Delinquency can be viewed in terms of ?->(Show Answer!)

1. Delinquency can be viewed in terms of

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MCQ->The passage given below is followed by four summaries. Choose the option that best captures the author’s position.The early optimism about sport's deterrent effects on delinquency was premature as researchers failed to find any consistent relationships between sports participation and deviance. As the initial studies were based upon cross-sectional data and the effects captured were short-term, it was problematic to test and verify the temporal sequencing of events suggested by the deterrence theory. The correlation between sport and delinquency could not be disentangled from class and cultural variables known. Choosing individuals to play sports in the first place was problematic, which became more acute in the subsequent decades as researchers began to document just how closely sports participation was linked to social class indicators.....

MCQ->Delinquency can be viewed in terms of....

MCQ-> Read the following passage and answer the questions that follow: Economists have spent most of the 20th century ignoring psychology, positive or otherwise. But today there is a great deal of emphasis on how happiness can shape global economies, or — on a smaller scale — successful business practice. This is driven, in part, by a trend in "measuring" positive emotions, mostly so they can be optimized. Neuroscientists, for example, claim to be able to locate specific emotions, such as happiness or disappointment, in particular areas of the brain. Wearable technologies, such as Spire, offer data-driven advice on how to reduce stress.We are no longer just dealing with "happiness" in a philosophical or romantic sense — it has become something that can be monitored and measured, including by our behavior, use of social media and bodily indicators such as pulse rate and facial expressions.There is nothing automatically sinister about this trend. But it is disquieting that the businesses and experts driving the quantification of happiness claim to have our best interests at heart, often concealing their own agendas in the process. In the workplace, happy workers are viewed as a "win-win." Work becomes more pleasant, and employees, more productive. But this is now being pursued through the use of performance-evaluating wearable technology, such as Humanyze or Virgin Pulse, both of which monitor physical signs of stress and activity toward the goal of increasing productivity.Cities such as Dubai, which has pledged to become the "happiest city in the world," dream up ever-more elaborate and intrusive ways of collecting data on well-being — to the point where there is now talk of using CCTV cameras to monitor facial expressions in public spaces. New ways of detecting emotions are hitting the market all the time: One company, Beyond Verbal, aims to calculate moods conveyed in a phone conversation, potentially without the knowledge of at least one of the participants. And Facebook [has] demonstrated . . . that it could influence our emotions through tweaking our news feeds — opening the door to ever-more targeted manipulation in advertising and influence.As the science grows more sophisticated and technologies become more intimate with our thoughts and bodies, a clear trend is emerging. Where happiness indicators were once used as a basis to reform society, challenging the obsession with money that G.D.P. measurement entrenches, they are increasingly used as a basis to transform or discipline individuals.Happiness becomes a personal project, that each of us must now work on, like going to the gym. Since the 1970s, depression has come to be viewed as a cognitive or neurological defect in the individual, and never a consequence of circumstances. All of this simply escalates the sense of responsibility each of us feels for our own feelings, and with it, the sense of failure when things go badly. A society that deliberately removed certain sources of misery, such as precarious and exploitative employment, may well be a happier one. But we won't get there by making this single, often fleeting emotion, the over-arching goal.From the passage we can infer that the author would like economists to:
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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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