The cost of painting the interior of a room of dimensions 8 m length, 6 m width and 3 m height, if the cost of labour and paint is Ra. 10 per square m : ?->(Show Answer!)

1. The cost of painting the interior of a room of dimensions 8 m length, 6 m width and 3 m height, if the cost of labour and paint is Ra. 10 per square m :

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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-> DIRECTIONS for the following three questions: Answer the questions on the basis of the information given below.

Rang Barsey Paint Company (RBPC) is in the business of manufacturing paints. RBPC buys RED, YELLOW, WHITE, ORANGE, and PINK paints. ORANGE paint can be also produced by mixing RED and YELLOW paints in equal proportions. Similarly, PINK paint can also be produced by mixing equal amounts of RED and WHITE paints. Among other paints, RBPC sells CREAM paint, (formed by mixing WHITE and YELLOW in the ratio 70:30) AVOCADO paint (formed by mixing equal amounts of ORANGE and PINK paint) and WASHEDORANGE paint (formed by mixing equal amounts of ORANGE and WHITE paint). The following table provides the price at which RBPC buys paints.The cheapest way to manufacture AVOCADO paint would cost
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MCQ-> Read the following passages carefully and answer the questions given at the end of each passage.PASSAGE 3Typically women participate in the labour force at a very high rate in poor rural countries. The participation rate then falls as countries industrialise and move into the middle income class. Finally, if the country grows richer still, more families have the resources for higher education for women and from there they often enter the labour force in large numbers. Usually, economic growth goes hand in hand with emancipation of women. Among rich countries according to a 2015 study, female labour force participation ranges from nearly 80 percent in Switzerland to 70 percent in Germany and less than 60 Percent in the United States and Japan. Only 68 Percent of Canadian omen participated in the workforce in 1990; two decades later that increased to 74 Percent largely due to reforms including tax cuts for second earners and new childcare services. In Netherlands the female labour participation rate doubled since 1980 to 74 Percent as a result of expanded parental leave policies and the spread of flexible, part time working arrangements. In a 2014 survey of 143 emerging countries, the World Bank found that 90 Percent have at least one law that limits the economic opportunities available to women. These laws include bans or limitations on women owning property, opening a bank account, signing a contract, entering a courtroom, travelling alone, driving or controlling family finances. Such restrictions are particularly prevalent in the Middle East and South Asia with the world’s lowest female labour force participation, 26 and 35 percent respectively. According to date available with the International Labour Organisation (ILO), between 2004 and 2011, when the Indian economy grew at a healthy average of about 7 percent, there was a decline in female participation in the country’s labour force from over 35 percent to 25 percent. India also posted the lowest rate of female participation in the workforce among BRIC countries. India’s performance in female workforce participation stood at 27 percent, significantly behind China (64 percent), Brazil (59 percent), Russian Federation (57 percent), and South Africa (45 percent). The number of working women in India had climbed between 2000 and 2005, increasing from 34 percent to 37 percent, but since then the rate of women in the workforce has to fallen to 27 percent as of 2014, said the report citing data from the World Bank. The gap between male and female workforce participation in urban areas in 2011 stood at 40 percent, compared to rural areas where the gap was about 30 percent. However, in certain sectors like financial services, Indian women lead the charge. While only one in 10 Indian companies are led by women, more than half of them are in the financial sector. Today, women head both the top public and private banks in India. Another example is India’s aviation sector, 11.7 percent of India’s 5,100 pilots are women, versus 3 percent worldwide. But these successes only represent a small of women in the country. India does poorly in comparison to its neighbours despite a more robust economic growth. In comparison to India, women in Bangladesh have increased their participation in the labour market, which is due to the growth of the ready- made garment sector and a push to rural female employment. In 2015, women comprised of 43 percent of the labour force in Bangladesh. The rate has also increased in Pakistan, albeit from a very low starting point, while participation has remained relatively stable in Sri Lanka. Myanmar with 79 percent and Malaysia with 49 percent are also way ahead of India. Lack of access to higher education, fewer job opportunities, the lack of flexibility in working conditions, as well as domestic duties are cited as factors behind the low rates. Marriage significantly reduced the probability of women working by about 8 percent in rural areas and more than twice as much in urban areas, said an Assocham report. ILO attributes this to three factors: increasing educational enrolment, improvement in earning of male workers that discourage women’s economic participation, and lack of employment opportunities at certain levels of skills and qualifications discouraging women to seek work. The hurdles to working women often involve a combination of written laws and cultural norms. Cultures don’t change overnight but laws can. The IMF says that even a small step such as countries granting women the right to open a bank account can lead to substantial increase in female labour force participation over the next seven years. According to the United Nations Economic and Social Commission for Asia and the Pacific (ESCAP), even a 10 percent increase in women participating in the workforce can boost gross domestic product (GDP) by 0.3 percent. The OECD recently estimated that eliminating the gender gap would lead to an overall increase in GDP of 12 percent in its member nations between 2015 and 2030. The GDP gains would peak close to 20 percent in both Japan and South Korea and more than 20 percent in Italy. A similar analysis by Booz and Company showed that closing gender gap in emerging countries could yield even larger gains in GDP by 2020, ranging from a 34 percent gain in Egypt to 27 percent in India and 9 percent in Brazil. According to the above passage, though there are many reasons for low female labour force participation, the most important focus of the passage is on
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MCQ-> Study the following information carefully and answer the questions.For a room, the rate of painting is Rs. 3200 per square metre. The rate of carpeting per square metre is 120% of that of tiling. The cost of decorating the room Is 14 times to that of carpeting on the floor. The cost of electrification is 75% of that of carpeting the floor. The rate of tiling on the floor is 125% of that of painting. The dimensions of the room are 6 m x 6m x 5m.What is the ratio of the cost of painting the four walls of the room and that of decoration ?
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MCQ->The cost of painting the interior of a room of dimensions 8 m length, 6 m width and 3 m height, if the cost of labour and paint is Ra. 10 per square m :....