographic practice evolved when landscape art works were converted to photography and this happened to be an easier way to capture pictures than the art works. In the Italian context, medianity was a new system that has gained a good cultural as well as institutional dimension. Additionally, photography was considered secondary than the landscape painting and art critics insisted that radical thoughts and intellectual practices can be exposed only by means of painting than photography. New objects were used to create these art works. Apart from the representation of historic events and cultural practices, it is used to explore spatial studies, cultural changes, cinema, literature, aesthetics, geography and music. The commitment of people to the central issues remained as the area of concern (Hill and Minghelli, 2014). As a result, new properties were used to depict the same. The subjects changed so that landscape paintings could be used as the perfect facilitators to gain attention from the intended audience.