DATA REDUCTION APPROACH TO DATA ANALYTICS

 

Answer the following questions:

Q1. What data do you think might exist to show that a vendor is related to an employee? Which attributes would you focus on?

Q2. How might you attempt to detect these connections between vendors and employees?

Q3. If you were the employee committing fraud, what would you try to do with the data to evade detection?

Q4. How many vendors have similar addresses to employees?

Q5. What do you notice about the street vendor and employee street addresses?

Q6. Are there any false positives (fuzzy matches that aren’t really matches)?

Required: Submit all answers to the questions in a properly formatted Word document. Submit one Excel file with the tabs for each of the parts.

Your well-written paper must be 3-4 pages in addition to title and reference pages, page paper must include five references, and at least two being
scholarly/peer-reviewed

Related to the Wall Street Journal article, Sokolov incorporates an edited picture of Sally Mann’s photo Virginia at 4, covering Virginia’s eyes, chest, and genitalia with dark bars. While the picture introduced by Mann shows Virginia in her honest, Sokolov’s utilization of control through redaction goes about as a methods for mutilation. In Mann’s picture, Virginia is demonstrated to be standing marginally right of the middle edge with her hands on her ribs, peering legitimately into the focal point at eye level. She is indicated bare, with her outward appearance unbiased, as she models for the camera, mindful that the picture is being taken. The foundation is encased in the shadows, giving minimal logical data with respect to another young lady remaining behind Virginia to one side. While the other young lady stays out of center and wearing a white dress, the lighting upon the two young ladies is calculated down towards them, featuring the state of Virginia’s body. Sokolov’s introduction of Virginia through methods of oversight becomes dehumanizing by redacting her eyes. The proliferation seems like the picture is disgraceful, leaving a more obscene implication than the first Mann created.

Susan Sontag writes in her article, On Photography (1977) in which goes before Barthes’ Camera Lucida, of the manner by which the focal point goes about as a type of observation making an ancient rarity of the real world. Sontag guesses that the photo is an allotment of the article before the focal point.

Through such affirmation, the camera and came about light-touchy material has little ability to catch the full degree of what lays before the focal point. Or maybe, the picture created turns into a substantial object of the single second in time, just only indexical of the person inside the parameters and hindrances of its space. The photo may not speak to the individual, yet rather the picture turns into a different element completely. Sontag depicts photography for the manner in which it can deal with the present and safeguard the past as a file in the fundamental adjustment of order and capacity through family photos.

Sontag contends that the camera turns into a type of supervision, as exceptionally acclaimed observation by creating a relic of the real world; as “small scale real factors” the picture turns into a bit of the world is it contained inside. (Sontag 4) By changing over subject into a picture, photography offers shape to the transient experience. The picture is utilized to speak to an ownership of room in a physical world. (Sontag 9) As a record of time, the camera catches the development of a subject in a snapshot of time. As Sontag guesses: “photos give individuals a fanciful ownership of a past that is unbelievable.” (Sontag 9) She proceeds by saying, “To snap a picture is to take part in someone else’s mortality, helplessness, variability.” (Sontag 15) Once the photo is finished up, the second is deified and subsequently, the picture is as of now transformed into the past. It is this alterable nature of time that photography at last difficulties.

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