List of top Verbal Ability & Reading Comprehension (VARC) Questions

Much as an electrical lamp transforms electrical energy into heat and light, the visual “apparatus” of a human being acts as a transformer of light into sight. Light projected from a source or reflected by an object enters the cornea and lens of the eyeball. The energy is transmitted to the retina of the eye whose rods and cones are activated. The stimuli are transferred by nerve cells to the optic nerve and to the brain, man is a binocular animal, and the impressions from his two eyes are translated into sight — a rapid, compound analysis of the shape, form, colour, size, position, and motion of the things he sees. Photometry is the science of measuring light. The illuminating engineer and designer employ photometric data constantly in their work. In all fields of application of light and lighting, they predict their choice of equipment, lamps, wall finishes, colours of light and backgrounds, and other factors affecting the illumination of premises or scene to be rendered, in great part from data supplied originally by photometric laboratory. Today extensive tables and charts of photometric data are used widely, constituting the basis for many details of design. Although the lighting designer may not be called upon to the detailed work of making measurements or plotting data in the form of photometric curves and analyzing them, an understanding of the terms used and their derivation form valuable background knowledge. The perception of colour is a complex visual sensation, intimately related to light. The apparent colour of an object depends primarily upon four factors: its ability to reflect various colours of light, the nature of the light by which it is seen, the colour of its surroundings, and the characteristics and state of adaptation of the eye. In most discussions of colour, a distinction is made between white and coloured objects. White is the colour name most usually applied to a material that diffusely transmits a high percentage of all the hues of light. Colours that have no hue are termed neutral or achromatic. colours. They include white, off-white, all shades of gray, down to black. All coloured objects selectively absorb certain wavelengths of light and reflect or transmit others in varying degrees. Inorganic materials, chiefly metals such as copper and brass, reflect light from their surfaces. Hence we have the term “surface” or “metallic” colours, as contrasted with “body” or “pigment” colours. In the former, the light reflected from the surface is often tinted. Most paints, on the other hand, have body or pigment colours. In these, light is reflected from the surface without much colour change, but the body material absorbs some colours and reflects others, hence, the diffuse reflection from the body of the material is coloured but often appears to be overlaid and diluted with a “white” reflection from the glossy surface of the paint film. In paints and enamels, the pigment particles, which are usually opaque, are suspended in a vehicle such as oil or plastic. The particles of a dye, on the other hand, are considerably finer and may be described as colouring matter in solution. The dye particles are more often transparent or translucent.

A remarkable aspect of art of the present century is the range of concepts and ideologies which it embodies. It is almost tempting to see a pattern emerging within the art field - or alternatively imposed upon it a posteriori - similar to that which exists under the umbrella of science where the general term covers a whole range of separate, though interconnecting, activities. Any parallelism is however - in this instance at least - misleading. A scientific discipline develops systematically once its bare tenets have been established, named and categorized as conventions. Many of the concepts of modern art, by contrast, have resulted from the almost accidental meetings of groups of talented individuals at certain times and certain places. The ideas generated by these chance meetings had twofold consequences. Firstly, a corpus of work would be produced which, in great part, remains as a concrete record of the events. Secondly, the ideas would themselves be disseminated through many different channels of communication - seeds that often bore fruit in contexts far removed from their generation. Not all movements were exclusively concerned with innovation. Surrealism, for instance, claimed to embody a kind of insight which can be present in the art of any period. This claim has been generally accepted so that a sixteenth century painting by Spranger or a mysterious photograph by Atget can legitimately be discussed in surrealist terms. Briefly, then, the concepts of modern art are of many different (often fundamentally different) kinds and resulted from the exposures of painters, sculptors and thinkers to the more complex phenomena of the twentieth century, including our ever increasing knowledge of the thought and products of earlier centuries. Different groups of artists would collaborate in trying to make sense of a rapidly changing world of visual and spiritual experience. We should hardly be surprised if no one group succeeded completely, but achievements, though relative, have been considerable. Landmarks have been established - concrete statements of position which give a pattern to a situation which could easily have degenerated into total chaos. Beyond this, new language tools have been created for those who follow - semantic systems which can provide a springboard for further explorations.

The codifying of art is often criticized. Certainly one can understand that artists are wary of being pigeonholed since they are apt to think of themselves as individuals - sometimes with good reason. The notion of self-expression, however, no longer carries quite the weight it once did; objectivity has its defenders. There is good reason to accept the ideas codified by artists and critics, over the past sixty years or so, as having attained the status of independent existence - an independence which is not without its own value. The time factor is important here. As an art movement slips into temporal perspective, it ceases to be a living organism - becoming, rather, a fossil. This is not to say that it becomes useless or uninteresting. Just as a scientist can reconstruct the life of a prehistoric environment from the messages codified into the structure of a fossil, so can an artist decipher whole webs of intellectual and creative possibility from the recorded structure of a ‘dead’ art movement. The artist can match the creative patterns crystallized into this structure against the potentials and possibilities of his own time. As T.S. Eliot observed, no one starts anything from scratch; however consciously you may try to live in the present, you are still involved with a nexus of behaviour patterns bequeathed from the past. The original and creative person is not someone who ignores these patterns, but someone who is able to translate and develop them so that they conform more exactly to his - and our - present needs.

When I was little, children were bought two kinds of ice cream, sold from those white wagons with canopies made of silvery metal: either the two-cent cone or the four-cent ice-cream pie. The two-cent cone was very small, in fact, it could fit comfortably into a child’s hand, and it was made by taking the ice cream from its container with a special scoop and piling it on the cone. Granny always suggested I eat only a part of the cone, then throw away the pointed end, because it had been touched by the vendor’s hand (though that was the best part, nice and crunchy, and it was regularly eaten in secret, after a pretence of discarding it).

The four-cent pie was made by a special little machine, also silvery, which pressed two disks of sweet biscuit against a cylindrical section of ice cream. First, you had to thrust your tongue into the gap between the biscuits until it touched the central nucleus of ice cream; then, gradually, you ate the whole thing, the biscuit surfaces softening as they became soaked in creamy nectar. Granny had no advice to give here: in theory, the pies had been touched only by the machine; in practice, the vendor had held them in his hand while giving them to us, but it was impossible to isolate the contaminated area.

I was fascinated, however, by some of my peers, whose parents bought them not a four-cent pie but two two-cent cones. These privileged children advanced proudly with one cone in their right hand and one in their left; and expertly moving their head from side to side, they licked first one, then the other. This liturgy seemed to me so sumptuously enviable, that many times I asked to be allowed to celebrate it. In vain. My elders were inflexible: a four-cent ice, yes; but two two-cent ones, absolutely no.

As anyone can see, neither mathematics nor economy nor dietetics justified this refusal. Nor did hygiene, assuming that in due course the tips of both cones were discarded. The pathetic, and obviously mendacious, justification was that a boy concerned with turning his eyes from one cone to the other was more inclined to stumble over stones, steps, or cracks in the pavement. I dimly sensed that there was another secret justification, cruelly pedagogical, but I was unable to grasp it.

Today, citizen and victim of a consumer society, a civilization of excess and waste (which the society of the thirties was not), I realize that those dear and now departed elders were right. Two two-cent cones instead of one at four cents did not signify squandering, economically speaking, but symbolically they surely did. It was for this precise reason, that I yearned for them: because two ice creams suggested excess. And this was precisely why they were denied to me: because they looked indecent, an insult to poverty, a display of fictitious privilege, a boast of wealth. Only spoiled children ate two cones at once, those children who in fairy tales were rightly punished, as Pinocchio was when he rejected the skin and the stalk. And parents who encouraged this weakness, appropriate to little parvenus, were bringing up their children in the foolish theatre of “I’d like to but I can’t.” They were preparing them to turn up at tourist-class check-in with a fake Gucci bag bought from a street peddler on the beach at Rimini.

Nowadays the moralist risks seeming at odds with morality, in a world where the consumer civilization now wants even adults to be spoiled, and promises them always something more, from the wristwatch in the box of detergent to the bonus bangle sheathed, with the magazine it accompanies, in a plastic envelope. Like the parents of those ambidextrous gluttons I so envied, the consumer civilization pretends to give more, but actually gives, for four cents, what is worth four cents. You will throw away the old transistor radio to purchase the new one, that boasts an alarm clock as well, but some inexplicable defect in the mechanism will guarantee that the radio lasts only a year. The new cheap car will have leather seats, double side mirrors adjustable from inside, and a panelled dashboard, but it will not last nearly so long as the glorious old Fiat 500, which, even when it broke down, could be started again with a kick.

The morality of the old days made Spartans of us all, while today’s morality wants all of us to be sybarites.