Thebird that can rotate its head in a full circle: ?->(Show Answer!)

1. Thebird that can rotate its head in a full circle:

Answer: Owl

Reply

Comments

Tags

Show Similar Question And Answers

QA->Thebird that can rotate its head in a full circle:....

QA->How does the earth rotate around its axis?....

QA->Thebird that can live in the lowest temperature:....

QA->Thebird that can fly backwards:....

QA->Thebird which uses its wings for swimming:....

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?
...

MCQ->The area of a circle is proportional to the square of its radius. A small circle of radius 3 cm is drawn within a larger circle of radius 5 cm. Find the ratio of the areaof the annular zone to the area of the larger circle. (Area of the annular zone is the difference between the area of the larger circle and that of the smaller circle). ...

MCQ-> Read the following passage carefully and answer the question given below it.Certain words/phrase have-been printed in the bold to help you locate them while answering some of the questions. King Hutamasan felt he had everything in the world not only due to his riches and his noble knights but because of his beautiful queen Rani Matsya The rays of the sun were put to shame with the iridescent light that Matsya illuminated with her beauty and brains At the right hand of the king she was known to sit and aid him in all his judicial probes You could not escape her deep-set eyes when you committed a crime as she always knew the and the culprit Her generosity preceded her reputation in the kingdom and her hands were always full to give people in the kingdom revered her because if she passed by she always gave to the compassionate and poor Far away from the kingly palace lived a man named Raman with only ends to his poverty as he had lost all his land to the landlord,His age enabled him little towards manual labour and so begging was the only alternative to salvage his wife and children Every morning he went door to door for some work food or money.The kindness of people always got him enough to take home But Raman was a little self centered His world began with him first followed by his family and the rest So he would eat and drink to his delight and return home with whatever he found excess This routine followed and he never let anyone discover his interest as he always put on a long face when he reached home. One day as he was relishing the bowl of rice he had just received from a humble home he heard that Rani Matsya was to pass from the very place he was standing Her generosity had reached his ears and he knew if he pulled a long face and showed how poor he was she would hand him a bag full of gold coins enough for the rest of his life enough to buy food and supplies for his family.He thought he could keep some coins for himself and only reveal a few to his wife so he can fulfill his own wishes. He ran to the chariot of the Rani and begged her soldiers to allow him to speak to the queen Listening to the arguments outside Rani Matsya opened the curtains of her chariot and asked Raman what he wanted Raman went on his knees and praised the queen I have heard you are most generous and most chaste show this beggar some charity Rani narrowed her brows and asked Raman what he could give her in return Surprised by such a question Raman looked at his bowl full of rice With spite in him he just picked up a few grains of rice and gave it to the queen Rani Matsya counted the 5 grains and looked at his bowl full of rice and said you shall be given what is due to you Saying this the chariot galloped away Raman abused her under his breath This he never thought would happen How could she ask him for something in return when she hadn’t given him anything ? Irked with anger he stormed home and gave his wife the bowl of rice Just then he saw a sack at the enterence His wife said some men had come and kept it there He opened it to find it full of rice He put his hand inside and caught hold of a hard metal only to discover it was a gold coin Elated he upturned the sack to find 5 gold coins in exact for the five rice grains If only I had given my entire bowl thought Raman I would have had a sack full of gold.According to the passage which of the following is definitely true about Rani Matsya ? (A)She was beautiful (B)She was intelligent (C)She was kind...

MCQ->O is the centre of two concentric circles. AE is a chord of the outer circle and it intersects the inner circle at points B and D. C is a point on the chord in between B and D. What is the value of AC/CE?A. BC/CD=1 B. A third circle intersects the inner circle at B and D and the point C is on the line joining the centres of the third circle and the inner circle....

MCQ->Which three statements are true about the operation of a full-duplex Ethernet network? There are no collisions in full-duplex mode. A dedicated switch port is required for each full-duplex node. Ethernet hub ports are preconfigured for full-duplex mode. In a full-duplex environment, the host network card must check for the availability of the network media before transmitting. The host network card and the switch port must be capable of operating in full-duplex mode....