Which one among the following is TRUE regarding the selection of working flux density in transformer design? ?->(Show Answer!)

1. Which one among the following is TRUE regarding the selection of working flux density in transformer design?

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MCQ-> Study the following information carefully and answer the questions given below : Following are the criteria for short listing candidates for calling for interview for Management Trainees in an organization : The candidates must- (i) not be less than 21 years and more than 28 years as on 1.11.04. (ii) have secured at least 60 per cent marks in graduation. (iii) have secured at least 65 per cent marks in the preliminary selection examination. (iv) have secured at least 55 per cent marks in the final selection examination. (v) be ready to join work immediately after the interview. In the case of a candidate who fulfills all other criteria EXCEPT- (A) at (iv) above but has secured more than 75 per cent marks in preliminary selection examination his/her case is to be referred to Deputy General Manager. (B) at (ii) above but has secured at least 65 per cent marks in post graduation, his/her case is to be referred to General Manager. In each of the questions below is given the information of one candidate. You have to study the information provided with reference to the conditions given above and decide whether the candidate is to be called for interview or some other course of action as stated below is to be taken. You are not to assume other than the information provided in each question. All these cases are given to you as on 1.11.2004. Now read the information provided in each question and decide which of the following courses of actions is to be taken with regard to each candidate and mark your answer.Mark answer a: if the candidate is to be called for interview. Mark answer b: if the case is to be referred to General Manager. Mark answer c: if the candidate is not to be called for interview. Mark answer d: if the data provided are not sufficient to take a decision. Mark answer e: if the case is to be referred to Deputy General Manager.Neelam Srivastava has secured 75 per cent marks in the preliminary selection examination. She was 22 years old as on 5th December, 2000. She has secured 65 per cent and 60 per cent marks in the Final selection examination and in graduation respectively. She is ready to join immediately after the interview.
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MCQ-> Read the given information carefully and answer the questions below.The management of the national daily newspaper Tomorrow Digest decides to enhance its subscriber base through major changes in the style, layout, design and content of the paper. In order to make the content more amenable to the mindset of the growing younger population of the country, the paper decides to appoint a number of young and promising Associate Editors. For facilitating the appointment process, several selection criteria were finalized and provided to the selection panel, which are noted in the following. It was noted that in order to get selected, the candidates are required to fulfil, in addition to I, at least three of the following conditions.I. The age of the candidates must not be lower than 25 years, but should not cross 30 years. II. The candidate has secured 60 percent and above at her / his Graduation level. III. The candidate has obtained a Post Graduate Diploma in journalism with at least 55 percent marks. IV. The candidate has gained working experience of a minimum period of 2 years in a daily newspaper with responsibility of regular writing assignments. V. The candidate has been awarded at state-level for her / his articles published in state-level English daily.If, however, it is observed that some candidates fulfil only two conditions from II-V, but does not fulfil:(a) V above, but he /she has already gathered an experience of 5 years in a news agency, the case of the candidate will be referred to the Managing Editor of Tomorrow Digest. (b) II above, but he /she holds a Post Graduate Diploma in journalism with 80 percent marks, the case of the candidate will be referred to the Chairman of Tomorrow Digest. (c) III above, but he /she has completed Graduation with 70 percent marks, the case of the candidate will be referred to the Editor of Tomorrow Digest.All the information about a few candidates applying for the Associate Editor position provided in the following are dated on August 31, 2014. Based on the information furnished, decide in each case, which of the following course of action the selection panel should adopt, from the available options. You are not to assume any information.Sarangsh Malhotra has graduated from Agra University with 66 percent marks and later has completed PG Diploma in Journalism from Indian Institute of Mass Communication, New Delhi with 71 percent. After completion of the PG Diploma programme, she joined Galaxy News at Jaipur on Christmas Eve in 2006. She received an award from the hands of the Governor of Rajasthan for her series of investigative articles on January 26, 2008, a day which coincided with her twenty-fifth birthday. During June next year, she joined in a corporate house and is working there since then.
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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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