can sum1 tell me a book or website where i can practise sentence correction and grammar questions ? my grammar is currently pathetic 😒
can sum1 tell me a book or website where i can practise sentence correction and grammar questions ? my grammar is currently pathetic 😒
my verbal part is too weak....any 1 sujjest me how it improve ...it suck me in all cl mock
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment. Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett's work is her use of collage — cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait: “I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don't feel comfortable photographing even him. So it's all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it's an experiment, using a face that's not my own — I think it's best if I stick to my own face.” Each face evokes different emotions, and images of self. “The faces make eye contact; viewers' eyes move around each work and then return to the eyes and face,” she explains. It's undeniable that Dunnett's own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work. But there's another reason we return to the images of Dunnett's facial expressions: The torso and limbs of each primary subject portrayed is far too troubling — each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm. Page 13 Proctored - Mock CAT 4 “I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it's on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.” Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it's curiosity in her face, rather than demonic imagery of death, which draws one in. The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett's own self. It's that combination which maintains the viewer's awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
40. The author would agree with which of the following?
(a) The primary subject in each work has been digitized so that the gruesome nature of the picture is moderated.
(b) The use of various presentations of Dunnett's own self does become a limitation in the effect that her work creates on viewers.
(c) Dunnet's pleasing features play a role in drawing the viewer's attention towards the harshness of death in the subject.
(d) It is the contrast in Dunnett's work resulting from death, comic imagery and the non-gruesome self images existing simultaneously that engrosses the viewer's mind.
41. Which of the following can be inferred from the passage?
(a) Death in Oaxaca is more overt and visible than in other places.
(b) Dunnett has used only photographs of herself in all her works.
(c) Dunnett does not want to photograph other people as her own facial expressions provide her the required mood for her works.
(d) The environment at Oaxaca though extremely encouraging for experimental works was discouraging for realism.
42. Which of the following is most similar to the works of Dunnett and the effect she creates?
(a) A band of musicians blending with each other to absorb listeners. (b) A fusion performance by musicians of different genres absorbing viewers.
(c) A 'jugalbandi ' or a musical interaction between an instrumental and a vocal musician absorbing viewers.
(d) A dancer dancing to the song of a vocalist sitting on the same stage absorbing viewers.
43. Which one of these is not a characteristic element of Dunnett's works as described in the passage?
(a) Self portraits
(b) An element of contrast
(c) Whimsical titles
(d) Photographs depicting death
@sagarcat @harlalka2610 (khush? 😛 )
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment. Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett's work is her use of collage — cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait: “I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don't feel comfortable photographing even him. So it's all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it's an experiment, using a face that's not my own — I think it's best if I stick to my own face.” Each face evokes different emotions, and images of self. “The faces make eye contact; viewers' eyes move around each work and then return to the eyes and face,” she explains. It's undeniable that Dunnett's own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work. But there's another reason we return to the images of Dunnett's facial expressions: The torso and limbs of each primary subject portrayed is far too troubling — each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm. Page 13 Proctored - Mock CAT 4 “I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it's on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.” Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it's curiosity in her face, rather than demonic imagery of death, which draws one in. The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett's own self. It's that combination which maintains the viewer's awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
40. The author would agree with which of the following?
(a) The primary subject in each work has been digitized so that the gruesome nature of the picture is moderated.
(b) The use of various presentations of Dunnett's own self does become a limitation in the effect that her work creates on viewers.
(c) Dunnet's pleasing features play a role in drawing the viewer's attention towards the harshness of death in the subject.
(d) It is the contrast in Dunnett's work resulting from death, comic imagery and the non-gruesome self images existing simultaneously that engrosses the viewer's mind.
41. Which of the following can be inferred from the passage?
(a) Death in Oaxaca is more overt and visible than in other places.
(b) Dunnett has used only photographs of herself in all her works.
(c) Dunnett does not want to photograph other people as her own facial expressions provide her the required mood for her works.
(d) The environment at Oaxaca though extremely encouraging for experimental works was discouraging for realism.
42. Which of the following is most similar to the works of Dunnett and the effect she creates?
(a) A band of musicians blending with each other to absorb listeners. (b) A fusion performance by musicians of different genres absorbing viewers.
(c) A 'jugalbandi ' or a musical interaction between an instrumental and a vocal musician absorbing viewers.
(d) A dancer dancing to the song of a vocalist sitting on the same stage absorbing viewers.
43. Which one of these is not a characteristic element of Dunnett's works as described in the passage?
(a) Self portraits
(b) An element of contrast
(c) Whimsical titles
(d) Photographs depicting death
The case for constituting political authority democratically rested on two basic assumptions: first, that no person was naturally superior to another, so any relations of authority between them stood in need of justification – in other words, each person should enjoy equal political rights unless it could be shown that everyone gained from having inequality; second, that the interests of the people were best safeguarded by making them the final repository of political authority – anyone entrusted with special powers must be accountable to the people as a whole. But this still left open exactly what role the people as a whole should play in government. Should they be directly involved in legislating, as Rousseau argued in his Social Contract, and if so how? Or should they only be involved at one step removed, by choosing representatives who would wield authority on their behalf. In practice those political systems we call democracies give their citizens only a very limited role in government. They are entitled to vote at periodic elections, they are occasionally consulted through a referendum when some major constitutional question has to be decided, and they are allowed to form groups to lobby their representatives on issues that concern them, but that is the extent of their authority. Real power to determine the future of democratic societies rests in the hands of a remarkably small number of people – government ministers, civil servants, and to some extent members of parliament or other legislative assembly – and it is natural to ask why this is so. If democracy is the best way to make political decisions, why not make it a reality by letting the people themselves decide major questions directly? One answer that is often given at this point is that it is simply impractical for millions of ordinary citizens to be involved in making the huge number of decisions that governments have to make today. If they were to try, not only would government be paralyzed, but they would leave themselves no time to do all those other things that most people think are more important than politics. But this answer is not adequate, because it is not difficult to envisage citizens making general policy decisions whose detailed implementation would then be left to ministers and others. The electronic revolution means that it would now be quite easy to ask citizens for their views on a wide range of issues ranging from war and peace through taxation and public expenditure to animal welfare and environmental issues. So why is this done only on those rare occasions when a referendum is called? The reason is that there is a widespread belief that ordinary people are simply not competent to understand the issues that lie behind political decisions, and so they are happy to hand these decisions over to people they regard as better qualified to deal with them. An uncompromising statement of this point of view can be found in Joseph Schumpeter's book Capitalism, Socialism and Democracy (1943), where it is argued that the citizen's job is to choose a team of leaders to represent him or her, not to attempt to decide issues directly. Schumpeter claims that whereas in economic transactions, for instance, people experience the results of their decisions directly – if they buy a defective product, they soon discover their mistake – in the case of political decisions there is no such immediate feedback mechanism.
1. Which of the statements given below best supports the view of the author as inferred from the passage?
(a) The interests of the people are best safeguarded by making them the final repository of political authority.
(b) Democracy is the best way to make political decisions and this can become a reality only by letting the people themselves decide major questions directly
. (c) Citizens should make general policy decisions and leave their implementation to ministers and others.
(d) In practice those political systems we call democracies give their citizens only a very limited role in government.
2. Why does the author discuss the fact that referendums are rarely called?
1. To underline that such an exercise needs to be justified.
2. To demonstrate that the citizen's job is to choose a team of leaders to represent him and not to decide issues directly.
3. To explain that the ordinary citizen is disinterested in decision-making.
4. To describe the popular belief that ordinary people are not competent enough to understand political decision-making.
(a) Only 1 (b) Only 4 (c) Both 2 and 4 (d) Both 3 and 4 3
3. How does the author conclude that democracies give their citizens only a very limited role in government?
(a) Citizens are occasionally consulted on issues through a referendum.
(b) Citizens only form groups to lobby their representatives on issues that concern them.
(c) Real power lies in the hands of a small group of government ministers, civil servants and members of parliament.
(d) All of the above
Solve FIB's here. All questions are from CAT
http://prepvelvet.com/quizfib
Guys, please suggest some books on VA and RC. I know only Arun sharma's book and Word power made easy.
A vessel is filled to it's capacity with pure milk. Ten liters are withdrawn from it and replaced by water. The procedure is repeated again. The vessel now has 32 liters of milk. Find the capacity of the vessel in liters
- 50
- 55
- 44
- 40
- 45
0 voters
Please solve this para jumble:
A. These high plans died, slowly but definitively, and were replaced by the dream of a huge work on
philosophy.
B. In doing whatever little he could of the new plan, the poet managed to write speculations on
theology, and political theory.
C. The poet's huge ambitions included writing a philosophic epic on the origin of evil.
D. However, not much was done in this regard either, with only fragments being written.
(a) ABCD (b) CBAD (c) CDAB (d) CADB
There are a certain number of pages in a book. Ram tore a certain page out of the book and later found that the average of the remaining page numbers is 608/13. which of the following were the page number of the page that Ram had torn?
Find the 10th place of the product (11^11!)(13^13!)(17^17!)(19^19!)(23^23!).........(97^97!)
(1) 3
(2) 2
(3) 7
(4) 0
Identify the mistakes in the following sentences
1. I remember clearly telling him that he had won.
2. Damaged and scratched, I sent my car to the workshop.
3. A colorful painting hung on the wall that Savitri had made. Registered Office:
4. Even when proofreading carefully, some grammatical errors may be overlooked.
5. Meera wore the bauble on her ankle that she purchased yesterday. 6. Having seen the Statue of Liberty, the Taj Mahal is more impressive.
7. I explained to my daughter eventually the cubs and their mother would have to go back to the zoo.
8. The host served custard to the children in silver bowls.
9. Being brought up in Bangalore, the Mumbai weather was very humid and sultry.
10. Ravi told Shyam when the game was over they would play together
Incorrect usage of the verb BURN
(1) Hours are long, stress is high, and many IT professionals drop out or burn out.
(2) I get an adrenaline rush watching F1 racers burning up the tracks. (3) Everyone wishes they had money to burn
(4) Sahil has fallen sick because he had been burning the candle at both ends for a long time.
(5) He has no choice but to burn the midnight oil, if he has to submit the project tomorrow morning.
(6) If you are unhappy with your job, it is always wise to be polite and quit silently. Don't be rude and aggressive with the administration – no point burning your links.
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How to decide the source of RC?
Directions for questions 1-4: The passage given below is followed by a set of four questions. Choose the most appropriate answer to each question.
The universe of Dalinian imagery, whether religious, mythological or in the case of 'Dream Caused by the Flight of a Bee', Freudian, is repeated in many of the artist's other illustrations, including those for the Biblia Sacra and Divine Comedy. In 'Provenance is Everything', Bernard Ewell, considered the foremost authority on the art of Salvador Dali, discusses the artist's connection with Freud:
“A well-read student of Sigmund Freud, Salvador Dali – who never used drugs and only drank alcohol (especially champagne) in moderation – turned to a most unusual way to access his subconscious. He knew that the hypnologic state between wakefulness and sleep was possibly the most creative for a brain.
Like Freud and his fellow surrealists, he considered dreams and imagination as central rather than marginal to human thought. Dali searched for a way to stay in that creative state as long as possible just as any one of us on a lazy Saturday morning might enjoy staying in bed in a semi-awake state while we use our imagination to its fullest. He devised a most interesting technique.
Sitting in the warm sun after a full lunch and feeling somewhat somnolent, Dali would place a metal mixing bowl in his lap and hold a large spoon loosely in his hands which he folded over his chest. As he fell asleep and relaxed, the spoon would fall from his grasp into the bowl and wake him up. He would reset the arrangement continuously and thus float along – not quite asleep and not quite awake – while his imagination would churn out the images that we find so fascinating, evocative, and inexplicable when they appear in his work…”
'Dream Caused by the Flight of a Bee' was painted while Dalí and his wife Gala were living in America. Even upon a cursory view, it is clear that Dali has incorporated distinct symbolism – the tigers, pomegranates, an elephant, a rifle – into the work. The ArtDaily had the following interesting analysis of the imagery.
The painting depicts a woman (Dalí's wife, Gala) sleeping while sunbathing during a calm day on rocks floating over the sea, possibly at Port Lligat. An elephant with incredibly long, extremely thin legs walks across the sea's horizon while carrying an obelisk. Near the woman float two drops of water and a small pomegranate. From a larger pomegranate comes a fish that spews a tiger from which comes another tiger, while in front of that second tiger a rifle's bayonet nearly touches the woman's right arm.
The bayonet, as a symbol of the stinging bee, may thus represent the woman's abrupt awakening from her otherwise peaceful dream. The bee around the smaller pomegranate is repeated symbolically. The two tigers represent the body of the bee (yellow with black stripes) and the bayonet its stinger. The fish may represent the bee's eyes, because of similarity of the fish's scaly skin with the scaly complex eyes of bees.
The elephant is a distorted version of a well-known sculpture by Bernini that is located in Rome. The smaller pomegranate floating between two droplets of water may symbolize Venus, especially because of the heart-shaped shadow it casts. It may also be used as a Christian symbol of fertility and resurrection. This female symbolism may contrast with the phallic symbolism of the threatening creatures.
Q1.Which of the following is a valid inference on the basis of the passage?a.Salvador Dali derived his ideas about the connection between hypnology and creativity from Sigmund Freud.
b.Many surrealists consider dreams and imagination a central part of human thought, not a marginal one.
c.Accessing the subconscious mind's workings is a process that usually involves the use of drugs and alcohol to induce a hypnologic state.
d.The use of the elephant in 'Dream caused by the flight of a Bee' was a deliberate attempt by Dali to distort Bernini's similar sculpture.
a.Dali being roused by his wife early in the morning after having gone to sleep in the wee hours of the night.
b.Keeping an alarm clock next to Dali, set to go off the moment his eyelids droop with sleep after he's had a heavy meal.
c.Dali's wife alternately slapping him and singing him a lullaby to awaken him and put him to sleep respectively.
d. Warm water and cold water being thrown again and again on Dali's face just as he tries to doze off for an afternoon siesta.
a.Did the absence of drugs and alcohol (to get into a hypnotic state) affect the quality of Dali's work?
b.What can be an aid in comprehending the heavy symbolism in Dali's paintings?
c.What can be seen as a striking contrast in 'Dream Caused by Flight of a Bee?'
d.What inspired Dali to churn out the fascinating, evocative and inexplicable images that he produced?
Q.4.Which of the following best encapsulates the approach used by the author to describe Dali's unusual technique of painting?
a.He analyses the psychological gears working inside Dali's mind and then breaks down the elements in the painting to exemplify Dali's method.
b.He connects the individual pieces of the puzzle that Dali's painting is to the hypnologic state that Dali kept his mind in.
c.He gives a background of Dali's enigmatic mode of working and then brings out the deficiencies in the style by quoting a popular critic.
d.He suggests that Salvador Dali's surrealist method of depicting the workings of his subconscious mind distorts his paintings.
Directions for questions: The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.
While it was nice to see the first ever RISD grad hosting the Academy Awards, Seth MacFarlane's Oscar hosting turn was not really a triumph for humor. The woman-bashing element, in particular, has come in for endless (and deserved) criticism. As I suggested earlier, of course it was no surprise that the creator of Family Guy would come out with tasteless, demeaning humor – that's his schtick. The show had big ratings, particularly among younger audiences, proving that putting in charge an edgy, under forty host would draw a younger crowd. I can see the Hollywood suits analyzing it with wonder now: “the kids like kids!” Amazing.
And of course, lots of people enjoyed it and laughed along. What does surprise me is many of his defenders claiming that MacFarlane was delivering clever satire. Here's a typical note: “anyone complaining in these comments ever heard of satire? I think MacFarlane's humor is satire and is meant to provoke. Seems pretty effective to me.”
Provoking, yes – like a blunt instrument. Satire is meant to take one thing and examine it through a humorous lens, usually in a critical way. MacFarlane's humor often doesn't have that object at all—it's one-dimensional shock humor.
Let's take the most obvious example: “We Saw You.” The set up is William Shatner as Captain Kirk sling-shooting back in time to warn MacFarlane not to do the horrible tasteless things he's about to do and thus earn the label of worst Oscar host ever. To show what's about to happen, Shatner cuts to a video of MacFarlane singing a song called “We Saw You” where he names actresses and the films in which they appeared sans shirt.
Now, if the object of the humor was actually MacFarlane and his penchant for ribald attack humor, a simple 15-second cutaway—much like those on Family Guy—would have gotten across the point…and the humor. But no, it goes on for nearly two minutes—the point is to name and shame, and turn actresses into dehumanized objects yet again. I have a dream that someday women will be judged by the content of their character and not the content of their maiden forms, but that day has not come for MacFarlane. In his world, if you're a woman and doggedly track down the worst terrorist the world has ever known, you're not a hero—you're just another woman who's mad at being stood up on a date.
Q1.The main objective of the passage seems to be
a.lambasting MacFarlane's desensitized behavior towards women as reflected by his jokes while hosting the Oscars.
b.shooting down MacFarlane's show Family Guy as a case of ribald attack humor and showing that he cannot do better.
c.judging MacFarlane on the basis of his hosting the Oscars and proving that his humor was clichéd and tasteless.
d.championing women's rights and shattering the chauvinistic stereotypes encouraged by people like MacFarlane.
Q.2.The author would agree to which of the following conclusions about the satire mentioned in the passage?
a.MacFarlane's supporters themselves have no understanding of satire and, hence, erroneously claim that he was delivering clever satire.
b.Satire should not be one-dimensional and needs to look at things in a way that incorporates both criticism and humor.
c.The satire used by MacFarlane at the Oscars was deliberately meant to be provocative and, hence, was quite effective.
d.The use of satire at the Oscars by MacFarlane led to a lot of controversies, for instance, the video, “We Saw You.”
Q.3.The author speaks of Seth MacFarlane in the first paragraph and uses the phrase, “that's his schtick.” Which of the following options best explains what the author is trying to convey through the phrase?
a. MacFarlane intended to demean women at the Oscars in order to provoke the audience and achieve higher ratings for the show, especially by pulling in younger audiences.
b.Delivering clever satire is Seth's style and his fans felt that he did it with panache; unfortunately, he was largely misunderstood.
c.MacFarlane using garish humor at the Oscars wasn't a shock – it was only to be expected of someone who created Family Guy.
d.RISD grads are anyway not expected to bring anything great to humor, as they are tasteless and deserve criticism.
#RC
Stanford scientists have shown that a phenomenon known as plasmon resonance occurs at very small scales, offering a new understanding of quantum physics that could lead to improved solar catalysis and targeted cancer treatments.
When light hits a metal, electrons on the surface collectively oscillate in waves, called plasmons that travel out like ripples on a pond. The new research shows that Plasmon's exist in smaller particles than had been shown before. The research reveals the presence and clear quantum-influenced nature of plasmons in individual metal particles as small as 1 nanometer in diameter, about 100 atoms in total.
“Particles of this size are valuable in engineering. They are more sensitive and more reactive than bulk materials and could prove very useful in nanotechnology,” said Jennifer Dionne, an assistant professor of materials science and engineering at Stanford and the study's senior author.
Plasmons are an area of intense research focus and a key driver of engineering at the nanoscale. However, as metals become smaller, obtaining experimental data about the nature of plasmons becomes extremely challenging. For over five decades, scientists have debated the nature of plasmons at these smallest of scales.
“Until now, however, we hadn't been able to take full advantage of the optical and electronic properties of these tiny particles because we didn't have a complete picture of the science,” said Jonathan Scholl, a doctoral candidate in Dionne's lab and first author of the paper. “This paper provides the foundation for nanoengineering, a new class of metal particles made up of between 100 and 10000 atoms.”
“The stained-glass windows of Notre Dame Cathedral and Stanford Memorial Church derive their color from metal nanoparticles embedded in the glass. When the windows are illuminated, the nanoparticles scatter specific colors of light. The color depends on the size and geometry of the metal particles,” said Dionne.
“While scientists have found a number of applications for larger
nanoparticles, quantum-sized metal particles have remained largely
underutilized,” said Scholl.
Science has a solid understanding of
plasmons in larger metal particles based mostly on classical physics.
Below a threshold of about 10 nanometers in diameter, however, at what
is described as the quantum scale, the classical physics breaks down and
quantum mechanics takes over.
At this scale, the particles begin to demonstrate unique physical and chemical properties that larger counterparts of the very same materials do not. Additional and important physical properties can occur when plasmons are constrained in extremely small spaces at the scale of the nanoparticles Dionne and Scholl studied.
1. In the passage, the author is primarily interested in:
(A) Summarizing the history of quantum physics in nanotechnology.
(B) Presenting research findings in the area of plasmonics that could be a boost to nanotechnology.
(C) Reporting new research findings in the area of plasmonics in classical physics.
(D) Evaluating a research study in the field of electron oscillations in metal particles.
2. The author of the passage would be most likely to agree with which of the following statements about stained glass windows?
(A) They deflect small amounts of light to produce a rainbow effect.
(B) They have a surface that throws back light after a series of oscillations.
(C) The electrons in the glass particles diffuse to reflect various colors of light.
(D) Plasmon resonance is evidenced by the hues of stained-glass windows.
3. It can be inferred from the passage that at the nanoscale
(A) a particle will respond through its electrons in ways different from those of larger particles of the same material.
(B) there are fewer electrons in metals but they are packed into a smaller area.
(C) quantum physics cannot fully explain why electrons display different optical properties.
(D) metals display greater area-to-volume ratios offered by atomic-scale particles.
4. It can be inferred from the passage that with the application of quantum mechanics we would know how or why
(A) plasmons cease to exist in nanoscale metal particles.
(B) it becomes necessary to illuminate metals to derive electronic applications.
(C) a quantum-sized particle generates its Plasmon resonance.
(D) the shape and behavior of individual nanoparticles can be determined.