Which root develops from any part of plant body except the radical? ?->(Show Answer!)

1. Which root develops from any part of plant body except the radical?

Answer: Adventitious root

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MCQ->Consider the following statements about root locus The root locus is symmetrical about real axis.If a root locus branch moves along the real axis from an open loop pole to zero or to infinity, this root locus branch is called real root branch.The breakaway points of the root locus are the solutions of Which statements out of above are correct?...

MCQ->Choose the best way of writing the sentence.A. A symbiotic relationship develops among the contractors, bureaucracy and the politicians, and by a large number of devices costs are artificially escalated and black money is generated by underhand deals.B. A symbiotic relationship develops among contractors, bureaucracy and politicians, and costs are artificially escalated with a large number of devices and black money is generated through underhand deals.C. A symbiotic relationship develops among contractors, bureaucracy and the politicians, and by a large number of devices costs are artificially escalated and black money is generated on underhand deals.D. A symbiotic relationship develops among the contractors, bureaucracy and politicians, and by large number of devices costs are artificially escalated and black money is generated by underhand deals....

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-> Read the passage and answer the questions that follow: Passage II Humans are pretty inventive creatures. That might be cause for optimism about the future of global change. We've found solutions to lots of problems in the past. And with a much larger and better-educated population than the world has ever seen — the supply of good ideas can only increase. So innovation will figure out a way to sustainable futures. But what is innovation? The media and companies routinely equate innovation with shiny new gadgets. In the same spirit, politicians charged with managing economies frequently talk as if all innovation is good. The history of almost any technology, however — from farming to applied nuclear physics — reveals a mixture of good and bad. The study of the concept of innovation, and of whether it can be steered, is a relatively recent academic effort. There are three ways that scholars have thought about innovation. The first was basically linear: science begets invention that begets innovation. Physics, for instance, gives us lasers, which give us —eventually — compact discs. Result: Growth! Prosperity! Rising living standards for all! From this perspective, it's assumed that science is the basis for long-term growth, and that innovation largely involves commercialisation of scientific discoveries. There is a role for the state, but only in funding the research. The rest can be left to the private sector. By the 1970s, economists interested in technology and some policy-makers were talking about something more complicated: national systems of innovation competing with each other. Such "systems" included measures to promote transfer of technology out of the lab, especially by building links between centres of discovery and technologists and entrepreneurs. The key failing of these two approaches is that they treat less desirable outcomes of innovation as externalities and are blind to the possibility that they may call for radically different technological priorities. The environmental effects of energy and materials-intensive industries may turn, out to be more destructive than we can handle. Radical system change is a third way to think about innovation. Technological trajectories aren't pre-ordained: Some paths arc chosen at the expense of others. And that's harder because it needs more than incremental change. The near future is about transformation. The more complex historical and social understanding of innovation now emerging leads to a richer concept of infrastructure, as part of a system with social and technical elements interwoven.An emphasis on the new, the experimental, the innovative - and on promoting social and technical solutions to global problems must overcome the sheer inertia of the systems we have already built - and are often still extending. Aiming for transformation leads to another take on creative destruction. It isn't enough to promote innovation as creation, the existing system has to be destabilized as well. System shifts of the radical kind envisaged will call for creation of a new infrastructure. But that won't do the job unless the old systems are deliberately removed on roughly the same time-scale. Achieving that will call for a lot more thought about how to if not destroy the old systems, at least set about dismantling them. From the passage we can conclude that the author believes
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