One who is subject to failure or to committing mistakes ?->(Show Answer!)

1. One who is subject to failure or to committing mistakes

Answer: Fallible

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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. The wisdom of learning from failure is incontrovertible. Yet organisations that do it well are extraordinarily rare. This gap is not due to a lack of commitment to learning. Managers in the vast majority of enterprises that I have studied over the past 20 years —pharmaceutical. financial services, product design, telecommunications, and construction companies: hospitals; and NASA’s space shuttle program, among others— genuinely wanted to help their organisations learn from failures to improve future performance. In some cases they and their teams had devoted many hours to afteraction reviews, postmortems, and the like. But time after time I saw that these painstaking efforts led to no real change. The reason: Those managers were thinking about failure the wrong way. Most executives I’ve talked to believe that failure is bad (of course!). They also believe that learning from it is pretty straightforward: Ask people to reflect on what they did wrong and exhort them to avoid similar mistakes in the future—or, better yet, assign a team to review and write a report on what happened and then distribute it throughout the organisation. These widely held beliefs are misguided. First, failure is not always bad. In organisational life it is sometimes bad, sometimes inevitable, and sometimes even good. Second, learning from organisational failures is anything but straightforward. The attitudes and activities required to effectively detect and analyze failures are in short supply in most companies, and the need for context-specific learning strategies is underappreciated. Or – ganisations need new and better ways to go beyond lessons that are superficial (“Procedures weren’t followed”) or self-serving (“The market just wasn’t ready for our great new product”). That means jettisoning old cultural beliefs and stereotypical notions of success and embracing failure’s lessons. Leaders can begin by understanding how the blame game gets in the way. The Blame Game Failure and fault are virtually inseparable in most households. organisations, and cultures. Every child learns at some point that admitting failure means taking the blame. That is why so few organisations have shifted to a culture of psychological safety in which the rewards of learning from failure can be fully realised. Executives I’ve interviewed in organisations as different as hospitals and investment banks admit to being torn: How can they respond constructively to failures without giving rise to an anything-goes attitude? If people aren’t blamed for failures, what will ensure that they try as hard as possible to do their best work? This concern is based on a false dichotomy. In actuality, a culture that makes it safe to admit and report on failure can—and in some organisational contexts must–coexist with high standards for performance. To understand why, look at the exhibit “A Spectrum of Reasons for Failure,” which lists causes ranging from deliberate deviation to thoughtful experimentation. Which of these causes involve blameworthy actions? Deliberate deviance, first on the list, obviously warrants blame. But inattention might not. If it results from a lack of effort, perhaps it’s blameworthy. But if it results from fatigue near the end of an overly long shift, the manager who assigned the shift is more at fault than the employee. As we go down the list, it gets more and more difficult to find blameworthy acts. In fact, a failure resulting from thoughtful experimentation that generates valuable information may actually be praiseworthy. When I ask executives to consider this spectrum and then to estimate how many of the failures in their organisations are truly blameworthy, their answers are usually in single digits—perhaps 2% to 5%. But when I ask how many are treated as blameworthy, they say (after a pause or a laugh) 70% to 90%. The unfortunate consequence is that many failures go unreported and their lessons are lost. Question : sophisticated understanding of failure’s causes and contexts will help to avoid the blame game and institute an effective strategy for learning from failure. Although an infinite number of things can go wrong in organisations, mistakes fall into three broad categories: preventable, complexity-related, and intelligent.Which of the following statement (s) is/are true in the context of the given passage ? I. Most executives believe that failure is bad and learning from it is pretty straightforward. II. The wisdom of learning from failure is disputable. III. Deliberate deviance, first on the list of the exhibit, “A Spectrum of Reasons for Failure” obviously warrants blame....

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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MCQ-> In the following questions, read the passage carefully and choose the best answer to each question out of the four alternatives. Passage 1 Ultimately, we all have to decide for ourselves what constitutes failure, but the world is quite eager to give you as set of criteria if you let it. So I think it fair to say that by any conventional measure, a mere seven years after my graduation day, I had failed on an epic scale. An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain, without being homeless. The fears that my parents had and for me, and that I had had for myself, had both come to pass, and by every usual standard, I was the biggest failure I knew. Now, I am not going to stand here and tell you that failure is fun. That period of my life was a dark one, and I had no idea that there was going to be what the press has since represented as a kind of fairy tale resolution. I had no idea then how far the tunnel extended, and for a long time, any light at the end of it was a hope rather than a reality. So why do I talk about the benefits of failure ? Simply because failure meant a stripping away off the inessential. I stopped pretending to myself that I was anything other than what I was, and begin to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else. I might never has found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had been realised, and I was still alive, and I still had a daughter typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life. You might never fail on the scale I did, but some failure in life is inevitable. It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all in which case, you fail by default. Failure gave me an inner security that I had never attained by passing examinations. Failure taught me things about myself that I could have learned no other way. I discovered that I had a strong will, and more discipline than I had suspected; I also found out that I had friends whose value was truly above the price of rubies. The knowledge that you have emerged wiser and stronger from setbacks means that you are, ever after, secure in your ability to survive. You will never truly know yourself, or the strength of your relationships, until both have been tested by adversity. Such knowledge is a true gift, for all that it is painfully won, and it has been worth more than any qualification I ever earned.According to the author, what can be defined as ‘failure’?
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MCQ->Consider the following statements pertaining to a pile group and a single pile at failure :1. In loose and medium dense sands, the failure load per pile in a group will generally be greater than the failure load for a single pile.2. In cohesive soils, the failure load per pile in a group will be greater than failure load for a single pile.3. For piles driven in dense sands, the failure load per pile in a group is greater than the failure load for a single pile.4. When the pile spacing is greater than 10 times the pile diameter, the failure loads per pile in a group and forly same in both sands and clays.Of these statements :...

MCQ-> In the following question, out of the four alternatives, select the alternative which is best substitute of the phrase.One who is subject to failure or to committing mistakes
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