White lead in paint acts as a : ?->(Show Answer!)

1. White lead in paint acts as a :

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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-> 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-> Read the passage carefully and answer the questions givenGrove snails as a whole are distributed all over Europe, but a specific variety of the snail, with a distinctive white-lipped shell, is found exclusively in Ireland and in the Pyrenees mountains that lie on the border between France and Spain. The researchers sampled a total of 423 snail specimens from 36 sites distributed across Europe, with an emphasis on gathering large numbers of the white-lipped variety. When they sequenced genes from the mitochondrial DNA of each of these snails and used algorithms to analyze the genetic diversity between them, they found that. . . a distinct lineage (the snails with the white-lipped shells) was indeed endemic to the two very specific and distant places in question.Explaining this is tricky. Previously, some had speculated that the strange distributions of creatures such as the white-lipped grove snails could be explained by convergent evolution—in which two populations evolve the same trait by coincidence—but the underlying genetic similarities between the two groups rules that out. Alternately, some scientists had suggested that the white-lipped variety had simply spread over the whole continent, then been wiped out everywhere besides Ireland and the Pyrenees, but the researchers say their sampling and subsequent DNA analysis eliminate that possibility too. “If the snails naturally colonized Ireland, you would expect to find some of the same genetic type in other areas of Europe, especially Britain. We just don’t find them,” Davidson, the lead author, said in a press statement.Moreover, if they’d gradually spread across the continent, there would be some genetic variation within the white-lipped type, because evolution would introduce variety over the thousands of years it would have taken them to spread from the Pyrenees to Ireland. That variation doesn’t exist, at least in the genes sampled. This means that rather than the organism gradually expanding its range, large populations instead were somehow moved en mass to the other location within the space of a few dozen generations, ensuring a lack of genetic variety.“There is a very clear pattern, which is difficult to explain except by involving humans,” Davidson said. Humans, after all, colonized Ireland roughly 9,000 years ago, and the oldest fossil evidence of grove snails in Ireland dates to roughly the same era. Additionally, there is archaeological evidence of early sea trade between the ancient peoples of Spain and Ireland via the Atlantic and even evidence that humans routinely ate these types of snails before the advent of agriculture, as their burnt shells have been found in Stone Age trash heaps.The simplest explanation, then? Boats. These snails may have inadvertently traveled on the floor of the small, coast-hugging skiffs these early humans used for travel, or they may have been intentionally carried to Ireland by the seafarers as a food source. “The highways of the past were rivers and the ocean-as the river that flanks the Pyrenees was an ancient trade route to the Atlantic, what we’re actually seeing might be the long lasting legacy of snails that hitched a ride…as humans travelled from the South of France to Ireland 8,000 years ago,” Davidson said.The passage outlines several hypotheses and evidence related to white-lipped grove snails to arrive at the most convincing explanation for:
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MCQ-> Study the following information carefully and answer the given question. A word and number arrangement machine when given an input line of words and numbers rearranges them following a particular rule in each step. The following is an illustration of input rearrangement. (All the numbers are two-digit numbers) Input pink for 25 72 white jar 12 96 Step I 96 pink for 25 72 white jar 12 Step II 96 for pink 25 72 white jar 12 Step III 96 for 72 pink 25 white jar 12 Step IV 96 for 72 jar pink 5 white 12 Step V 96 for 72 jar 25 pink white 12 Step VI 96 for 72 jar 2 pink 12 white and step vi is the last step of the rearrangement as the desire arrangement is reached. As per the rules followed the above steps, find out in each of the following questions the appropriate step for the given input. (All the numbers are two-digit numbers)‘’Input’’ 16 power failure 61 53 new cost 27 How many steps will be required to complete the rearrangement?....

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