Which is a non-metal that remains liquid at room- temperature? ?->(Show Answer!)

1. Which is a non-metal that remains liquid at room- temperature?

Answer: Bromine

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MCQ-> Based on the information below, answer the questions which follow.Richie invites three of his friends Sunny, Pinky and Nancy for his birthday party organised at his home. As the party goes on till late in the night, Sunny, Pinky and Nancy choose to stay at Richie's house. Being good friends they usually stay back at each other's house. Each one of them including Richie stay either in the room painted blue or in the room painted purple. They have adequate number of rooms of both colours. The preferences which need to be fulfilled are: i. If Sunny stays in the room painted purple, then Pinky and Richie stay in the same room as Nancy.ii. If Pinky stays in the room painted purple, then Sunny stays in the room in which Nancy and Richie don't stay. iii. if Nancy stays in the room painted blue, then Sunny and Richie stay in the room which Pinky has chosen. iv. If Richie stays in the room painted Blue then Sunny and Pinky do not stay in the same room as Nancy.Under all possible combinations which of the two friends will always have their room colours unchanged.
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MCQ-> Read the following passage and solve the questions based on it. a.Six Indian professors from six different institutions (Jupiter, Mars, Mercury, Neptune, Pluto, Uranus) went to China to attend an international conference on “Sustainability and Innovation in Management: A Global Scenario” and they stayed in six successive rooms on the second floor of a hotel (201 _ 206). b.Each of them has published papers in a number of journals and has donated to a number of institutions last year. c.The professor in room no. 202 has published in twice as many journals as the professor who donated to 8 institutions last year. d.The professor from Uranus and the Professor in room number 206 together published in a total of 40 journals. e.The professor from Jupiter published in 8 journals less than the professor from Pluto but donated to 10 more institutions last year. f.Four times the number of 4 journal publications by the professor in room number 204 is lesser than the number of institutions to which he donated last year. g.The professor in room number 203 published in 12 journals and donated to 8 institutions last year. h.The professor who published in 16 journals donated to 24 institutions last year. i.The professor in room number 205 published in 8 journals and donated to 2 institutions less than the professor from Mercury last year. The Mercury professor is staying in an odd numbered room. j.The Mars professor is staying two rooms ahead of Pluto professor who is staying two rooms ahead of the Mercury professor in ascending order of room numbers. k.The professors from Mercury and Jupiter do not stay in room number 206.In which room is the Mars professor staying?
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MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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MCQ->The simplest method of welding two pieces of metal together is known as pressure welding.The ends of a metal are heated to a white heat-for iron,the welding temperature should be about 1300C-in a flame.At this temperature the metal becomes plastic.The ends are pressed or hammered together,and the joint is smoothed off.Care must be taken to ensure that surfaces are thoroughly clean first,for dirt will weaken the weld.Moreover,the heating of iron or steel to a high temperature cause oxidation,and a film of oxide is added to the heated surfaces.For this reason,flux is applied to the heated metal.At welding heat,flux melts and the oxide particles are dissolved in it together with any other impurities which may be present.The metal surfaces are pressed together,and the flux is squeezed out from the center of the weld.A number of different types of weld may be used,but for fairly thick bars of metals,a vee-shaped belt should be normally employed.It is rather stronger than ordinary butt weld. The simplest way of welding two pieces of metal together is...

MCQ-> Seven candidates, Akil, Balaram, Chitra, Divya, Erina, Fatima, and Ganeshan, were invited to interview for a position. Candidates were required to reach the venue before 8 am. Immediately upon arrival, they were sent to one of three interview rooms: 101, 102, and 103. The following venue log shows the arrival times for these candidates. Some of the names have not been recorded in the log and have been marked as ‘?’.

Additionally here are some statements from the candidates:Balaram: I was the third person to enter Room 101. Chitra: I was the last person to enter the room I was allotted to. Erina: I was the only person in the room I was allotted to. Fatima: Three people including Akhil were already in the room that I was allotted to when I entered it. Ganeshan : I was one among the two candidates allotted to Room 102.What best can be said about the room to which Divya was allotted?
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