Which of the following is best known for advocating 'Self Enquiry' ?->(Show Answer!)

1. Which of the following is best known for advocating 'Self Enquiry'

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MCQ-> Read the passage carefully and answer the given questionsThe complexity of modern problems often precludes any one person from fully understanding them. Factors contributing to rising obesity levels, for example, include transportation systems and infrastructure, media, convenience foods, changing social norms, human biology and psychological factors. . . . The multidimensional or layered character of complex problems also undermines the principle of meritocracy: the idea that the ‘best person’ should be hired. There is no best person. When putting together an oncological research team, a biotech company such as Gilead or Genentech would not construct a multiple-choice test and hire the top scorers, or hire people whose resumes score highest according to some performance criteria. Instead, they would seek diversity. They would build a team of people who bring diverse knowledge bases, tools and analytic skills. . . .Believers in a meritocracy might grant that teams ought to be diverse but then argue that meritocratic principles should apply within each category. Thus the team should consist of the ‘best’ mathematicians, the ‘best’ oncologists, and the ‘best’ biostatisticians from within the pool. That position suffers from a similar flaw. Even with a knowledge domain, no test or criteria applied to individuals will produce the best team. Each of these domains possesses such depth and breadth, that no test can exist. Consider the field of neuroscience. Upwards of 50,000 papers were published last year covering various techniques, domains of enquiry and levels of analysis, ranging from molecules and synapses up through networks of neurons. Given that complexity, any attempt to rank a collection of neuroscientists from best to worst, as if they were competitors in the 50-metre butterfly, must fail. What could be true is that given a specific task and the composition of a particular team, one scientist would be more likely to contribute than another. Optimal hiring depends on context. Optimal teams will be diverse.Evidence for this claim can be seen in the way that papers and patents that combine diverse ideas tend to rank as high-impact. It can also be found in the structure of the so-called random decision forest, a state-of-the-art machine-learning algorithm. Random forests consist of ensembles of decision trees. If classifying pictures, each tree makes a vote: is that a picture of a fox or a dog? A weighted majority rules. Random forests can serve many ends. They can identify bank fraud and diseases, recommend ceiling fans and predict online dating behaviour. When building a forest, you do not select the best trees as they tend to make similar classifications. You want diversity. Programmers achieve that diversity by training each tree on different data, a technique known as bagging. They also boost the forest ‘cognitively’ by training trees on the hardest cases - those that the current forest gets wrong. This ensures even more diversity and accurate forests.Yet the fallacy of meritocracy persists. Corporations, non-profits, governments, universities and even preschools test, score and hire the ‘best’. This all but guarantees not creating the best team. Ranking people by common criteria produces homogeneity. . . . That’s not likely to lead to breakthroughs.Which of the following conditions, if true, would invalidate the passage’s main argument?
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MCQ->While Mrs. Bhalla understands the problems of overcrowded classrooms and classroom management, she foresees in them an opportunity to develop more sensitive and self-motivated learners.Mrs. Bhalla is considering the following actions:1. Take the student and teacher councils on board and seek their ideas to redress the challenge the school faces. 2. Brainstorm with teachers and students on a strategy to engage all learners in teams for meaningful learning and healthy relationships. 3. Encourage students for self-learning and teachers into more supervisory roles to ensure discipline. 4. Engage students in a process of periodic reflection so that they can get in touch with their thoughts, feelings and actions towards self and others. 5. Create achievement based student groups to encourage competition and ease classroom management.Which of the following combination of actions would be most effective in developing sensitive and self-motivated learners?....

MCQ-> Analyse the following passage and provide appropriate answers that follow.We can answer Fermi’s Paradox in two ways. Perhaps our current science over - estimates the likelihood of extraterrestrial intelligence evolving. Or, perhaps, evolved technical intelligence has some deep tendency to be self - limiting, even self - exterminating. After Hiroshima, some suggested that any aliens bright enough to make colonizing space ships would be bright enough to make thermonuclear bombs, and would use them on each other sooner or later.I suggest a different, even darker solution to the Paradox. Basically, I think the aliens forget to send radio signals or colonize space because they’re too busy with runaway consumerism and virtual - reality narcissism. Once they turn inwards to chase their shiny pennies of pleasure, they lose the cosmic plot.The fundamental problem is that an evolved mind must pay attention to indirect cues of biological fitness, rather than tracking fitness itself. This was a key insight of evolutionary psychology in the early 1990s; although evolution favours brains that tend to maximize fitness (as measured by numbers of great - grandkids), no brain has capacity enough to do so under every possible circumstance. As a result, brains must evolve shortcuts: fitness - promoting tricks, cons, recipes and heuristics that work, on an average, under ancestrally normal conditions. Technology is fairly good at controlling external reality to promote real biological fitness, but it’s even better at delivering fake fitness - subjective cues of survival and reproduction without the real - world effects.Fitness - faking technology tends to evolve much faster than our psychological resistance to it. With the invention of Xbox 360, people would rather play a high - resolution virtual ape in Peter Jackson’s King Kong than be a perfect – resolution real human. Teens today must find their way through a carnival of addictively fitness - faking entertainment products. The traditional staples of physical, mental and social development - athletics, homework dating - are neglected. The few young people with the self - control to pursue the meritocratic path often get distracted at the last minute.Around 1900, most inventions concerned physical reality and in 2005 focus shifted to virtual entertainment. Freud’s pleasure principle triumphs over the reality principle. Today we narrow - cast human - interest stories to each other, rather than broadcasting messages of universal peace and progress to other star systems.Maybe the bright aliens did the same. I suspect that a certain period of fitness - faking narcissism is inevitable after any intelligent life evolves. This is the Great Temptation for any technological species – to shape their subjective reality to provide the cues of survival and reproductive success without the substance. Most bright alien species probably go extinct gradually, allocating more time and resources to their pleasures and less to their children.Heritable variation in personality might allow some lineages to resist the Great Temptation and last longer. Some individuals and families may start with an “irrational” Luddite abhorrence of entertainment technology, and they may evolve ever more self - control, conscientiousness and pragmatism by combining the family values of the religious right with the sustainability values of the Greenpeace. They wait patiently for our fitness - faking narcissism to go extinct. Those practical - minded breeders will inherit the Earth as like - minded aliens may have inherited a few other planets. When they finally achieve contacts, it will not be a meeting of novel - readers and game - players. It will be a meeting of dead - serious super - parents who congratulate each other on surviving not just the Bomb, but the Xbox.Among the following options, which one represents the most important concern raised in the passage?
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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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