Name the Syrian journalist who was awarded 2015th UNESCO-Guillermo Cano World Press Freedom Prize? ?->(Show Answer!)

1. Name the Syrian journalist who was awarded 2015th UNESCO-Guillermo Cano World Press Freedom Prize?

Answer: Mazen Darwish

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MCQ-> The passage below is accompanied by a set of six questions. Choose the best answer to each question.I used a smartphone GPS to find my way through the cobblestoned maze of Geneva's Old Town, in search of a handmade machine that changed the world more than any other invention. Near a 13th-century cathedral in this Swiss city on the shores of a lovely lake, I found what I was looking for: a Gutenberg printing press. "This was the Internet of its day — at least as influential as the iPhone," said Gabriel de Montmollin, the director of the Museum of the Reformation, toying with the replica of Johann Gutenberg's great invention.Before the invention of the printing press, it used to take four monks up to a year to produce a single book. With the advance in movable type in 15th-century Europe, one press could crank out 3,000 pages a day. Before long, average people could travel to places that used to be unknown to them — with maps! Medical information passed more freely and quickly, diminishing the sway of quacks. The printing press offered the prospect that tyrants would never be able to kill a book or suppress an idea. Gutenberg's brainchild broke the monopoly that clerics had on scripture. And later, stirred by pamphlets from a version of that same press, the American colonies rose up against a king and gave birth to a nation.So, a question in the summer of this 10th anniversary of the iPhone: has the device that is perhaps the most revolutionary of all time given us a single magnificent idea? Nearly every advancement of the written word through new technology has also advanced humankind. Sure , you can say the iPhone changed everything. By putting the world's recorded knowledge in the palm of a hand, it revolutionized work, dining, travel and socializing. It made us more narcissistic — here's more of me doing cool stuff! — and it unleashed an army of awful trolls. We no longer have the patience to sit through a baseball game without that reach to the pocket. And one more casualty of Apple selling more than a billion phones in a decade's time: daydreaming has become a lost art.For all of that, I'm still waiting to see if the iPhone can do what the printing press did for religion and democracy...the Geneva museum makes a strong case that the printing press opened more minds than anything else...it's hard to imagine the French or American revolutions without those enlightened voices in print...Not long after Steve Jobs introduced his iPhone, he said the bound book was probably headed for history's attic. Not so fast. After a period of rapid growth in e-books, something closer to the medium for Chaucer's volumes has made a great comeback.The hope of the iPhone, and the Internet in general, was that it would free people in closed societies. But the failure of the Arab Spring, and the continued suppression of ideas in North Korea, China and Iran, has not borne that out. The iPhone is still young. It has certainly been "one of the most important, world-changing and successful products in. history," as Apple C.E.O. Tim Cook said. But I'm not sure if the world changed for the better with the iPhone — as it did with the printing press — or merely changed.The printing press has been likened to the Internet for which one of the following reasons?
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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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