The operating system of a computer serves as a software interface between the user and ?->(Show Answer!)

1. The operating system of a computer serves as a software interface between the user and

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MCQ-> Read the following discussion/passage and provide an appropriate answer for the questions that follow. Of the several features of the Toyota Production System that have been widely studied, most important is the mode of governance of the shop - floor at Toyota. Work and inter - relations between workers are highly scripted in extremely detailed ‘operating procedures’ that have to be followed rigidly, without any deviation at Toyota. Despite such rule - bound rigidity, however, Toyota does not become a ‘command - control system’. It is able to retain the character of a learning organizationIn fact, many observers characterize it as a community of scientists carrying out several small experiments simultaneously. The design of the operating procedure is the key. Every principal must find an expression in the operating procedure – that is how it has an effect in the domain of action. Workers on the shop - floor, often in teams, design the ‘operating procedure’ jointly with the supervisor through a series of hypothesis that are proposed and validated or refuted through experiments in action. The rigid and detailed ‘operating procedure’ specification throws up problems of the very minute kind; while its resolution leads to a reframing of the procedure and specifications. This inter - temporal change (or flexibility) of the specification (or operating procedure) is done at the lowest level of the organization; i.e. closest to the site of action. One implication of this arrangement is that system design can no longer be rationally optimal and standardized across the organization. It is quite common to find different work norms in contiguous assembly lines, because each might have faced a different set of problems and devised different counter - measures to tackle it. Design of the coordinating process that essentially imposes the discipline that is required in large - scale complex manufacturing systems is therefore customized to variations in man - machine context of the site of action. It evolves through numerous points of negotiation throughout the organization. It implies then that the higher levels of the hierarchy do not exercise the power of the fiat in setting work rules, for such work rules are no longer a standard set across the whole organization. It might be interesting to go through the basic Toyota philosophy that underlines its system designing practices. The notion of the ideal production system in Toyota embraces the following -‘the ability to deliver just - in - time (or on demand) a customer order in the exact specification demanded, in a batch size of one (and hence an infinite proliferation of variants, models and specifications), defect - free, without wastage of material, labour, energy or motion in a safe and (physically and emotionally) fulfilling production environment’. It did not embrace the concept of a standardized product that can be cheap by giving up variations. Preserving consumption variety was seen, in fact, as one mode of serving society. It is interesting to note that the articulation of the Toyota philosophy was made around roughly the same time that the Fordist system was establishing itself in the US automotive industry. What can be best defended as the asset which Toyota model of production leverages to give the vast range of models in a defect - free fashion?
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MCQ-> Read the following passage and solve the questions based on it.Taking note of the day-long heavy queue in front of the Tarangabad Transport Department office everyday for obtaining transport permits, the City Administration comes out with a ‘Single Office-Five Windows’ system for facilitating the process. For simplicity, the windows are named as W1, W2, W3, W4 and W5 respectively. Office hours are from 8:00 AM to 5:30 PM, barring Saturday, when the office closes by 2.30 PM. To streamline the rush and reduce pressure on the employees, the working hours of the aforesaid windows are defined in the following manner:1. W1 is open between 9.30 AM and 2.30 PM on Monday and Wednesday, between 8.00 AM and 11.30 AM on Tuesday and Thursday and between 3.00 PM and 5.00 PM on Friday. 2. W2 is open between 8.30 AM and 11.30 AM on Wednesday and Thursday, between 8.00 AM and 10.00 AM on Friday, and between 12.30 PM and 2.30 PM on Monday and Saturday. 3. W3 is open between 10.00 AM and 12.30 PM on Wednesday and Saturday, between 10.00 AM and 12.00 Noon on Friday, and between 3.30 PM and 5.30 PM on Monday and Thursday. 4. W4 is open between 11.30 AM and 3.00 PM on Tuesday, between 12.30 PM and 3.00 PM on Thursday and Friday, between 8 AM and 10 AM on Saturday and Monday and between 3.30 PM to 5.30 PM on Wednesday. 5. W5 is open between 2.00 PM and 4.00 PM on Monday, 3.30 PM and 5.30 PM on Tuesday and Friday, between 8 AM and 10 AM on Wednesday and between 10.30 AM to 12.30 PM on Thursday.On which of the following days, maximum number of windows is simultaneously open at 9.45 AM?
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MCQ-> Read the following passage carefully and answer the questions given. Certain words have been given in bold to help you locate them while answering some of the questions.We are told that economy is growing and that such growth benefits all of us. However, what you see is not what you always get. Most people are experiencing declining economic security in response to the problems of the global system, many communities have turned to Local Exchange Systems (LESs) to help regain some control over their economic situations.Local exchange systems come in many forms. They often involve the creation of a local currency, or a system of bartering labour, or trading of agricultural products as a means of supporting the region in which they are traded. Such a system helps preserve the viability of local economies.Local currencies allow communities to diversify their economies, reinvest resources back into their region and reduce dependence on the highly concentrated and unstable global economy. Each local currency system serves as an exchange bank for skills and resources that Individuals in the community are willing to trade. Whether in the form of paper money, service credits, or other units, a local currency facilitates the exchange of services and resources among the members of a community.By providing incentives for local trade, communities help their small businesses and reduce underemployment by providing the jobs within the community. In addition, the local exchange of food and seeds promotes environmental conservation and community food security. Local food production reduces wasteful transportation and promotes self-reliance and genetic diversity. Each transaction within a local exchange system strengthens the community fabric as neighbours interact and meet one another.There are over 1,000 local change programs worldwide more than 30 local paper currencies in North America and at least 800 Local Exchange Trading Systems (LETS) throughout Europe. New Zealand and Australia Local Exchange Systems vary and evolve in accordance with the needs and circumstances of the local area. This diversity is critical to the success of the local currencies. For instance, a bank in rural Massachusetts refused to lend a fanner the money needed to make it through the winter. In response, the farmer decided to print his own money Berkshire Farm Preserve Notes. In winter, customers buy the notes for $9 and they may redeem them in the summer for $10 worth of vegetables. The system enabled the community to help a farm family after being abandoned by the centralised monetary system. As small family farms continue to disappear at an alarming rate, local currencies provide tools for communities to bind together, support their local food growers and maintain their local food suppliers.Local Exchange Systems are not limited to developed countries.Rural areas of Asia, Latin America and Africa have offered some of the most effective and important programs, by adopting agriculture-based systems of exchange rather than monetary ones. In order to preserve genetic diversity, economic security and avoid dependence on industrial seed and chemical companies, many villages have developed seed saving exchange banks. For example, the village women in Ladakh have begun to collect and exchange rare seeds selected for their ability to grow in a harsh mountain climate. This exchange system protects agriculture diversity while promoting self-reliance. There is no one blueprint for a local exchange system, which is exactly why they are successful vehicles for localisation and sustainability. They promote local economic diversity and regional self-reliance while responding to a region’s specific needs. Local exchange systems play a pivotal role in creating models for sustainable societies. They are an effective educational tool, raising awareness about the global financial system and local economic matters. Local exchange systems also demonstrate that tangible, creative solutions exist and that communities can empower themselves to address global problems.Which of the following is same in meaning as the word ‘LIMITED TO’ as used in the passage?
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MCQ-> It’s taken me 60 years, but I had an epiphany recently: Everything, without exception, requires additional energy and order to maintain itself. I knew this in the abstract as the famous second law of thermodynamics, which states that everything is falling apart slowly. This realization is not just the lament of a person getting older. Long ago I learnt that even the most inanimate things we know of ―stone, iron columns, copper pipes, gravel roads, a piece of paper ―won’t last very long without attention and fixing and the loan of additional order. Existence, it seems, is chiefly maintenance.What has surprised me recently is how unstable even the intangible is. Keeping a website or a software program afloat is like keeping a yacht afloat It is a black hole for attention. I can understand why a mechanical device like a pump would break down after a while ―moisture rusts metal, or the air oxidizes membranes, or lubricants evaporate, all of which require repair. But I wasn’t thinking that the nonmaterial world of bits would also degrade. What’s to break? Apparently everything.Brand-new computers will ossify. Apps weaken with use. Code corrodes. Fresh software just released will immediately begin to fray. On their own ―nothing you did. The more complex the gear, the more (not less) attention it will require. The natural inclination toward change is inescapable, even for the most abstract entities we know of: bits.And then there is the assault of the changing digital landscape. When everything around you is upgrading, this puts pressure on your digital system and necessitates maintenance. You may not want to upgrade, but you must because everyone else is. It’s an upgrade arms race.I used to upgrade my gear begrudgingly (Why upgrade if it still works?) and at the last possible moment. You know how it goes: Upgrade this and suddenly you need to upgrade that, which triggers upgrades everywhere. I would put it off for years because I had the experiences of one “tiny” upgrade of a minor part disrupting my entire working life. But as our personal technology is becoming more complex, more co-dependents upon peripherals, more like a living ecosystem, delaying upgrading is even more disruptive. If you neglect ongoing minor upgrades, the change backs up so much that the eventual big upgrade reaches traumatic proportions. So I now see upgrading as a type of hygiene: You do it regularly to keep your tech healthy. Continual upgrades are so critical for technological systems that they are now automatic for the major personal computer operating systems and some software apps. Behind the scenes, the machines will upgrade themselves, slowly changing their features over time. This happens gradually, so we don‘t notice they are “becoming.”We take this evolution as normal.Technological life in the future will be a series of endless upgrades. And the rate of graduations is accelerating. Features shift, defaults disappear, menus morph. I’ll open up a software package I don’t use every day expecting certain choices, and whole menus will have disappeared.No matter how long you have been using a tool, endless upgrades make you into a newbie ―the new user often seen as clueless. In this era of “becoming” everyone becomes a newbie. Worse, we will be newbies forever. That should keep us humble.That bears repeating. All of us ―every one of us ―will be endless newbies in the future simply trying to keep up. Here’s why: First, most of the important technologies that will dominate life 30 years from now have not yet been invented, so naturally you’ll be a newbie to them. Second, because the new technology requires endless upgrades, you will remain in the newbie state. Third, because the cycle of obsolescence is accelerating (the average lifespan of a phone app is a mere 30 days!), you won’t have time to master anything before it is displaced, so you will remain in the newbie mode forever. Endless Newbie is the new default for everyone, no matter your age or experience.Which of the following statements would the author agree with the most?
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MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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