Q.1. There is a sentence that is missing in the paragraph below. Look at the paragraph and decide in which blank (option 1, 2, 3, or 4) the following sentence would best fit. Sentence: Most were first-time users of a tablet and a digital app. Paragraph: Aage Badhein’s USP lies in the ethnographic research that constituted the foundation of its development process. Customizations based on learning directly from potential users were critical to making this self-paced app suitable for both a literate and non-literate audience. ___(1)___ The user interface caters to a Hindi-speaking audience who have minimal to no experience with digital services and devices. ___(2)___ The content and functionality of the app are suitable for a wide audience. This includes youth preparing for an independent role in life or a student ready to create a strong foundation of financial management early in her life. ___(3)___ Household members desirous of improving their family’s financial strength to reach their aspirations can also benefit. We piloted Aage Badhein in early 2021 with over 400 women from rural areas. ___(4)___ The digital solution generated a large amount of interest in the communities.

Q.2. The four sentences (labelled 1, 2, 3 and 4) below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer: 1. The trajectory of cheerfulness through the self is linked to the history of the word ‘cheer’ which comes from an Old French meaning ‘face’. 2. Translations of the Bible into vernacular languages, expanded the noun ‘cheer’ into the more abstract ‘cheerful-ness’, something that circulates as an emotional and social quality defining the self and a moral community. 3. When you take on a cheerful expression, no matter what the state of your soul, your cheerfulness moves into the self: the interior of the self is changed by the power of cheer. 4. People in the medieval ‘Canterbury Tales’ have a ‘piteous’ or a ‘sober’ cheer; ‘cheer’ is an expression and a body part, lying at the intersection of emotions and physiognomy.

Q.3. The four sentences (labelled 1, 2, 3 and 4) below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer: 1. Women may prioritize cooking because they feel they alone are responsible for mediating a toxic and unhealthy food system. 2. Food is commonly framed through the lens of individual choice: you can choose to eat healthily. 3. This is particularly so in a neoliberal context where the state has transferred the responsibility for food onto individual consumers. 4. The individualized framing of choice appeals to a popular desire to experience agency, but draws away from the structural obstacles that stratify individual food choices.

Q.4. The four sentences (labelled 1, 2, 3 and 4) below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer: 1. From chemical pollutants in the environment to the damming of rivers to invasive species transported through global trade and travel, every environmental issue is different and there is no single tech solution that can solve this crisis. 2. Discourse on the threat of environmental collapse revolves around cutting down emissions, but biodiversity loss and ecosystem collapse are caused by myriad and diverse reasons. 3. This would require legislation that recognises the rights of future generations and other species that allows the judiciary to uphold a much higher standard of environmental protection than currently possible. 4. Clearly, our environmental crisis requires large political solutions, not minor technological ones, so, instead of focusing on infinite growth, we could consider a path of stable-state economies, while preserving markets and healthy competition.

Q.5. The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage. There's a common idea that museum artworks are somehow timeless objects available to admire for generations to come. But many are objects of decay. Even the most venerable Old Master paintings don't escape: pigments discolour, varnishes crack, canvases warp. This challenging fact of art-world life is down to something that sounds more like a thread from a morality tale: inherent vice. Damien Hirst's iconic shark floating in a tank - entitled The Physical Impossibility of Death in the Mind of Someone Living - is a work that put a spotlight on inherent vice. When he made it in 1991, Hirst got himself in a pickle by not using the right kind of pickle to preserve the giant fish. The result was that the shark began to decompose quite quickly - its preserving liquid clouding, the skin wrinkling, and an unpleasant smell wafting from the tank.

Q.6. The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage. Today, many of the debates about behavioural control in the age of big data echo Cold War-era anxieties about brainwashing, insidious manipulation and repression in the ‘technological society’. In his book Psychopolitics, Han warns of the sophisticated use of targeted online content, enabling ‘influence to take place on a pre-reflexive level’. On our current trajectory, “freedom will prove to have been merely an interlude.” The fear is that the digital age has not liberated us but exposed us, by offering up our private lives to machine-learning algorithms that can process masses of personal and behavioural data. In a world of influencers and digital entrepreneurs, it’s not easy to imagine the resurgence of a culture engendered through disconnect and disaffiliation, but concerns over the threat of online targeting, polarisation and big data have inspired recent polemics about the need to rediscover solitude and disconnect.

Q.7. The passage given below is followed by four alternate summaries. Choose the option that best captures the essence of the passage. Several of the world’s earliest cities were organised along egalitarian lines. In some regions, urban populations governed themselves for centuries without any indication of the temples and palaces that would later emerge; in others, temples and palaces never emerged at all, and there is simply no evidence of a class of administrators or any other sort of ruling stratum. It would seem that the mere fact of urban life does not, necessarily, imply any particular form of political organization, and never did. Far from resigning us to inequality, the picture that is now emerging of humanity’s past may open our eyes to egalitarian possibilities we otherwise would have never considered.

Q.8. There is a sentence that is missing in the paragraph below. Look at the paragraph and decide in which blank (option 1, 2, 3, or 4) the following sentence would best fit. Sentence: This was years in the making but fast-tracked during the pandemic, when "people started being more mindful about their food", he explained. Paragraph: For millennia, ghee has been a venerated staple of the subcontinental diet, but it fell out of favour a few decades ago when saturated fats were largely considered to be unhealthy. ___(1)___ But more recently, as the thinking around saturated fats is shifting globally, Indians are finding their own way back to this ingredient that is so integral to their cuisine. ___(2)___ For Karmakar, a renewed interest in ghee is emblematic of a return-to-basics movement in India. ___(3)___ This movement is also part of an overall trend towards "slow food". In keeping with the movement's philosophy, ghee can be produced locally (even at home) and has inextricable cultural ties. ___(4)___ At a basic level, ghee is a type of clarified butter believed to have originated in India as a way to preserve butter from going rancid in the hot climate.

Q.9. The passage below is accompanied by a set of questions. Choose the best answer to each question. [Octopuses are] misfits in their own extended families . . . They belong to the Mollusca class Cephalopoda. But they don’t look like their cousins at all. Other molluscs include sea snails, sea slugs, bivalves - most are shelled invertebrates with a dorsal foot. Cephalopods are all arms, and can be as tiny as 1 centimetre and as large at 30 feet. Some of them have brains the size of a walnut, which is large for an invertebrate. . . . It makes sense for these molluscs to have added protection in the form of a higher cognition; they don’t have a shell covering them, and pretty much everything feeds on cephalopods, including humans. But how did cephalopods manage to secure their own invisibility cloak? Cephalopods fire from multiple cylinders to achieve this in varying degrees from species to species. There are four main catalysts - chromatophores, iridophores, papillae and leucophores. . . . [Chromatophores] are organs on their bodies that contain pigment sacs, which have red, yellow and brown pigment granules. These sacs have a network of radial muscles, meaning muscles arranged in a circle radiating outwards. These are connected to the brain by a nerve. When the cephalopod wants to change colour, the brain carries an electrical impulse through the nerve to the muscles that expand outwards, pulling open the sacs to display the colours on the skin. Why these three colours? Because these are the colours the light reflects at the depths they live in (the rest is absorbed before it reaches those depths). . . . Well, what about other colours? Cue the iridophores. Think of a second level of skin that has thin stacks of cells. These can reflect light back at different wavelengths. . . . It’s using the same properties that we’ve seen in hologram stickers, or rainbows on puddles of oil. You move your head and you see a different colour. The sticker isn’t doing anything but reflecting light - it’s your movement that’s changing the appearance of the colour. This property of holograms, oil and other such surfaces is called “iridescence”. . . . Papillae are sections of the skin that can be deformed to make a texture bumpy. Even humans possess them (goosebumps) but cannot use them in the manner that cephalopods can. For instance, the use of these cells is how an octopus can wrap itself over a rock and appear jagged or how a squid or cuttlefish can imitate the look of a coral reef by growing miniature towers on its skin. It actually matches the texture of the substrate it chooses. Finally, the leucophores: According to a paper, published in Nature, cuttlefish and octopuses possess an additional type of reflector cell called a leucophore. They are cells that scatter full spectrum light so that they appear white in a similar way that a polar bear’s fur appears white. Leucophores will also reflect any filtered light shown on them . . . If the water appears blue at a certain depth, the octopuses and cuttlefish can appear blue; if the water appears green, they appear green, and so on and so forth. 1. Based on the passage, it can be inferred that camouflaging techniques in an octopus are most dissimilar to those in:

Q.10. The passage below is accompanied by a set of questions. Choose the best answer to each question. [Octopuses are] misfits in their own extended families . . . They belong to the Mollusca class Cephalopoda. But they don’t look like their cousins at all. Other molluscs include sea snails, sea slugs, bivalves - most are shelled invertebrates with a dorsal foot. Cephalopods are all arms, and can be as tiny as 1 centimetre and as large at 30 feet. Some of them have brains the size of a walnut, which is large for an invertebrate. . . . It makes sense for these molluscs to have added protection in the form of a higher cognition; they don’t have a shell covering them, and pretty much everything feeds on cephalopods, including humans. But how did cephalopods manage to secure their own invisibility cloak? Cephalopods fire from multiple cylinders to achieve this in varying degrees from species to species. There are four main catalysts - chromatophores, iridophores, papillae and leucophores. . . . [Chromatophores] are organs on their bodies that contain pigment sacs, which have red, yellow and brown pigment granules. These sacs have a network of radial muscles, meaning muscles arranged in a circle radiating outwards. These are connected to the brain by a nerve. When the cephalopod wants to change colour, the brain carries an electrical impulse through the nerve to the muscles that expand outwards, pulling open the sacs to display the colours on the skin. Why these three colours? Because these are the colours the light reflects at the depths they live in (the rest is absorbed before it reaches those depths). . . . Well, what about other colours? Cue the iridophores. Think of a second level of skin that has thin stacks of cells. These can reflect light back at different wavelengths. . . . It’s using the same properties that we’ve seen in hologram stickers, or rainbows on puddles of oil. You move your head and you see a different colour. The sticker isn’t doing anything but reflecting light - it’s your movement that’s changing the appearance of the colour. This property of holograms, oil and other such surfaces is called “iridescence”. . . . Papillae are sections of the skin that can be deformed to make a texture bumpy. Even humans possess them (goosebumps) but cannot use them in the manner that cephalopods can. For instance, the use of these cells is how an octopus can wrap itself over a rock and appear jagged or how a squid or cuttlefish can imitate the look of a coral reef by growing miniature towers on its skin. It actually matches the texture of the substrate it chooses. Finally, the leucophores: According to a paper, published in Nature, cuttlefish and octopuses possess an additional type of reflector cell called a leucophore. They are cells that scatter full spectrum light so that they appear white in a similar way that a polar bear’s fur appears white. Leucophores will also reflect any filtered light shown on them . . . If the water appears blue at a certain depth, the octopuses and cuttlefish can appear blue; if the water appears green, they appear green, and so on and so forth. All of the following are reasons for octopuses being “misfits” EXCEPT that they: