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In how many ways can an onto function be defined from a domain D = {a, b, c, d} to a range, R = {u, v, w}?
    Correct answer is '36'. Can you explain this answer?
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    In how many ways can an onto function be defined from a domain D = {a,...
    An onto function is one in which all the elements of the range have at least one mapping in the domain i.e. for every y in the range there exists at least one x such that f{x) = y.
    This is similar to a case where we have to arrange four different balls (a, b, c, d) into three different boxes (u, v, w), such that no box is empty. Now, the only possible way of dividing the four balls into three groups is 1, 1 and 2 balls per box.
    The number of ways in which 2 balls can be selected from 4 balls = 4C2 = 6 (So we have a group of 2 balls and 2 other balls)
    Number of ways of placing these three different groups into three boxes = 3! = 6
    Hence, the total number of ways = 6 * 6 = 36 
    Answer: 36
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    In how many ways can an onto function be defined from a domain D = {a,...
    Introduction:
    An onto function, also known as a surjective function, is a function where every element in the range is mapped to by at least one element in the domain. In this case, we need to determine the number of ways an onto function can be defined from a domain D = {a, b, c, d} to a range R = {u, v, w}.

    Approach:
    To find the number of ways an onto function can be defined, we need to consider the possible mappings from the domain to the range. We can break down the problem into smaller cases and calculate the number of ways for each case.

    Case 1: All elements in the range are mapped to:
    In this case, each element in the range must be mapped to by at least one element in the domain. There are 3 elements in the range, and for each element, there are 4 possible choices from the domain. Therefore, the number of ways for this case is 4 * 4 * 4 = 64.

    Case 2: One element in the range is not mapped to:
    In this case, one element in the range is not mapped to by any element in the domain. There are 3 elements in the range, and we need to choose one element to be excluded from the mapping. There are 3 ways to choose the excluded element. For the remaining 2 elements in the range, there are 4 possible choices from the domain. Therefore, the number of ways for this case is 3 * 4 * 4 = 48.

    Case 3: Two elements in the range are not mapped to:
    In this case, two elements in the range are not mapped to by any element in the domain. There are 3 elements in the range, and we need to choose two elements to be excluded from the mapping. There are 3 ways to choose the first excluded element and 2 ways to choose the second excluded element. For the remaining element in the range, there are 4 possible choices from the domain. Therefore, the number of ways for this case is 3 * 2 * 4 = 24.

    Total number of ways:
    To find the total number of ways, we sum up the number of ways for each case:
    64 + 48 + 24 = 136.

    However, we need to consider that the function must be onto, meaning that all elements in the range must be mapped to. Therefore, we need to subtract the cases where one or two elements are not mapped to:
    136 - 48 - 24 = 64.

    Conclusion:
    There are 64 ways to define an onto function from the domain D = {a, b, c, d} to the range R = {u, v, w}.
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    Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. According to the passage, which of the following attributes enhance the prestige of textile art?

    Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which of the following best states why the author considers textile products more pliable than other works of art?

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    In how many ways can an onto function be defined from a domain D = {a, b, c, d} to a range, R = {u, v, w}?Correct answer is '36'. Can you explain this answer?
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