Each sentence below has a blank/s, each blank indicates that something has been omitted: Choose the word/s that best it/s the meaning of the sentence as a whole:The state-of-the-art school is………….. with a medical clinic and fitness center.< ?->(Show Answer!)

1. Each sentence below has a blank/s, each blank indicates that something has been omitted: Choose the word/s that best it/s the meaning of the sentence as a whole:The state-of-the-art school is………….. with a medical clinic and fitness center.

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MCQ-> Analyse the following passage and provide appropriate answers that follow.We can answer Fermi’s Paradox in two ways. Perhaps our current science over - estimates the likelihood of extraterrestrial intelligence evolving. Or, perhaps, evolved technical intelligence has some deep tendency to be self - limiting, even self - exterminating. After Hiroshima, some suggested that any aliens bright enough to make colonizing space ships would be bright enough to make thermonuclear bombs, and would use them on each other sooner or later.I suggest a different, even darker solution to the Paradox. Basically, I think the aliens forget to send radio signals or colonize space because they’re too busy with runaway consumerism and virtual - reality narcissism. Once they turn inwards to chase their shiny pennies of pleasure, they lose the cosmic plot.The fundamental problem is that an evolved mind must pay attention to indirect cues of biological fitness, rather than tracking fitness itself. This was a key insight of evolutionary psychology in the early 1990s; although evolution favours brains that tend to maximize fitness (as measured by numbers of great - grandkids), no brain has capacity enough to do so under every possible circumstance. As a result, brains must evolve shortcuts: fitness - promoting tricks, cons, recipes and heuristics that work, on an average, under ancestrally normal conditions. Technology is fairly good at controlling external reality to promote real biological fitness, but it’s even better at delivering fake fitness - subjective cues of survival and reproduction without the real - world effects.Fitness - faking technology tends to evolve much faster than our psychological resistance to it. With the invention of Xbox 360, people would rather play a high - resolution virtual ape in Peter Jackson’s King Kong than be a perfect – resolution real human. Teens today must find their way through a carnival of addictively fitness - faking entertainment products. The traditional staples of physical, mental and social development - athletics, homework dating - are neglected. The few young people with the self - control to pursue the meritocratic path often get distracted at the last minute.Around 1900, most inventions concerned physical reality and in 2005 focus shifted to virtual entertainment. Freud’s pleasure principle triumphs over the reality principle. Today we narrow - cast human - interest stories to each other, rather than broadcasting messages of universal peace and progress to other star systems.Maybe the bright aliens did the same. I suspect that a certain period of fitness - faking narcissism is inevitable after any intelligent life evolves. This is the Great Temptation for any technological species – to shape their subjective reality to provide the cues of survival and reproductive success without the substance. Most bright alien species probably go extinct gradually, allocating more time and resources to their pleasures and less to their children.Heritable variation in personality might allow some lineages to resist the Great Temptation and last longer. Some individuals and families may start with an “irrational” Luddite abhorrence of entertainment technology, and they may evolve ever more self - control, conscientiousness and pragmatism by combining the family values of the religious right with the sustainability values of the Greenpeace. They wait patiently for our fitness - faking narcissism to go extinct. Those practical - minded breeders will inherit the Earth as like - minded aliens may have inherited a few other planets. When they finally achieve contacts, it will not be a meeting of novel - readers and game - players. It will be a meeting of dead - serious super - parents who congratulate each other on surviving not just the Bomb, but the Xbox.Among the following options, which one represents the most important concern raised in the passage?
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MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
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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-> Each sentence below has a blank/s, each blank indicates that something has been omitted: Choose the word/s that best it/s the meaning of the sentence as a whole:The state-of-the-art school is………….. with a medical clinic and fitness center.
....