Suppose that you collected data on GPA and the number of studying hours(H) for 100 students
at UCR. The data is summarized as follows: 20 students study 6 hours a day and have a GPA of
2.0, 30 students study 6 hours a day and have a GPA of 4.0, 10 students study 10 hours a day and
have a GPA of 2.0, and 40 students study 10 hours a day and have a GPA of 4.0.
Please solve the following questions:
- Find the join and marginal probabilities? ( hint: you may use a table with GPA and hours
- Find the probability of hours= 6 given that the GPA=2.0?
- Find the probability of GPA=4 given hours = 10?
- Find the mean or expected value of hours (E(H))?? Find the variance of hours (V(H))?
- Find the mean or expected value of GPA (E(GPA))?? Find the variance of GPA
- Find the covariance between hours and GPA ( Cov(H, GPA)? Are the GPA and hours of
- Find the coefficient of correlation between hours and GPA ( r(H, GPA))?
- Find the expected value (mean) of hours given that the GPA=2.0 ? Find the variance of
hours given that the GPA=2.0?
- Find the expected value (mean) of GPA given that the hours= 10? Find the variance of
GPA given that the hours=10?
A Photograph of Cartier-Bresson GuidesorSubmit my paper for examination Photography has without a doubt gotten one of the most amazing and significant visual crafts of the twentieth century, and influenced different parts of craftsmanship fundamentally. This is, maybe, one of those expressions that are close to nothing or not influenced by mechanical advancement, and it is just the ability and expertise of a craftsman that issues. There lived numerous bosses of photography, yet there was one whose works portrayed the whole twentieth century with its logical inconsistencies and shows as completely as no one else figured out how to. The name of this craftsman was Henri Cartier-Bresson, the author of the well known Magnum organization, and one of the most remarkable picture takers everything being equal. elucidating article sampleAmong Henri Cartier-Bresson's works, I particularly appreciate the one titled "Political Meeting" made in Paris in 1953. It is a high contrast picture that delineates an enormous horde of individuals, situated in a storage or assembling office, and an individual who is going to hold a discourse before them (or as of now is). The structure of the photograph is worked so that the speaker's desolate outline is by all accounts differentiated by the boundless horde of individuals who assembled at the gathering. This impression is implemented by the lines of the structure's roof, which control the watcher's sight into the profundity of the image, to a minor spot of the office's exit. The entire picture is supported in shades of dim of different forces; the darkest and the most splendid spots are the speaker's figure and the office's windows individually. The photo has a compelling passionate charge that is effectively seen from the principal snapshots of taking a gander at it. The individuals appear to be trusting that the speaker will offer them an answer for a troublesome issue. Maybe it is a worker's organization rally, or a strike. The speaker, in his turn, is by all accounts to some degree confounded, and even overpowered by the group. It appears that H. Cartier-Bresson has delineated a snapshot of ungainly quietness, when the desires for a great many individuals are routed to a solitary individual, who is befuddled and doesn't have a clue what to state. This is an emotional vision, however, and the circumstance may have created in an alternate manner. When all is said in done, the photo is a portrayal of the air that was set up in Europe after the Second World War. It was the hour of huge changes and social disturbances, work and freedom, expectations and troubles, and H. Cartier-Bresson has caught it all in only one photograph. Pundits internationally esteem H. Cartier-Bresson's photos as an exclusive expectation. He constantly figured out how to catch the pith of occasions or people he pointed his camera at. His photographs are pictures shot with polished methodology, however are increasingly similar to short stories, each with its own passionate charge and setting. Cartier-Bresson had once said it was life itself, not photography, that intrigued him the most. What's more, this is the thing that can be effectively observed when taking a gander at any of his works. workmanship article, paper about well known individual, exposition about existence>GET ANSWER