CAT 2019 Question Paper Slot 2
Comprehension:
War, natural disasters and climate change are destroying some of the world's most precious cultural sites. Google is trying to help preserve these archaeological wonders by allowing users access to 3D images of these treasures through its site. But the project is raising questions about Google's motivations and about who should own the digital copyrights. Some critics call it a form of "digital colonialism." When it comes to archaeological treasures, the losses have been mounting. ISIS blew up parts of the ancient city of Palmyra in Syria and an earthquake hit Bagan, an ancient city in Myanmar, damaging dozens of temples, in 2016. In the past, all archaeologists and historians had for restoration and research were photos, drawings, remnants and intuition. But that's changing. Before the earthquake at Bagan, many of the temples on the site wereĀ scanned. . . . [These] scans . . . are on Google's Arts & Culture site. The digital renditions allow viewers to virtually wander the halls of the temple, look up-close at paintings and turn the building over, to look up at its chambers. . . . [Google Arts & Culture] works with museumsĀ and other nonprofits . . . to put high-quality images online. The images of the temples in Bagan are part of a collaboration with CyArk, a nonprofit that creates the 3D scanning of historic sites. . . . Google . . . says [it] doesn't make money off this website, but it fits in with Google's mission to make the world's information available and useful.
Critics say the collaboration could be an attempt by a large corporation to wrap itself in the sheen of culture. Ethan Watrall, an archaeologist, professor at Michigan State University and a member of the Society for American Archaeology, says he's not comfortable with theĀ arrangement between CyArk and Google. . . . Watrall says this project is just a way for Google to promote Google. "They want to make this material accessible so people will browse it and be filled with wonder by it," he says. "But at its core, it's all about advertisements andĀ driving traffic." Watrall says these images belong on the site of a museum or educational institution, where there is serious scholarship and a very different mission. . . . [There's] another issue for some archaeologists and art historians. CyArk owns the copyrights of the scans ā not the countries where these sites are located. That means the countries need CyArk's permission to use these images for commercial purposes.
Erin Thompson, a professor of art crime at John Jay College of Criminal Justice in New York City, says it's the latest example of a Western nation appropriating a foreign culture, a centuries-long battle. . . . CyArk says it copyrights the scans so no one can use them in anĀ inappropriate way. The company says it works closely with authorities during the process, even training local people to help. But critics like Thompson are not persuaded. . . . She would prefer the scans to be owned by the countries and people where these sites are located.
By ādigital colonialismā, critics of the CyArk-Google project are referring to the fact that:
Of the following arguments, which one is LEAST likely to be used by the companies that digitally scan cultural sites?
Based on his views mentioned in the passage, one could best characterise Dr. Watrall as being:
In Dr. Thompsonās view, CyArk owning the copyright of its digital scans of archaeological sites is akin to:
The four sentences (labelled 1, 2, 3, 4) given below, when properly sequenced would yield a coherent paragraph. Decide on the proper sequence of the order of the sentences and key in the sequence of the four numbers as your answer.
1. To the uninitiated listener, atonal music can sound like chaotic, random noise.
2. Atonality is a condition of music in which the constructs of the music do not āliveā within the confines of a particular key signature, scale, or mode.
3. After you realize the amount of knowledge, skill, and technical expertise required to compose or perform it, your tune may change, so to speak.
4. However, atonality is one of the most important movements in 20th century music.
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1. Living thingsāanimals and plantsātypically exhibit correlational structure.
2. Adaptive behaviour depends on cognitive economy, treating objects as equivalent.
3. The information we receive from our senses, from the world, typically has structure and order, and is not arbitrary.
4. To categorize an object means to consider it equivalent to other things in that category, and differentāalong some salient dimensionāfrom things that are not.
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1. Conceptualisations of āwomenās timeā as contrary to clock-time and clock-time as synonymous with economic rationalism are two of the deleterious results of this representation.
2. While dichotomies of āmenās timeā, āwomenās timeā, clock-time, and caring time can be analytically useful, this article argues that everyday caring practices incorporate a multiplicity of times; and both men and women can engage in these multiple-times
3. When the everyday practices of working sole fathers and working sole mothers are carefully examined to explore conceptualisations of gendered time, it is found that caring time is often more focused on the clock than generally theorised.
4. Clock-time has been consistently represented in feminist literature as a masculine artefact representative of a ātime is moneyā perspective.
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The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage.
Language is an autapomorphy found only in our lineage, and not shared with other branches of our group such as primates. We also have no definitive evidence that any species other than Homo sapiens ever had language. However, it must be noted straightaway that ālanguageā is not a monolithic entity, but rather a complex bundle of traits that must have evolved over a significant time frameā¦. Moreover, languageĀ crucially draws on aspects of cognition that are long established in the primate lineage, such as memory: the language faculty as a whole comprises more than just the uniquely linguistic features.
Privacy-challenged office workers may find it hard to believe, but open-plan offices and cubicles were invented by architects and designers who thought that to break down the social walls that divide people, you had to break down the real walls, too. Modernist architects saw walls and rooms as downright fascist. The spaciousness and flexibility of an open plan would liberate homeowners and office dwellers from the confines of boxes. But companies took up their idea less out of a democratic ideology than a desire to pack in as many workers as they could. The typical open-plan office of the first half of the 20th century was a white-collar assembly line. Cubicles were interior designersā attempt to put some soul back in.
Social movement organizations often struggle to mobilize supporters from allied movements in their efforts to achieve critical mass. Organizations with hybrid identitiesāthose whose organizational identities span the boundaries of two or more social movements, issues, or identitiesāare vital to mobilizing these constituencies. Studies of the post-9/11 U.S. antiwar movement show that individuals with past involvement in non-anti-war movements are more likely to join hybrid organizations than are individuals without involvement in non-anti-war movements. In addition, they show that organizations with hybrid identities occupy relatively more central positions in inter-organizational contact networks within the antiwar movement and thus recruit significantly more participants in demonstrations than do non hybrid organizations.
