Thanks to me , you can see straight through the wall. Who I am?

EduRev

All Courses

Explore Courses UPSC Exam UPSC Test Series Free Notes EduRev Infinity

Open App

Verbal Exam > Verbal Questions > Thanks to me , you can see straight through t...

Thanks to me , you can see straight through the wall. Who I am?

Join for Free

Join for Free

Most Upvoted Answer

Thanks to me , you can see straight through the wall. Who I am?

How can you see through walls?
There are several ways to see through walls, including:

1. Using X-ray technology: X-ray technology can be used to see through walls and other objects. However, this technology is typically only available to trained professionals and is not accessible to the general public.

2. Using thermal imaging technology: Thermal imaging technology can be used to detect changes in temperature behind walls, which can help you identify objects and people on the other side.

3. Using a fiber optic camera: A fiber optic camera can be inserted into small holes in a wall to provide a view of the other side. This technology is commonly used in construction and plumbing to inspect pipes and walls.

4. Using a radar system: Radar systems can be used to detect objects behind walls by sending out radio waves and measuring their reflection. This technology is commonly used in military and security applications.

What is your contribution?
You did not provide any information on how you contributed to the ability to see through walls. It is possible that you are simply asking a hypothetical question or making a statement without any specific contribution.

Conclusion
In conclusion, there are several ways to see through walls, including X-ray technology, thermal imaging technology, fiber optic cameras, and radar systems. As a guide, my role is to provide you with information and advice on the topic.

Community Answer

Thanks to me , you can see straight through the wall. Who I am?

Window or door.

View all answers Start learning for free

Explore Courses for Verbal exam

Similar Verbal Doubts

In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphereall require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a newand to me at least a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commanders part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or planand consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used neat. Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.As the author creates the analogy between war and painting in the passage, the Commander-in-Chief is to the battleground as the

View answer

In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphereall require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a newand to me at least a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commanders part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or planand consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used neat. Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The authors statement But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or planand consequently without effectassumes that

View answer

In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphereall require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a newand to me at least a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commanders part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or planand consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used neat. Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.Following the example of the master Manet, the young Matisse often inserted in his pictures areas of white such as tablecloths or crockery that allowed for striking contrasts with black objects such as a knife or a dark bottle. What is the relevance of this information to the passage?

View answer

I _______________ with my brother through Europe because I dont have enough money.

View answer

In public Greek life, a man had to make his way at every step through the immediate persuasion of the spoken word. Whether it be addressing an assembly, a law-court or a more restricted body, his oratory would be a public affair rather than under the purview of a quiet committee, without the support of circulated commentary, and with no backcloth of daily reportage to make his own or others views familiar to his hearers. The oratorys immediate effect was all-important; it would be naive to expect that mere reasonableness or an inherently good case would equate to a satisfactory appeal. Therefore, it was early realized that persuasion was an art, up to a point teachable, and a variety of specific pedagogy was well established in the second half of the fifth century. When the sophists claimed to teach their pupils how to succeed in public life, rhetoric was a large part of what they meant, though, to do them justice, it was not the whole.Skill naturally bred mistrust. If a man of good will had need of expression advanced of mere twaddle, to learn how to expound his contention effectively, the truculent or pugnacious could be taught to dress their case in well-seeming guise. It was a standing charge against the sophists that they made the worse appear the better cause, and it was this immoral lesson which the hero of Aristophanes Clouds went to learn from, of all people, Socrates. Again, the charge is often made in court that the opponent is an adroit orator and the jury must be circumspect so as not to let him delude them. From the frequency with which this crops up, it is patent that the accusation of cleverness might damage a man. In Greece, juries, of course, were familiar with the style, and would recognize the more evident artifices, but it was worth a litigants while to get his speech written for him by an expert. Persuasive oratory was certainly one of the pressures that would be effective in an Athenian law-court.A more insidious danger was the inevitable desire to display this art as an art. It is not easy to define the point at which a legitimate concern with style shades off into preoccupation with manner at the expense of matter, but it is easy to perceive that many Greek writers of the fourth and later centuries passed that danger point. The most influential was Isocrates, who polished for long years his pamphlets, written in the form of speeches, and taught to many pupils the smooth and easy periods he had perfected. Isocrates took to the written word in compensation for his inadequacy in live oratory; the tough and nervous tones of a Demosthenes were far removed from his, though they, too, were based on study and practice. The exaltation of virtuosity did palpable harm. The balance was always delicate, between style as a vehicle and style as an end in itself.We must not try to pinpoint a specific moment when it, once and for all, tipped over; but certainly, as time went on, virtuosity weighed heavier. While Greek freedom lasted, and it mattered what course of action a Greek city decided to take, rhetoric was a necessary preparation for public life, whatever its side effects. It had been a source of strength for Greek civilization that its problems, of all kinds, were thrashed out very much in public. The shallowness which the study of rhetoric might (not must) encourage was the corresponding weakness. Directions: Read the above paragraph and answer the followingQ.Historians agree that those seeking public office in modern America make far fewer speeches in the course of their campaign than those seeking a public position in ancient Greece did. The author would most likely explain this by pointing out that

View answer

Thanks to me , you can see straight through the wall. Who I am?

Share with a Friend

Answer this doubt

Question Description
Thanks to me , you can see straight through the wall. Who I am? for Verbal 2025 is part of Verbal preparation. The Question and answers have been prepared according to the Verbal exam syllabus. Information about Thanks to me , you can see straight through the wall. Who I am? covers all topics & solutions for Verbal 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Thanks to me , you can see straight through the wall. Who I am?.

Solutions for Thanks to me , you can see straight through the wall. Who I am? in English & in Hindi are available as part of our courses for Verbal. Download more important topics, notes, lectures and mock test series for Verbal Exam by signing up for free.

Here you can find the meaning of Thanks to me , you can see straight through the wall. Who I am? defined & explained in the simplest way possible. Besides giving the explanation of Thanks to me , you can see straight through the wall. Who I am?, a detailed solution for Thanks to me , you can see straight through the wall. Who I am? has been provided alongside types of Thanks to me , you can see straight through the wall. Who I am? theory, EduRev gives you an ample number of questions to practice Thanks to me , you can see straight through the wall. Who I am? tests, examples and also practice Verbal tests.

Explore Courses for Verbal exam