In n lathe, which one of the following is used to hold hollow work pieces to machine theirexternal surface: ?->(Show Answer!)

1. In n lathe, which one of the following is used to hold hollow work pieces to machine theirexternal surface:

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MCQ->In n lathe, which one of the following is used to hold hollow work pieces to machine theirexternal surface:....

MCQ-> Based on the information answer the questions which follow.A consultant to Department of Commerce. Government of Bianca has suggested 30 products which have high export potential. Dora an entrepreneur and prospective exporter notices that these products can be grouped in three ways- Machine made goods, Handmade goods and Intermediate goods. Among these 30 products some products are both machine made and intermediate goods but not handmade goods. Few products have a combination of handmade and machine made goods but not intermediate goods. Some products are handmade and intermediate goods but not machine made goods. Further it is seen that handmade-machine made goods are I less than machine made-intermediate goods. Similarly the total number of handmade-intermediate goods is I less than machine made-intermediate goods. There are just 4 products common across all product groups i.e. machine made-handmade- intermediate goods. Apart from this the number of only handmade goods is same as only machine made goods but less than only intermediate goods. Each product group/combination has at least one product. Dora prefers to export machine made goods and avoid hand made goods. She finds out that only handmade goods are twice the machine made-intermediate goods and the number of only intermediate goods is an even number. Whereas her close friend Sara prefers to export intermediate goods followed by only handmade goods.Sara and Dora prefer to export as many common products as possible in order to understand the regulatory conditions. Keeping their preferences intact, what is the maximum number of common products which can be exported by both of them?
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MCQ-> A distinction should be made between work and occupation. Work implies necessity; it is something that must be done as contributing to the means of life in general and to one.s own subsistence in particular. Occupation absorbs time and energy so long as we choose to give them; it demands constant initiative, and it is its own reward. For the average person the element of necessity in work is valuable, for he is saved the mental stress involved in devising outlets for his energy. Work has for him obvious utility, and it bring the satisfaction of tangible rewards. Where as occupation is an end in itself, and we therefore demand that it shall be agreeable, work is usually the means to other ends . ends which present themselves to the mind as sufficiently important to compensate for any disagreeableness in the means. There are forms of work, of course, which since external compulsion is reduced to a minimum, are hardly to be differentiated from occupation. The artist, the imaginative writer, the scientist, the social worker, for instance, find their pleasure in the constant spontaneous exercise o creative energy and the essential reward of their work is in the doing of it. In all work performed by a suitable agent there must be a pleasurable element, and the greater the amount of pleasure that can be associated with work, the better. But for most people the pleasure of occupation needs the addition of the necessity provided in work. It is better for them to follow a path of employment marked out for them than to have to find their own.When, therefore, we look ahead to the situation likely to be produced by the continued rapid extension of machine production, we should think not so much about providing occupation for leisure as about limiting the amount of leisure to that which can be profitably usedWe shall have to put the emphasis on the work . providing rather than the goods. providing aspect of the economic process. In the earlier and more ruthless days of capitalism the duty of the economic system to provide work was overlooked The purpose of competitive enterprise was to realize a profit. When profit ceased or was curtailed, production also ceased or was curtailed Thus the workers, who were regarded as units of labour forming part of the costs of production, were taken on when required and dismissed when not required They hardly thought of demanding work as a right. And so long as British manufacturers had their eyes mainly on the markets awaiting them abroad, they could conveniently neglect the fact that since workers are also consumers, unemployment at home means loss of trade. Moral considerations did not yet find a substitute in ordinary business prudence. The labour movements arose largely as a revolt against the conception of workers as commodities to be bought and sold without regard to their needs as human beings. In a socialist system it is assumed that they will be treated with genuine consideration, for, the making of profit not being essential, central planning will not only adjust the factors of production to the best advantage but will secure regularity of employment. But has the socialist thought about what he would do if owing to technological advance, the amount of human labour were catastrophically reduced? So far as I know, he has no plan beyond drastically lining the hours of work, and sharing out as much work as there may be. And, of course, he would grant monetary relief to those who were actually unemployed But has he considered what would be the moral effect of life imagined as possible in the highly mechanized state of future? Has he thought of the possibility of bands of unemployed and under-employed workers marching on the capital to demand not income (which they will have but work?Future, according to the passage, may find the workers
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MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
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MCQ-> Read the following passage carefully and answer the questions given below it. Before my many years’ service in a restaurant, I attended a top science university. The year was 2003 and I was finishing the project that would win me my professorship. My fortysecond birthday had made a lonely visit the week before, and I was once again by myself in the flat. Like countless other mornings, I ordered a bagel from the toaster. ‘Yes, sir!’ it replied with robotic relish, and I began the day’s work on the project. It was a magnificent machine, the thing I was makingcapable of transferring the minds of any two beings into each other’s bodies. As the toaster began serving my bagel on to a plate, I realised the project was in fact ready for testing. I retrieved the duck and the catwhich I had bought for this purpose from their containers, and set about calibrating the machine in their direction. Once ready, I leant against the table, holding the bagel I was too excited to eat, and initiated the transfer sequence. As expected, the machine whirred and hummed into action, my nerves tingling at its synthetic sounds. The machine hushed, extraction and injection nozzles poised, scrutinizing its targets. The cat, though, was suddenly gripped by terrible alarm. The brute leapt into the air, flinging itself onto the machine. I watched in horror as the nozzles swung towards me; and, with a terrible, psychedelic whirl of colours, felt my mind wrenched from its sockets. When I awoke, moments later, I noticed first that I was two feet shorter. Then, I realised the lack of my limbs, and finally it occurred to me that I was a toaster. I saw immediately the solution to the situation – the machine could easily reverse the transfer but was then struck by my utter inability to carry this out. After some consideration, using what I supposed must be the toaster’s onboard computer; I devised a strategy for rescue. I began to familiarise myself with my new body : the grill, the bread bin, the speaker and the spring mechanism. Through the device’s rudimentary eye with which it served its creations – I could see the internal telephone on the wall. Aiming carefully, I began propelling slices of bread at it. The toaster was fed by a large stock of the stuff, yet as more and more bounced lamely off the phone, I began to fear its exhaustion. Toasting the bread before launch proved a wiser tactic. A slice of crusty wheat knocked the receiver off its cradle, and the immovable voice of the reception clerk answered. Resisting the urge to exclaim my unlikely predicament, I called from the table : “I’m having a bit of trouble up here, Room 91. Could you lend a hand ?” “Certainly, sir, there’s a burst water pipe on the floor above, I suppose I’ll kill two birds with one stone and sort you out on the way.” The clerk arrived promptly, and after a detailed and horrifying explanation, finally agreed to press the button on the machine and bring me back to my original state.Why did the author believe that he would earn professorship ?
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