First country to launch a cosmic space rocket towards moon? ?->(Show Answer!)

1. First country to launch a cosmic space rocket towards moon?

Answer: Russia

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MCQ-> Read the following caselet and answer the questions that follow:Due to increased competition, Electro Automobiles, the Indian subsidiary of Robert Automobile Company (RAC) reported lower sales and profits. RAC expects its new model Limo, developed especially for value conscious customers of India and China, would revive its fortunes. In order to prevent customers from buying competing products, RAC announced the launch of Limo six months ahead of schedule. Unrest in its Indian supplier resulted in delayed delivery of essential components to its main plant. Hence, Limo was launched on schedule only in China. Within a short span, Limo captured 30% of the Chinese market , which was 200% higher than expectation. Indian customers were becoming increasingly restless because they couldn't get a Limo in India. Electro’s dealers were worried, customers might switch to other cars.The indian subsidiary is concerned that the delay in launching the product will give undue advantage to some competitor. The organization was considering the following strategies to keep customers engaged with the company:1. Ask the dealers to encourage their prospective customers to seek similar products from the competition, rather than wait for Limo’s launch. 2. Suggest the dealers to accept booking for Limo, announcing the launch within six months of booking, while in reality plan to keep postponing launch indefinitely. 3. Run full page advertisements in the papers, every month, to keep the interest in the model from ebbing, with no mention of the launch date. 4. Import parts from outside India, and launch the product, at a 30% premium, planning a relaunch a few years later of the indianized version. 5. Go against its worldwide policy of non-interference in supplier plants, and announce a hefty bonus to the employees of the supplier with a hope to temporarily bring the plant to life. 6. Promise the supplier plant (that has some unrest) a higher margin share of about 5% compared to what was shared earlier, with an eye to stem the unrest. Which of the following combination of responses above, will most likely keep the prospective customers engaged with the company and not jump to some competitor’s product?...

MCQ-> Read the following passage carefully and answer the questions given below it.Certain words/phrases have been printed in bold to help you locate them while answering some of the questions.Princess Chandravati was very beautiful. She loved all kinds of ornaments and always wanted to wear the most precious and lovely jewels. Once, a jeweller came to the palace and gifted the king a wonderful diamond necklace. It glittered with big and small diamonds. It was certainly a very expensive necklace. The princess fell in love with it as soon as she saw it. So the king presented it to her. From that day on, the princess always wore that necklace, wherever she went. One day before going for a swim in the pond, she took the necklace off and put in the hands of her oldest and the most trustworthy servant. “Hold this and be careful. This is the most precious necklace in the whole world,” she said. The servant was an old woman. She sat under a tree, holding the ornament tightly and waited for the princess. It was a hot afternoon and the servant was very tired so she dozzed off .under the tree. Suddenly the servant felt that someone was tugging at the necklace and she woke up with a start. She looked around but no one was there and the necklace was gone. Scared out of her wits, the old servant started screaming. On hearing her scream the royal guards rushed to her. She pointed towards the direction in which the thief may have gone and the guards ran off that way. There was a poor and dim-witted farmer walking on the same road. As soon as he saw the royal guards running towards him, he thought that they wanted to catch him and started running. But he was not a strong man and could not outrun the hefty guards. The royal guards caught him in no time. “Where is it ?” they demanded, shaking him. “Where is what ?” the poor farmer stammered back. “The necklace you stole 1” thundered one of the royal guards. The farmer had no idea what they were talking about. He only understood that some precious necklace was lost and he was supposed to have it. He quickly replied, “I don’t know where it is now. I gave it to my landlord.” The guards ran towards the landlord’s house. “Give us the necklace right now !” the guards demanded of the fat landlord. “Necklace ? I don’t have any !” the stunned landlord replied. “Then tell us quickly who does,” demanded the soldiers. In order to get the royal guards off his back, the landlord pointed towards a priest who was walking by his house and said, “He does.” The guards now caught hold of the priest who was walking towards the temple and thinking about the lunch he had just eaten. The priest was stunned when one of the burly guards jumped on him and asked about the necklace. He remembered that the minister, Bhupati, was at the temple. He took the guards to the temple and pointed towards the praying minister, “I gave it to him,” he said. Bhupati too was caught and all four men were thrown in jail. The chief minister of the kingdom knew Bhupati well and was sure that Bhupati would never steal. He decided to find out who the culprit was. He hid near the jail where all four men were put and heard them talking. First, Bhupati asked the priest, “Panditji, why did you say that you gave the necklace to me ? I was quietly praying at the temple and now you have landed me in jail for no fault of mine.” The priest looked apologetic. He pointed towards the landlord and said, “I didn’t know what to say. He set the guards on me. I was simply passing by his house and was on my way to the temple.” The land lord looked at the priest sheepishly. Then he turned towards the poor farmer and yelled, “You lazy good-for-nothing man Why did you say that I had the necklace ?” The farmer, trembling under the angry gaze of all three men, said, “I was just walking home, The guards caught me and I did not know what to say.” On hearing, this conversation, the chief minister understood that all the four men were innocent. He immediately ordered the royal guards to search thoroughly, near the pond. The guards searched high and low till they saw something glinting on the tree. On the tree sat a monkey with the princess’ favourite necklace around his neck. It took a lot of coaxing and bananas before the monkey threw the necklace on the ground. The king apologised to all the four men and gave them gold coins as compensation. He requested his daughter to wear the necklace only indoors.Why did the king present the diamond necklace to his daughter ?
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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MCQ->Ganesh cycles towards South-West a distance of 8 m, then he moves towards East a distance of 20 m. From there he moves towards North-East a distance of 8 m, then he moves towards West a distance of 6 m. From there he moves towards North-East a distance of 2 m. Then he moves towards West a distance of 4 m and then towards SouthWest 2 m and stops at that point. How far is he from the starting point?...