Idiom of 245. To hold one's own ?->(Show Answer!)

1. Idiom of 245. To hold one's own

Answer: To maintain one's position boldly

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MCQ-> Answer the questions based on the following information.A number arrangement machine, when given a particular input, rearranges it following a particular rule. Illustrations of the input and the steps of arrangement is given below. Input: 245, 316, 436, 519, 868, 710, 689 Step 1: 710, 316, 436, 519, 868, 245, 689 Step 2: 710, 316, 245, 519, 868, 436, 689 Step 3: 710, 316, 245, 436, 868, 519, 689 Step 4: 710, 316, 245, 436, 519, 868, 689 Step 4 is the last step for the given inputIf the input is given as “655, 436, 764, 799, 977, 572, 333”, which of the following step will be “333, 436, 572, 655, 977, 764, 799”?
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words have been printed in ‘’bold’’ to help you locate them while answering some of the questions.The evolution of Bring Your Own Device (BYOD) trend has been as profound as it has been rapid. It represents the more visible sign that the boundaries between personal life and work life are blurring. The 9 a.m. - 5 p.m. model of working solely from office has become archaic and increasingly people are working extended hours from a range of locations. At the very heart of this evolution is the ability to access enterprise networks from anywhere and anytime. The concept of cloud computing serves effectively to extend the office out of office. The much heralded benefit of BYOD is greater productivity. However, recent research has suggested that this is the greatest myth of BYOD and the reality is that BYOD in practise poses new challenges that may outweigh the benefits. A worldwide commissioned by Fortinet choose to look at attitudes towards BYOD and security from the user’s point of view instead of the IT managers. Specifically the survey was conducted in 15 territories on a group of graduate employees in their early twenties because they represent the first generation to enter the workplace with an expectation of own device use. Moreover, they also represent tomorrow’s influences and decision markers. The survey findings reveals that for financial organizations, the decision to embrace BYOB is extremely dangerous. Larger organizations will have mature IT strategies and policies in place. But what about smaller financial business? They might not have such well developed strategies to protect confidential data. Crucially, within younger employee groups, 55% of the people share an expectation that they should be allowed to use their own devices in the workplace or for work purposes. With this expectation comes the very real risk that employees may consider contravening company policy banning the use of own devices. The threats posed by this level of subversion cannot be overstated. The survey casts doubt on the idea of BYOD leading to greater productivity by revealing the real reason people want to use their own devices. Only 26% of people in this age group cite efficiency as the reason they want to use their own devices, while 63% admit that the main reason is so they have access to their favourite applications. But with personal applications so close to hand, the risks to the business must surely include distraction and time wasting. To support this assumption 46% of people polled acknowledged time wasting as the greatest threat to the organization, while 42% citing greater exposure to theft or loss of confidential data. Clearly, from a user perspective there is great deal of contradiction surroundings BYOB and there exists an undercurrent of selfishness where users expect to use their own devices, but mostly for personal interest. They recognize the risks to the organization but are adamant that those risks are worth talking.According to the passage, for which of the following reasons did Fortinet conduct the survey on a group of graduate employees in their early twenties?A: As this group represents the future decision makers B: As this group represents the first generation who entered the workforce with a better understanding of sophisticated gadgets C: As this group represents the first generation to enter the workplace expecting that they can use their own devices for work purpose...

MCQ-> Read the passage and answer the questions that follow: Passage I There arc two main kinds of development agency: the one which trace to introduce specific changes and is mainly interested in material development: and the other which is primarily interested in people. On the whole the first wants to "get things done"; the other to develop the people's own abilities for leadership, wise judgement and co-oprative action. For agencies of the second kind, the material result is less important than the way it is achieved. Agencies and workers, who themselves decide the specific form development should take, assume, of course, that they know better than the people what the people need. Most social development workers and technical officers have worked on this assumption in the past, and although they were often right they were not always right, for they sometimes made the mistake of assuming that what was good within their own culture was certain to be good in other cultures too. Missionaries, for instance, insisted on their converts wearing clothes because they were used to them themselves, and they established schools with syllabuses that suited the missionaries' own countries, rather than the countries where the schools were built. Agencies and their workers tend to be more careful nowadays, but experts and specialists trained in Western ways still often make mistakes in cultures other than their own. Agencies everywhere are now realizing that they are risking failure if they assume that their own ideas are right in environments and cultures other than their own. The East African Groundnut Scheme failed because it did not take the local conditions of soil and climate sufficiently into account. The West African Anchau Rural Development Scheme illustrates, less spectacularly, the result of failing to consider the human factor when working in a different culture. This Scheme was started in 1937 to eradicate sleeping sickness from a part of the Zaria province of the Northern Region of Nigeria. The people in charge made a detailed survey of the area, made detailed studies of the farming conditions in sample hamlets and made a careful census of the people. Indeed, they scientifically examined in minute detail every aspect of the situation that seemed to them important. But it failed because people were thought of as being there "to be done good to" in the mass, but they were not envisaged as persons, each with one's own small world of hopes and fears, who might in some way be consulted.In the passage "development agency" refers to...

MCQ->Fifty college teachers are surveyed as to their possession of colour TV, VCR and tape recorder. Of them, 22 own colour TV, 15 own VCR and 14 own tape recorders. Nine of these college teachers own exactly two items out of colour TV, VCR and tape recorder; and, one college teacher owns all three. How many of the 50 teachers own none of the three, colour TV, VCR or tape recorder?...

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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