Match the following measuring instruments to the formal test methods which define the use of the Instrument ?->(Show Answer!)

1. Match the following measuring instruments to the formal test methods which define the use of the Instrument

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MCQ-> In the table below is the listing of players, seeded from highest (#1) to lowest (#32), who are due to play in an Association of Tennis Players (ATP) tournament for women. This tournament has four knockout rounds before the final, i.e., first round, second round, quarterfinals, and semi-finals. In the first round, the highest seeded player plays the lowest seeded player (seed # 32) which is designated match No. 1 of first round; the 2nd seeded player plays the 31st seeded player which is designated match No. 2 of the first round, and so on. Thus, for instance, match No. 16 of first round is to be played between 16th seeded player and the 17th seeded player. In the second round, the winner of match No. 1 of first round plays the winner of match No. 16 of first round and is designated match No. 1 of second round. Similarly, the winner of match No. 2 of first round plays the winner of match No. 15 of first round, and is designated match No. 2 of second round. Thus, for instance, match No. 8 of the second round is to be played between the winner of match No. 8 of first round and the winner of match No. 9 of first round. The same pattern is followed for later rounds as well.

If there are no upsets (a lower seeded player beating a higher seeded player) in the first round, and only match Nos. 6, 7, and 8 of the second round result in upsets, then who would meet Lindsay Davenport in quarter finals, in case Davenport reaches quarter finals?
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MCQ->Match the following measuring instruments to the formal test methods which define the use of the Instrument....

MCQ->The existence/establishment of formal financial institutions that offer safe, reliable and alternative financial instruments is fundamental in mobilising savings. To save, individuals need access to safe and reliable financial institutions, such as banks, and to appropriate financial instruments and reasonable financial incentives. Such access is not always available to all people in developing countries like India and more so, in rural areas. Savings help poor households manage volatility in cash flow, smoothen consumption, and build working capital. Poor households without access to a formal savings mechanism encourage immediate spending temptations. With reference to the above passage, consider the following statements: 1. Indian financial institutions do not offer any financial instruments to rural households to mobilise their savings.2. Poor households tend to spend their earnings/savings due to lack of access to appropriate financial instruments.Which of the statements given above is/are correct?....

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 following passage carefully and answer the questions given below it. Certain words are printed in bold to help you to locate them while answering some of the questions.A large majority of the poor in India are outside the formal banking system. The policy of financial inclusion sets out to remedy this by making available a basic banking ‘no frills’ account either with nil or very minimum balances as well as charges that would make such accounts accessible to vast sections of the population. However, the mere opening of a bank account in the name of every household or adult person may not be enough, unless these accounts and financial services offered to them are used by the account holders. At present, commercial banks do not find it viable to provide services to the poor especially in the rural areas because of huge transaction costs, low volumes of savings in the accounts, lack of information on the account holder, etc. For the poor. interacting with the banks with their paper work, economic costs of going to the bank and the need for flexibility in their accounts, make them turn to other informal channels or other institutions. Thus, there are constraints on both the supply and the demand side.Till now, banks were looking at these accounts from a purely credit perspective. Instead, they should look at this from the point of view of meeting the huge need of the poor for savings. Poor households want to save and, contrary to the common perception, do have the funds to save, but lack control. Informal mutual saving systems like the Rotating Savings and Credit Associations (ROSCAs), widespread in Africa, and ‘thrift and credit groups’ in India demonstrate that poor households save. For the poor household, which lack access to the formal insurance system and the credit system, savings provide a safety net and help them tide over crises. Savings can also keep them away from the clutches of moneylenders, make formal institutions more favourable to lending to them, encourage investment and make them shift to more productive activities, as they may invest in slightly more risky activities which have an overall higher rate of return.Research shows the efficacy of informal institutions in increasing the savings of the small account holders. An MFI in the Philippines, which had existing account holders, was studied. They offered new products with ‘commitment features’. One type had withdrawal restrictions in the sense that it required individuals to restrict their right to withdraw any funds from their own accounts until they reached a self-specified and documented goal. The other type was deposit options. Clients could purchase a locked box for a small fee. The key was with the bank and the client has to bring the box to the bank to make the deposit. He could not dip into the savings even if he wanted to. These accounts did not pay extra money and were illiquid. Surprisingly, these products were popular even though these had restrictions. Results showed that those who opted for these accounts with restrictions had substantially greater savings rates than those who did not. The policy of financial inclusion can be a success if financial inclusion focuses onboth saving needs and credit needs, having a diversified product portfolio for the poor but recognising that self-control problems need to be addressed by having commitment devices. The products with commitment features should be optional. Furthermore transaction costs for the poor could be cut down, by making innovative use of technology available and offering mobile vans with ATM and deposit collection features which could visit villages periodically.What is the aim of the financial inclusion policy ?
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