The different channels in a TDM receiver are separated by ?->(Show Answer!)

1. The different channels in a TDM receiver are separated by

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MCQ-> The membrane-bound nucleus is the most prominent feature of the eukaryotic cell. Schleiden and Schwann, when setting forth the cell doctrine in the 1830s, considered that it had a central role in growth and development. Their belief has been fully supported even though they had only vague notions as to what that role might be, and how the role was to be expressed in some cellular action. The membraneless nuclear area of the prokaryotic cell, with its tangle of fine threads, is now known to play a similar role.Some cells, like the sieve tubes of vascular plants and the red blood cells of mammals, do not possess nuclei during the greater part of their existence, although they had nuclei when in a less differentiated state. Such cells can no longer divide and their life span is limited Other cells are regularly multinucleate. Some, like the cells of striated muscles or the latex vessels of higher plants, become so through cell fusion. Some, like the unicellular protozoan paramecium, are normally binucleate, one of the nuclei serving as a source of hereditary information for the next generation, the other governing the day-to-day metabolic activities of the cell. Still other organisms, such as some fungi, are multinucleate because cross walls, dividing the mycelium into specific cells, are absent or irregularly present. The uninucleate situation, however, is typical for the vast majority of cells, and it would appear that this is the most efficient and most economical manner of partitioning living substance into manageable units. This point of view is given credence not only by the prevalence of uninucleate cells, but because for each kind of cell there is a ratio maintained between the volume of the nucleus and that of the cytoplasm. If we think of the nucleus as the control centre of the cell, this would suggest that for a given kind of cell performing a given kind of work, one nucleus can ‘take care of’ a specific volume of cytoplasm and keep it in functioning order. In terms of material and energy, this must mean providing the kind of information needed to keep flow of materials and energy moving at the correct rate and in the proper channels. With the multitude of enzymes in the cell, materials and energy can of course be channelled in a multitude of ways; it is the function of some information molecules to make channels of use more preferred than others at any given time. How this regulatory control is exercised is not entirely clear.The nucleus is generally a rounded body. In plant cells, however, where the centre of the cell is often occupied by a large vacuole, the nucleus may be pushed against the cell wall, causing it to assume a lens shape. In some white blood cells, such as polymorphonucleated leukocytes, and in cells of the spinning gland of some insects and spiders, the nucleus is very much lobed The reason for this is not clear, but it may relate to the fact that for a given volume of nucleus, a lobate form provides a much greater surface area for nuclear-cytoplasmic exchanges, possibly affecting both the rate and the amount of metabolic reactions. The nucleus, whatever its shape, is segregated from the cytoplasm by a double membrane, the nuclear envelope, with the two membranes separated from each other by a perinuclear space of varying width. The envelope is absent only during the time of cell division, and then just for a brief period The outer membrane is often continuous with the membranes of the endoplasmic reticulum, a possible retention of an earlier relationship, since the envelope, at least in part, is formed at the end cell division by coalescing fragments of the endoplasmic reticulum. The cytoplasmic side of the nucleus is frequently coated with ribosomes, another fact that stresses the similarity and relation of the nuclear envelope to the endoplasmic reticulum. The inner membrane seems to posses a crystalline layer where it abuts the nucleoplasm, but its function remains to be determined.Everything that passes between the cytoplasm and the nucleus in the eukaryotic cell must transverse the nuclear envelope. This includes some fairly large molecules as well as bodies such as ribosomes, which measure about 25 mm in diameter. Some passageway is, therefore, obviously necessary since there is no indication of dissolution of the nuclear envelope in order to make such movement possible. The nuclear pores appear to be reasonable candidates for such passageways. In plant cells these are irregularly, rather sparsely distributed over the surface of the nucleus, but in the amphibian oocyte, for example, the pores are numerous, regularly arranged, and octagonal and are formed by the fusion of the outer and inner membrane.Which of the following kinds of cells never have a nuclei?
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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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