Whichcountry has launched DAMPE satellite to shed light on mysterious dark matter

1. Whichcountry has launched DAMPE satellite to shed light on mysterious dark matter –

Answer: China

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MCQ-> In the modern scientific story, light was created not once but twice. The first time was in the Big Bang, when the universe began its existence as a glowing, expanding, fireball, which cooled off into darkness after a few million years. The second time was hundreds of millions of years later, when the cold material condensed into dense suggests under the influence of gravity, and ignited to become the first stars.Sir Martin Rees, Britain’s astronomer royal, named the long interval between these two enlightements the cosmic ‘Dark Age’. The name describes not only the poorly lit conditions, but also the ignorance of astronomers about that period. Nobody knows exactly when the first stars formed, or how they organized themselves into galaxies — or even whether stars were the first luminous objects. They may have been preceded by quasars, which are mysterious, bright spots found at the centres of some galaxies.Now two independent groups of astronomers, one led by Robert Becker of the University of California, Davis, and the other by George Djorgovski of the Caltech, claim to have peered far enough into space with their telescopes (and therefore backwards enough in time) to observe the closing days of the Dark age.The main problem that plagued previous efforts to study the Dark Age was not the lack of suitable telescopes, but rather the lack of suitable things at which to point them. Because these events took place over 13 billion years ago, if astronomers are to have any hope of unravelling them they must study objects that are at least 13 billion light years away. The best prospects are quasars, because they are so bright and compact that they can be seen across vast stretches of space. The energy source that powers a quasar is unknown, although it is suspected to be the intense gravity of a giant black hole. However, at the distances required for the study of Dark Age, even quasars are extremely rare and faint.Recently some members of Dr Becker’s team announced their discovery of the four most distant quasars known. All the new quasars are terribly faint, a challenge that both teams overcame by peering at them through one of the twin Keck telescopes in Hawaii. These are the world’s largest, and can therefore collect the most light. The new work by Dr Becker’s team analysed the light from all four quasars. Three of them appeared to be similar to ordinary, less distant quasars. However, the fourth and most distant, unlike any other quasar ever seen, showed unmistakable signs of being shrouded in a fog because new-born stars and quasars emit mainly ultraviolet light, and hydrogen gas is opaque to ultraviolet. Seeing this fog had been the goal of would-be Dark Age astronomers since 1965, when James Gunn and Bruce Peterson spelled out the technique for using quasars as backlighting beacons to observe the fog’s ultraviolet shadow.The fog prolonged the period of darkness until the heat from the first stars and quasars had the chance to ionise the hydrogen (breaking it into its constituent parts, protons and electrons). Ionised hydrogen is transparent to ultraviolet radiation, so at that moment the fog lifted and the universe became the well-lit place it is today. For this reason, the end of the Dark Age is called the ‘Epoch of Re-ionisation’. Because the ultraviolet shadow is visible only in the most distant of the four quasars, Dr Becker’s team concluded that the fog had dissipated completely by the time the universe was about 900 million years old, and oneseventh of its current size.In the passage, the Dark Age refers to
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MCQ-> Answer questions on the basis of the paragraph below We are not only afraid of being in the dark; we are also suspicious of being kept in the dark. We often feel that the universe has a hidden order that we cannot quite comprehend. In ancient times, this order was attributed to the gods – omnipotent beings who controlled humans’ fates. Greek myths in particular portrayed humans as pawns in the great games played by the gods. More recently, there are suspicions of global conspiracies. These conspiracies are cited for events that are too important to be random. We no longer describe them as “Acts of God,” so they must be the work of other people - people who are hiding their influence over us, covering up their involvement. They are keeping the rest of us in the dark. Among the events attributed to these people are political assassinations and UFO sightings. Examining these events in minute detail results in a long list of “coincidences” which, in the minds of the conspiracy buffs, are too numerous to be truly random. There must be a central planner who is at the hub of a sinister form of order. No one admits to the conspiracy, so there must be a cover - up. Better to think that we are all being kept in the dark by sinister forces than to admit that there is no order.Which of the following statements, if true, would weaken the underlying logic of the above passage? i. The human need for order is a highly exaggerated notion. It more often than not leads to creation of theories about the universe. The more sensational the theory, the more prevalent it becomes. ii. The universe is less guided by pure randomness than by well - defined natural processes which are subjected to randomness at varying intervals of time and space. iii. To strengthen their case for a variety of conspiracies the conspiracy buffs are extrapolating from a very small set of observed “coincidences”. iv. The persons propounding the different conspiracy theories are usually novelists who use these theories as a backdrop during the construction of the plots of the novels. v. The human fear of being kept in the dark is much stronger than the fear of lack of order in the working of the universe....

MCQ-> Please read the passage below and answer the questions that follow:It is sometimes said that consciousness is a mystery in the sense that we have no idea what it is. This is clearly not true. What could be better known to us than our own feelings and experiences? The mystery of consciousness is not what consciousness is, but why it is.Modern brain imaging techniques have provided us with a rich body of correlations between physical processes in the brain and the experiences had by the person whose brain it is. We know, for example, that a person undergoing stimulation in her or his ventromedial hypothalamus feels hunger. The problem is that no one knows why these correlations hold. It seems perfectly conceivable that ventromedial hypothalamus stimulation could do its job in the brain without giving rise to any kind of feeling at all. No one has even the beginnings of an explanation of why some physical systems, such as the human brain, have experiences. This is the difficulty David Chalmers famously called ‘the hard problem of consciousness’.Materialists hope that we will one day be able to explain consciousness in purely physical terms. But this project now has a long history of failure. The problem with materialist approaches to the hard problem is that they always end up avoiding the issue by redefining what we mean by ‘consciousness’. They start off by declaring that they are going to solve the hard problem, to explain experience; but somewhere along the way they start using the word ‘consciousness’ to refer not to experience but to some complex behavioural functioning associated with experience, such as the ability of a person to monitor their internal states or to process information about the environment. Explaining complex behaviours is an important scientific endeavour. But the hard problem of consciousness cannot be solved by changing the subject. In spite of these difficulties, many scientists and philosophers maintain optimism that materialism will prevail. At every point in this glorious history, it is claimed, philosophers have declared that certain phenomena are too special to be explained by physical science - light, chemistry, life - only to be subsequently proven wrong by the relentless march of scientific progress.Before Galileo it was generally assumed that matter had sensory qualities: tomatoes were red, paprika was spicy, flowers were sweet smelling. How could an equation capture the taste of spicy paprika? And if sensory qualities can’t be captured in a mathematical vocabulary, it seemed to follow that a mathematical vocabulary could never capture the complete nature of matter. Galileo’s solution was to strip matter of its sensory qualities and put them in the soul (as we might put it, in the mind). The sweet smell isn’t really in the flowers, but in the soul (mind) of the person smelling them … Even colours for Galileo aren’t on the surfaces of the objects themselves, but in the soul of the person observing them. And if matter in itself has no sensory qualities, then it’s possible in principle to describe the material world in the purely quantitative vocabulary of mathematics. This was the birth of mathematical physics.But of course Galileo didn’t deny the existence of the sensory qualities. If Galileo were to time travel to the present day and be told that scientific materialists are having a problem explaining consciousness in purely physical terms, he would no doubt reply, “Of course they do, I created physical science by taking consciousness out of the physical world!”Which of the following statements captures the essence of the passage?
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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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