1,722,307 research outputs found
Exact simultaneous location-scale tests for two shifted exponential samples
Full text linkThe failure time distribution for various items often follows a shifted (two-parameter) expo- nential model and not the traditional (one-parameter) exponential model. The shifted exponen- tial is very useful in practice, in particular in the engineering, biomedical sciences and industrial quality control when modeling time to event or survival data. The open problem of simultane- ous testing for differences in origin and scale parameters of two shifted exponential distributions is addressed. Two exact tests are proposed using maximum likelihood estimators. They are based on the combination of two statistics following a maximum-type and a distance-type ap- proach. The exact null distributions of the respective test statistics are derived analytically. Small sample type-one error rate and power of the tests are studied numerically. We showed that the test based on the maximum type combination (the Max test) should be preferred being generally more powerful than the test based on the distance type combination (the Distance test). An application to a biomedical experiment is discussed
Dreams: Dreaminess 梦系列: 多梦
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, a critic, he described his condition at that time, after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Dreaminess here is one of the Dream-series paintings. He adopted diagonal composition in this painting. The two major ink washes coordinates with each other from two banks of a belt. Additionally, a semi-abstract bird is deliberately displayed at the bottom of the painting. His autograph is visible on the left of the picture.(Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1427/thumbnail.jp
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Dreams: Journey in Dream 梦系列: 梦中行
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, he described his condition at that time after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Journey in Dream is one of the dream-series paintings. He blended black and indigo ink to practice washes(yunran) technique, and tentacle-like lines are attached to color areas. Lines are drawn with different brushstrokes (bifeng); therefore, lines varies in volume, color depth and saturation and brightness. All these approaches combined generate a dream of instability and floatation. His autograph is visible on the left of the picture. The style and position of his autograph vary from piece to piece. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1429/thumbnail.jp
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Dreams: Bird Dream 梦系列: 鸟梦
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, he described his condition at that time after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Bird Dream here is one of the dream-series paintings. The hook-shaped ink dot may refer to bird, which is in the center to the left of the image and plays a dominant role in the composition. Many dream-series features are embodied in this painting, such as elongated lines, blurry color areas and unbalanced composition. His autograph is visible at the bottom of the painting. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1431/thumbnail.jp
Dreams: Horse Dream 梦系列: 马梦
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, he described his condition at that time after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Horse Dream here is one of the dream-series paintings. In Horse Dream he used traditional techniques, such as ink texture methods (cunfa), linear drawing(baimiao) and washes(yunran) to depict the shape and texture of different objects. The horse may refer to the object at the bottom of the painting connected by two lines with other two objects. His autograph is visible beside the knot of three lines. The style and position of his autograph vary from piece to piece. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1430/thumbnail.jp
Dreams: Snow Dream 梦系列: 雪梦
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, a critic, he described his condition at that time, after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Snow Dream here is one of the Dream-series paintings. Compared to other Dream-series paintings, Snow Dream seems to be more abstract with less representative symbols. Only the pair of eyes could be readily interpreted. The line across the paintings could be interpreted as a horizontal line or a shoreside. It is also more ambiguous than other pieces e.g. washes are used either as shade, or as color areas. The red ink is splashed all over the place. Lines are equivocal; slight differences between contour line and pattern line are shown.(Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1428/thumbnail.jp
Dreams: Dreaminess 梦系列: 多梦
No full textIn Yang Zhi-lin\u27s letter to Kong Chang-an, a critic, he described his condition at that time, after 1989, my creation has been congested, making ink paintings about my blurry and chaotic dream constantly. (For further information about the letter, please refer to https://digital.kenyon.edu/zhoudocs/359/.) Dreaminess here is one of the Dream-series paintings. He adopted diagonal composition in this painting. The two major color area of ink coordinates with each other from the two banks of a belt of area. Additionally, a semi-abstract bird is deliberately displayed at the bottom of the painting. His autograph is visible on the left of the picture.(Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1433/thumbnail.jp
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