A pure tone at 1000 Hz has a dB level of 50 dB. If two such tones exist simultaneously the dB level is about ?->(Show Answer!)

1. A pure tone at 1000 Hz has a dB level of 50 dB. If two such tones exist simultaneously the dB level is about

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MCQ->A pure tone at 1000 Hz has a dB level of 50 dB. If two such tones exist simultaneously the dB level is about....

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->A pure tone at 1000 Hz has a dB level of 40 dB. If the required dB level is 100, the number of such tones is....

MCQ-> Our Glory of Cricket’ club intends to give its membership to a selected few players based on the following criteria The player must be above 16 years and not more than 24 years of age as on 1.2.99. He must pay Rs. 15,000 as entrance fee and Rs. 1,000 as monthly fee throughout his membership period. In case, he pay Rs. 25,000 as additional entrance fee the monthly payment condition is waived. In addition to this he should satisfy at least one of the following conditions : (I) He has won any one inter-college cricket tournament by leading his college team and has scored at least one century in college level tournaments. (II) He has scored at least one century and two fifties in interuniversity of inter state tournaments. (III) He has led his cricket team at college level at least thrice and has taken 10 or more wickets either by bowling or while wicket-keeping or has made aggregate 1000 runs in college level matches. (IV) He has represented his state in national level matches at least thrice with a remarkable bowling or batting or wicket keeping record. (V) He has six centuries at his credit in college level matches and is a spin or medium fast bowler having taken at least one wicket per match in college level matches. Based on the above conditions and the data given in each of the following cases you have to take decision. You are not supposed to assume anything. All the facts are given as on 1.2.99.Ameya started his cricket career exactly 5 years ago by celebrating his 18th birthday by scoring a century. He is ready to pay Rs. 40,000/- at entry level. He scored three fifties representing his state as captain. He is an excellent leg spinner.
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MCQ-> Read the passage carefully and answer the questions given below it. Certain words/ phrases have been given in bold to help you locate them while answering some of the questions. Once upon a time, there lived a washerman in a village. He had a donkey by the name of Udhata. He used to carry loads of clothes to the river bank and back home everyday. The donkey was not satisfied with the food, that was given to him by his master to eat. So he wandered into the nearby fields stealthily and ate the crops growing there. Once, the donkey, while wandering around, happened to meet a fox. Soon, both of them became friends and began to wander together in search of delicious food. One night, the donkey and the fox were eating water-melons in a field. The water- melons were so tasty, that the donkey ate in a large quantity. Having eaten to his appetite, the donkey became so happy that he was compelled by an intense desire to sing. He told the fox that he was in such a good mood that he had to express his happiness in a melodious tone. ‘Don’t be a fool. If you sing, the people sleeping in and around this field will wake up and beat us black and blue with sticks,’ said the fox worriedly. `You are a dull fellow’, the donkey said hearing the words of fox. ‘Singing makes one happy and healthy. No matter what comes. I’ll definitely sing a song.” The fox became worried to see the donkey adamant to sing a song in the midst of the field, while the owner was still sleeping only a little distance away. Seeing his adamance, he said to the donkey, ‘Friend, wait a minute before you start first, let me jump over to the other side of the fence for my safety.’ Saying so the fox jumped over to the other side of the fence without losing a moment. The donkey began in his so-called melodious tone. Hearing, suddenly, a donkey braying in the field, the owner woke up from his sleep. He picked up his stick lying by his side and ran towards the donkey who was still braying happily. The owner of the field looked around and saw the loss caused by the donkey. He became very angry and beat him so ruthlessly that the donkey was physically incapacitated temporarily. He, somehow, managed to drag himself out of the field with great difficulty. The fox looked at the donkey and said in a sympathetic tone, T m sorry to see you in this pitiable condition. I had already warned you, but you didn’t listen to my advice.’ The donkey too realised his folly and hung his head in shame.Why did donkey want to sing ?
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