A corrente I1 é

Algoritmo

var

valores : Matriz [1..3,1..3] de real

sl3, sc2, sdp, sdc, st: real

i, j: inteiro

inicio

sl3!$ \leftarrow !$ 0

sc2!$ \leftarrow !$ 0

sdp !$ \leftarrow !$0

sdc!$ \leftarrow !$ 0

st !$ \leftarrow !$0

para i de 1 até 3 faça

para j de 1 até 3 faça

leia (valores[i,j])

st !$ \leftarrow !$valores[i,j] + st

se i=3 então

sl3!$ \leftarrow !$ valores [i,j] + sl3

fimse

se j=2 então

sc2 !$ \leftarrow !$valores [i,j] + sc2

fimse

se i=j então

sdp !$ \leftarrow !$valores [i,j] + sdp

fimse

se j=4-i então

sdc!$ \leftarrow !$ valores [i,j]+ sdc

fimse

fimpara

fimpara

para i de 1 até 3 faça

para j de 1 até 3 faça

escreva (valores [i,j])

fimpara

fimpara

escreva (st )

escreva (sl3)

escreva (sc2)

escreva (sdp)

escreva (sdc)

fimalgoritmo

Marque a alternativa que representa CORRETAMENTE a saída gerada pelo algoritmo, considerando os seguintes valores de entrada { 3; 1; -5; 7; -2; 4; -2; 5; 8 }.

A Unidade joule/coulomb refere-se a qual grandeza?

“As técnicas numéricas de animação encontraram um vasto campo de utilização no cinema de animação. Elas lhe trouxeram novos meios ao mesmo tempo que se inscreveram em estéticas e meios técnicos tradicionais. Certos realizadores também vislumbraram nessas técnicas a ocasião de dar um novo vigor a esse gênero cinematográfico.”

Considerando as idéias de Edmond Couchot, artista, teórico e pesquisador, sobre as técnicas numéricas no cinema de animação, assinale com V (verdadeira) ou F (falsa) as afirmações que seguem:

( ) As técnicas de numerização permitem, pouco a pouco, integrar qualquer tipo de imagem (desenho, pintura, imagem fotográfica, cinematográfica ou videográfica) e, tão logo seja numerizada, é possível submetê-la aos tratamentos desejados. Mas serão principalmente as imagens calculadas que irão se animar.

( ) O filme de Steven Spilberg, Jurassic Park (1993) – cujos dinossauros, inteiramente realizados em imagens de síntese tridimensionais animadas, são incrustados num filme rodado com atores verdadeiros e em cenários naturais, sem que suspeitemos sua origem artificial – marca uma etapa importante na apropriação dessas técnicas pelo cinema.

( ) Considerado no seu início pelos artistas como um meio de simular o processo de criação, a imagem de síntese, através da animação e aquisição da terceira dimensão, busca ser cada vez mais realista. Ela visa reproduzir com a mais fiel exatidão e da maneira mais automática possível a aparência fenomenal do real.

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

Considerando a evolução do conceito de diversidade, segundo o estudo intitulado “UNESCO e a questão da diversidade cultural: revisão e estratégia 1946-2000”, citado por Nina Obuljen, na obra Diversidade cultural: globalização e culturas locais: dimensões, efeitos e perspectivas, é correto afirmar que o atual Plano Nacional de Cultura (PNC) em discussão no país

Read the following excerpt from Nathaniel Hawthorne’s The scarlet letter in order to answer the question.

The scarlet letter

‘’The door of the jail being flung open from within, there appeared, in first place, like a black shadow emerging into the sunshine, the grim and grisly presence of a guard, with a sword by his side. This personage prefigured and represented in his aspect the whole dismal severity of the Puritanic code of law, which it was his business to administer in its final and closest application to the offender. Stretching forth his left hand, he laid his right upon the shoulder of a young woman, whom he thus drew forward; until, on the edge of the prison door, she repelled him, by an action marked with natural dignity and force of character, and stepped into the open air, as if by her own free will. She bore in her arms a child, a baby some three months old, who winked and turned aside its little face from the too vivid light of day; because its existence, until now, had brought it acquainted only with the gray twilight of a dungeon, or other darksome apartment on the prison.

When the young woman – the mother of this child – stood fully revealed before the crowd, it seemed to be her first impulse to clasp the infant closely to her bosom; not so much by an impulse of motherly affection, as that thereby she might conceal a certain token, which was wrought or fastened into her dress. In a moment, however, wisely judging that one token of her shame would but poorly serve to hide another, she took the baby on her arm, and, with a burning blush, and yet a haughty smile, and a glance that would not be abashed, looked around at her townspeople and neighbors. On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread, appeared the letter ‘’A’’. It was so artistically done, and with so much fertility and gorgeous luxuriance decoration to the apparel which she wore; and which was of a splendor in accordance with the taste of the age, but greatly beyond what was allowed by the regulations of the colony.

The young woman was tall, with a figure of perfect elegance, on a large scale. She had dark and abundant hair, so glossy that it threw off the sunshine with a gleam, and a face which, besides being beautiful from regularity of feature and richness of complexion, had the impressiveness belonging to a marked brow and deep black eyes. She was lady-like, too, after the manner of the feminine gentility of those days; characterized by a certain state and dignity, rather than by the delicate, evanescent, and indescribable grace, which is now recognized as its indication. And never had Hester Prynne appeared more lady-like, in the antique interpretation of the term, than as she issued from the prison. Those who had before known her, and had expected to behold her dimmed and obscured by a disastrous cloud, were astonished, and even startled, to perceive how her beauty shone out, and made a halo of the misfortune and ignominy in which she was enveloped. It may be true, that, to a sensitive observer, there was something exquisitely painful in it. Her attire, which, indeed, she had wrought for the occasion, in prison, and had modeled much after her own fancy, seemed to express the attitude of her spirit, the desperate recklessness of her mood, by its wild and picturesque peculiarity. But the point which drew all the eyes of the surrounding crowd, and, as it were, transfigured the wearer, - so that both men and women who had been familiarly acquainted with Hester Prynne, were now impressed as if they beheld her for the first time, - was that SCARLET LETTER, fantastically embroidered and illuminated upon her bosom. It had the effect of a spell, taking her out of the ordinary relations with humanity, and inclosing her in a sphere by herself”.

HAWTHORNE, N. The scarlet letter. New York: Dover Publications, 1994.

O ar comprimido é um meio de comando e de trabalho indispensável nos mais diferentes ramos industriais. Em relação às propriedades do ar comprimido utilizado em sistemas pneumáticos, o que é INCORRETO afirmar?

A defasagem entre a tensão e a corrente da fonte, e a potência aparente total do circuito são, respectivamente,

Analise o algoritmo abaixo e

Algoritmo

var

numeros : vetor[0..5] de inteiro

aux, indice : inteiro

outro : inteiro

inicio

para aux de 0 até 5 passo 1 faça

escreva(aux+1, " Numero= ")

leia(numeros[aux])

fimpara

para aux de 0 até 5 passo 1 faça

para indice de aux+1*aux até 5 passo 1 faça

se (numeros[aux] > numeros[indice]) então

outro !$ \leftarrow !$numeros[indice]

numeros[indice] !$ \leftarrow !$numeros[aux]

numeros[aux] !$ \leftarrow !$outro

fimse

fimpara

fimpara

para aux de 0 até 5 passo 1 faça

escreval(aux+1," Numero= ",numeros[aux])

fimpara

fimalgoritmo

marque a opção CORRETA que representa a saída gerada pelo algoritmo, considerando os seguintes valores de entrada { 17; 7; 12; 27; 9; 15 }.

In the cases of ellipses below, applied because the meanings of the omitted words are clear from the context, the examples in all the alternatives are correct, EXCEPT for