International concern for the protection of environment is the subject matter of : ?->(Show Answer!)

1. International concern for the protection of environment is the subject matter of :

Answer: Stockholm declaration.

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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/expressions are given in bold in the passage to help you locate them while answering some of the questions.Radically changing monsoon patterns, reduction in the winter rice harvest and a quantum increase in respiratory diseases-all part of the environmental doomsday scenario which is reportedly playing out in South Asia. According to a United Nations Environment Programme report, a deadly three-km deep blantant of pollution comprising a fearsome cocktail of ash, acids, aerosols and other particles has enveloped this region. For India, already struggling to cope with a drought. the implications of this are devastating and further crop failure will amount to a life and death question for many Indians. The increase in premature deaths will have adverse social and economic consequences and a rise in morbidities will place an unbearable burden on our rumbling health system And there is no one to blame but ourselves. Both official and corporate India has always been allergic to any mention of clean technology. Most mechanical two wheelers roll off the assembly line without proper pollution control systems. Little effort is made R & D on simple technologies, which could make a vital difference to people’s lives and the environment. However, while there is no denying that South Asia must clean up its act, skeptics might questions the timing of the haze report. The Johannesburg meet on Rio+ 10 is just two weeks away and the state is set for the usual battle between the developing world and the West, particularly the U. S. President Mr. Bush has adamantly refused to sign any protocol, which would mean a change in American consumption U. N. environment report will likely find a place in the U. S. arsenal as it points an accusing finger countries like India and China. Yet the U.S. can hardly deny its own dubious role in the matter of erasing trading quotas. Richer countries can simply buy up excess credits from poorer countries and continue to pollute. Rather than try to get the better of developing countries, who undoubtedly, have taken up environmental shortcuts in their bid to catch up with the West, the U. S. should take a look at the environment profligacy, which is going on within. From opening up virgin territories for oil exploration to relaxing the standards for drinking water, Mr. Bush’s policies are not exactly beneficial-not even to Americans we realize that we are all in this together and that pollution anywhere should be a global concern only be more tunnels at the end of the tunnel.Both official and corporate India is allergic to
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MCQ-> Please read the passage below and answer the questions that follow:It is sometimes said that consciousness is a mystery in the sense that we have no idea what it is. This is clearly not true. What could be better known to us than our own feelings and experiences? The mystery of consciousness is not what consciousness is, but why it is.Modern brain imaging techniques have provided us with a rich body of correlations between physical processes in the brain and the experiences had by the person whose brain it is. We know, for example, that a person undergoing stimulation in her or his ventromedial hypothalamus feels hunger. The problem is that no one knows why these correlations hold. It seems perfectly conceivable that ventromedial hypothalamus stimulation could do its job in the brain without giving rise to any kind of feeling at all. No one has even the beginnings of an explanation of why some physical systems, such as the human brain, have experiences. This is the difficulty David Chalmers famously called ‘the hard problem of consciousness’.Materialists hope that we will one day be able to explain consciousness in purely physical terms. But this project now has a long history of failure. The problem with materialist approaches to the hard problem is that they always end up avoiding the issue by redefining what we mean by ‘consciousness’. They start off by declaring that they are going to solve the hard problem, to explain experience; but somewhere along the way they start using the word ‘consciousness’ to refer not to experience but to some complex behavioural functioning associated with experience, such as the ability of a person to monitor their internal states or to process information about the environment. Explaining complex behaviours is an important scientific endeavour. But the hard problem of consciousness cannot be solved by changing the subject. In spite of these difficulties, many scientists and philosophers maintain optimism that materialism will prevail. At every point in this glorious history, it is claimed, philosophers have declared that certain phenomena are too special to be explained by physical science - light, chemistry, life - only to be subsequently proven wrong by the relentless march of scientific progress.Before Galileo it was generally assumed that matter had sensory qualities: tomatoes were red, paprika was spicy, flowers were sweet smelling. How could an equation capture the taste of spicy paprika? And if sensory qualities can’t be captured in a mathematical vocabulary, it seemed to follow that a mathematical vocabulary could never capture the complete nature of matter. Galileo’s solution was to strip matter of its sensory qualities and put them in the soul (as we might put it, in the mind). The sweet smell isn’t really in the flowers, but in the soul (mind) of the person smelling them … Even colours for Galileo aren’t on the surfaces of the objects themselves, but in the soul of the person observing them. And if matter in itself has no sensory qualities, then it’s possible in principle to describe the material world in the purely quantitative vocabulary of mathematics. This was the birth of mathematical physics.But of course Galileo didn’t deny the existence of the sensory qualities. If Galileo were to time travel to the present day and be told that scientific materialists are having a problem explaining consciousness in purely physical terms, he would no doubt reply, “Of course they do, I created physical science by taking consciousness out of the physical world!”Which of the following statements captures the essence of the passage?
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MCQ-> DIRECTIONS for questions 24 to 50: Each of the five passages given below is followed by questions. For each question, choose the best answer.The World Trade Organisation (WTO) was created in the early 1990s as a component of the Uruguay Round negotiation. However, it could have been negotiated as part of the Tokyo Round of the 1970s, since that negotiation was an attempt at a 'constitutional reform' of the General Agreement on Tariffs and Trade (GATT). Or it could have been put off to the future, as the US government wanted. What factors led to the creation of the WTO in the early 1990s?One factor was the pattern of multilateral bargaining that developed late in the Uruguay Round. Like all complex international agreements, the WTO was a product of a series of trade-offs between principal actors and groups. For the United States, which did not want a new Organisation, the dispute settlement part of the WTO package achieved its longstanding goal of a more effective and more legal dispute settlement system. For the Europeans, who by the 1990s had come to view GATT dispute settlement less in political terms and more as a regime of legal obligations, the WTO package was acceptable as a means to discipline the resort to unilateral measures by the United States. Countries like Canada and other middle and smaller trading partners were attracted by the expansion of a rules-based system and by the symbolic value of a trade Organisation, both of which inherently support the weak against the strong. The developing countries were attracted due to the provisions banning unilateral measures. Finally, and perhaps most important, many countries at the Uruguay Round came to put a higher priority on the export gains than on the import losses that the negotiation would produce, and they came to associate the WTO and a rules-based system with those gains. This reasoning - replicated in many countries - was contained in U.S. Ambassador Kantor's defence of the WTO, and it amounted to a recognition that international trade and its benefits cannot be enjoyed unless trading nations accept the discipline of a negotiated rules-based environment.A second factor in the creation of the WTO was pressure from lawyers and the legal process. The dispute settlement system of the WTO was seen as a victory of legalists over pragmatists but the matter went deeper than that. The GATT, and the WTO, are contract organisations based on rules, and it is inevitable that an Organisation created to further rules will in turn be influenced by the legal process. Robert Hudec has written of the 'momentum of legal development', but what is this precisely? Legal development can be defined as promotion of the technical legal values of consistency, clarity (or, certainty) and effectiveness; these are values that those responsible for administering any legal system will seek to maximise. As it played out in the WTO, consistency meant integrating under one roof the whole lot of separate agreements signed under GATT auspices; clarity meant removing ambiguities about the powers of contracting parties to make certain decisions or to undertake waivers; and effectiveness meant eliminating exceptions arising out of grandfather-rights and resolving defects in dispute settlement procedures and institutional provisions. Concern for these values is inherent in any rules-based system of co-operation, since without these values rules would be meaningless in the first place. Rules, therefore, create their own incentive for fulfilment.The momentum of legal development has occurred in other institutions besides the GATT, most notably in the European Union (EU). Over the past two decades the European Court of Justice (ECJ) has consistently rendered decisions that have expanded incrementally the EU's internal market, in which the doctrine of 'mutual recognition' handed down in the case Cassis de Dijon in 1979 was a key turning point. The Court is now widely recognised as a major player in European integration, even though arguably such a strong role was not originally envisaged in the Treaty of Rome, which initiated the current European Union. One means the Court used to expand integration was the 'teleological method of interpretation', whereby the actions of member states were evaluated against 'the accomplishment of the most elementary community goals set forth in the Preamble to the [Rome] treaty'. The teleological method represents an effort to keep current policies consistent with stated goals, and it is analogous to the effort in GATT to keep contracting party trade practices consistent with stated rules. In both cases legal concerns and procedures are an independent force for further cooperation.In large part the WTO was an exercise in consolidation. In the context of a trade negotiation that created a near- revolutionary expansion of international trade rules, the formation of the WTO was a deeply conservative act needed to ensure that the benefits of the new rules would not be lost. The WTO was all about institutional structure and dispute settlement: these are the concerns of conservatives and not revolutionaries, which is why lawyers and legalists took the lead on these issues. The WTO codified the GATT institutional practice that had developed by custom over three decades, and it incorporated a new dispute settlement system that was necessary to keep both old and new rules from becoming a sham. Both the international structure and the dispute settlement system were necessary to preserve and enhance the integrity of the multilateral trade regime that had been built incrementally from the 1940s to the 1990s.What could be the closest reason why the WTO was not formed in the 1970s?
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MCQ-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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