SARAS PT1N, the new upgraded version of indigenous transport aircraft. SARAS has been developed by _____

1. SARAS PT1N, the new upgraded version of indigenous transport aircraft. SARAS has been developed by ______.

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MCQ->SARAS PT1N, the new upgraded version of indigenous transport aircraft. SARAS has been developed by ______.....

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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. 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-> In the following passage some of the words have been left out. Read the passage carefully and select the correct answer for the given blank out of the four alternatives.Home is The first place of education and parents are ______
teacher in everyone’s life. In our childhood, we get first impression of education from our home especially form our mother. Our parents let us know the importance of ______ education in the life. When we become three or four years old, we sent to the school for the proper, regular and ______ study where we have to give many exams and then we get a pass certificate for one class. Slowly we ______ ahead by passing our one by one class until we get passed successfully till 12th standard. Then start preparations for getting admission to the technical or professional degree which is called as ______ study. Higher study is very necessary for all to get good and ______ job in the life. We become a well educated person in the life by the efforts of our parents and teachers. They are real well wishers of us who helps us in ______ our life towards success. Now-a-days, many governmental programmes have been implemented to ______ the education system so that everyone may get ______ to the proper education. Lots of advertisements are shown on the TV and news to make people aware of the advantages and importance of education especially in the rural areas as people in ______ or rural areas do not want to study because of poorness and improper understating towards the education.The first place of education and parents are ______
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MCQ-> In the following passage some of the words have been left out. Read the passage carefully and select the correct answer for the given blank out of the four alternatives.Youth generation Has the key role in ______ the future
of a nation. Any country can ride on high growth trajectory if it is blessed with the more numbers of youths on ______ chart. But sometimes the youth may cause big damage to the ______ of a nation and also may become biggest threat to the country itself if the youth get misguided with wrong human principle and ______. Why they can do so; is not difficult to guess. It is because the youth has huge amount of energy, ambition, new ideas, sky-rising potential etc. If these applied by them in ______ sense then it can result the negative impacts of positiveness and goodness. Recent few unfortunate events have completely hammered our feelings and imprinted it in our mind such that ______of this bad events is not getting erased from our mind. This is an example of badly nourished youth's mindset that created premeditated offending. It is very much compulsory to develop them in ______ direction from very beginning of their schooling period. Today I feel the schools are more busy to produce good professionals. But these professional sometimes may not be good human beings. It is because the schools are paying less attention towards human values learning. Literature are becoming ______. Everybody are busy in competition and trying to ride on the top in every competition. But nobody are ready to first become best human beings with high ______. It was a time when teachers were getting respect everywhere with high morale and enthusiasm and human ethics was ruling the whole society. But today money is ruling the mindset of the people and goodness of the human characteristics is crying in a ______ corner.Has the key role in ______ the future
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