Goods for which the quantity that a consumer chooses, increases as the consumer's income increases and decreases as the income decreases are called? ?->(Show Answer!)

1. Goods for which the quantity that a consumer chooses, increases as the consumer's income increases and decreases as the income decreases are called?

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MCQ-> Based on the information answer the questions which follow.A consultant to Department of Commerce. Government of Bianca has suggested 30 products which have high export potential. Dora an entrepreneur and prospective exporter notices that these products can be grouped in three ways- Machine made goods, Handmade goods and Intermediate goods. Among these 30 products some products are both machine made and intermediate goods but not handmade goods. Few products have a combination of handmade and machine made goods but not intermediate goods. Some products are handmade and intermediate goods but not machine made goods. Further it is seen that handmade-machine made goods are I less than machine made-intermediate goods. Similarly the total number of handmade-intermediate goods is I less than machine made-intermediate goods. There are just 4 products common across all product groups i.e. machine made-handmade- intermediate goods. Apart from this the number of only handmade goods is same as only machine made goods but less than only intermediate goods. Each product group/combination has at least one product. Dora prefers to export machine made goods and avoid hand made goods. She finds out that only handmade goods are twice the machine made-intermediate goods and the number of only intermediate goods is an even number. Whereas her close friend Sara prefers to export intermediate goods followed by only handmade goods.Sara and Dora prefer to export as many common products as possible in order to understand the regulatory conditions. Keeping their preferences intact, what is the maximum number of common products which can be exported by both of them?
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MCQ->Goods for which the quantity that a consumer chooses, increases as the consumer's income increases and decreases as the income decreases are called?....

MCQ-> Study the given information carefully to answer the given questions.M, N, O, P, Q R and S are seven people live on seven different floors of a building but not necessarily in the same order. The lower most floor of the building is numbered 1, the one above that is numbered 2 and so on till the topmost floor is numbered 7. Each one of them have different income i.e., 3500, 15000, 7500, 9000, 11000, 13500 and 5000. (But not necessarily in the same order.) M lives on an odd numbered floor but not on the floor numbered 3. The one who has income of 11000 lives immediately above M. Only two people live between M and the one who has income of 7500. The one who has income of 15000 lives on one of the odd numbered floors above P. Only three people live between 0 and the one who has income of 15000. The one who has income of 7500 lives immediately above 0. R earns 4000 more than Q. The one who has income of 3500 lives immediately above the one who has income of 5000. S lives on an odd numbered floor. Only one person lives between N and Q. N lives on one of the floors above Q. Neither 0 nor M has income of 0000. Q does not has income of 500. How much income M has ?
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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-> Analyse the following passage and provide appropriate answers for questions that follow. For private goods, competitive markets ensure efficiency despite the decentralized nature of the informati on about individual’s tastes and firm technologies. Implicitly, market competition solved adverse selection problems and the fixed - price contracts associated with exogenous prices solve moral hazard problems. However, markets fail for pure public goods and public intervention is thus needed. In this case, the mechanisms used for those collective decisions must solve the incentive problem of acquiring the private information that agents have about their references for public goods. Voting mechanisms are particular incentive mechanisms without any monetary transfers for which the same question of strategic voting, i.e., not voting according to the true preferences, can be raised. For private goods, increasing returns to scale create a situation of natural monopoly far away from the world of competitive markets. When the monopoly has private information about its cost or demand, its regulation by a regulatory commission becomes a principal – agent problem. (Note: Public goods are those in which individuals cannot be excluded from use and where use by one individual does not reduce availability to others, while an individual can be excluded in case of private goods.)For which of the following goods, can markets not be efficient?
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