Questões de Concurso Comentadas sobre inglês
Foram encontradas 12.328 questões
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326034
Inglês
Texto associado
Read Text II and answer the question that follow it
Text II
Boy cries Wolf
After astonishing breakthroughs in artificial intelligence,
many people worry that they will end up on the economic
scrapheap. Global Google searches for “is my job safe?” have
doubled in recent months, as people fear that they will be
replaced with large language models (LLMS). Some evidence
suggests that widespread disruption is coming. In a recent paper
Tyna Eloundou of OpenAI and colleagues say that “around 80% of
the US workforce could have at least 10% of their work tasks
affected by the introduction of LLMS”. Another paper suggests
that legal services, accountancy and travel agencies will face
unprecedented upheaval.
Economists, however, tend to enjoy making predictions about
automation more than they enjoy testing them. In the early
2010s many of them loudly predicted that robots would kill jobs
by the millions, only to fall silent when employment rates across
the rich world rose to all-time highs. Few of the doom-mongers
have a good explanation for why countries with the highest rates
of tech usage around the globe, such as Japan, Singapore and
South Korea, consistently have among the lowest rates of
unemployment.
Here we introduce our first attempt at tracking AI’s impact on
jobs. Using American data on employment by occupation, we
single out white-collar workers. These include people working in
everything from back-office support and financial operations to
copy-writers. White-collar roles are thought to be especially
vulnerable to generative AI, which is becoming ever better at
logical reasoning and creativity.
However, there is as yet little evidence of an AI hit to
employment. In the spring of 2020 white-collar jobs rose as a
share of the total, as many people in service occupations lost
their job at the start of the covid-19 pandemic. The white-collar
share is lower today, as leisure and hospitality have recovered.
Yet in the past year the share of employment in professions
supposedly at risk from generative AI has risen by half a
percentage point.
It is, of course, early days. Few firms yet use generative-AI
tools at scale, so the impact on jobs could merely be delayed.
Another possibility, however, is that these new technologies will
end up destroying only a small number of roles. While AI may be
efficient at some tasks, it may be less good at others, such as
management and working out what others need.
AI could even have a positive effect on jobs. If workers using
it become more efficient, profits at their company could rise
which would then allow bosses to ramp up hiring. A recent survey
by Experis, an IT-recruitment firm, points to this possibility. More
than half of Britain’s employers expect AI technologies to have a
positive impact on their headcount over the next two years, it
finds.
To see how it all shakes out, we will publish updates to this
analysis every few months. But for now, a jobs apocalypse seems
a way off.
From The Economist June 17th 2023, p. 71
By calling some economists “doom-mongers” in “Few of the
doom-mongers have a good explanation” (2nd paragraph), the
authors
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326033
Inglês
Texto associado
Read Text II and answer the question that follow it
Text II
Boy cries Wolf
After astonishing breakthroughs in artificial intelligence,
many people worry that they will end up on the economic
scrapheap. Global Google searches for “is my job safe?” have
doubled in recent months, as people fear that they will be
replaced with large language models (LLMS). Some evidence
suggests that widespread disruption is coming. In a recent paper
Tyna Eloundou of OpenAI and colleagues say that “around 80% of
the US workforce could have at least 10% of their work tasks
affected by the introduction of LLMS”. Another paper suggests
that legal services, accountancy and travel agencies will face
unprecedented upheaval.
Economists, however, tend to enjoy making predictions about
automation more than they enjoy testing them. In the early
2010s many of them loudly predicted that robots would kill jobs
by the millions, only to fall silent when employment rates across
the rich world rose to all-time highs. Few of the doom-mongers
have a good explanation for why countries with the highest rates
of tech usage around the globe, such as Japan, Singapore and
South Korea, consistently have among the lowest rates of
unemployment.
Here we introduce our first attempt at tracking AI’s impact on
jobs. Using American data on employment by occupation, we
single out white-collar workers. These include people working in
everything from back-office support and financial operations to
copy-writers. White-collar roles are thought to be especially
vulnerable to generative AI, which is becoming ever better at
logical reasoning and creativity.
However, there is as yet little evidence of an AI hit to
employment. In the spring of 2020 white-collar jobs rose as a
share of the total, as many people in service occupations lost
their job at the start of the covid-19 pandemic. The white-collar
share is lower today, as leisure and hospitality have recovered.
Yet in the past year the share of employment in professions
supposedly at risk from generative AI has risen by half a
percentage point.
It is, of course, early days. Few firms yet use generative-AI
tools at scale, so the impact on jobs could merely be delayed.
Another possibility, however, is that these new technologies will
end up destroying only a small number of roles. While AI may be
efficient at some tasks, it may be less good at others, such as
management and working out what others need.
AI could even have a positive effect on jobs. If workers using
it become more efficient, profits at their company could rise
which would then allow bosses to ramp up hiring. A recent survey
by Experis, an IT-recruitment firm, points to this possibility. More
than half of Britain’s employers expect AI technologies to have a
positive impact on their headcount over the next two years, it
finds.
To see how it all shakes out, we will publish updates to this
analysis every few months. But for now, a jobs apocalypse seems
a way off.
From The Economist June 17th 2023, p. 71
If someone ends up “on the economic scrapheap” (1st paragraph),
this person will feel
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326032
Inglês
Texto associado
Read Text II and answer the question that follow it
Text II
Boy cries Wolf
After astonishing breakthroughs in artificial intelligence,
many people worry that they will end up on the economic
scrapheap. Global Google searches for “is my job safe?” have
doubled in recent months, as people fear that they will be
replaced with large language models (LLMS). Some evidence
suggests that widespread disruption is coming. In a recent paper
Tyna Eloundou of OpenAI and colleagues say that “around 80% of
the US workforce could have at least 10% of their work tasks
affected by the introduction of LLMS”. Another paper suggests
that legal services, accountancy and travel agencies will face
unprecedented upheaval.
Economists, however, tend to enjoy making predictions about
automation more than they enjoy testing them. In the early
2010s many of them loudly predicted that robots would kill jobs
by the millions, only to fall silent when employment rates across
the rich world rose to all-time highs. Few of the doom-mongers
have a good explanation for why countries with the highest rates
of tech usage around the globe, such as Japan, Singapore and
South Korea, consistently have among the lowest rates of
unemployment.
Here we introduce our first attempt at tracking AI’s impact on
jobs. Using American data on employment by occupation, we
single out white-collar workers. These include people working in
everything from back-office support and financial operations to
copy-writers. White-collar roles are thought to be especially
vulnerable to generative AI, which is becoming ever better at
logical reasoning and creativity.
However, there is as yet little evidence of an AI hit to
employment. In the spring of 2020 white-collar jobs rose as a
share of the total, as many people in service occupations lost
their job at the start of the covid-19 pandemic. The white-collar
share is lower today, as leisure and hospitality have recovered.
Yet in the past year the share of employment in professions
supposedly at risk from generative AI has risen by half a
percentage point.
It is, of course, early days. Few firms yet use generative-AI
tools at scale, so the impact on jobs could merely be delayed.
Another possibility, however, is that these new technologies will
end up destroying only a small number of roles. While AI may be
efficient at some tasks, it may be less good at others, such as
management and working out what others need.
AI could even have a positive effect on jobs. If workers using
it become more efficient, profits at their company could rise
which would then allow bosses to ramp up hiring. A recent survey
by Experis, an IT-recruitment firm, points to this possibility. More
than half of Britain’s employers expect AI technologies to have a
positive impact on their headcount over the next two years, it
finds.
To see how it all shakes out, we will publish updates to this
analysis every few months. But for now, a jobs apocalypse seems
a way off.
From The Economist June 17th 2023, p. 71
The adjective in “astonishing breakthroughs” (1st paragraph) is
similar in meaning to
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326031
Inglês
Texto associado
Read Text II and answer the question that follow it
Text II
Boy cries Wolf
After astonishing breakthroughs in artificial intelligence,
many people worry that they will end up on the economic
scrapheap. Global Google searches for “is my job safe?” have
doubled in recent months, as people fear that they will be
replaced with large language models (LLMS). Some evidence
suggests that widespread disruption is coming. In a recent paper
Tyna Eloundou of OpenAI and colleagues say that “around 80% of
the US workforce could have at least 10% of their work tasks
affected by the introduction of LLMS”. Another paper suggests
that legal services, accountancy and travel agencies will face
unprecedented upheaval.
Economists, however, tend to enjoy making predictions about
automation more than they enjoy testing them. In the early
2010s many of them loudly predicted that robots would kill jobs
by the millions, only to fall silent when employment rates across
the rich world rose to all-time highs. Few of the doom-mongers
have a good explanation for why countries with the highest rates
of tech usage around the globe, such as Japan, Singapore and
South Korea, consistently have among the lowest rates of
unemployment.
Here we introduce our first attempt at tracking AI’s impact on
jobs. Using American data on employment by occupation, we
single out white-collar workers. These include people working in
everything from back-office support and financial operations to
copy-writers. White-collar roles are thought to be especially
vulnerable to generative AI, which is becoming ever better at
logical reasoning and creativity.
However, there is as yet little evidence of an AI hit to
employment. In the spring of 2020 white-collar jobs rose as a
share of the total, as many people in service occupations lost
their job at the start of the covid-19 pandemic. The white-collar
share is lower today, as leisure and hospitality have recovered.
Yet in the past year the share of employment in professions
supposedly at risk from generative AI has risen by half a
percentage point.
It is, of course, early days. Few firms yet use generative-AI
tools at scale, so the impact on jobs could merely be delayed.
Another possibility, however, is that these new technologies will
end up destroying only a small number of roles. While AI may be
efficient at some tasks, it may be less good at others, such as
management and working out what others need.
AI could even have a positive effect on jobs. If workers using
it become more efficient, profits at their company could rise
which would then allow bosses to ramp up hiring. A recent survey
by Experis, an IT-recruitment firm, points to this possibility. More
than half of Britain’s employers expect AI technologies to have a
positive impact on their headcount over the next two years, it
finds.
To see how it all shakes out, we will publish updates to this
analysis every few months. But for now, a jobs apocalypse seems
a way off.
From The Economist June 17th 2023, p. 71
The title of the article means to
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326030
Inglês
Texto associado
Read Text II and answer the question that follow it
Text II
Boy cries Wolf
After astonishing breakthroughs in artificial intelligence,
many people worry that they will end up on the economic
scrapheap. Global Google searches for “is my job safe?” have
doubled in recent months, as people fear that they will be
replaced with large language models (LLMS). Some evidence
suggests that widespread disruption is coming. In a recent paper
Tyna Eloundou of OpenAI and colleagues say that “around 80% of
the US workforce could have at least 10% of their work tasks
affected by the introduction of LLMS”. Another paper suggests
that legal services, accountancy and travel agencies will face
unprecedented upheaval.
Economists, however, tend to enjoy making predictions about
automation more than they enjoy testing them. In the early
2010s many of them loudly predicted that robots would kill jobs
by the millions, only to fall silent when employment rates across
the rich world rose to all-time highs. Few of the doom-mongers
have a good explanation for why countries with the highest rates
of tech usage around the globe, such as Japan, Singapore and
South Korea, consistently have among the lowest rates of
unemployment.
Here we introduce our first attempt at tracking AI’s impact on
jobs. Using American data on employment by occupation, we
single out white-collar workers. These include people working in
everything from back-office support and financial operations to
copy-writers. White-collar roles are thought to be especially
vulnerable to generative AI, which is becoming ever better at
logical reasoning and creativity.
However, there is as yet little evidence of an AI hit to
employment. In the spring of 2020 white-collar jobs rose as a
share of the total, as many people in service occupations lost
their job at the start of the covid-19 pandemic. The white-collar
share is lower today, as leisure and hospitality have recovered.
Yet in the past year the share of employment in professions
supposedly at risk from generative AI has risen by half a
percentage point.
It is, of course, early days. Few firms yet use generative-AI
tools at scale, so the impact on jobs could merely be delayed.
Another possibility, however, is that these new technologies will
end up destroying only a small number of roles. While AI may be
efficient at some tasks, it may be less good at others, such as
management and working out what others need.
AI could even have a positive effect on jobs. If workers using
it become more efficient, profits at their company could rise
which would then allow bosses to ramp up hiring. A recent survey
by Experis, an IT-recruitment firm, points to this possibility. More
than half of Britain’s employers expect AI technologies to have a
positive impact on their headcount over the next two years, it
finds.
To see how it all shakes out, we will publish updates to this
analysis every few months. But for now, a jobs apocalypse seems
a way off.
From The Economist June 17th 2023, p. 71
Based on Text II, mark the statements below as TRUE (T) or FALSE
(F).
( ) Many believe AI will eventually make jobs redundant.
( ) The conclusion of the text is that the current outlook regarding employment is rather bleak.
( ) The authors prefer to probe forthcoming evidence before issuing unequivocal accounts.
The statements are, respectively,
( ) Many believe AI will eventually make jobs redundant.
( ) The conclusion of the text is that the current outlook regarding employment is rather bleak.
( ) The authors prefer to probe forthcoming evidence before issuing unequivocal accounts.
The statements are, respectively,
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326029
Inglês
Texto associado
Read Text I and answer the question that follow it.
Text I
Generative Art – What’s real?
There is nothing new about the concept and creation of
‘artificial intelligence art’ or ‘generative art’. However, discussion
of its legal and ethical or societal implications (both intended and
unintended) hit the headlines last week.
Boris Eldagsen refused his Sony World Photography Award
2023 prize in the creative open category on the basis that his
entry was the product of artificial intelligence. Mr Eldagsen
himself has sparked the latest debate by claiming that “AI is not
photography” and that the rationale for entering the Awards with
the work in question was “…to find out if the competitions are
prepared for AI images to enter. They are not”.
The reaction of the World Photography Organisation (running
the Sony Awards) has been to acknowledge the need for an
element of human involvement, which is the crux of the debate:
“While elements of AI practices are relevant in artistic contexts of
image-making, the Awards always have been and will continue to
be a platform for championing the excellence and skill of
photographers and artists working in this medium”.
[…]
The conventional (and long assumed) approach has been to
recognise the importance of the human hand to an artwork. The
question then is: to what extent is the human creator or inputter
the ‘artist’ as opposed to the generative system or is the system
merely representing the human creator or inputter’s artistic
idea? Flowing from that question is what that might then mean in
terms of the ownership and value of such works. The debate
looks set to continue in this particular context of imagery creation
and reproduction coinciding with the increasing availability and
use of consumer-grade AI image generation programmes, and
the natural inclination of artists to continue to create.
Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
The phrase “The crux of the debate” (3rd paragraph) is the same
as the
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326028
Inglês
Texto associado
Read Text I and answer the question that follow it.
Text I
Generative Art – What’s real?
There is nothing new about the concept and creation of
‘artificial intelligence art’ or ‘generative art’. However, discussion
of its legal and ethical or societal implications (both intended and
unintended) hit the headlines last week.
Boris Eldagsen refused his Sony World Photography Award
2023 prize in the creative open category on the basis that his
entry was the product of artificial intelligence. Mr Eldagsen
himself has sparked the latest debate by claiming that “AI is not
photography” and that the rationale for entering the Awards with
the work in question was “…to find out if the competitions are
prepared for AI images to enter. They are not”.
The reaction of the World Photography Organisation (running
the Sony Awards) has been to acknowledge the need for an
element of human involvement, which is the crux of the debate:
“While elements of AI practices are relevant in artistic contexts of
image-making, the Awards always have been and will continue to
be a platform for championing the excellence and skill of
photographers and artists working in this medium”.
[…]
The conventional (and long assumed) approach has been to
recognise the importance of the human hand to an artwork. The
question then is: to what extent is the human creator or inputter
the ‘artist’ as opposed to the generative system or is the system
merely representing the human creator or inputter’s artistic
idea? Flowing from that question is what that might then mean in
terms of the ownership and value of such works. The debate
looks set to continue in this particular context of imagery creation
and reproduction coinciding with the increasing availability and
use of consumer-grade AI image generation programmes, and
the natural inclination of artists to continue to create.
Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
In the first paragraph, the relation between the two sentences is
one of
Ano: 2023
Banca:
FGV
Órgão:
Câmara dos Deputados
Prova:
FGV - 2023 - Câmara dos Deputados - Analista Legislativo - Informática Legislativa - Manhã |
Q2326027
Inglês
Texto associado
Read Text I and answer the question that follow it.
Text I
Generative Art – What’s real?
There is nothing new about the concept and creation of
‘artificial intelligence art’ or ‘generative art’. However, discussion
of its legal and ethical or societal implications (both intended and
unintended) hit the headlines last week.
Boris Eldagsen refused his Sony World Photography Award
2023 prize in the creative open category on the basis that his
entry was the product of artificial intelligence. Mr Eldagsen
himself has sparked the latest debate by claiming that “AI is not
photography” and that the rationale for entering the Awards with
the work in question was “…to find out if the competitions are
prepared for AI images to enter. They are not”.
The reaction of the World Photography Organisation (running
the Sony Awards) has been to acknowledge the need for an
element of human involvement, which is the crux of the debate:
“While elements of AI practices are relevant in artistic contexts of
image-making, the Awards always have been and will continue to
be a platform for championing the excellence and skill of
photographers and artists working in this medium”.
[…]
The conventional (and long assumed) approach has been to
recognise the importance of the human hand to an artwork. The
question then is: to what extent is the human creator or inputter
the ‘artist’ as opposed to the generative system or is the system
merely representing the human creator or inputter’s artistic
idea? Flowing from that question is what that might then mean in
terms of the ownership and value of such works. The debate
looks set to continue in this particular context of imagery creation
and reproduction coinciding with the increasing availability and
use of consumer-grade AI image generation programmes, and
the natural inclination of artists to continue to create.
Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
Based on Text I, mark the statements below as true (T) or
false (F).
( ) The dawning of generative art has given rise to a quandary.
( ) The winner mentioned was thrilled with the prize he was awarded.
( ) The organization responsible for the award stood by their earlier statement that AI yields finer art than that of humans.
The statements are, respectively,
( ) The dawning of generative art has given rise to a quandary.
( ) The winner mentioned was thrilled with the prize he was awarded.
( ) The organization responsible for the award stood by their earlier statement that AI yields finer art than that of humans.
The statements are, respectively,
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324514
Inglês
Texto associado
Text 1A2-III
In January 1948, before three pistol shots put an end to his
life, Gandhi had been on the political stage for more than fifty
years. He had inspired two generations of Indian patriots, shaken
an empire and sparked off a revolution which was to change the
face of Africa and Asia. To millions of his own people, he was
the Mahatma — the great soul — whose sacred glimpse was a
reward in itself.
By the end of 1947 he had lived down much of the
suspicion, ridicule and opposition which he had to face, when he
first raised the banner of revolt against racial exclusiveness and
imperial domination. His ideas, once dismissed as quaint and
utopian, had begun to strike answering chords in some of the
finest minds in the world. “Generations to come, it may be,”
Einstein had said of Gandhi in July 1944, “will scarcely believe
that such a one as this ever in flesh and blood walked upon
earth.”
Though his life had been a continual unfolding of an
endless drama, Gandhi himself seemed the least dramatic of men.
It would be difficult to imagine a man with fewer trappings of
political eminence or with less of the popular image of a heroic
figure. With his loin cloth, steel-rimmed glasses, rough sandals, a
toothless smile and a voice which rarely rose above a whisper, he
had a disarming humility. He was, if one were to use the famous
words of the Buddha, a man who had “by rousing himself, by
earnestness, by restraint and control, made for himself an island
which no flood could overwhelm.”
Gandhi’s deepest strivings were spiritual, but he did
not — as had been the custom in his country — retire to a cave in
the Himalayas to seek his salvation. He carried his cave within
him. He did not know, he said, any religion apart from human
activity; the spiritual law did not work in a vacuum, but
expressed itself through the ordinary activities of life.
This aspiration to relate the spirit of religion to the
problems of everyday life runs like a thread through Gandhi’s
career: his uneventful childhood, the slow unfolding and the
near-failure of his youth, the reluctant plunge into the politics of
Natal, the long unequal struggle in South Africa, and the
vicissitudes of the Indian struggle for freedom, which under his
leadership was to culminate in a triumph not untinged with
tragedy.
B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted).
The word “quaint” (second sentence of the second paragraph), in
its use in text 1A2-III, means
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324513
Inglês
Texto associado
Text 1A2-III
In January 1948, before three pistol shots put an end to his
life, Gandhi had been on the political stage for more than fifty
years. He had inspired two generations of Indian patriots, shaken
an empire and sparked off a revolution which was to change the
face of Africa and Asia. To millions of his own people, he was
the Mahatma — the great soul — whose sacred glimpse was a
reward in itself.
By the end of 1947 he had lived down much of the
suspicion, ridicule and opposition which he had to face, when he
first raised the banner of revolt against racial exclusiveness and
imperial domination. His ideas, once dismissed as quaint and
utopian, had begun to strike answering chords in some of the
finest minds in the world. “Generations to come, it may be,”
Einstein had said of Gandhi in July 1944, “will scarcely believe
that such a one as this ever in flesh and blood walked upon
earth.”
Though his life had been a continual unfolding of an
endless drama, Gandhi himself seemed the least dramatic of men.
It would be difficult to imagine a man with fewer trappings of
political eminence or with less of the popular image of a heroic
figure. With his loin cloth, steel-rimmed glasses, rough sandals, a
toothless smile and a voice which rarely rose above a whisper, he
had a disarming humility. He was, if one were to use the famous
words of the Buddha, a man who had “by rousing himself, by
earnestness, by restraint and control, made for himself an island
which no flood could overwhelm.”
Gandhi’s deepest strivings were spiritual, but he did
not — as had been the custom in his country — retire to a cave in
the Himalayas to seek his salvation. He carried his cave within
him. He did not know, he said, any religion apart from human
activity; the spiritual law did not work in a vacuum, but
expressed itself through the ordinary activities of life.
This aspiration to relate the spirit of religion to the
problems of everyday life runs like a thread through Gandhi’s
career: his uneventful childhood, the slow unfolding and the
near-failure of his youth, the reluctant plunge into the politics of
Natal, the long unequal struggle in South Africa, and the
vicissitudes of the Indian struggle for freedom, which under his
leadership was to culminate in a triumph not untinged with
tragedy.
B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted).
The expression “lived down” (first sentence of the second
paragraph of text 1A2-III) means
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324512
Inglês
Texto associado
Text 1A2-II
I have often thought how interesting a magazine paper
might be written by any author who would—that is to say, who
could—detail, step by step, the processes by which any one of
his compositions attained its ultimate point of completion. Why
such a paper has never been given to the world, I am much at a
loss to say—but, perhaps, the authorial vanity has had more to do
with the omission than any one other cause. Most writers—poets
in especial—prefer having it understood that they compose by a
species of fine frenzy—an ecstatic intuition—and would
positively shudder at letting the public take a peep behind the
scenes, at the elaborate and vacillating crudities of thought—at
the true purposes seized only at the last moment—at the
innumerable glimpses of idea that arrived not at the maturity of
full view—at the fully-matured fancies discarded in despair as
unmanageable—at the cautious selections and rejections—at the
painful erasures and interpolations—in a word, at the wheels and
pinions—the tackle for scene-shifting—the step-ladders, and
demon-traps—the cock’s feathers, the red paint and the black
patches, which, in ninety-nine cases out of a hundred, constitute
the properties of the literary histrio.
I am aware, on the other hand, that the case is by no
means common, in which an author is at all in condition to
retrace the steps by which his conclusions have been attained. In
general, suggestions, having arisen pell-mell are pursued and
forgotten in a similar manner.
For my own part, I have neither sympathy with the
repugnance alluded to, nor, at any time, the least difficulty in
recalling to mind the progressive steps of any of my
compositions, and, since the interest of an analysis or
reconstruction, such as I have considered a desideratum, is quite
independent of any real or fancied interest in the thing analysed,
it will not be regarded as a breach of decorum on my part to
show the modus operandi by which some one of my own works
was put together. I select The Raven as most generally known. It
is my design to render it manifest that no one point in its
composition is referable either to accident or intuition—that the
work proceeded step by step, to its completion, with the precision
and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
In the third sentence of text 1A2-II, the fragment “shudder at”
can be correctly replaced by
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Q2324511
Inglês
Texto associado
Text 1A2-II
I have often thought how interesting a magazine paper
might be written by any author who would—that is to say, who
could—detail, step by step, the processes by which any one of
his compositions attained its ultimate point of completion. Why
such a paper has never been given to the world, I am much at a
loss to say—but, perhaps, the authorial vanity has had more to do
with the omission than any one other cause. Most writers—poets
in especial—prefer having it understood that they compose by a
species of fine frenzy—an ecstatic intuition—and would
positively shudder at letting the public take a peep behind the
scenes, at the elaborate and vacillating crudities of thought—at
the true purposes seized only at the last moment—at the
innumerable glimpses of idea that arrived not at the maturity of
full view—at the fully-matured fancies discarded in despair as
unmanageable—at the cautious selections and rejections—at the
painful erasures and interpolations—in a word, at the wheels and
pinions—the tackle for scene-shifting—the step-ladders, and
demon-traps—the cock’s feathers, the red paint and the black
patches, which, in ninety-nine cases out of a hundred, constitute
the properties of the literary histrio.
I am aware, on the other hand, that the case is by no
means common, in which an author is at all in condition to
retrace the steps by which his conclusions have been attained. In
general, suggestions, having arisen pell-mell are pursued and
forgotten in a similar manner.
For my own part, I have neither sympathy with the
repugnance alluded to, nor, at any time, the least difficulty in
recalling to mind the progressive steps of any of my
compositions, and, since the interest of an analysis or
reconstruction, such as I have considered a desideratum, is quite
independent of any real or fancied interest in the thing analysed,
it will not be regarded as a breach of decorum on my part to
show the modus operandi by which some one of my own works
was put together. I select The Raven as most generally known. It
is my design to render it manifest that no one point in its
composition is referable either to accident or intuition—that the
work proceeded step by step, to its completion, with the precision
and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
In text 1A2-II, Poe affirms that
Ano: 2023
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Q2324510
Inglês
Texto associado
Text 1A2-II
I have often thought how interesting a magazine paper
might be written by any author who would—that is to say, who
could—detail, step by step, the processes by which any one of
his compositions attained its ultimate point of completion. Why
such a paper has never been given to the world, I am much at a
loss to say—but, perhaps, the authorial vanity has had more to do
with the omission than any one other cause. Most writers—poets
in especial—prefer having it understood that they compose by a
species of fine frenzy—an ecstatic intuition—and would
positively shudder at letting the public take a peep behind the
scenes, at the elaborate and vacillating crudities of thought—at
the true purposes seized only at the last moment—at the
innumerable glimpses of idea that arrived not at the maturity of
full view—at the fully-matured fancies discarded in despair as
unmanageable—at the cautious selections and rejections—at the
painful erasures and interpolations—in a word, at the wheels and
pinions—the tackle for scene-shifting—the step-ladders, and
demon-traps—the cock’s feathers, the red paint and the black
patches, which, in ninety-nine cases out of a hundred, constitute
the properties of the literary histrio.
I am aware, on the other hand, that the case is by no
means common, in which an author is at all in condition to
retrace the steps by which his conclusions have been attained. In
general, suggestions, having arisen pell-mell are pursued and
forgotten in a similar manner.
For my own part, I have neither sympathy with the
repugnance alluded to, nor, at any time, the least difficulty in
recalling to mind the progressive steps of any of my
compositions, and, since the interest of an analysis or
reconstruction, such as I have considered a desideratum, is quite
independent of any real or fancied interest in the thing analysed,
it will not be regarded as a breach of decorum on my part to
show the modus operandi by which some one of my own works
was put together. I select The Raven as most generally known. It
is my design to render it manifest that no one point in its
composition is referable either to accident or intuition—that the
work proceeded step by step, to its completion, with the precision
and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
It can be inferred from the ideas of text 1A2-II that
Ano: 2023
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Q2324509
Inglês
Texto associado
Text 1A2-II
I have often thought how interesting a magazine paper
might be written by any author who would—that is to say, who
could—detail, step by step, the processes by which any one of
his compositions attained its ultimate point of completion. Why
such a paper has never been given to the world, I am much at a
loss to say—but, perhaps, the authorial vanity has had more to do
with the omission than any one other cause. Most writers—poets
in especial—prefer having it understood that they compose by a
species of fine frenzy—an ecstatic intuition—and would
positively shudder at letting the public take a peep behind the
scenes, at the elaborate and vacillating crudities of thought—at
the true purposes seized only at the last moment—at the
innumerable glimpses of idea that arrived not at the maturity of
full view—at the fully-matured fancies discarded in despair as
unmanageable—at the cautious selections and rejections—at the
painful erasures and interpolations—in a word, at the wheels and
pinions—the tackle for scene-shifting—the step-ladders, and
demon-traps—the cock’s feathers, the red paint and the black
patches, which, in ninety-nine cases out of a hundred, constitute
the properties of the literary histrio.
I am aware, on the other hand, that the case is by no
means common, in which an author is at all in condition to
retrace the steps by which his conclusions have been attained. In
general, suggestions, having arisen pell-mell are pursued and
forgotten in a similar manner.
For my own part, I have neither sympathy with the
repugnance alluded to, nor, at any time, the least difficulty in
recalling to mind the progressive steps of any of my
compositions, and, since the interest of an analysis or
reconstruction, such as I have considered a desideratum, is quite
independent of any real or fancied interest in the thing analysed,
it will not be regarded as a breach of decorum on my part to
show the modus operandi by which some one of my own works
was put together. I select The Raven as most generally known. It
is my design to render it manifest that no one point in its
composition is referable either to accident or intuition—that the
work proceeded step by step, to its completion, with the precision
and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
According to Edgar Allan Poe’s point of view, portrayed in text
1A2-II, behind the scenes of writing,
Ano: 2023
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Órgão:
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CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324508
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
The word “oblivious”, in the fragment “oblivious of the existence
of an alien atmosphere” (fifth sentence of the second paragraph)
is being used, in text 1A2-I, with the same meaning as
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Q2324507
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
Choose the option in which the fragment “No sooner, however,
does the artist transgress the law of his medium than we realize”
(last sentence of the second paragraph of text 1A2-I) is correctly
rewritten, without changing its meaning or harming its
correctness.
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Q2324506
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
For the author of text 1A2-I,
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Q2324505
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
According to the ideas of text 1A2-I, choose the correct option.
Ano: 2023
Banca:
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Órgão:
Transpetro
Provas:
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 1: Administração
|
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 2: Advocacia |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 3: Análise Ambiental |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 5: Análise de Sistemas: Segurança Cibernética e da Informação |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 4: Análise de Sistemas - Infraestrutura |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 6: Processos de Negócios |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 7: Análise de Sistemas - Sap - Finanças e Contabilidade |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 8: Comercialização e Logística - Comércio e Suprimentos |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 9: Comercialização e Logística - Transporte Marítimo |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Jornalismo Junior: Ênfase: 10: Comunicador Social - Jornalismo |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 11: Comunicador Social - Publicidade e Propaganda |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 12: Comunicador Social - Relações Públicas |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 13: Contabilidade |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 19: Engenharia de Produção |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 24: Engenharia Mecânica |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 20: Engenharia de Segurança |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 21: Engenharia de Telecomunicações |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 14: Enfermagem do Trabalho |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 15: Engenharia Ambiental |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 16: Engenharia Civil |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 22: Engenharia Elétrica |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 28 Serviço Social |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 27: Pedagogia |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 23: Engenharia Geotécnica |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 17: Engenharia de Automação |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 18: Engenharia de Inspeção |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 25: Engenharia Naval |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 26: Engenharia Química |
Q2324389
Inglês
Texto associado
How space technology is bringing
green wins for transport
1 Space technology is developing fast, and, with
every advance, it is becoming more accessible to
industry. Today, satellite communications (satcoms)
and space-based data are underpinning new ways
of operating that boost both sustainability and
profitability. Some projects are still in the planning
stages, offering great promise for the future. However,
others are already delivering practical results.
2 The benefits of space technology broadly fall
into two categories: connectivity that can reach into
situations where terrestrial technologies struggle to
deliver and the deep, unique insights delivered by
Earth Observation (EO) data. Both depend on access
to satellite networks, particularly medium earth orbit
(MEO) and low earth orbit (LEO) satellites that offer
low-latency connectivity and frequently updated data.
Right now, the satellite supplier market is booming,
driving down the cost of access to satellites. Suppliers
are increasingly tailoring their services to emerging
customer needs and the potential applications are
incredible – as a look at the transportation sector
shows.
3 Satellite technology is a critical part of
revolutionizing connectivity on trains. The Satellites
for Digitalization of Railways (SODOR) project will
provide low latency, highly reliable connectivity that,
combined with monitoring sensors, will mean near realtime data guides operational decisions. This insight
will help trains run more efficiently with fewer delays
for passengers. Launching this year, SODOR will help
operators reduce emissions by using the network
more efficiently, allowing preventative maintenance
and extending the lifetime of some existing trains. It
will also make rail travel more attractive and help shift
more passengers from road to rail (that typically emits
even less CO2
per passenger than electric cars do).
4 Satellite data and communications will also play
a fundamental role in shaping a sustainable future
for road vehicles. Right now, the transport sector
contributes around 14% of the UK’s greenhouse gas
emissions, of which 91% is from road vehicles – and
this needs to change.
5 A future where Electric Vehicles (EV) dominate
will need a smart infrastructure to monitor and control
the electricity network, managing highly variable
supply and demand, as well as a large network of
EV charging points. EO data will be critical in future
forecasting models for wind and solar production, to
help manage a consistent flow of green energy.
6 Satellite communications will also be pivotal. As
more wind and solar installations join the electricity
network – often in remote locations – satcoms will step in to deliver highly reliable connectivity where 4G
struggles to reach. It will underpin a growing network
of EV charging points, connecting each point to the
internet for operational management purposes, for
billing and access app functionality and for the users’
comfort, they may access the system wherever they
are.
7 Satellite technology will increasingly be a part of
the vehicles themselves, particularly when automated
driving becomes more mainstream. It will be essential
for every vehicle to have continuous connectivity to
support real-time software patches, map updates
and inter-vehicle communications. Already, satellites
provide regular software updates to vehicles and
enhanced safety through an in-car emergency call
service.
8 At our company, we have been deeply embedded
in the space engineering for more than 40 years – and
we continue to be involved with the state-of-the-art
technologies and use cases. We have a strong track
record of translating these advances into practical
benefits for our customers that make sense on both a
business and a sustainability level.
Available at: https://www.cgi.com/uk/en-gb/blog/space/how-space-technology-is-bringing-green-wins-to-transport. Retrieved on
April 25, 2023. Adapted.
In the eighth paragraph of the text, the author states that,
for the last 40 years, the company where he works has
been
Ano: 2023
Banca:
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Órgão:
Transpetro
Provas:
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 1: Administração
|
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 2: Advocacia |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 3: Análise Ambiental |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 5: Análise de Sistemas: Segurança Cibernética e da Informação |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 4: Análise de Sistemas - Infraestrutura |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 6: Processos de Negócios |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 7: Análise de Sistemas - Sap - Finanças e Contabilidade |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 8: Comercialização e Logística - Comércio e Suprimentos |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 9: Comercialização e Logística - Transporte Marítimo |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Jornalismo Junior: Ênfase: 10: Comunicador Social - Jornalismo |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 11: Comunicador Social - Publicidade e Propaganda |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 12: Comunicador Social - Relações Públicas |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 13: Contabilidade |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 19: Engenharia de Produção |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 24: Engenharia Mecânica |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 20: Engenharia de Segurança |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 21: Engenharia de Telecomunicações |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 14: Enfermagem do Trabalho |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 15: Engenharia Ambiental |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 16: Engenharia Civil |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 22: Engenharia Elétrica |
CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 28 Serviço Social |
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CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 26: Engenharia Química |
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Texto associado
How space technology is bringing
green wins for transport
1 Space technology is developing fast, and, with
every advance, it is becoming more accessible to
industry. Today, satellite communications (satcoms)
and space-based data are underpinning new ways
of operating that boost both sustainability and
profitability. Some projects are still in the planning
stages, offering great promise for the future. However,
others are already delivering practical results.
2 The benefits of space technology broadly fall
into two categories: connectivity that can reach into
situations where terrestrial technologies struggle to
deliver and the deep, unique insights delivered by
Earth Observation (EO) data. Both depend on access
to satellite networks, particularly medium earth orbit
(MEO) and low earth orbit (LEO) satellites that offer
low-latency connectivity and frequently updated data.
Right now, the satellite supplier market is booming,
driving down the cost of access to satellites. Suppliers
are increasingly tailoring their services to emerging
customer needs and the potential applications are
incredible – as a look at the transportation sector
shows.
3 Satellite technology is a critical part of
revolutionizing connectivity on trains. The Satellites
for Digitalization of Railways (SODOR) project will
provide low latency, highly reliable connectivity that,
combined with monitoring sensors, will mean near realtime data guides operational decisions. This insight
will help trains run more efficiently with fewer delays
for passengers. Launching this year, SODOR will help
operators reduce emissions by using the network
more efficiently, allowing preventative maintenance
and extending the lifetime of some existing trains. It
will also make rail travel more attractive and help shift
more passengers from road to rail (that typically emits
even less CO2
per passenger than electric cars do).
4 Satellite data and communications will also play
a fundamental role in shaping a sustainable future
for road vehicles. Right now, the transport sector
contributes around 14% of the UK’s greenhouse gas
emissions, of which 91% is from road vehicles – and
this needs to change.
5 A future where Electric Vehicles (EV) dominate
will need a smart infrastructure to monitor and control
the electricity network, managing highly variable
supply and demand, as well as a large network of
EV charging points. EO data will be critical in future
forecasting models for wind and solar production, to
help manage a consistent flow of green energy.
6 Satellite communications will also be pivotal. As
more wind and solar installations join the electricity
network – often in remote locations – satcoms will step in to deliver highly reliable connectivity where 4G
struggles to reach. It will underpin a growing network
of EV charging points, connecting each point to the
internet for operational management purposes, for
billing and access app functionality and for the users’
comfort, they may access the system wherever they
are.
7 Satellite technology will increasingly be a part of
the vehicles themselves, particularly when automated
driving becomes more mainstream. It will be essential
for every vehicle to have continuous connectivity to
support real-time software patches, map updates
and inter-vehicle communications. Already, satellites
provide regular software updates to vehicles and
enhanced safety through an in-car emergency call
service.
8 At our company, we have been deeply embedded
in the space engineering for more than 40 years – and
we continue to be involved with the state-of-the-art
technologies and use cases. We have a strong track
record of translating these advances into practical
benefits for our customers that make sense on both a
business and a sustainability level.
Available at: https://www.cgi.com/uk/en-gb/blog/space/how-space-technology-is-bringing-green-wins-to-transport. Retrieved on
April 25, 2023. Adapted.
From the seventh paragraph of the text, one can infer that
automated driving will have the benefits of
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