Continuous strain with time which the concrete structure undergone due to application of external load is: ?->(Show Answer!)

1. Continuous strain with time which the concrete structure undergone due to application of external load is:

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MCQ->Continuous strain with time which the concrete structure undergone due to application of external load is:....

MCQ-> Answer questions on the basis of information given in the following case. MBA entrance examination comprises two types of problems: formula - based problems and application - based problem. From the analysis of past data, Interesting School of Management (ISM) observes that students good at solving application - based problems are entrepreneurial in nature. Coaching institutes for MBA entrance exams train them to spot formula - based problems and answer them correctly, so as to obtain the required overall cut - off percentile. Thus students, in general, shy away from application - based problem and even those with entrepreneurial mind - set target formula - based problems. Half of a mark is deducted for every wrong answer.ISM wants more students with entrepreneurial mind - set in the next batch. To achieve this, ISM is considering following proposals: I. Preparing a question paper of two parts, Parts A and Part B of duration of one hour each. Part A and Part B would consist of formula - based problems and application - based problems, respectively. After taking away Part A, Part B would be distributed. The qualifying cut - off percentile would be calculated on the combined scores of two parts. II. Preparing a question paper comprising Part A and Part B. While Part A would comprise formula - based problems, Part B would comprise application - based problems, each having a separate qualifying cut - off percentile. III. Assigning one mark for formula - based problems and two marks for application based problems as an incentive for attempting application - based problems. IV. Allotting one mark for formula - based problems and three marks for application - based problem, without mentioning this is the question paper. Which of the following proposal (or combination of proposals) is likely to identify students with best entrepreneurial mind - set?....

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MCQ-> A remarkable aspect of art of the present century is the range of concepts and ideologies which it embodies. It is almost tempting to see a pattern emerging within the art field - or alternatively imposed upon it a posteriori - similar to that which exists under the umbrella of science where the general term covers a whole range of separate, though interconnecting, activities. Any parallelism is however - in this instance at least - misleading. A scientific discipline develops systematically once its bare tenets have been established, named and categorized as conventions. Many of the concepts of modern art, by contrast, have resulted from the almost accidental meetings of groups of talented individuals at certain times and certain places. The ideas generated by these chance meetings had twofold consequences. Firstly, a corpus of work would be produced which, in great part, remains as a concrete record of the events. Secondly, the ideas would themselves be disseminated through many different channels of communication - seeds that often bore fruit in contexts far removed from their generation. Not all movements were exclusively concerned with innovation. Surrealism, for instance, claimed to embody a kind of insight which can be present in the art of any period. This claim has been generally accepted so that a sixteenth century painting by Spranger or a mysterious photograph by Atget can legitimately be discussed in surrealist terms. Briefly, then, the concepts of modern art are of many different (often fundamentally different) kinds and resulted from the exposures of painters, sculptors and thinkers to the more complex phenomena of the twentieth century, including our ever increasing knowledge of the thought and products of earlier centuries. Different groups of artists would collaborate in trying to make sense of a rapidly changing world of visual and spiritual experience. We should hardly be surprised if no one group succeeded completely, but achievements, though relative, have been considerable. Landmarks have been established - concrete statements of position which give a pattern to a situation which could easily have degenerated into total chaos. Beyond this, new language tools have been created for those who follow - semantic systems which can provide a springboard for further explorations. The codifying of art is often criticized. Certainly one can understand that artists are wary of being pigeonholed since they are apt to think of themselves as individuals - sometimes with good reason. The notion of self-expression, however, no longer carries quite the weight it once did; objectivity has its defenders. There is good reason to accept the ideas codified by artists and critics, over the past sixty years or so, as having attained the status of independent existence - an independence which is not without its own value. The time factor is important here. As an art movement slips into temporal perspective, it ceases to be a living organism - becoming, rather, a fossil. This is not to say that it becomes useless or uninteresting. Just as a scientist can reconstruct the life of a prehistoric environment from the messages codified into the structure of a fossil, so can an artist decipher whole webs of intellectual and creative possibility from the recorded structure of a ‘dead’ art movement. The artist can match the creative patterns crystallized into this structure against the potentials and possibilities of his own time. As T.S. Eliot observed, no one starts anything from scratch; however consciously you may try to live in the present, you are still involved with a nexus of behaviour patterns bequeathed from the past. The original and creative person is not someone who ignores these patterns, but someone who is able to translate and develop them so that they conform more exactly to his - and our - present needs.Many of the concepts of modern art have been the product of
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