Idiom of Fall to one's lot ?->(Show Answer!)

1. Idiom of Fall to one's lot

Answer: To become ones task or responsibility

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MCQ-> Read the following passage and answer the questions. Passage: A new paper published by Rochman and her colleagues in February, in the journal Ecology, sifts through past research on marine debris to assess the true extent of the environmental threat. Plenty of studies have sounded alarm bells about the state of marine debris: Rochman and her colleagues set out to determine how many of those perceived risks are real Often. Rochman says, scientists will wrap up a paper by speculating about the broader impacts of what they've found. Maybe their study has shown that certain seabirds eat plastic bags, for example, and the paper goes on to warn that whole bird populations are at risk of dying out. "But the truth was that nobody had yet tested those perceived threats." Rochman says. "There wasn't a lot of information." Rochman and her colleagues examined more than a hundred papers on the impacts of marine debris that were published through 2013. Within each paper. they asked what threats scientists had studied-366 perceived threats in all and what they'd actually found. In 83 percent of cases, the perceived dangers of ocean trash were proven true. In most of the remaining cases. the working group found the studies too shoddy to draw conclusions from—they lacked a control group, for example. or used faulty statistics. Strikingly. Rochman says, only one well-designed study failed to find the effect it was looking for, an investigation of mussels ingesting microscopic plastic bits. The plastic moved from the mussels' stomachs to their bloodstreams. scientists found. and stayed there for weeks—but didn't seem to stress out the shellfish. A lot of ocean debris is "microplastic," or pieces smaller than five millimetres. These may be the beads from a facial scrub. fibres shed by synthetic clothing in the wash. or eroded remnants of larger debris. Compared to the number of studies investigating large-scale debris. Roclunan's group found little research on the effects of these tiny bits. There are also, she adds, a lot of open questions about the ways that ocean debris can lead to sea-creature death. Many studies have looked at how plastic affects an individual animal or that animal's tissues or cells, rather than whole populations. And in the lab, scientists often use higher concentrations of plastic than what's really in the ocean. None of that tells us how many birds or fish or sea turtles could die form plastic pollution or how deaths in one species could affect that animal's predators, or the rest of the ecosystem. "We need to be asking more ecologically relevant questions." Rothman says. Usually, scientists don't know how disasters like oil spills or nuclear meltdowns will affect the environment until after they've happened. she says. "We don't ask the right questions early enough." But if ecologists can understand how the slow-moving disaster of ocean garbage is affecting ecosystems. they might be able to prevent things from getting worse.Which ONE of the following conclusions based on the examination of the hundred-odd papers on marine debris and its ecological impact by Rachman and her colleagues is NOT CORRECT?
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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-> Girirajan an unemployed youngster from Kumbakonam, Tamilnadu, visited Singapore where his school friend worked as software engineer. In Singapore, Girirajan realized that there were a lot of Tamils in “Little India” area. He soon assessed that there were very few restaurants serving authentic Tamil food and decided to set-up a restaurant “Giri’s” in “Little India” serving authentic Tamil food in traditional banana leaf. Customers loved the food. Very soon word spread about the good quality food served in the traditional way. Girirajan expanded operation recruiting 10 employees, all Tamils.Six months later, Girirajan realized that a lot of Kannadiga and Telugu customers started visiting the restaurant along with their Tamil friends. One day, a Kannadiga customer looking for Devangere Benne Dosa suggested that it may not be a bad idea for Girirajan to serve Karnataka and Andhra cuisines along with Tamil.With time, the popularity of the reastaurant kept soaring. As a result, a lot of Malays, Indonesians and Chinese started visiting the restaurant. His software engineer friend advised to cater to customers of all nationalities. Despite his desire to go grand, Girirajan realized he did not have enough money to get extra space anywhere in Singapore and banks were also reluctant to lend.One day, while assessing the business, he realized that the restaurant had 90% occupancy rate during peak hours and 40% during the non-peak hours. Both figures were increasing with time.Which of the following options would be most suitable for the growth of the business?
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MCQ-> In the following questions, you have a passage with 10 questions Read the passage carefully and choose the best answer to each question out of the four alternatives. Many people who are looking to get a pet dog get a puppy. There are many reasons why people get puppies. After all, puppies are cute, friendly, and playful. But even though puppies make good pets, there are good reasons why you should consider getting an adult dog instead. When you get a puppy, you have to teach it how to behave. You have to make sure that the puppy is housebroken so that it does not go to the bathroom inside the house. You have to teach the puppy, not to jump up on your guests or chew on your shoes. You have to train the puppy to walk on a leash. This is a lot of work. On the other hand, when you get an adult dog there is a good chance that it will already know how to do all of the previously mentioned things. Many adult dogs have already been housebroken. Many adult dogs will not jump on or chew things that you do not want them to jump on or chew. Many adult dogs will be able to walk on a leash without pulling you to the other side of the street. Puppies also have a lot of energy and want to play all of the time. This can be fun, but you might not want to play as much as your puppy does. Puppies will not always sleep through the night or let you relax as you watch television. On the other hand, most adult dogs will wait on you to play. What is more, they will sleep when you are sleeping and are happy to watch television on the couch right beside you. There is one last reason why you should get an adult dog instead of a puppy. When most people go to the pound to get a dog, they get a puppy. This means that many adult dogs spend a lot of time in the pound and some never find good homes. So if you are looking to get a dog for a pet, you should think about getting an adult dog. They are good pets who need good homes.Which is the best example of a dog that is housebroken ?
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MCQ-> In the following questions, you have a brief passage with 5 questions. Read the passage carefully and choose the best answer to each question out of the four alternatives.“People very often complain that poverty is a great evil and that it is not possible to be happy unless one has a lot of money. Actually, this is not necessarily true. Even a poor man, living in a small hut with none of the comforts and luxuries of life, may be quite contented with his lot and achieve a measure of happiness. On the other hand, a very rich man, living in a palace and enjoying everything that money can buy, may still be miserable, if, for example, he does not enjoy good health or his only son has taken to evil ways. Apart from this, he may have a lot of business worries which keep him on tenterhooks most of the time. There is a limit to what money can buy and there are many things, which are necessary for a man’s happiness and which money cannot procure. Real happiness is a matter of the right attitude and the capacity of being contented with whatever you have is the most important ingredient of this attitude”.The phrase “on tenterhooks” means :
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