CAT (VARC) PYQs

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

People spontaneously create counterfactual alternatives to reality when they think "if only" or "what if" and imagine how the past could have been different. The mind computes counterfactuals for many reasons. Counterfactuals explain the past and prepare for the future, they implicate various relations including causal ones, and they affect intentions and decisions. They modulate emotions such as regret and relief, and they support moral judgments such as blame. The ability to create counterfactuals develops throughout childhood and contributes to reasoning about other people's beliefs, including their false beliefs.

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.

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

The weight of society's expectations is hardly a new phenomenon but it has become particularly draining over recent decades, perhaps because expectations themselves are so multifarious and contradictory. The perfectionism of the 1950s was rooted in the norms of mass culture and captured in famous advertising images of the ideal white American family that now seem self-satirising. In that era, perfectionism meant seamlessly conforming to values, behaviour and appearance: chiselled confidence for men, demure graciousness for women. The perfectionist was under pressure to look like everyone else, only more so. The perfectionists of today, by contrast, feel an obligation to stand out through their idiosyncratic style and wit if they are to gain a foothold in the attention economy.