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Comparison of the Accuracy of the Probabilistic Distance Clustering Method and Cluster Ensembles

100%
Rozmus D.
|
2016
|
vol. 3
|
issue 322
PL
Stosowanie metod taksonomicznych w jakimkolwiek zagadnieniu grupowania wymaga jednocześnie zapewnienia wysokiej dokładności wyników podziału. Ona bowiem warunkuje skuteczność wszelkich decyzji podjętych na podstawie uzyskanych rezultatów. Dlatego też w literaturze wciąż proponowane są nowe rozwiązania, których zadaniem jest poprawa dokładności grupowania w stosunku do tradycyjnie stosowanych metod (np. k-średnich, hierarchicznych). Przykładami mogą tu być metody polegające na zastosowaniu podejścia zagregowanego (Leisch 1999; Dudoit, Fridlyand 2003; Hornik 2006; Fred, Jain 2002), czy niedawno zaproponowana metoda odległości probabilistycznej (Ben-Israel, Iyigun 2008).Głównym celem artykułu jest porównanie dokładności omawianej metody z dokładnością podejścia zagregowanego w taksonomii.
EN
High accuracy of results is a very important aspect in any clustering problem t determines the effectiveness of decisions based on them. Therefore, literature proposes methods and solutions that aim to give more accurate and stable results than traditional clustering algorithms (e.g. k-means or hierarchical methods). Cluster ensembles (Leisch 1999; Dudoit, Fridlyand 2003; Hornik 2006; Fred, Jain 2002) or the distance clustering method (Ben-Israel, Iyigun 2008) are the examples of such solutions. Here, we carry out an experimental study to compare the accuracy of these two approaches.
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Przezroczysta lekkość bytu – od Calvina do Bieńczyka

54%
Błaszczak M.
Przestrzenie Teorii
|
2016
|
issue 25
170-210
EN
Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in  the context of mistiness as its opposition.
PL
Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.
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