Questões do FUVEST

Vincent van Gogh. Salvador Dalí. Frida Kahlo. Casual perusers of ads everywhere would be forgiven for thinking that art galleries are enjoying some sort of golden age. The truth is less exciting, more expensive and certainly more depressing. For this is no ordinary art on offer; this art is “immersive”, the latest lovechild of TikTok and enterprising warehouse landlords. The first problem with immersive art? It's not actually very immersive. A common trope of “immersive” retrospectives is to recreate original pieces using gimmicky tech. But merely aiming a projector at a blank canvas doesn’t do much in the way of sensory stimulation. My favourite element of an “immersive” show I have been to was their faithful recreation of Van Gogh’s bedroom. An ambitious feat, executed with some furniture and, of course, mutilated pastiches of his paintings. While projectors, surround sound and uncomfortably wacky seating are mainstays of immersive art, there are also the VR headsets. But many exhibitions don’t even include these with the standard ticket, so my return to reality has twice been accompanied by an usher brandishing a credit card machine. Sometimes these installations are so banal and depthless, visitors have often walked through installations entirely oblivious to whatever is happening around them. Despite the fixation “immersive experiences” have with novelty, the products of their labours are remarkably similar: disappointing light shows punctuated by a few gamified set pieces. De acordo com o texto, muitos visitantes das exposições de arte imersivas demonstram

Vincent van Gogh. Salvador Dalí. Frida Kahlo. Casual perusers of ads everywhere would be forgiven for thinking that art galleries are enjoying some sort of golden age. The truth is less exciting, more expensive and certainly more depressing. For this is no ordinary art on offer; this art is “immersive”, the latest lovechild of TikTok and enterprising warehouse landlords. The first problem with immersive art? It's not actually very immersive. A common trope of “immersive” retrospectives is to recreate original pieces using gimmicky tech. But merely aiming a projector at a blank canvas doesn’t do much in the way of sensory stimulation. My favourite element of an “immersive” show I have been to was their faithful recreation of Van Gogh’s bedroom. An ambitious feat, executed with some furniture and, of course, mutilated pastiches of his paintings. While projectors, surround sound and uncomfortably wacky seating are mainstays of immersive art, there are also the VR headsets. But many exhibitions don’t even include these with the standard ticket, so my return to reality has twice been accompanied by an usher brandishing a credit card machine. Sometimes these installations are so banal and depthless, visitors have often walked through installations entirely oblivious to whatever is happening around them. Despite the fixation “immersive experiences” have with novelty, the products of their labours are remarkably similar: disappointing light shows punctuated by a few gamified set pieces. O texto apresenta uma crítica às exposições de arte imersivas que está relacionada com

Over the last two decades, technology companies and policymakers warned of a "digital divide" in which poor children could fall behind their more affluent peers without equal access to technology. Today, with widespread internet access and smartphone ownership, the gap has narrowed sharply. But with less fanfare a different division has appeared: Across the country, poor children and adolescents are participating far less in sports and fitness activities than more affluent youngsters are. Call it the physical divide. Data from multiple sources reveal a significant gap in sports participation by income level. A combination of factors is responsible. Spending cuts and changing priorities at some public schools have curtailed physical education classes and organized sports. At the same time, privatized youth sports have become a multibillion- dollar enterprise offering new opportunities — at least for families that can afford hundreds to thousands of dollars each season for club-team fees, uniforms, equipment, travel to tournaments and private coaching. "What's happened as sports has become privatized is that it has become the haves and have-nots," said Jon Solomon, editorial director for the Aspen Institute Sports and Society Program. "Particularly for low-income kids, if they don't have access to sports within the school setting, where are they going to get their physical activity?" Mr. Solomon said. "The answer is nowhere." The New York Times. 24 March 2023. Adaptado. Conforme o texto, um dos motivos para a disparidade relativa à prática de atividades físicas por alunos, segundo o nível de renda, reside

Over the last two decades, technology companies and policymakers warned of a "digital divide" in which poor children could fall behind their more affluent peers without equal access to technology. Today, with widespread internet access and smartphone ownership, the gap has narrowed sharply. But with less fanfare a different division has appeared: Across the country, poor children and adolescents are participating far less in sports and fitness activities than more affluent youngsters are. Call it the physical divide. Data from multiple sources reveal a significant gap in sports participation by income level. A combination of factors is responsible. Spending cuts and changing priorities at some public schools have curtailed physical education classes and organized sports. At the same time, privatized youth sports have become a multibillion- dollar enterprise offering new opportunities — at least for families that can afford hundreds to thousands of dollars each season for club-team fees, uniforms, equipment, travel to tournaments and private coaching. "What's happened as sports has become privatized is that it has become the haves and have-nots," said Jon Solomon, editorial director for the Aspen Institute Sports and Society Program. "Particularly for low-income kids, if they don't have access to sports within the school setting, where are they going to get their physical activity?" Mr. Solomon said. "The answer is nowhere." The New York Times. 24 March 2023. Adaptado. Considerado o contexto, o termo "far", na expressão "far less" (2º parágrafo), expressa

The main players in the Spanish–Aztec War (1519–21) are well known: Hernán Cortés and Montezuma. Lesser-known, though no less important, is a multilingual exiled Aztec woman who was enslaved, then served as a guide and interpreter, then became Cortés's mistress. She was known as Doña Marina, and as La Malinche. Scholar and researcher Cordelia Candelaria writes: her paramount value to the Spaniards was not merely linguistic. She was an interpreter/liaison who served as a guide to the region, as an advisor on native customs and beliefs, and as a strategist. La Malinche was the daughter of an Aztec cacique (chief). This gave her an unusual level of education, which she would later leverage as a guide and interpreter for the Spanish. Throughout Cortés's travels, she became indispensable as a translator, not only capable of functionally translating from one language to the other, but of speaking compellingly, strategizing, and forging political connections. Integral as she was to Spain's success, La Malinche is a controversial figure. Candelaria quotes T. R. Fehrenbach as saying, "If there is one villainess in Mexican history, she is La Malinche. She was to become the ethnic traitress supreme." But Candelaria argues that La Malinche's act of turning her back on her own people makes more psychological sense when we consider that, at a young age, she had been sold by her own mother into slavery. Candelaria asks, "What else could this outcast from the Aztecs, 'her own people,' have done?" Disponível em https://daily.jstor.org/. Adaptado. Segundo o texto, em relação à imagem de La Malinche como traidora do povo Asteca, a pesquisadora Cordelia Candelaria argumenta que a intérprete

TEXTO PARA AS QUESTÕES DE 35 A 37 From French electronic and Japanese indie to K-pop and Spanish jazz, it's common for people to listen to songs they don't necessarily understand. Not knowing the language of the lyrics, it seems, doesn't stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn't make or break their appreciation of a song. But why? "It's a complicated answer," said musicologist Lisa Decenteceo, adding that it all starts with what's called "sound symbolism." Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn't have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there's something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people's responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale. "Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel," explains Thea Tolentino, a music teacher. The human brain is wired to respond to sound, she added. In a process called entrainment, the brain "synchronizes our breathing, our movement, even neural activities with the sounds we hear." This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. "Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues," said Decenteceo. What all these things do, she added, is liberate the words. "Song frees the voice from any burden of saying anything meaningful". It's important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there's value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language. Disponível em https://www.vice.com/. March, 2022. Adaptado. De acordo com o texto, os estudos sobre as propriedades do som

TEXTO PARA AS QUESTÕES DE 35 A 37 From French electronic and Japanese indie to K-pop and Spanish jazz, it's common for people to listen to songs they don't necessarily understand. Not knowing the language of the lyrics, it seems, doesn't stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn't make or break their appreciation of a song. But why? "It's a complicated answer," said musicologist Lisa Decenteceo, adding that it all starts with what's called "sound symbolism." Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn't have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there's something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people's responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale. "Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel," explains Thea Tolentino, a music teacher. The human brain is wired to respond to sound, she added. In a process called entrainment, the brain "synchronizes our breathing, our movement, even neural activities with the sounds we hear." This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. "Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues," said Decenteceo. What all these things do, she added, is liberate the words. "Song frees the voice from any burden of saying anything meaningful". It's important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there's value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language. Disponível em https://www.vice.com/. March, 2022. Adaptado. Na frase "there are certain musical techniques that are generally used to convey certain moods" (2º parágrafo), a palavra "convey" poderia ser substituída, sem prejuízo de sentido, por

TEXTO PARA AS QUESTÕES DE 35 A 37 From French electronic and Japanese indie to K-pop and Spanish jazz, it's common for people to listen to songs they don't necessarily understand. Not knowing the language of the lyrics, it seems, doesn't stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn't make or break their appreciation of a song. But why? "It's a complicated answer," said musicologist Lisa Decenteceo, adding that it all starts with what's called "sound symbolism." Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn't have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there's something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people's responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale. "Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel," explains Thea Tolentino, a music teacher. The human brain is wired to respond to sound, she added. In a process called entrainment, the brain "synchronizes our breathing, our movement, even neural activities with the sounds we hear." This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. "Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues," said Decenteceo. What all these things do, she added, is liberate the words. "Song frees the voice from any burden of saying anything meaningful". It's important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there's value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language. Disponível em https://www.vice.com/. March, 2022. Adaptado. De acordo com o texto, os aspectos físicos relacionados com elementos tanto do som quanto da música são

TEXTO PARA AS QUESTÕES DE 51 A 53 The expression "dark doldrums" chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless. The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weeks- long "wind drought," and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges. We already have one kind of renewable energy storage: more than ninety per cent of the world's energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage. The New Yorker. Abril, 2022. Adaptado. No texto, a expressão "dark doldrums" descreve:

TEXTO PARA AS QUESTÕES DE 51 A 53 The expression "dark doldrums" chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless. The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weeks- long "wind drought," and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges. We already have one kind of renewable energy storage: more than ninety per cent of the world's energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage. The New Yorker. Abril, 2022. Adaptado. Na frase "But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge." (2º parágrafo), "dwindles" poderia ser substituído, sem prejuízo de sentido, por

TEXTO PARA AS QUESTÕES DE 51 A 53 The expression "dark doldrums" chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless. The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weeks- long "wind drought," and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges. We already have one kind of renewable energy storage: more than ninety per cent of the world's energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage. The New Yorker. Abril, 2022. Adaptado. Segundo o texto, quando a geração de energia por células solares ou turbinas eólicas é insuficiente para atender à demanda, uma fonte de energia alternativa envolveria a conversão de

If you take a look at my smartphone, you'll know that I like to order out. But am I helping the small local businesses? You would think that if you own a restaurant you'd be thrilled to have an outsourced service that would take care of your delivery operations while leveraging their marketing might to expand your businesses' brand. However, restaurant owners have complained of lack of quality control once their food goes out the door. They don't like that the delivery people are the face of their product when it gets into the customer's hand. Some of the delivery services have been accused of listing restaurants on their apps without the owners' permission, and oftentimes publish menu items and prices that are incorrect or out of date. But there is another reason why restaurant owners aren't fond of delivery services. It's the costs, which, for some, are becoming unsustainable. Even with the increased revenues from the delivery services, the fees wind up killing a restaurant's margins to the extent that it's at best marginally profitable. Therefore, some restaurants are pushing harder to drive orders from their own websites and offering special deals for customers that use their in-house delivery people. The simple fact is that these delivery apps are here to stay. They are enormously popular and have significantly grown. I believe that restaurant owners that resist these apps are hurting their brands by missing out on potential customers. The good news is that the delivery platforms are not as evil as some would portray them. They have some skin in the game. They are competing against other services. They want their listed restaurants to profit. Maybe instead of fighting, the nation's restaurant industry needs to proactively embrace the delivery service industry and figure out ways to profitably work together. The Guardian. 02 December, 2020. Adaptado. De acordo com o texto, para os proprietários de restaurante, a principal vantagem dos aplicativos de entrega de comida é que eles

If you take a look at my smartphone, you'll know that I like to order out. But am I helping the small local businesses? You would think that if you own a restaurant you'd be thrilled to have an outsourced service that would take care of your delivery operations while leveraging their marketing might to expand your businesses' brand. However, restaurant owners have complained of lack of quality control once their food goes out the door. They don't like that the delivery people are the face of their product when it gets into the customer's hand. Some of the delivery services have been accused of listing restaurants on their apps without the owners' permission, and oftentimes publish menu items and prices that are incorrect or out of date. But there is another reason why restaurant owners aren't fond of delivery services. It's the costs, which, for some, are becoming unsustainable. Even with the increased revenues from the delivery services, the fees wind up killing a restaurant's margins to the extent that it's at best marginally profitable. Therefore, some restaurants are pushing harder to drive orders from their own websites and offering special deals for customers that use their in-house delivery people. The simple fact is that these delivery apps are here to stay. They are enormously popular and have significantly grown. I believe that restaurant owners that resist these apps are hurting their brands by missing out on potential customers. The good news is that the delivery platforms are not as evil as some would portray them. They have some skin in the game. They are competing against other services. They want their listed restaurants to profit. Maybe instead of fighting, the nation's restaurant industry needs to proactively embrace the delivery service industry and figure out ways to profitably work together. The Guardian. 02 December, 2020. Adaptado. Segundo o texto, uma das soluções encontradas pelos donos de restaurante para amenizar os problemas com os serviços de entrega é

If you take a look at my smartphone, you'll know that I like to order out. But am I helping the small local businesses? You would think that if you own a restaurant you'd be thrilled to have an outsourced service that would take care of your delivery operations while leveraging their marketing might to expand your businesses' brand. However, restaurant owners have complained of lack of quality control once their food goes out the door. They don't like that the delivery people are the face of their product when it gets into the customer's hand. Some of the delivery services have been accused of listing restaurants on their apps without the owners' permission, and oftentimes publish menu items and prices that are incorrect or out of date. But there is another reason why restaurant owners aren't fond of delivery services. It's the costs, which, for some, are becoming unsustainable. Even with the increased revenues from the delivery services, the fees wind up killing a restaurant's margins to the extent that it's at best marginally profitable. Therefore, some restaurants are pushing harder to drive orders from their own websites and offering special deals for customers that use their in-house delivery people. The simple fact is that these delivery apps are here to stay. They are enormously popular and have significantly grown. I believe that restaurant owners that resist these apps are hurting their brands by missing out on potential customers. The good news is that the delivery platforms are not as evil as some would portray them. They have some skin in the game. They are competing against other services. They want their listed restaurants to profit. Maybe instead of fighting, the nation's restaurant industry needs to proactively embrace the delivery service industry and figure out ways to profitably work together. The Guardian. 02 December, 2020. Adaptado. Em "I believe that restaurant owners that resist these apps are hurting their brands by missing out on potential customers" (3º parágrafo), a expressão sublinhada pode ser substituída, sem prejuízo de sentido, por:

Lying, thinking Last night How to find my soul a home Where water is not thirsty And bread loaf is not stone I came up with one thing And I don't believe I'm wrong That nobody, But nobody Can make it out here alone Alone - Maya Angelou Os versos do poema

As astronomers gaze into the depths of space, they do so with unease: They don’t know precisely what the universe is made of.Surprisingly, no one knows the stars’ exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element.These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds.Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don’t know exactly what the sun is made of. As a result, they don’t know what the other stars are made of, either.“The sun is a fundamental yardstick,” says Martin Asplund, an astrophysicist at the Max Planck Institute for Astrophysics in Garching, Germany. “When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point. ”The sun’s location in the Milky Way also makes it a good representative of the entire galaxy.most stars in the universe reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos.For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the sun’s. Most stars near us do; some don’t. Segundo o texto, conhecer a composição de elementos químicos que constituem as estrelas é fundamental, pois ela, entre outros aspectos,

As astronomers gaze into the depths of space, they do so with unease: They don’t know precisely what the universe is made of.Surprisingly, no one knows the stars’ exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element.These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds.Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don’t know exactly what the sun is made of. As a result, they don’t know what the other stars are made of, either.“The sun is a fundamental yardstick,” says Martin Asplund, an astrophysicist at the Max Planck Institute for Astrophysics in Garching, Germany. “When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point. ”The sun’s location in the Milky Way also makes it a good representative of the entire galaxy.most stars in the universe reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos.For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the sun’s. Most stars near us do; some don’t.No texto, o astrofísico Martin Asplund emprega a frase "The sun is a fundamental yardstick" por considerar o Sol

As astronomers gaze into the depths of space, they do so with unease: They don’t know precisely what the universe is made of.Surprisingly, no one knows the stars’ exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element.These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds.Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don’t know exactly what the sun is made of. As a result, they don’t know what the other stars are made of, either.“The sun is a fundamental yardstick,” says Martin Asplund, an astrophysicist at the Max Planck Institute for Astrophysics in Garching, Germany. “When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point. ”The sun’s location in the Milky Way also makes it a good representative of the entire galaxy.most stars in the universe reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos.For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the sun’s. Most stars near us do; some don’t.Conforme o texto, um critério tradicionalmente utilizado por astrônomos para avaliar estrelas envolve

Texto para a questão: I knew Tik Tok existed, but I didn't fully understand what it was until a few months ago. I also realized that something radical, yet largely in visible, is happening on the internet-with implications we still don't understand. When I was growing up, I took it for granted that the people who became famous enough to be listened to by a crowd had worked hard for that accolade and generally operated with the support of an institution or an established industry. The idea that, as a teenager in my bedroom, might suddenly communicate with 100,000 people or more, would have seemed bizarre. Today's kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds are often constrained by parental controls, a lack of access to the outdoors and insane over-scheduling. But despite that (or, more accurately, in reaction to that), they see the internet as a constantly evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a voice. Most voices on the internet never travel beyond a relatively small network, and much of the content that goes viral on platforms such as Tik Tok, YouTube or Instagram does so because of unseen institutions at work (for example, a public relations team aiming to boost a celebrity's profile). Fame can suddenly appear - and then just as suddenly be taken away again, because the audience gets bored, the platform's algorithms change or the cultural trend that a breakout video has tapped into goes out of fashion. For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of lights suddenly flare up and then die down, moving in an unpredictable, capricious display Is this a bad thing? We will not know for several years. Financial Times. 5 February 20 20. Adaptado. Conforme o texto, um aspecto associado ao caráter efêmero da popularidade de um usuário da internet, relativo ao uso de plataformas como TikTok, é

Texto para a questão: I knew Tik Tok existed, but I didn't fully understand what it was until a few months ago. I also realized that something radical, yet largely in visible, is happening on the internet-with implications we still don't understand. When I was growing up, I took it for granted that the people who became famous enough to be listened to by a crowd had worked hard for that accolade and generally operated with the support of an institution or an established industry. The idea that, as a teenager in my bedroom, might suddenly communicate with 100,000 people or more, would have seemed bizarre. Today's kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds are often constrained by parental controls, a lack of access to the outdoors and insane over-scheduling. But despite that (or, more accurately, in reaction to that), they see the internet as a constantly evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a voice. Most voices on the internet never travel beyond a relatively small network, and much of the content that goes viral on platforms such as Tik Tok, YouTube or Instagram does so because of unseen institutions at work (for example, a public relations team aiming to boost a celebrity's profile). Fame can suddenly appear - and then just as suddenly be taken away again, because the audience gets bored, the platform's algorithms change or the cultural trend that a breakout video has tapped into goes out of fashion. For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of lights suddenly flare up and then die down, moving in an unpredictable, capricious display Is this a bad thing? We will not know for several years. Financial Times. 5 February 20 20. Adaptado. No texto, a referência a um jardim de verão ao entardecer, repleto de vagalumes, sugere que, para os adolescentes, as mídias sociais

I ain't gonna work on Maggie's farm no more I ain't gonna work on Maggie's farm no more Well, I wake up in the morning Fold my hands and pray for rain I got a head full of ideas That are drivin' me insane It's a shame the way she makes me scrub the floor I ain't gonna work on Maggie's farm no more I ain't gonna work for Maggie's brother no more I ain't gonna work for Maggie's brother no more Well, he hands you a nickel He hands yo ua dime He asks you with a grin If you're havin' a good time Then he fines you every time you slam the door I ain't gonna work for Maggie's brother no more I ain't gonna work for Maggie's pa no more No, I ain't gonna work for Maggie's pa no more Well, he puts his cigar o utin your face just for kicks His bedroom windowit is made out of bricks The National Guard stands around his door Ah, I ain't gonna work for Maggie's pa no more, alright Bob Dylan, "Maggie's Farm", do álbum Bringing it all back home, 1965. Nestas estrofes, o conjunto de cenas descritas mostra que a principal dificuldade experimentada pela pessoa cuja história é contada na letra da música refere-se

Leia os provérbios: 1. Don't count your chickens before they lay eggs. 2. Don't bite the hand that feeds you. 3. Every cloud has a silver lining. A alternativa que melhor expressa a ideia contida em cada um dos três provérbios, na ordem em que aparecem, é:

Assigning female genders to digital assistants such as Apple's Siri and Amazon's Alexa is helping entrench harmful gender biases, according to a UN agency. Research released by Unesco claims that the often submissive and flirty responses offered by the systems to many queries – including outright abusive ones – reinforce ideas of women as subservient. "Because the speech of most voice assistants is female, it sends a signal that women are obliging, docile and eager‐to‐ please helpers, available at the touch of a button or with a blunt voice command like 'hey' or 'OK'", the report said. "The assistant holds no power of agency beyond what the commander asks of it. It honours commands and responds to queries regardless of their tone or hostility. In many communities, this reinforces commonly held gender biases that women are subservient and tolerant of poor treatment." The Unesco publication was entitled "I'd Blush if I Could"; a reference to the response Apple's Siri assistant offers to the phrase: "You're a slut." Amazon's Alexa will respond: "Well, thanks for the feedback." The paper said such firms were "staffed by overwhelmingly male engineering teams" and have built AI (Artificial Intelligence) systems that "cause their feminised digital assistants to greet verbal abuse with catch‐me‐if‐you‐can flirtation". Saniye Gülser Corat, Unesco's director for gender equality, said: "The world needs to pay much closer attention to how, when and whether AI technologies are gendered and, crucially, who is gendering them." The Guardian, May, 2019. Adaptado. Conforme o texto, em relação às mulheres, um efeito decorrente do fato de assistentes digitais reforçarem estereótipos de gênero é

Assigning female genders to digital assistants such as Apple's Siri and Amazon's Alexa is helping entrench harmful gender biases, according to a UN agency. Research released by Unesco claims that the often submissive and flirty responses offered by the systems to many queries – including outright abusive ones – reinforce ideas of women as subservient. "Because the speech of most voice assistants is female, it sends a signal that women are obliging, docile and eager‐to‐ please helpers, available at the touch of a button or with a blunt voice command like 'hey' or 'OK'", the report said. "The assistant holds no power of agency beyond what the commander asks of it. It honours commands and responds to queries regardless of their tone or hostility. In many communities, this reinforces commonly held gender biases that women are subservient and tolerant of poor treatment." The Unesco publication was entitled "I'd Blush if I Could"; a reference to the response Apple's Siri assistant offers to the phrase: "You're a slut." Amazon's Alexa will respond: "Well, thanks for the feedback." The paper said such firms were "staffed by overwhelmingly male engineering teams" and have built AI (Artificial Intelligence) systems that "cause their feminised digital assistants to greet verbal abuse with catch‐me‐if‐you‐can flirtation". Saniye Gülser Corat, Unesco's director for gender equality, said: "The world needs to pay much closer attention to how, when and whether AI technologies are gendered and, crucially, who is gendering them." The Guardian, May, 2019. Adaptado. Segundo o texto, o título do relatório publicado pela Unesco ‐ "I´d Blush if I Could" ‐, no que diz respeito aos assistentes digitais, indica