Time Complexity of Prim’s minimum spanning tree algorithm is: ?->(Show Answer!)

1. Time Complexity of Prim’s minimum spanning tree algorithm is:

Answer: ø(n²..

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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. Long time ago, in a forest, there lived a young antelope. He was fond of the fruits of a particular tree. In a village bordering the forest, there lived a hunter who captured and killed antelopes for various reasons. He used to set traps for animals under fruitbearing trees. When the animal came to eat the fruit, it would be caught in the trap. He would then take it away and kill it for its meat. One day, while visiting the forest in search of game, the hunter happened to see the antelope under its favourite tree, eating fruit. He was delighted. ‘What a big, plump antelope!’ he thought. ‘I must catch him. I will get a lot of money from selling his meat.’ Thereafter, for many days, the hunter kept track of the antelope’s movements. He realised that the antelope was remarkably vigilant and fleet footed animal that it would be virtually impossible for him to track him down. However, he had a weakness for that particular tree. The crafty concluded that he could use this weakness to capture him. Early one morning, the hunter entered the forest with some logs of wood. He climbed the tree and put up a machan (platform used by hunters) on one of its branches by tying the logs together. Having set his trap at the foot of the tree, he then took up position on the machan and waited for the antelope. He strewed a lot of iy ,ovef mrui bts eo rn2thoeig6round beneath the 11.004.3, tree to conceal the trap and lure the antelope. Soon, the antelope came strolling along. He was very hungry and was eagerly looking forward to his usual breakfast of delicious ripe fruits. On the treetop, the hunter, having sighted him, sat with bated breath, willing him to come closer and step into his trap. However, the antelope was no fool. As he neared the tree he stopped short. The number of fruits lying under the tree seemed considerably more than usual. Surely, something was amiss, decided the antelope. He paused just out of reach of the tree and carefully began examining the ground. Now, he saw what distinctly looked like a human footprint. Without going closer, he looked suspiciously at the tree. The hunter was well hidden in its thick foliage, nevertheless the antelope, on close scrutiny, was now sure that his suspicions had not been unfounded. He could see a corner of the machan peeping out of the leaves. Meanwhile the hunter was getting desperate. Suddenly, he had a brainwave. Let me try throwing some fruit at him,’ he thought. So the hunter plucked some choice fruits and hurled them in the direction of the antelope. Alas, instead of luring him closer, it only confirmed his fears! Raising his voice, he spoke in the direction of the tree —”Listen, my dear tree, until now you have always dropped your fruits on the earth. Today, you have started throwing them at me! This is the most unlikely action of yours and I’m not sure I like the change! Since you have changed your habits, I too will change mine. I will get my fruits from a different tree from now onone that still acts like a tree!’ The hunter realised that the antelope had outsmarted him with his cleverness. Parting the leaves to reveal himself, he I grabbed his javelin and flung it wildly at the antelope. But the clever antelope was well prepared for any such action on his part. Giving a saucy chuckle, he leapt nimbly out of the harm’s way.As mentioned in the story, which of the following can be said about the hunter ?
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MCQ-> Read the passage carefully and answer the given questionsThe complexity of modern problems often precludes any one person from fully understanding them. Factors contributing to rising obesity levels, for example, include transportation systems and infrastructure, media, convenience foods, changing social norms, human biology and psychological factors. . . . The multidimensional or layered character of complex problems also undermines the principle of meritocracy: the idea that the ‘best person’ should be hired. There is no best person. When putting together an oncological research team, a biotech company such as Gilead or Genentech would not construct a multiple-choice test and hire the top scorers, or hire people whose resumes score highest according to some performance criteria. Instead, they would seek diversity. They would build a team of people who bring diverse knowledge bases, tools and analytic skills. . . .Believers in a meritocracy might grant that teams ought to be diverse but then argue that meritocratic principles should apply within each category. Thus the team should consist of the ‘best’ mathematicians, the ‘best’ oncologists, and the ‘best’ biostatisticians from within the pool. That position suffers from a similar flaw. Even with a knowledge domain, no test or criteria applied to individuals will produce the best team. Each of these domains possesses such depth and breadth, that no test can exist. Consider the field of neuroscience. Upwards of 50,000 papers were published last year covering various techniques, domains of enquiry and levels of analysis, ranging from molecules and synapses up through networks of neurons. Given that complexity, any attempt to rank a collection of neuroscientists from best to worst, as if they were competitors in the 50-metre butterfly, must fail. What could be true is that given a specific task and the composition of a particular team, one scientist would be more likely to contribute than another. Optimal hiring depends on context. Optimal teams will be diverse.Evidence for this claim can be seen in the way that papers and patents that combine diverse ideas tend to rank as high-impact. It can also be found in the structure of the so-called random decision forest, a state-of-the-art machine-learning algorithm. Random forests consist of ensembles of decision trees. If classifying pictures, each tree makes a vote: is that a picture of a fox or a dog? A weighted majority rules. Random forests can serve many ends. They can identify bank fraud and diseases, recommend ceiling fans and predict online dating behaviour. When building a forest, you do not select the best trees as they tend to make similar classifications. You want diversity. Programmers achieve that diversity by training each tree on different data, a technique known as bagging. They also boost the forest ‘cognitively’ by training trees on the hardest cases - those that the current forest gets wrong. This ensures even more diversity and accurate forests.Yet the fallacy of meritocracy persists. Corporations, non-profits, governments, universities and even preschools test, score and hire the ‘best’. This all but guarantees not creating the best team. Ranking people by common criteria produces homogeneity. . . . That’s not likely to lead to breakthroughs.Which of the following conditions, if true, would invalidate the passage’s main argument?
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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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MCQ-> Read the following passage carefully and answer the questions given below it.Certain words/phrases have been printed in bold to help you locate them while answering some of the questions.Princess Chandravati was very beautiful. She loved all kinds of ornaments and always wanted to wear the most precious and lovely jewels. Once, a jeweller came to the palace and gifted the king a wonderful diamond necklace. It glittered with big and small diamonds. It was certainly a very expensive necklace. The princess fell in love with it as soon as she saw it. So the king presented it to her. From that day on, the princess always wore that necklace, wherever she went. One day before going for a swim in the pond, she took the necklace off and put in the hands of her oldest and the most trustworthy servant. “Hold this and be careful. This is the most precious necklace in the whole world,” she said. The servant was an old woman. She sat under a tree, holding the ornament tightly and waited for the princess. It was a hot afternoon and the servant was very tired so she dozzed off .under the tree. Suddenly the servant felt that someone was tugging at the necklace and she woke up with a start. She looked around but no one was there and the necklace was gone. Scared out of her wits, the old servant started screaming. On hearing her scream the royal guards rushed to her. She pointed towards the direction in which the thief may have gone and the guards ran off that way. There was a poor and dim-witted farmer walking on the same road. As soon as he saw the royal guards running towards him, he thought that they wanted to catch him and started running. But he was not a strong man and could not outrun the hefty guards. The royal guards caught him in no time. “Where is it ?” they demanded, shaking him. “Where is what ?” the poor farmer stammered back. “The necklace you stole 1” thundered one of the royal guards. The farmer had no idea what they were talking about. He only understood that some precious necklace was lost and he was supposed to have it. He quickly replied, “I don’t know where it is now. I gave it to my landlord.” The guards ran towards the landlord’s house. “Give us the necklace right now !” the guards demanded of the fat landlord. “Necklace ? I don’t have any !” the stunned landlord replied. “Then tell us quickly who does,” demanded the soldiers. In order to get the royal guards off his back, the landlord pointed towards a priest who was walking by his house and said, “He does.” The guards now caught hold of the priest who was walking towards the temple and thinking about the lunch he had just eaten. The priest was stunned when one of the burly guards jumped on him and asked about the necklace. He remembered that the minister, Bhupati, was at the temple. He took the guards to the temple and pointed towards the praying minister, “I gave it to him,” he said. Bhupati too was caught and all four men were thrown in jail. The chief minister of the kingdom knew Bhupati well and was sure that Bhupati would never steal. He decided to find out who the culprit was. He hid near the jail where all four men were put and heard them talking. First, Bhupati asked the priest, “Panditji, why did you say that you gave the necklace to me ? I was quietly praying at the temple and now you have landed me in jail for no fault of mine.” The priest looked apologetic. He pointed towards the landlord and said, “I didn’t know what to say. He set the guards on me. I was simply passing by his house and was on my way to the temple.” The land lord looked at the priest sheepishly. Then he turned towards the poor farmer and yelled, “You lazy good-for-nothing man Why did you say that I had the necklace ?” The farmer, trembling under the angry gaze of all three men, said, “I was just walking home, The guards caught me and I did not know what to say.” On hearing, this conversation, the chief minister understood that all the four men were innocent. He immediately ordered the royal guards to search thoroughly, near the pond. The guards searched high and low till they saw something glinting on the tree. On the tree sat a monkey with the princess’ favourite necklace around his neck. It took a lot of coaxing and bananas before the monkey threw the necklace on the ground. The king apologised to all the four men and gave them gold coins as compensation. He requested his daughter to wear the necklace only indoors.Why did the king present the diamond necklace to his daughter ?
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