Idiom of 24. On an average ?->(Show Answer!)

1. Idiom of 24. On an average

Answer: Dividing the total by the number of amounts

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MCQ-> Read the following passage carefully and answer the questions. Certain words/phrases are given in bold to help you locate them while answering some of the questions. Until the 1960s boys spent longer and went further in school than girls, and were more likely to graduate from university. Now, across the rich world and in a growing number of , poor countries, the balance has tilted the other way. Policymakers once fretted about girls’ . lack of confidence in science but this is changing. Sweden has commissioned research into its “boy crisis”. Australia has devised a reading programme called “Boys, Blokes, Books and Bytes”. In just a couple of generations, one gender gap has closed, only for another to open up. The reversal is laid out in a report published on March 5th by the OECD. a Paris based Rich country thinktank. Boys’ dominance just about endures in maths: at age 15 they are, on average, the equivalent of three months’ schooling ahead of girls. In science the results are fairly even. But in reading, where girls have been ahead for some time, a gulf has appeared. In all G4 countries and economies in the study, girls outperform boys. The average gap is equivalent to an extra year of schooling. The OECD deems literacy to be the most important skill that it assesses, since further learning depends on it. Sure enough, teenage boys are 50% more likely than girls to fail to achieve basic proficiency in any of maths, reading and science. Youngsters in this group, with nothing to build on or shine at, are prone to drop out of school altogether. To see why boys and girls fare so differently in the classroom, first look at what they do outside it. The average 15year old girl devotes five and half hours a week to homework, an hour more than the average boy, who spend more time playing video games and trawling the internet. Three quarters of girls read for pleasure, compared with little more than half of boys. Reading rates are falling everywhere as screens draw eyes from pages, but boys are giving up faster. The OECD found that, among boys who do as much homework as the average girl, the gender gap in reading fell by nearly a quarter. Once in the classroom, boys long to be out of it: They are twice as likely as girls to report that school is a “waste of time”, and more often turn up late. Just as a teacher sused to struggle to persuade girls that science is not only for men, the OECD now urges parents and policymakers to steer boys away from a version of masculinity that ignores academic achievement. Boys’ disdain for school might have been less irrational when there were plenty of jobs for uneducated men. But those days have long gone. It may be that a bit of swagger helps in maths, where confidence plays a part in boys’ lead (though it sometimes extends to delusion:12% of boys told the OECD that they are familiar with the mathematical concept of “subjunctive sealing”, a red herring that fooled only 7% of girls.) But their lack of self Visit discipline drives teachers crazy. The OECD found that boys did much better in its anonymised tests than in teachers assessments. What is behind this discrimination? One possibility is that teachers mark up students who are polite, eager and stay out of flights, all attributes that are more common among girls. In some countries, academic points can even be docked for bad behaviour.Choose the word which is opposite in meaning to the word DOCKED given in bold as used in the passage.
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Table B

Performance measures are as follows: Half Yearly Sales Performance:$$\frac{\text{Oct 14 to Mar 15 Average Sales - April 14 to Sep 14 Average Sales}}{\text{April 14 to Sep 14 Average Sales}}$$Monthly Sales Performance: $$\frac{\text{Current Month Sales - Pervious Month Sales}}{\text{Previous Month Sales}}$$Sales Volatility: $$\frac{\text{Maximum Monthly Sales - Minimum Monthly Sales}}{\text{Average Monthly Sales}}$$What is the closest average number of 11⁄2 ton Window ACs sold by Torrent Enterprises during April 2014 - March 2015?
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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