When a rewound armature is rolled on the surface of a leveled surface plate the armature stops at the same position of its periphery for each rolling, the portion of armature touching the surface plate is regarded to have : ?->(Show Answer!)

1. When a rewound armature is rolled on the surface of a leveled surface plate the armature stops at the same position of its periphery for each rolling, the portion of armature touching the surface plate is regarded to have :

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MCQ->When a rewound armature is rolled on the surface of a leveled surface plate the armature stops at the same position of its periphery for each rolling,the portion of armature touching the surface plate is regarded to have:....

MCQ->When a rewound armature is rolled on the surface of a leveled surface plate the armature stops at the same position of its periphery for each rolling, the portion of armature touching the surface plate is regarded to have :....

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 passage carefully and answer the questions given at the end of each passage:We now come to the second part of our journey under the sea. The first ended with the moving scene in the coral cemetery which left a deep impression on my mind. I could no longer content myself with the theory which satisfied Conseil. That worthy fellow persisted in seeing in the Commander of the Nautilus one of those unknown servants who returns mankind contempt for indifference. For him, he was a misunderstood genius who, tired of earth’s deceptions, had taken refuge in this inaccessible medium, where he might follow his instincts freely. To my mind, this explains but one side of Captain Nemo’s character. Indeed, the mystery of that last night during which we had been chained in prison, the sleep, and the precaution so violently taken by the Captain of snatching from my eyes the glass I had raised to sweep the horizon, the mortal wound of the man, due to an unaccountable shock of the Nautilus, all put me on a new track. No; Captain Nemo was not satisfied with shunning man. His formidable apparatus not only suited his instinct of freedom, but perhaps also the design of some terrible retaliation. That day, at noon, the second officer came to take the altitude of the sun. I mounted the platform, and watched the operation. As he was taking observations with the sextant, one of the sailors of the Nautilus (the strong man who had accompanied us on our first submarine excursion to the Island of Crespo) came to clean the glasses of the lantern. I examined the fittings of the apparatus, the strength of which was increased a hundredfold by lenticular rings, placed similar to those in a lighthouse, and which projected their brilliance in a horizontal plane. The electric lamp was combined in such a way as to give its most powerful light. Indeed, it was produced in vacuo, which insured both its steadiness and its intensity. This vacuum economized the graphite points between which the luminous arc was developed - an important point of economy for Captain Nemo, who could not easily have replaced them; and under these conditions their waste was imperceptible. When the Nautilus was ready to continue its submarine journey, I went down to the saloon. The panel was closed, and the course marked direct west. We were furrowing the waters of the Indian Ocean, a vast liquid plain, with a surface of 1,200,000,000 of acres, and whose waters are so clear and transparent that any one leaning over them would turn giddy. The Nautilus usually floated between fifty and a hundred fathoms deep. We went on so for some days. To anyone but myself, who had a great love for the sea, the hours would have seemed long and monotonous; but the daily walks on the platform, when I steeped myself in the reviving air of the ocean, the sight of the rich waters through the windows of the saloon, the books in the library, the compiling of my memoirs, took up all my time, and left me not a moment of ennui or weariness. From the 21 st to the 23 rd of January the Nautilus went at the rate of two hundred and fifty leagues in twenty- four hours, being five hundred and forty miles, or twenty-two miles an hour. If we recognized so many different varieties of fish, it was because, attracted by the electric light, they tried to follow us; the greater part, however, were soon distanced by our speed, though some kept their place in the waters of the Nautilus for a time. The morning of the 24 th , we observed Keeling Island, a coral formation, planted with magnificent cocos, and which had been visited by Mr. Darwin and Captain Fitzroy. The Nautilus skirted the shores of this desert island for a little distance. Soon Keeling Island disappeared from the horizon, and our course was directed to the north- west in the direction of the Indian Peninsula. From Keeling Island our course was slower and more variable, often taking us into great depths. Several times they made use of the inclined planes, which certain internal levers placed obliquely to the waterline. I observed that in the upper regions the water was always colder in the high levels than at the surface of the sea. On the 25th of January the ocean was entirely deserted; the Nautilus passed the day on the surface, beating the waves with its powerful screw and making them rebound to a great height. Three parts of this day I spent on the platform. I watched the sea. Nothing on the horizon till about four o’clock then there was a steamer running west on our counter. Her masts were visible for an instant, but she could not see the Nautilus, being too low in the water. I fancied this steamboat belonged to the P.O. Company, which runs from Ceylon to Sydney, touching at King George’s Point and Melbourne. At five o’clock in the evening, before that fleeting twilight which binds night to day in tropical zones, Conseil and I were astonished by a curious spectacle. It was a shoal of Argonauts travelling along on the surface of the ocean. We could count several hundreds. These graceful molluscs moved backwards by means of their locomotive tube, through which they propelled the water already drawn in. Of their eight tentacles, six were elongated, and stretched out floating on the water, whilst the other two, rolled up flat, were spread to the wing like a light sail. I saw their spiral-shaped and fluted shells, which Cuvier justly compares to an elegant skiff. For nearly an hour the Nautilus floated in the midst of this shoal of molluscs. The next day, 26 th of January, we cut the equator at the eighty-second meridian and entered the northern hemisphere. During the day a formidable troop of sharks accompanied us. They were “cestracio philippi” sharks, with brown backs and whitish bellies, armed with eleven rows of teeth, their throat being marked with a large black spot surrounded with white like an eye. There were also some Isabella sharks, with rounded snouts marked with dark spots. These powerful creatures often hurled themselves at the windows of the saloon with such violence as to make us feel very insecure. But the Nautilus, accelerating her speed, easily left the most rapid of them behind.About seven o’clock in the evening, the Nautilus, half- immersed, was sailing in a sea of milk. At first sight the ocean seemed lactified. Was it the effect of the lunar rays? No; for the moon, scarcely two days old, was still lying hidden under the horizon in the rays of the sun. The whole sky, though lit by the sidereal rays, seemed black by contrast with the whiteness of the waters. Conseil could not believe his eyes, and questioned me as to the cause of this strange phenomenon. Happily I was able to answer him. “It is called a milk sea,” I explained. “A large extent of white waves is often to be seen on the coasts of Amboyna, and in these parts of the sea.” “But, sir,” said Conseil, “can you tell me what causes such an effect? For I suppose the water is not really turned into milk.” “No, my boy; and the whiteness which surprises you is caused only by the presence of myriads of luminous little worm, gelatinous and without colour, of the thickness of a hair, and whose length is not more than seven-thousandths of an inch. These insects adhere to one another sometimes for several leagues.” “Several leagues!” exclaimed Conseil. “Yes, my boy; and you need not try to compute the number of these infusoria. You will not be able, for, if I am not mistaken, ships have floated on these milk seas for more than forty miles.” Towards midnight the sea suddenly resumed its usual colour; but behind us, even to the limits of the horizon, the sky reflected the whitened waves, and for a long time seemed impregnated with the vague glimmerings of an aurora borealisFind the TRUE Sentence:
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MCQ-> Answer questions 42-43 on the basis of information given in the following situation.Three persons, A, B and C, lived on an island hill. A lived on the top of the island hill, B occupied the middle portion of the hill and C occupied the bottom of the hill. The top of the hill received good rainfall, the main source of water in the hill, though this portion of the hill had few trees. The middle of the hill however was lush with trees offering timber. The bottom of the hill had a good amount of stones and sand. A, B and C assessed their wealth in terms of ownership of timber, water, stones and sand available in the island hill only. During heavy rains, stones and sand from the top and middle portion of the hill rolled over to the bottom. When the rains stopped, both A and B claimed that some stones rolled down from their lands to the land occupied by C. They wanted the stones back. But C argued that rolling down of stones is a natural process.All three approached a wise man for the settlement of the ownership dispute.Which of the following is the best option available for the wise man?
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