How can consciousness be slipped away? ?->(Show Answer!)

1. How can consciousness be slipped away?

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MCQ-> Please read the passage below and answer the questions that follow:It is sometimes said that consciousness is a mystery in the sense that we have no idea what it is. This is clearly not true. What could be better known to us than our own feelings and experiences? The mystery of consciousness is not what consciousness is, but why it is.Modern brain imaging techniques have provided us with a rich body of correlations between physical processes in the brain and the experiences had by the person whose brain it is. We know, for example, that a person undergoing stimulation in her or his ventromedial hypothalamus feels hunger. The problem is that no one knows why these correlations hold. It seems perfectly conceivable that ventromedial hypothalamus stimulation could do its job in the brain without giving rise to any kind of feeling at all. No one has even the beginnings of an explanation of why some physical systems, such as the human brain, have experiences. This is the difficulty David Chalmers famously called ‘the hard problem of consciousness’.Materialists hope that we will one day be able to explain consciousness in purely physical terms. But this project now has a long history of failure. The problem with materialist approaches to the hard problem is that they always end up avoiding the issue by redefining what we mean by ‘consciousness’. They start off by declaring that they are going to solve the hard problem, to explain experience; but somewhere along the way they start using the word ‘consciousness’ to refer not to experience but to some complex behavioural functioning associated with experience, such as the ability of a person to monitor their internal states or to process information about the environment. Explaining complex behaviours is an important scientific endeavour. But the hard problem of consciousness cannot be solved by changing the subject. In spite of these difficulties, many scientists and philosophers maintain optimism that materialism will prevail. At every point in this glorious history, it is claimed, philosophers have declared that certain phenomena are too special to be explained by physical science - light, chemistry, life - only to be subsequently proven wrong by the relentless march of scientific progress.Before Galileo it was generally assumed that matter had sensory qualities: tomatoes were red, paprika was spicy, flowers were sweet smelling. How could an equation capture the taste of spicy paprika? And if sensory qualities can’t be captured in a mathematical vocabulary, it seemed to follow that a mathematical vocabulary could never capture the complete nature of matter. Galileo’s solution was to strip matter of its sensory qualities and put them in the soul (as we might put it, in the mind). The sweet smell isn’t really in the flowers, but in the soul (mind) of the person smelling them … Even colours for Galileo aren’t on the surfaces of the objects themselves, but in the soul of the person observing them. And if matter in itself has no sensory qualities, then it’s possible in principle to describe the material world in the purely quantitative vocabulary of mathematics. This was the birth of mathematical physics.But of course Galileo didn’t deny the existence of the sensory qualities. If Galileo were to time travel to the present day and be told that scientific materialists are having a problem explaining consciousness in purely physical terms, he would no doubt reply, “Of course they do, I created physical science by taking consciousness out of the physical world!”Which of the following statements captures the essence of the passage?
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MCQ-> Analyse the following passage and provide appropriate answers for the questions that follow: The base of Objectivism according to Ayan Rand is explicit: “Existence exists – and the act of grasping that statement implies two corollary axioms: that something exists which one perceives and that one exists processing consciousness, consciousness being the faculty of perceiving that which exists.” Existence and consciousness are facts implicit in every perception. They are the base of all knowledge (and the precondition of proof): knowledge presupposes something to know and someone to know it. They are absolutes which cannot be questioned or escaped: every human utterance, including the denial of these axioms, implies their use and acceptance. The third axiom at the base of knowledge – an axioms true, in Aristotle’s words, of “being qua being” – is the Law of Identity. This law defines the essence of existence: to be is to be something, a thing is what it is; and leads to the fundamental principle of all action, the law of causality. The law of causality states that a thing’s actions are determined not by chance, but by its nature, i.e. by what it is. It is important to observe the interrelation of these three axioms. Existence is the first axiom. The universe exists independent of consciousness. Man is able to adapt his background to his own requirements, but “Nature, to be commanded, must be obeyed” (Francis Bacon). There is no mental process that can change the laws of nature or erase facts. The function of consciousness is not to create reality, but to apprehend it. “Existence is Identity, Consciousness is Identification.”Which of the following is DEFINITELY CORRECT according to the passage:
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MCQ-> Read the given passage carefully and select the best answer to each question out of the four given alternatives.Is my yellow the same as your yellow? Does your pain feel like my pain? The question of whether the human consciousness is subjective or objective is largely philosophical. But the line between consciousness and unconsciousness is a bit easier to measure. A research suggests that our experience of reality is the product of a delicate balance of connectivity between neurons - too much or too little and the consciousness slips away. "It's a very nice study," says neuroscientist Melanie Boly at the University of Wisconsin, Madison, who was not involved in the work. "The conclusions that they draw are justified." Previous studies of the brain have revealed the importance of "cortical integration" in maintaining consciousness, meaning that the brain must process and combine multiple inputs from different senses at once. Our experience of an orange, for example, is made up of sight, smell, taste, touch, and the recollection of our previous experiences with the fruit. The brain merges all of these inputs - photons, aromatic molecules, etc. - into our subjective experience of the object in that moment.Our experience of reality is the product of__________________.
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MCQ-> Read the fallowing passge and answer the below questiosnThe development of nationalism in the third world countries, as is well known, followed a very different trajectory from that in the advanced capitalist countries. In the latter it was a part of the process of the emergence of the bourgeois order in opposition of feudalism, while in the former it was a part of the anti-colonial struggle. The impact of colonialism, though it differed across countries, had on the whole been in the direction of transcending local ism and unifying supra-local economic structures through the introduction of market relations. The struggle against colonialism, consequently, took the form of a national struggle in each instance in which people belonging to different tribes or linguistic communities participated. And the colonial power in each instance attempted to break this emerging national unity by splitting people. The modus operandi of this splitting was not just through political manipulation as happened for instance in Angola, South Africa and a host of other countries; an important part of this modus operandi was through the nurturing of a historiography that just denied the existence of any overarching national consciousness. The national struggle, the national movement were given a tribal or religious character, they were portrayed as being no more than the movement of the dominant tribe or the dominant religious group for the achievement of narrow sectional ends. But the important point in this colonialism, while, on the one hand, it objectively created the condition for the coming into being of a national consciousness at a supra-tribal, supra-local and supra-religious level, on the other hand it sought deliberately to subvert this very consciousness by using the same forces which it has objectively undermined.The colonial powers tried to camouflage national movement and to show it as only
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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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