You should download the data that you need to answer your research question and decide the Regression
you are going to run. Then you can write and upload drafts for the Data Section and the Regression
section by next week (let’s say by July 15).
The Data section is pretty easy to write. You need to:
Describe the data you are using and specify where you got them from (for example, Apple stock prices
downloaded from finance.yahoo.com).
Clarify if you transform the data that you downloaded in any way: for example, taking the growth rate of
the stock price, taking logs, taking first differences, etc.
If you don’t have too many data series, you can include a graph of how they evolve over time.
The main point of the data section is that you should give enough details so that a reader would be able to
replicate exactly what you have done.
For the Regression section, instead, you need to:
Write down and explain the regression that you are going to use. Make sure that you are specific about
the variables that you use and that you include the right subscripts, as well as the error term.
Discuss a bit why you use those variables in the regression.
Sample Solution
Picasso’s Painting Les Demoiselles d’Avignon GuidesorSubmit my paper for examination picasso les demoiselles d avignonWe can just envision the effect that this life-size artwork had on watchers 100 years prior. “Les Demoiselles d’Avignon” displays an audacious dismissal for the made-up rules of craftsmanship. In spite of the fact that the artwork was not indicated freely until 1916, Georges Braque saw the canvas in 1907 in Pablo Picasso’s studio before the paint dried. What’s more, what Braque saw changed the hereditary code of his knowledge until the end of time. I speculate that for some specialists today, “Les Demoiselles d’Avignon” has lost none of its pizzazz. Its conflict of powers and thoughts transmits a force that doesn’t blur. Craftsmanship history specialists normally talk about the Demoiselles as far as substance: a massage parlorâfive whores in a puzzling room that incorporates a table with still-life (natural product), vaporous textures (tablecloth, window ornaments, garments, backdrop), and perhaps a seat; as far as three significant impacts: Primitivismâcommunicated through plain sexuality, evenness, geometric structure, and references to Egyptian profile-workmanship (the lady at the left) and African ancestral veils (the two right figures); El Greco (extension/vertical twisting); and Cézanne (geometrization and shallow profundity of the pictorial field, just as echoes of Cézanne’s compositions of bathers in the course of action of nudes); regarding illustrative gadgets: the owl-like head swivel of the situated lady on the right (an early, exacting case of “synchronization”) and the profile-like leveling of the noses of the two ladies second and third from the left; or as far as the geometric proper numbers that involve the skeptical tasteful framework (triangles, wedges, precious stones, ovals, trapezoids, and mixes of these shapes), another sign of the long shadow cast over the entire canvas by Cézanne. In any case, standard conversations once in a while test the more profound spatial capabilities of the composition. Analysts do concur on the rudiments: the 3-D picture space dwells in a domain of uncertainty, connoted partially by forceful dissecting and foregrounding of body parts, (for example, the left hand of the lady on the left, the left leg of the second lady from the left, and the leader of the situated lady on the right). Through these and different gadgets of visual clash, Picasso got back on track and plumbed an inalienably structural part of the work of art’s association: space. Because of Picasso’s quest for better approaches to sort out a stylish field and accommodate 3-D structure with the level picture surface, the Demoiselles viciously overturned the “laws” of straight point of view held consecrated since the Renaissance and tested the shows we partner with how to speak to ordinary space. At last, as painter/essayist John Golding and others have commonly watched, the transaction of structure and space in the Demoiselles adds to a Cézanne-like round of assertion and forswearing opposite the dream of perspectival space versus the truth of the levelness of the artwork’s canvas. Collapsed surfaces (textures), collapsed structures (bodies and dividers), and collapsed spaces (inside/outside) show up with dumbfounding identicalnessâwavering between oppositional values: crack and combination, projection and downturn, volume and plane. “In Violin” and different arrangements by Picasso, Braque, or Juan Gris, the idea of “Les Demoiselles d’Avignon”â who speaks to what is named as critical spaceâworks as a controlling standard. Furthermore, from painters to stone workers to designers, craftsmen today who tap this ageless rule become structure creators, yet in addition space producers. These specialists get familiar with the key to turning out to be plan creators. This paper composed by Madison Gray and significant changes have been made. The full duplicate of this exposition is at: https://archive.org/subtleties/PicassoLessons craftsmanship article, paper about fam>
Picasso’s Painting Les Demoiselles d’Avignon GuidesorSubmit my paper for examination picasso les demoiselles d avignonWe can just envision the effect that this life-size artwork had on watchers 100 years prior. “Les Demoiselles d’Avignon” displays an audacious dismissal for the made-up rules of craftsmanship. In spite of the fact that the artwork was not indicated freely until 1916, Georges Braque saw the canvas in 1907 in Pablo Picasso’s studio before the paint dried. What’s more, what Braque saw changed the hereditary code of his knowledge until the end of time. I speculate that for some specialists today, “Les Demoiselles d’Avignon” has lost none of its pizzazz. Its conflict of powers and thoughts transmits a force that doesn’t blur. Craftsmanship history specialists normally talk about the Demoiselles as far as substance: a massage parlorâfive whores in a puzzling room that incorporates a table with still-life (natural product), vaporous textures (tablecloth, window ornaments, garments, backdrop), and perhaps a seat; as far as three significant impacts: Primitivismâcommunicated through plain sexuality, evenness, geometric structure, and references to Egyptian profile-workmanship (the lady at the left) and African ancestral veils (the two right figures); El Greco (extension/vertical twisting); and Cézanne (geometrization and shallow profundity of the pictorial field, just as echoes of Cézanne’s compositions of bathers in the course of action of nudes); regarding illustrative gadgets: the owl-like head swivel of the situated lady on the right (an early, exacting case of “synchronization”) and the profile-like leveling of the noses of the two ladies second and third from the left; or as far as the geometric proper numbers that involve the skeptical tasteful framework (triangles, wedges, precious stones, ovals, trapezoids, and mixes of these shapes), another sign of the long shadow cast over the entire canvas by Cézanne. In any case, standard conversations once in a while test the more profound spatial capabilities of the composition. Analysts do concur on the rudiments: the 3-D picture space dwells in a domain of uncertainty, connoted partially by forceful dissecting and foregrounding of body parts, (for example, the left hand of the lady on the left, the left leg of the second lady from the left, and the leader of the situated lady on the right). Through these and different gadgets of visual clash, Picasso got back on track and plumbed an inalienably structural part of the work of art’s association: space. Because of Picasso’s quest for better approaches to sort out a stylish field and accommodate 3-D structure with the level picture surface, the Demoiselles viciously overturned the “laws” of straight point of view held consecrated since the Renaissance and tested the shows we partner with how to speak to ordinary space. At last, as painter/essayist John Golding and others have commonly watched, the transaction of structure and space in the Demoiselles adds to a Cézanne-like round of assertion and forswearing opposite the dream of perspectival space versus the truth of the levelness of the artwork’s canvas. Collapsed surfaces (textures), collapsed structures (bodies and dividers), and collapsed spaces (inside/outside) show up with dumbfounding identicalnessâwavering between oppositional values: crack and combination, projection and downturn, volume and plane. “In Violin” and different arrangements by Picasso, Braque, or Juan Gris, the idea of “Les Demoiselles d’Avignon”â who speaks to what is named as critical spaceâworks as a controlling standard. Furthermore, from painters to stone workers to designers, craftsmen today who tap this ageless rule become structure creators, yet in addition space producers. These specialists get familiar with the key to turning out to be plan creators. This paper composed by Madison Gray and significant changes have been made. The full duplicate of this exposition is at: https://archive.org/subtleties/PicassoLessons craftsmanship article, paper about fam>
