What is the slope of the line parallel to the line passing through the points (5, -1) and (4, -4)? ?->(Show Answer!)

1. What is the slope of the line parallel to the line passing through the points (5, -1) and (4, -4)?

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By: anil on 05 May 2019 01.45 am

slope m = $$frac{y_{2}-y_{1}}{x_{2}-x_{1}}=frac{-4+1}{4-5}=-3$$ slope of the parallel line = m = -3. So the answer is option C.

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MCQ-> In a modern computer, electronic and magnetic storage technologies play complementary roles. Electronic memory chips are fast but volatile (their contents are lost when the computer is unplugged). Magnetic tapes and hard disks are slower, but have the advantage that they are non-volatile, so that they can be used to store software and documents even when the power is off.In laboratories around the world, however, researchers are hoping to achieve the best of both worlds. They are trying to build magnetic memory chips that could be used in place of today’s electronics. These magnetic memories would be nonvolatile; but they would also he faster, would consume less power, and would be able to stand up to hazardous environments more easily. Such chips would have obvious applications in storage cards for digital cameras and music- players; they would enable handheld and laptop computers to boot up more quickly and to operate for longer; they would allow desktop computers to run faster; they would doubtless have military and space-faring advantages too. But although the theory behind them looks solid, there are tricky practical problems and need to be overcome.Two different approaches, based on different magnetic phenomena, are being pursued. The first, being investigated by Gary Prinz and his colleagues at the Naval Research Laboratory (NRL) in Washington, D.c), exploits the fact that the electrical resistance of some materials changes in the presence of magnetic field— a phenomenon known as magneto- resistance. For some multi-layered materials this effect is particularly powerful and is, accordingly, called “giant” magneto-resistance (GMR). Since 1997, the exploitation of GMR has made cheap multi-gigabyte hard disks commonplace. The magnetic orientations of the magnetised spots on the surface of a spinning disk are detected by measuring the changes they induce in the resistance of a tiny sensor. This technique is so sensitive that it means the spots can be made smaller and packed closer together than was previously possible, thus increasing the capacity and reducing the size and cost of a disk drive. Dr. Prinz and his colleagues are now exploiting the same phenomenon on the surface of memory chips, rather spinning disks. In a conventional memory chip, each binary digit (bit) of data is represented using a capacitor-reservoir of electrical charge that is either empty or fill -to represent a zero or a one. In the NRL’s magnetic design, by contrast, each bit is stored in a magnetic element in the form of a vertical pillar of magnetisable material. A matrix of wires passing above and below the elements allows each to be magnetised, either clockwise or anti-clockwise, to represent zero or one. Another set of wires allows current to pass through any particular element. By measuring an element’s resistance you can determine its magnetic orientation, and hence whether it is storing a zero or a one. Since the elements retain their magnetic orientation even when the power is off, the result is non-volatile memory. Unlike the elements of an electronic memory, a magnetic memory’s elements are not easily disrupted by radiation. And compared with electronic memories, whose capacitors need constant topping up, magnetic memories are simpler and consume less power. The NRL researchers plan to commercialise their device through a company called Non-V olatile Electronics, which recently began work on the necessary processing and fabrication techniques. But it will be some years before the first chips roll off the production line.Most attention in the field in focused on an alternative approach based on magnetic tunnel-junctions (MTJs), which are being investigated by researchers at chipmakers such as IBM, Motorola, Siemens and Hewlett-Packard. IBM’s research team, led by Stuart Parkin, has already created a 500-element working prototype that operates at 20 times the speed of conventional memory chips and consumes 1% of the power. Each element consists of a sandwich of two layers of magnetisable material separated by a barrier of aluminium oxide just four or five atoms thick. The polarisation of lower magnetisable layer is fixed in one direction, but that of the upper layer can be set (again, by passing a current through a matrix of control wires) either to the left or to the right, to store a zero or a one. 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At the same time, they will have to be sensitive enough to respond when the appropriate wires in the control matrix are switched on, but not so sensitive that they respond when a neighbouring elements is changed. Despite these difficulties, the general consensus is that MTJs are the more promising ideas. Dr. Parkin says his group evaluated the GMR approach and decided not to pursue it, despite the fact that IBM pioneered GMR in hard disks. Dr. Prinz, however, contends that his plan will eventually offer higher storage densities and lower production costs.Not content with shaking up the multi-billion-dollar market for computer memory, some researchers have even more ambitious plans for magnetic computing. In a paper published last month in Science, Russell Cowburn and Mark Well and of Cambridge University outlined research that could form the basis of a magnetic microprocessor — a chip capable of manipulating (rather than merely storing) information magnetically. In place of conducting wires, a magnetic processor would have rows of magnetic dots, each of which could be polarised in one of two directions. Individual bits of information would travel down the rows as magnetic pulses, changing the orientation of the dots as they went. Dr. Cowbum and Dr. Welland have demonstrated how a logic gate (the basic element of a microprocessor) could work in such a scheme. In their experiment, they fed a signal in at one end of the chain of dots and used a second signal to control whether it propagated along the chain.It is, admittedly, a long way from a single logic gate to a full microprocessor, but this was true also when the transistor was first invented. Dr. Cowburn, who is now searching for backers to help commercialise the technology, says he believes it will be at least ten years before the first magnetic microprocessor is constructed. But other researchers in the field agree that such a chip, is the next logical step. Dr. Prinz says that once magnetic memory is sorted out “the target is to go after the logic circuits.” Whether all-magnetic computers will ever be able to compete with other contenders that are jostling to knock electronics off its perch — such as optical, biological and quantum computing — remains to be seen. Dr. Cowburn suggests that the future lies with hybrid machines that use different technologies. But computing with magnetism evidently has an attraction all its own.In developing magnetic memory chips to replace the electronic ones, two alternative research paths are being pursued. These are approaches based on:
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MCQ-> I want to stress this personal helplessness we are all stricken with in the face of a system that has passed beyond our knowledge and control. To bring it nearer home, I propose that we switch off from the big things like empires and their wars to more familiar little things. Take pins for example! I do not know why it is that I so seldom use a pin when my wife cannot get on without boxes of them at hand; but it is so; and I will therefore take pins as being for some reason specially important to women.There was a time when pinmakers would buy the material; shape it; make the head and the point; ornament it; and take it to the market, and sell it and the making required skill in several operations. They not only knew how the thing was done from beginning to end, but could do it all by themselves. But they could not afford to sell you a paper of pins for the farthing. 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The country was supposed to be richer because it had more pins, though it had turned capable men into mere machines doing their work without intelligence and being fed by the spare food of the capitalist just as an engine is fed with coals and oil. That was why the poet Goldsmith, who was a farsighted economist as well as a poet, complained that 'wealth accumulates, and men decay'.Nowadays Adam Smith's 18 men are as extinct as the diplodocus. The 18 flesh-and-blood men have been replaced by machines of steel which spout out pins by the hundred million. Even sticking them into pink papers is done by machinery. 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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. 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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. 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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. 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MCQ-> The narrative of Dersu Uzala is divided into two major sections, set in 1902, and 1907, that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the film opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon one another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’s recollections. 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Within the film, Dersu does die, but the narrative structure attempts to immortalise him and his example, as Dersu passes from history into myth. We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that isbeing built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, lookinguncomfortable and disoriented. A man passing in a wagon asks him what he is doing, and the explorersays he is looking for a grave. The driver replies that no one has died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu had died. It is his grave for which the explorer searches. 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The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the film celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and in human vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appears, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appear animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity to Dersu and their friendship. It makes him a fit pupil for the hunter.How is Kurosawa able to show the erosion of Dersu’s way of life?
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MCQ-> In order to quantify the intangibles and incentives to the multi brand dealers (dealers who stock multiple goods as well as competing brands) and the associated channel members, a Company(X) formulates a point score card, which is called as brand building points. This brand building point is added to the sales target achieved points for redemption. The sales target achieved point is allotted as per the table 3 of this question. The sum of brand building point and sales achieved points is the total point that can be redeemed by the dealer against certain goods, as shown in the second table. The detail of the system is shown in the tables below

There are 10 multi brand dealers in Nasik and the sales that they have achieved in the end of a quarter are:

Maheshwari & Co has Company X signage along with other brand signage in the main entrance of the store, the exterior walls of the store have the painting of only company X, the side wall in the interior has the painting of Company X. The POP display of Company X is above the eye level with other brands while the stacking of goods of Company X is in the back row of the shelves. The brand building points when combined with the sales achieved points amounts to the total points that a dealer can accumulate in a quarter. The number of Tupperware Sets that Maheshwari & Co can redeem after the quarter (July to September) is?
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