When was Santiniketan established ? ?->(Show Answer!)

1. When was Santiniketan established ?

Answer: 2010

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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-> Read the following passage to answer the given question based on it. Some words/phrases are printed in bold to help you locate them while answering some of the questions.Organized retail has “fuelled” new growth categories like liquid hand wash, breakfast cereals and pet foods in the consumer goods industry accounting for almost 50% of their sales said data from market search firm Nielsen The figures showed some of these new categories got more than 40% of their business from modern retail outlets.The data also suggests how products in these categories reach the neighbourhood kirana stores after they have established themselves in modern trade While grocers continue to be an important channel for the new and evolving categories we saw an increased presence of the high end products in modern trade For example premium products in laundry detergents dishwashing car air fresheners and surface care increased in availability through this format as these products are aimed at “affluent” consumers who are more likely to shop in supermarket/hypermarket outlets and who are willing to pay more for specialized products Some other categories that have grown exceptionally and now account for bulk of the sales from modern retail are frozen and With the evolution of modern trade our growth in this channel has been healthy as it is for several other categories Modern retail is an important part of our business said managing director Kellogg India. What modern retail offers to companies experimenting with new categories is the chance to educate customers which was not the case with a general trade store Category creation and market development starts with modern trade but as more consumer start consuming this category they “penetrate into other channels” said president food FMCG category Future Group the country’s largest retailer which operates stores like Big Bazaar But a point to note here is that modern retailers themselves push their own private brands in these very categories and can emerge as a big threat for the consumers goods and foods companies For instance Big Bazaar’s private label Clean Mate is hugely popular and sells more than a brand like Harpic in its own stores So there is a certain amount of conflict and competition that will play out over the next few years which the FMCG companies will have to watch out for said KPMG’s executive director (retail) In the past there have been instances of retailers boycotting products from big FMCG players on the issue of margins but as modern retail become increasingly significant for “pushing” new categories experts say we could see more partnerships being forged between retailers and FMCG companies Market development for new categories takes time so brand wars for leadership and consumer franchise will be fought on the modern retail platform A new brand can overnight compete with “established” companies by trying up with few retailers in these categories president of Future Group addedWhich of the following is being referred to as new growth category ?
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MCQ-> In the following questions, you have two passages with 5 questions in each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives. The World Health Organisation is briefly called W.H.O. It is a specialised agency of the United Nations and was established in 1948. International health workers can be seen working in all kinds of surroundings: in deserts, jungles, mountains, coconut groves, and rice fields. They help the sick to attain health and the healthy to maintain their health. This global health team assists the local health workers in stopping the spread of what are called communicable diseases, like cholera. These diseases can spread from one country to another and so can be a threat to world health. W.H.O. assists different national health authorities not only in controlling diseases but also in preventing them altogether. Total prevention of diseases is possible in a number of ways. Everyone knows how people, particularly children, are vaccinated against one disease or another. Similarly, most people are familiar with the spraying of houses with poisonous substances which kill disease-carrying insects.“It is a specialised agency of the United Nations and was established in 1948.” Here specialised means :
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MCQ-> Read the passage carefully and answer the questions given. . . “Everybody pretty much agrees that the relationship between elephants and people has dramatically changed,” [says psychologist Gay] Bradshaw. . . . “Where for centuries humans and elephants lived in relatively peaceful coexistence, there is now hostility and violence. Now, I use the term ‘violence’ because of the intentionality associated with it, both in the aggression of humans and, at times, the recently observed behavior of elephants.” . . .Typically, elephant researchers have cited, as a cause of aggression, the high levels of testosterone in newly matured male elephants or the competition for land and resources between elephants and humans. But. . . Bradshaw and several colleagues argue. . . that today’s elephant populations are suffering from a form of chronic stress, a kind of species-wide trauma. Decades of poaching and culling and habitat loss, they claim, have so disrupted the intricate web of familial and societal relations by which young elephants have traditionally been raised in the wild, and by which established elephant herds are governed, that what we are now witnessing is nothing less than a precipitous collapse of elephant culture. . . .Elephants, when left to their own devices, are profoundly social creatures. . . . Young elephants are raised within an extended, multitiered network of doting female caregivers that includes the birth mother, grandmothers, aunts and friends. These relations are maintained over a life span as long as 70 years. Studies of established herds have shown that young elephants stay within 15 feet of their mothers for nearly all of their first eight years of life, after which young females are socialized into the matriarchal network, while young males go off for a time into an all-male social group before coming back into the fold as mature adults. . . .This fabric of elephant society, Bradshaw and her colleagues [demonstrate], ha[s] effectively been frayed by years of habitat loss and poaching, along with systematic culling by government agencies to control elephant numbers and translocations of herds to different habitats. . . . As a result of such social upheaval, calves are now being born to and raised by ever younger and inexperienced mothers. Young orphaned elephants, meanwhile, that have witnessed the death of a parent at the hands of poachers are coming of age in the absence of the support system that defines traditional elephant life. “The loss of elephant elders,” [says] Bradshaw . . . "and the traumatic experience of witnessing the massacres of their family, impairs normal brain and behavior development in young elephants.”What Bradshaw and her colleagues describe would seem to be an extreme form of anthropocentric conjecture if the evidence that they’ve compiled from various elephant researchers. . . weren’t so compelling. The elephants of decimated herds, especially orphans who’ve watched the death of their parents and elders from poaching and culling, exhibit behavior typically associated with post-traumatic stress disorder and other trauma-related disorders in humans: abnormal startle response, unpredictable asocial behavior, inattentive mothering and hyperaggression. . . .[According to Bradshaw], “Elephants are suffering and behaving in the same ways that we recognize in ourselves as a result of violence. . . . Except perhaps for a few specific features, brain organization and early development of elephants and humans are extremely similar.”Which of the following statements best expresses the overall argument of this passage?
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MCQ-> A remarkable aspect of art of the present century is the range of concepts and ideologies which it embodies. It is almost tempting to see a pattern emerging within the art field - or alternatively imposed upon it a posteriori - similar to that which exists under the umbrella of science where the general term covers a whole range of separate, though interconnecting, activities. Any parallelism is however - in this instance at least - misleading. A scientific discipline develops systematically once its bare tenets have been established, named and categorized as conventions. Many of the concepts of modern art, by contrast, have resulted from the almost accidental meetings of groups of talented individuals at certain times and certain places. The ideas generated by these chance meetings had twofold consequences. Firstly, a corpus of work would be produced which, in great part, remains as a concrete record of the events. Secondly, the ideas would themselves be disseminated through many different channels of communication - seeds that often bore fruit in contexts far removed from their generation. Not all movements were exclusively concerned with innovation. Surrealism, for instance, claimed to embody a kind of insight which can be present in the art of any period. This claim has been generally accepted so that a sixteenth century painting by Spranger or a mysterious photograph by Atget can legitimately be discussed in surrealist terms. Briefly, then, the concepts of modern art are of many different (often fundamentally different) kinds and resulted from the exposures of painters, sculptors and thinkers to the more complex phenomena of the twentieth century, including our ever increasing knowledge of the thought and products of earlier centuries. Different groups of artists would collaborate in trying to make sense of a rapidly changing world of visual and spiritual experience. We should hardly be surprised if no one group succeeded completely, but achievements, though relative, have been considerable. Landmarks have been established - concrete statements of position which give a pattern to a situation which could easily have degenerated into total chaos. Beyond this, new language tools have been created for those who follow - semantic systems which can provide a springboard for further explorations. The codifying of art is often criticized. Certainly one can understand that artists are wary of being pigeonholed since they are apt to think of themselves as individuals - sometimes with good reason. The notion of self-expression, however, no longer carries quite the weight it once did; objectivity has its defenders. There is good reason to accept the ideas codified by artists and critics, over the past sixty years or so, as having attained the status of independent existence - an independence which is not without its own value. The time factor is important here. As an art movement slips into temporal perspective, it ceases to be a living organism - becoming, rather, a fossil. This is not to say that it becomes useless or uninteresting. Just as a scientist can reconstruct the life of a prehistoric environment from the messages codified into the structure of a fossil, so can an artist decipher whole webs of intellectual and creative possibility from the recorded structure of a ‘dead’ art movement. The artist can match the creative patterns crystallized into this structure against the potentials and possibilities of his own time. As T.S. Eliot observed, no one starts anything from scratch; however consciously you may try to live in the present, you are still involved with a nexus of behaviour patterns bequeathed from the past. The original and creative person is not someone who ignores these patterns, but someone who is able to translate and develop them so that they conform more exactly to his - and our - present needs.Many of the concepts of modern art have been the product of
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