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

"It does seem to me that the job of comedy is to offend, or have the potential to offend, and it cannot be drained of that potential," Rowan Atkinson said of cancel culture. "Every joke has a victim. That's the definition of a joke. Someone or something or an idea is made to look ridiculous." The Netflix star continued, "I think you've got to be very, very careful about saying what you're allowed to make jokes about. You've always got to kick up? Really?" He added, "There are lots of extremely smug and self- satisfied people in what would be deemed lower down in society, who also deserve to be pulled up. In a proper free society, you should be allowed to make jokes about absolutely anything."

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

McGurk and MacDonald (1976) reported a powerful multisensory illusion occurring with audio-visual speech. They recorded a voice articulating a consonant 'ba-ba-ba' and dubbed it with a face articulating another consonant 'ga-ga-ga'. Even though the acoustic speech signal was well recognized alone, it was heard as another consonant after dubbing with incongruent visual speech i.e., 'da-da-da'. The illusion, termed as the McGurk effect, has been replicated many times, and it has sparked an abundance of research. The reason for the great impact is that this is a striking demonstration of multisensory integration, where that auditory and visual information is merged into a unified, integrated percept.

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

In investigating memory-beliefs, there are certain points which must be borne in mind. In the first place, everything constituting a memory-belief is happening now, not in that past time to which the belief is said to refer. It is not logically necessary to the existence of a memory-belief that the event remembered should have occurred, or even that the past should have existed at all. There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that “remembered” a wholly unreal past. There is no logically necessary connection between events at different times; therefore nothing that is happening now or will happen in the future can disprove the hypothesis that the world began five minutes ago. Hence the occurrences which are CALLED knowledge of the past are logically independent of the past; they are wholly analysable into present contents, which might, theoretically, be just what they are even if no past had existed.

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

Creativity is now viewed as the engine of economic progress. Various organizations are devoted to its study and promotion; there are encyclopedias and handbooks surveying creativity research. But this proliferating success has tended to erode creativity's stable identity: it has become so invested with value that it has become impossible to police its meaning and the practices that supposedly identify and encourage it. Many people and organizations committed to producing original thoughts now feel that undue obsession with the idea of creativity gets in the way of real creativity.

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

In the dynamic realm of creativity, artists often find themselves at the crossroads between drawing inspiration from diverse cultures and inadvertently crossing into the territory of cultural appropriation. Inspiration is the lifeblood of creativity, driving artists to create works that resonate across borders. The globalized nature of the modern world invites artists to draw from a vast array of cultural influences. When approached respectfully, inspiration becomes a bridge, fostering understanding and appreciation of cultural diversity. However, the line between inspiration and cultural appropriation can be thin and easily blurred. Cultural appropriation occurs when elements from a particular culture are borrowed without proper understanding, respect, or acknowledgment. This leads to the commodification of sacred symbols, the reinforcement of stereotypes, and the erasure of the cultural context from which these elements originated. It’s essential to recognize that the impact of cultural appropriation extends beyond the realm of artistic expression, influencing societal perceptions and perpetuating power imbalances.

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

Certain codes may, of course, be so widely distributed in a specific language community or culture, and be learned at so early an age, that they appear not to be constructed – the effect of an articulation between sign and referent – but to be 'naturally' given. Simple visual signs appear to have achieved a 'near-universality' in this sense: though evidence remains that even apparently 'natural' visual codes are culture specific. However, this does not mean that no codes have intervened; rather, that the codes have been profoundly naturalized. The operation of naturalized codes reveals not the transparency and 'naturalness' of language but the depth, the habituation and the near-universality of the codes in use. They produce apparently 'natural' recognitions. This has the (ideological) effect of concealing the practices of coding which are present.

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.