How is an inverted picture produced? ?->(Show Answer!)

1. How is an inverted picture produced?

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MCQ->How is an inverted picture produced?....

MCQ-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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MCQ->The effect produced on the mind by travelling depends entirely on the mind of the traveller and on the way in which he conducts himself. The chief idea of one very common type of traveller is to see as many objects of interest as he possibly can. If he can only after his return home say that he has seen such and such temple, castle, picture gallery, or museum, he is perfectly satisfied. Far different is the effect of travels upon those who leave their country with a mind prepared by culture to feel intelligent admiration for all the beauties of nature and art to be found in foreign lands. When they visit a new place, instead of hurrying from temple to museum to picture gallery, they allow the spirit of the place to sink into their minds, and only visit such monuments as the time they have at their disposal allows them to contemplate without irreverent haste. It can be inferred from the above passage that....

MCQ-> The Union Government’s present position vis-a-vis the upcoming United Nations conference on racial and related discrimination world-wide seems to be the following: discuss race please, not caste; caste is our very own and not at all as bad as you think. The gross hypocrisy of that position has been lucidly underscored by Kancha Ilaiah. Explicitly, the world community is to be cheated out of considering the matter on the technicality that caste is not, as a concept, tantamount to a racial category. Internally, however, allowing the issue to be put on agenda at the said conference would, we are patriotically admonished, damage the country’s image. Somehow, India’s virtual beliefs elbow out concrete actualities. Inverted representations, as we know, have often been deployed in human histories as balm for the forsaken — religion being the most persistent of such inversions. Yet, we would humbly submit that if globalising our markets is thought as good for the ‘national’ pocket, globalising our social inequities might not be so bad for the mass of our people. After all, racism was as uniquely institutionalised in South Africa as caste discrimination has been within our society; why then can’t we permit the world community to express itself on the latter with a fraction of the zeal with which, through the years, we pronounced on the former?As to the technicality about whether or not caste is admissible into an agenda about race (that the conference is also about ‘related discriminations’ tends to be forgotten), a reputed sociologist has recently argued that where race is a ‘biological’ category caste is a ‘social’ one. Having earlier fiercely opposed implementation of the Mandal Commission Report, the said sociologist is at least to be complemented now for admitting, however tangentially, that caste discrimination is a reality, although, in his view, incompatible with racial discrimination. One would like quickly to offer the hypothesis that biology, in important ways that affect the lives of many millions, is in itself perhaps a social construction. But let us look at the matter in another way.If it is agreed — as per the position today at which anthropological and allied scientific determinations rest — that the entire race of homo sapiens derived from an originary black African female (called ‘Eve’), then one is hard put to understand how, one some subsequent ground, ontological distinctions are to be drawn either between races or castes. Let us also underline the distinction between the supposition that we are all god’s children and the rather more substantiated argument about our descent from ‘Eve’, lest both positions are thought to be equally diversionary. It then stands to reason that all subsequent distinctions are, in modern parlance, ‘constructed’ ones, and like all ideological constructions, attributable to changing equations between knowledge and power among human communities through contested histories here, there, and elsewhere.This line of thought receives, thankfully, extremely consequential buttress from the findings of the Human Genome project. Contrary to earlier (chiefly 19th-century colonial) persuasions on the subject of race, as well as, one might add, the somewhat infamous Jensen offerings in the 20th century from America, those finding deny genetic difference between ‘races’. If anything, they suggest that environmental factors impinge on gene-function, as a dialectic seems to unfold between nature and culture. It would thus seem that ‘biology’ as the constitution of pigmentation enters the picture first only as a part of that dialectic. Taken together, the originary mother stipulation and the Genome findings ought indeed to furnish ground for human equality across the board, as well as yield policy initiatives towards equitable material dispensations aimed at building a global order where, in Hegel’s stirring formulation, only the rational constitutes the right. Such, sadly, is not the case as everyday fresh arbitrary grounds for discrimination are constructed in the interests of sectional dominance.When the author writes ‘globalising our social inequities’, the reference is to
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MCQ->After a picture has been taken with a digital camera and processed appropriately, the actual print of the picture is considered:....