Who among the following has been appointed the new Coach of the Indian Cricket team by the BCCI recently? ?->(Show Answer!)

1. Who among the following has been appointed the new Coach of the Indian Cricket team by the BCCI recently?

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MCQ-> K, L, M, N, P, Q, R, S, U and W are the only ten members in a department. There is a proposal to form a team from within the members of the department, subject to the following conditions:[list=1][*] A team must include exactly one among P,R and S.[*] A team must include either M or Q, but not both.[*] If a team includes K, then it must also include L, and vice versa.[*] If a team includes one among S, U and W, then it should also include the other two.[*] L and N cannot be members of the same team.[*] L and U cannot be members of the same team.[/list]The size of a team is defined as the number of members in the team.What could be the size of a team that includes K?
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MCQ-> There are 21 employees working in a division, out of whom 10 are special-skilled employees (SE) and the remaining are regular-skilled employees (RE). During the next five months, the division has to complete five projects every month. Out of the 25 projects, 5 projects are "challenging", while the remaining ones are "standard". Each of the challenging projects has to be completed in different months. Every month, five teams — T1 T2, T3, T4 and T5, work on one project each. T1, T2, T3, T4 and T5 are allotted the challenging project in the first, second, third, fourth and fifth month, respectively. The team assigned the challenging project has one more employee than the rest. In the first month, T1 has one more SE than T2, T2 has one more SE than T3, T 3 has one more SE than T4, and T4 has one more SE than T5. Between two successive months, the composition of the teams changes as follows: a. The team allotted the challenging project, gets two SE from the team which was allotted the challenging project in the previous month. In exchange, one RE is shifted from the former team to the latter team. b. After the above exchange, if T1 has any SE and T5 has any RE, then one SE is shifted from T1 to T5, and one RE is shifted from T5 to T1. Also, if T2 has any SE and T4 has any RE, then one SE is shifted from T2 to T4, and one RE is shifted from T4 to T2. Each standard project has a total of 100 credit points, while each challenging project has 200 credit points. The credit points are equally shared between the employees included in that team.The number of times in which the composition of team T2 and the number of times in which composition of team T4 remained unchanged in two successive months are:
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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MCQ-> Read the information provided below andanswer thequestions which follow.Seven friends-A, B, C, D, E, F and G- are traveling from Delhi to Amritsar in Swarna Sbatabdi train. They are seated in three different coaches - A1, A2 and A3. Further the following additional information are provided:(a)There are two married co uples among them. (b)Three friends love playing tennis, two love playing cricket and two love playing volleyball amongst them. (c)There are at least two of them in each coach and each of thein loves playing different games. (d)No husband-wife couple loves playing the same game. . (e)C is seated in coach AI and is married to A, who loves playing tennis. (f) Gloves playingvolleyball and is married to D who is seated in coach A2 with F, a cricket enthusiast. (g)B and G are not seated with c: (h)E, who loves playing tennis, is seated in Coach A3.Which game does C like to play?
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MCQ-> Study the following information carefully and answer the questions given below :A. B, C. D, F, G and H are seven football players each playing for a different team. viz. Green.- Red and Blue, with at least two of them in each of these teams. Each of them likes a fruit, viz. Apple. Guava. Banana. Orange, Mango. Papaya and Watermelon, not necessarily in the same order. B plays with F in team Blue and he likes Mango. None of those who play for either team Red or team Green likes either Guava or Banana. D plays with only the one who likes Watermelon. G likes Papaya and he plays in team Red. The one who likes Orange does not play in team Red. 1-1 likes Watermelon and he plays for team Green. A likes Apple and he plays for team Red. C does not like Guava.Which of the following players play for team Red ?
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