Which Indian-American has been appointed in a key White House position by US President-Elect Donald Trump? ?->(Show Answer!)

1. Which Indian-American has been appointed in a key White House position by US President-Elect Donald Trump?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Name theperson who was picked as Secretary of State by US President-elect Donald Trump.....

QA->Indian-American Congressmen from California who has been appointed to two key Congressional committees that would help him play key role shaping America"s foreign and science policies?....

QA->Name the Indian -American who has been sworn in as the head of the Centers for Medicare and Medicaid Services (a key healthcare agency), in the Trump administration?....

QA->Who has emerged as the most followed world leader on photo-sharing app Instagram with a whopping 9 million followers, surpassing US President Donald Trump?....

QA->National Security Adviser of Donald Trump who has resigned amid growing questions about whether he had deceived Vice President Mike Pence, and potentially the FBI, about his phone calls with the Russian envoy on December 29, 2016?....

MCQ->Which Indian-American has been appointed in a key White House position by US President-Elect Donald Trump?....

MCQ-> Directions for the following three questions: Answer the following questions based on the statements given below:(i) There are three houses on each side of the road.(ii) These six houses are labeled as P, Q, R, S, T and U.(iii) The houses are of different colours, namely, Red, Blue, Green, Orange, Yellow and White.(iv) The houses are of different heights.(v) T, the tallest house, is exactly opposite to the Red coloured house.(vi) The shortest house is exactly opposite to the Green coloured house.(vii) U, the Orange coloured house, is located between P and S.(viii) R, the Yellow coloured house, is exactly opposite to P.(ix) Q, the Green coloured house, is exactly opposite to U.(x) P, the White coloured house, is taller than R, but shorter than S and Q.What is the colour of the house diagonally opposite to the Yellow coloured house?
....

MCQ-> Read the following passage carefully and answer the questions given below it. Certain words have been printed in ‘’bold’’ to help you locate them while answering some of the questions.For years now, Grorge W. Bush has told Americans that he would increase the number of troops in Iraq only if the commanders on the ground asked him to do so. It was not a throwaway line: Bush said it from the very first days of the war, when he and Pentagon boss Donald Rumsfeld were criticized for going to war with too few troops. He said it right up until last summer, stressing at a news conference in Chicago that Iraq commander General George Casey ‘’Will make the decisions as to how many troops we have there.’’ Seasoned military people suspected that the line was a dodge-that the civilians who ran Pentagon were testing their personal theory that war can be fought on the cheap and the brass simply knew better than to ask for more. In any case, the president repeated the mantra to dismiss any suggestion that the war was going badly. Who, after all, knew better than the generals on the ground? Now, as the war near the end of its fourth year and the number of Americans killed has surpassed 3,000, Bush had dropped the general-know-best line. Sometime next week the President is expected to propose a surge in the number of U.S. forces in Iraq for a period of upto two years. A senior official said reinforcements numbering ‘’About 20,000 troops,’’ and may be more, could be in place within months. The ‘’surge’’ would be achieved by extending the stay of some forces already in Iraq and accelerating the deployment of others.The ‘’irony’’ is that while the generals would have liked more troops in the past, they are ‘’cool’’ idea of sending more now. That’s in part because the politicians and commanders have had trouble agreeing on what the goal of a surge would be.But it is also because they are worried that a surge would further erode the readiness of U.S.’s already stressed ground forces. And even those who back a surge are under no ‘’illusions’’ about what it would mean to the casualty rate. ‘’If you put more American troops on the front line,’’ said a White House Official, ‘’You’re going to have more casualties.’’Coming from Bush, a man known for bold strokes, the surge is a strange half-measure---too large for the political climate at home, too small to crush the ‘’insurgency’’ in Iraq and surely three years too late. Bush has waved off a bipartisan rescue mission out of pride, ‘’stubbornness" or ideology, or some combination of the three. Rather than reversing course, as well the wise elders of the Iraq Study Group advised, the Commander in Chief is betting that more troops will lead the way to what one White House official calls ‘’Victory’’.Bush and Rumsfeld had received brickbats for----
....

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?
....

MCQ-> Read the passage carefully and answer the questions givenGrove snails as a whole are distributed all over Europe, but a specific variety of the snail, with a distinctive white-lipped shell, is found exclusively in Ireland and in the Pyrenees mountains that lie on the border between France and Spain. The researchers sampled a total of 423 snail specimens from 36 sites distributed across Europe, with an emphasis on gathering large numbers of the white-lipped variety. When they sequenced genes from the mitochondrial DNA of each of these snails and used algorithms to analyze the genetic diversity between them, they found that. . . a distinct lineage (the snails with the white-lipped shells) was indeed endemic to the two very specific and distant places in question.Explaining this is tricky. Previously, some had speculated that the strange distributions of creatures such as the white-lipped grove snails could be explained by convergent evolution—in which two populations evolve the same trait by coincidence—but the underlying genetic similarities between the two groups rules that out. Alternately, some scientists had suggested that the white-lipped variety had simply spread over the whole continent, then been wiped out everywhere besides Ireland and the Pyrenees, but the researchers say their sampling and subsequent DNA analysis eliminate that possibility too. “If the snails naturally colonized Ireland, you would expect to find some of the same genetic type in other areas of Europe, especially Britain. We just don’t find them,” Davidson, the lead author, said in a press statement.Moreover, if they’d gradually spread across the continent, there would be some genetic variation within the white-lipped type, because evolution would introduce variety over the thousands of years it would have taken them to spread from the Pyrenees to Ireland. That variation doesn’t exist, at least in the genes sampled. This means that rather than the organism gradually expanding its range, large populations instead were somehow moved en mass to the other location within the space of a few dozen generations, ensuring a lack of genetic variety.“There is a very clear pattern, which is difficult to explain except by involving humans,” Davidson said. Humans, after all, colonized Ireland roughly 9,000 years ago, and the oldest fossil evidence of grove snails in Ireland dates to roughly the same era. Additionally, there is archaeological evidence of early sea trade between the ancient peoples of Spain and Ireland via the Atlantic and even evidence that humans routinely ate these types of snails before the advent of agriculture, as their burnt shells have been found in Stone Age trash heaps.The simplest explanation, then? Boats. These snails may have inadvertently traveled on the floor of the small, coast-hugging skiffs these early humans used for travel, or they may have been intentionally carried to Ireland by the seafarers as a food source. “The highways of the past were rivers and the ocean-as the river that flanks the Pyrenees was an ancient trade route to the Atlantic, what we’re actually seeing might be the long lasting legacy of snails that hitched a ride…as humans travelled from the South of France to Ireland 8,000 years ago,” Davidson said.The passage outlines several hypotheses and evidence related to white-lipped grove snails to arrive at the most convincing explanation for:
....