PMMA sheet is manufactured by : ?->(Show Answer!)

1. PMMA sheet is manufactured by :

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MCQ->PMMA sheet is manufactured by :....

MCQ-> Read the following passages carefully and answer the questions given at the end of each passage.PASSAGE 1In a study of 150 emerging nations looking back fifty years, it was found that the single most powerful driver of economic booms was sustained growth in exports especially of manufactured products. Exporting simple manufactured goods not only increases income and consumption at home, it generates foreign revenues that allow the country to import the machinery and materials needed to improve its factories without running up huge foreign bills and debts. In short, in the case of manufacturing, one good investment leads to another. Once an economy starts down the manufacturing path, its momentum can carry it in the right direction for some time. When the ratio of investment to GDP surpasses 30 percent, it tends to stick at the level for almost nine years (on an average). The reason being that many of these nations seemed to show a strong leadership commitment to investment, particularly to investment in manufacturing. Today various international authorities have estimated that the emerging world need many trillions of dollars in investment on these kinds of transport and communication networks. The modern outlier is India where investment as a share of the economy exceeded 30 percent of GDP over the course of the 2000s, but little of that money went into factories. Indian manufacturing had been stagnant for decades at around 15 percent of GDP. The stagnation stems from the failures of the state to build functioning ports and power plants and to create an environment in which the rules governing labour, land and capital are designed and enforced in a way that encourages entrepreneurs to invest, particularly in factories. India has disappointed on both counts creating labour friendly rules and workable land acquisition norms. Between 1989 and 2010 India generated about ten million new jobs in manufacturing, but nearly all those jobs were created in enterprises that are small and informal and thus better suited to dodge India’s bureaucracy and its extremely restrictive rules regarding firing workers It is commonly said in India that the labour laws are so onerous that it is practically impossible to comply with even half of them without violating the other half.Informal shops, many of them one man operations, now account for 39 percent of India’s manufacturing workforce, up from 19 percent in 1989 and they are simply too small to compete in global markets. Harvard economist Dani Rodrik calls manufacturing the “automatic escalator” of development, because once a country finds a niche in global manufacturing, productivity often seems to start rising automatically. During its boom years India was growing in large part on the strength of investment in technology service industries, not manufacturing. This was put forward as a development strategy. Instead of growing richer by exporting even more advanced manufactured products, India could grow rich by exporting the services demanded in this new information age. These arguments began to gain traction early in the 2010s.In new research on the “service escalators”, a 2014 working paper from the World Bank made the case that the old growth escalator in manufacturing was already giving way to a new one in service industries. The report argued that while manufacturing is in retreat as a share of the global economy and is producing fewer jobs, services are still growing, contributing more to growth in output and jobs for nations rich and poor. However, one basic problem with the idea of service escalator is that in the emerging world most of the new service jobs are still in very traditional ventures. A decade on, India’s tech sector is still providing relatively simple IT services mainly in the same back office operations it started with and the number of new jobs it is creating is relatively small. In India, only about two million people work in IT services, or less than 1 percent of the workforce. So far the rise of these service industries has not been big enough to drive the mass modernisation of rural farm economies. People can move quickly from working in the fields to working on an assembly line, because both rely for the most part on manual labour. The leap from the farm to the modern service sector is much tougher since those jobs often require advanced skills. Workers who have moved into IT service jobs have generally come from a pool of relatively better educated members of the urban middle class, who speak English and have atleast some facility with computers. Finding jobs for the underemployed middle class is important but there are limits to how deeply it can transform the economy, because it is a relatively small part of the population. For now, the rule is still factories first, not service first.According to the information in the above passage, manufacturing in India has been stagnant because there is
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MCQ->A 25 cm x 25 cm x 1 cm flat sheet weighing 1.2 kg initially was dried from both sides under constant drying rate conditions. It took 1500 seconds for the weight of the sheet to reduce to 1.05 kg. Another 1m x 1m x 1cm flat sheet of the same material is to be dried from one side only.Under the same constant drying rate conditions, the time required for drying (in seconds) from its initial weight of 19.2 kg to 17.6 kg is....

MCQ-> A punching machine is used to punch a circular hole of diameter two Units from a square sheet of aluminium of width 2 units, as shown below. The hole is punched such that the circular hole touches one corner P of the square sheet and the diameter of the hole originating at P is in line with a diagonal of the square:

The proportion of the sheet area that remains after punching is:
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MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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