A communication satellite is a repeater between ?->(Show Answer!)

1. A communication satellite is a repeater between

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MCQ-> Analyse the following passage and provide appropriate answers for the questions that follow: An effective way of describing what interpersonal communication is or is not, is perhaps to capture the underlying beliefs using specific game analogies. Communication as Bowling: The bowling model of message delivery is probably the most widely held view of communication. I think that’s unfortunate. This model sees the bowler as the sender, who delivers the ball, which is the message. As it rolls down the lane (the channel), clutter on the boards (noise) may deflect the ball (the message). Yet if it is aimed well, the ball strikes the passive pins (the target audience) with a predictable effect. In this one - way model of communication, the speaker (bowler) must take care to select a precisely crafted message (ball) and practice diligently to deliver it the same way every time. Of course, that makes sense only if target listeners are interchangeable, static pins waiting to be bowled over by our words - which they aren’t. This has led some observers to propose an interactive model of interpersonal communication. Communication as Ping - Pong: Unlike bowling, Ping - Pong is not a solo game. This fact alone makes it a better analogy for interpersonal communication. One party puts the conversational ball in play, and the other gets into position to receive. It takes more concentration and skill to receive than to serve because while the speaker (server) knows where the message is going, the listener (receive) doesn’t. Like a verbal or nonverbal message, the ball may appear straightforward yet have a deceptive spin. Ping - Pong is a back - and - forth game; players switch roles continuously. One moment the person holding the paddle is an initiator; the next second the same player is a responder, gauging the effectiveness of his or her shot by the way the ball comes back. The repeated adjustment essential for good play closely parallels the feedback process described in a number of interpersonal communication theories. Communication as Dumb Charades The game of charades best captures the simultaneous and collaborative nature of interpersonal communication. A charade is neither an action, like bowling a strike, nor an interaction, like a rally in Ping - Pong. It’s a transaction. Charades is a mutual game; the actual play is cooperative. One member draws a title or slogan from a batch of possibilities and then tries to act it out visually for teammates in a silent mini drama. The goal is to get at least one partner to say the exact words that are on the slip of paper. Of course, the actor is prohibited from talking out loud. Suppose you drew the saying “God helps those who help themselves.” For God you might try folding your hands and gazing upward. For helps you could act out offering a helping hand or giving a leg - up boost over a fence. By pointing at a number of real or imaginary people you may elicit a response of them, and by this point a partner may shout out, “God helps those who help themselves.” Success. Like charades, interpersonal communication is a mutual, on - going process of sending, receiving, and adapting verbal and nonverbal messages with another person to create and alter images in both of our minds. Communication between us begins when there is some overlap between two images, and is effective to the extent that overlap increases. But even if our mental pictures are congruent, communication will be partial as long as we interpret them differently. The idea that “God helps those who help themselves’ could strike one person as a hollow promise, while the other might regard it as a divine stamp of approval for hard work. Dumb Charade goes beyond the simplistic analogy of bowling and ping pong. It views interpersonal communications as a complex transaction in which overlapping messages simultaneously affect and are affected by the other person and multiple other factors.The meaning CLOSEST to ‘interchangeable’ in the ‘Communication as Bowling’ paragraph is:
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MCQ->A communication satellite is a repeater between....

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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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