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Text 7A2-II
In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.
I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.
As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.
Where is the Art? A History in Technology.
Internet: <https://www.infoq.com> (adapted).
Each of the following options presents a different version of the last sentence of the second paragraph of text 7A2-II. Choose the option in which not only are the correctness and the original meaning of the fragment maintained, but also is the reported indirect speech used correctly.
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Texto 6A1
Uma empresa deseja maximizar seus lucros na produção de embalagens para alimentos líquidos. Ela produz dois tipos de embalagens: embalagem E1, cuja capacidade é de 500 ml, e embalagem E2, cuja capacidade é de 750 ml. O único ponto crítico na produção é a mão de obra disponível. A produção da embalagem E2 consome 25% a mais de mão de obra que a da embalagem E1. Se toda mão de obra fosse concentrada na produção da embalagem E1, a empresa poderia entregar 1.200 unidades por dia. A demanda de mercado limita a produção diária em 900 embalagens E1 e em 460 embalagens E2. O lucro bruto na comercialização de cada embalagem é de R$ 4,00 para E1 e de R$ 3,00 para E2.
Considerando o modelo de solução pelo método simplex, julgue os itens a seguir, relativos à situação apresentada no texto 6A1.
I A restrição de demanda para E1 é representada pela equação 0 ≤ E1 ≤ 900.
II A restrição da mão de obra é representada pela equação 0 ≤ E2 ≤ 0,25E1.
III A restrição associada ao acoplamento das variáveis E1 e E2 é representada pela equação E1 + 1,25 E2 = 1.200.
IV A função-objetivo do problema é dada pela maximização de z = 4E1 + 3E1.
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