Idiom of As a rule ?->(Show Answer!)

1. Idiom of As a rule

Answer: Usually

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MCQ-> Read the passage carefully and answer the questions that follow:In the Fifth grade, Benjamin Carson thought he was one of the dumbest kids in his class. His classmates thought he was one of the dumbest, his teacher thought he was one of the dumbest, and he thought he was one of the dumbest. Therefore, when he brought home a report that reflected poor progress, Benjamin was very philosophical about it. He told his mother, “Yah, you know it doesn’t matter very much”.His mother had a different opinion. Having only a third grade education, Mrs. Carson knew that her children’s only chance to escape poverty was through a good education. Her two boys were not reaching their potential at school, and she knew that if they were going to get a good education, it would have to start at home. She began with three rules. Rule number one, the boys would only be allowed to watch two pre-selected TV shows per week. Rule number two, the two boys would have to finish all their homework before they could watch TV or even play outside. Rule number three, the boys would have to read two books from the library each week and write a book report on each of them.Benjamin was dismayed at these new rules and tried very hard to talk his mother out of them. She stood firm, and not thinking to disobey his mother, he followed her rules. Before long he saw the fruits of his labor, when he was the only one who knew an answer to a question the teacher asked the class. Then there was a second question only he knew the answer to. His teacher and rest of his classmates were surprised that he knew the correct answer to such hard questions. He was even a little surprised himself, but he knew his knowledge came from the books he was reading. He began to surmise that if he could learn just a few facts from books at the library, he could learn anything.Benjamin continued on his road of growth and became an academic leader in his school. He had learned to love reading and realized that he could channel that love into learning. He did not let the labels and jeers of others, forever box him into an unproductive and unfulfilling future. Mrs. Carson did not settle for less then her boys were capable of being, she demanded that they take their education seriously and gave them a structured way they could do it. Today Benjamin Carson, the boy who thought he was the dumbest boy in his 5th grade class, is a world famous surgeon at the prestigious Johns Hopkins Hospital in Maryland.What was Benjamin’s first reaction to his mother’s rules?
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MCQ-> In the following questions, four alternatives are given for the idiom/phrase printed in bold in the sentence. Choose the alternative which best expresses the meaning of the idiom/ phrase as your answer.At first, there was a show of resistance to the new rule issued by the Government, but the movement had no backbone and speedily collapsed.
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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->The accurate rule for computation of volume is---------rule....

MCQ->Statement: Should the rule of wearing helmet for both driver and pillion rider while driving a motor bike be enforced strictly? Arguments: Yes. It is a rule and rules should be followed strictly by all. No. Each individual knows how to protect his own life and it should be left to his discretion. No. It does not ensure safety as only the head is protected and rest of the body is not.Yes. It is a necessity as head, being the most sensitive organ, is protected by the helmet.

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