CAT (VARC) PYQs

The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage.

Tamsin Blanchard, curator of Fashion Open Studio, an initiative by a campaign group showcasing the work of ethical designers says, "We're all drawn to an exquisite piece of embroidery, a colourful textile or even a style of dressing that might have originated from another heritage. But this magpie mentality, where all of culture and history is up for grabs as 'inspiration', has accelerated since the proliferation of social media. Where once a fashion student might research the history and traditions of a particular item of clothing with care and respect, we now have a world where images are lifted from image libraries without a care or concern for their cultural significance. It's easier than ever to steal a motif or a craft technique and transfer it on to a piece of clothing that is either mass produced or appears on a runway without credit or compensation to their original communities."

The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage.

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 designers' attempt to put some soul back in.

The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage.

Aesthetic political representation urges us to realize that 'the representative has autonomy with regard to the people represented' but autonomy then is not an excuse to abandon one's responsibility. Aesthetic autonomy requires cultivation of 'disinterestedness' on the part of actors which is not indifference. To have disinterestedness, that is, to have comportment towards the beautiful that is devoid of all ulterior references to use requires a kind of aesthetic commitment; it is the liberation of ourselves for the release of what has proper worth only in itself.