Angular separation between two colours of the spectrum depends upon which thing? ?->(Show Answer!)

1. Angular separation between two colours of the spectrum depends upon which thing?

Answer: Angle of deviation

Reply

Comments

Tags

Show Similar Question And Answers

QA->Angular separation between two colours of the spectrum depends upon which thing?....

QA->The director of Central Bureau of Investigation (CBI) who has been removed by the Supreme Court from the 2G spectrum case, saying he had attempted to help the accused in the spectrum scam and derail the investigation?....

QA->The extreme colours in the spectrum ?....

QA->Pitch of a sound depends upon its:....

QA->The quality of sound produced by an instrument depends on the which thing?....

MCQ->Read the following statements and answer the question that follows:An in-depth exploration of the Indian case and case studies of early adopters of mobile technology will provide spectrum managers a pragmatic and modern approach whereby they could utilize their resources efficiently and optimally. Even as spectrum management regimes are moving from a command and control regime to a flexible use regime, new technological developments are suggesting that there are significant opportunities in managing large swathes of spectrum as a common property resource, in addition to flexible use. Political legacies and market realities in different regimes pose unique challenges for spectrum managers who must negotiate a tricky path to the land promised by technological possibility. On the other hand, supply of spectrum is restricted due to competing nature of uses and vested interests of incumbent holders. The demand for spectrum has never been so acute as today's communication services extend beyond simple voice to complex data and video, augmented by evolving technologies such as peer-to-peer sharing, social networking, Fourth and Fifth Generation networks, Big Data, and cloud computing.Rank the above five statements so as to make it a logical sequence:...

MCQ->Statements:All paints are colours. Some colours are brands.Some brands are certificates. All certificates are degrees. Conclusions: I.Some brands are degrees. II.Some certificates are colours.III. Some colours are paints. IV.No paint is degree....

MCQ->Sentence given in each question, when properly sequenced, from a coherent paragraph. The first and last sentences are 1 and 6, and the four in between are labelled A, B, C and D. Choose the most logical order of these four sentences for among the four given choices to construct a coherent paragraph from sentences 1 to 6.1) Security inks exploit the same principle that causes the vivid and constantly changing colours of a film of oil on water.A. When two rays of light meet each other after being reflected from these different surfaces, they have each travelled slightly different distances.B. The key is that the light is bouncing off two surfaces, that of the oil and that of the water layer below it.C. The distance the two rays travel determines which wavelengths, and hence colours, interfere constructively and look bright.D. Because light is an electromagnetic wave, the peaks and troughs of each ray then interfere either constructively, to appear bright, or destructively, to appear dim.6) Since the distance the rays travel changes with the angle as you look at the surface, different colours look bright from different viewing angles....

MCQ-> Read the following passage and solve the questions based on it.Taking note of the day-long heavy queue in front of the Tarangabad Transport Department office everyday for obtaining transport permits, the City Administration comes out with a ‘Single Office-Five Windows’ system for facilitating the process. For simplicity, the windows are named as W1, W2, W3, W4 and W5 respectively. Office hours are from 8:00 AM to 5:30 PM, barring Saturday, when the office closes by 2.30 PM. To streamline the rush and reduce pressure on the employees, the working hours of the aforesaid windows are defined in the following manner:1. W1 is open between 9.30 AM and 2.30 PM on Monday and Wednesday, between 8.00 AM and 11.30 AM on Tuesday and Thursday and between 3.00 PM and 5.00 PM on Friday. 2. W2 is open between 8.30 AM and 11.30 AM on Wednesday and Thursday, between 8.00 AM and 10.00 AM on Friday, and between 12.30 PM and 2.30 PM on Monday and Saturday. 3. W3 is open between 10.00 AM and 12.30 PM on Wednesday and Saturday, between 10.00 AM and 12.00 Noon on Friday, and between 3.30 PM and 5.30 PM on Monday and Thursday. 4. W4 is open between 11.30 AM and 3.00 PM on Tuesday, between 12.30 PM and 3.00 PM on Thursday and Friday, between 8 AM and 10 AM on Saturday and Monday and between 3.30 PM to 5.30 PM on Wednesday. 5. W5 is open between 2.00 PM and 4.00 PM on Monday, 3.30 PM and 5.30 PM on Tuesday and Friday, between 8 AM and 10 AM on Wednesday and between 10.30 AM to 12.30 PM on Thursday.On which of the following days, maximum number of windows is simultaneously open at 9.45 AM?
...

MCQ-> The narrative of Dersu Uzala is divided into two major sections, set in 1902, and 1907, that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the film opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon one another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’s recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back father even than 1910 to discover who he was. But this narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialised, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vacuum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalise him and his example, as Dersu passes from history into myth. We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that isbeing built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, lookinguncomfortable and disoriented. A man passing in a wagon asks him what he is doing, and the explorersays he is looking for a grave. The driver replies that no one has died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu had died. It is his grave for which the explorer searches. His passing symbolises the new order, the development that now surrounds Arseniev. The explorer says he buried his friend three years ago next to huge cedar and fir trees, but now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile of bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a woman hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmurs desolately, ‘Dersu’. The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’s meeting with Dersu and their friendship. Kurosawa defines the world of the film initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the film celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and in human vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appears, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appear animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity to Dersu and their friendship. It makes him a fit pupil for the hunter.How is Kurosawa able to show the erosion of Dersu’s way of life?
...