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A Brief and Simplified Description of Papermaking
The paper we use today is created from individual wood fibers that are first suspended in water and then pressed and dried into sheets. The process of converting the wood to a suspension of wood fibers in water is known as pulp making, while the manufacture of the dried and pressed sheets of paper is formally termed papermaking. The process of making paper has undergone a steady evolution, and larger and more sophisticated equipment and better technology continue to improve it.
The Wood yard and Wood rooms
The process at Androscogging began with receiving wood in the form of chips or of logs 4 or 8 feet in length. From 6 AM to 10 PM a steady stream of trucks and railroad cars were weighted and unloaded. About 40 percent were suplied by independents who were paid by weight their logs. The mill also received wood chips from lumber mills in the area. The chips and logs were stored in mammoth piles with separate piles for wood of different species (such as pine, spruce, hemlock).
When needed, logs were floated in flumes......(1).....the wood yard.....(2).....one of the mill’s three wood rooms. There, bark was rubbed......(3)........in long, ribbed debarking drums by tumbling the logs against one another. The logs then fell into a chipper;......(4)......seconds a large log was reduced to a pile of chips approximately 1 inch by 1 inch by 1/4 inch.
The chips were stored in silos. There were separate silos for softwoods (spruce, fir, hemlock, and pine) and hardwoods (maple, oak, beech, and birch). This separate and temporary storage of chips permitted the controlled mixing of chips into the precise recipe for the grade of paper being produced.
The wood chips were then sorted through large, flat vibrating screens. Oversized chips were rechipped, and ones that were too small were collected for burning in the power house. (The mill provided approximately 20 percent of all its own steam and electricity needs from burning waste. An additional 50 percent of total electricity needs was produced by harnessing the river for hydroelectric power.)
Once drawn from the silo into the digesters, there was no stopping the flow of chips into paper.
Pulpmaking
The pulp made at Androscoggin was of two types: Kraft pulp (produced chemically) and ground wood pulp (produced mechanically). Kraft pulp was far more important to the high quality white papers produced at Androscoggin, accounting for 80 percent of all the pulp used. Kraft pulp makes strong paper. (Kraft is German for strength. A German invented the Kraft pulp process in 1884.) A paper’s strength generally comes from the overlap and binding of long fibers of softwood; only chemically was it initially possible to separate long wood fibers for suspension in water. Hardwood fibers are generally smaller and thinner and help smooth the paper and make it less porous.
The ground wood pulping process was simpler and less expensive than the Kraft process. It took high quality spruce and fir logs and pressed them continuously against a revolving stone that broke apart the wood’s fibers. The fibers, however, were smaller than those produced by the Kraft process and, although used to make newsprint, were useful at Androscoggin in providing “fill” for the coated publication gloss papers of machines 2 and 3, as will be described later.
(A)The chemical Kraft process worked by dissolving the lignin that bonds wood fibers together. (B) It did this in a tall pressure cooker, called a digester, by “cooking” the chips in a solution of caustic soda (NaOH) and sodium sulfide (Na2S), which was termed the “white liquor.” (C)The two digesters at Androscoggin were continuous digesters; chips and liquor went into the top, were cooked together as they slowly settled down to the bottom, and were drawn off the bottom after about three hours. (D) By this time, the white liquor had changed chemically to “black liquor’’; the digested chips were then separated from this black liquor. (E)
In what was known as the “cold blow” process, the hot, pressurized chips were gradually cooled and depressurized. A “cold liquor’’ (170°F) was introduced to the bottom of the digester and served both to cool and to transport the digested chips to a diffusion washer that washed and depressurized the chips. Because so much of the lignin bonding the fibers together had been removed, the wood fiber in the chips literally fell apart at this stage.
The black liquor from the digester entered a separate four-step recovery process. Over 95 percent of the black liquor could be reconstituted as white liquor, thereby saving on chemical costs and significantly lowering pollution. The four-step process involved (1) washing the black liquor from the cooked fiber to produce weak black liquor, (2) evaporating the weak black liquor to a thicker consistency, (3) combustion of this heavy black liquor with sodium sulfate (Na2SO4 ), and redissolving the smelt, yielding a “green liquor” (sodium carbonate + sodium sulfide), and (4) adding lime, which reacted with the green liquor to produce white liquor. The last step was known as causticization.
Meanwhile, the wood-fiber pulp was purged of impurities like bark and dirt by mechanical screening and by spinning the mixture in centrifugal cleaners. The pulp was then concentrated by removing water from it so that it could be stored and bleached more economically.
By this time, depending on the type of pulp being made, it had been between 3 1/2 and 5 hours since the chips had entered the pulp mill.
All the Kraft pulp was then bleached. Bleaching took between 5 and 6 hours. It consisted of a three-step process in which (1) a mix of chlorine (Cl2 ) and chlorine dioxide (CIO2 ) was introduced to the pulp and the pulp was washed; (2) a patented mix of sodium hydroxide (NaOH), liquid oxygen, and hydrogen peroxide (H2 O2 ) was then added to the pulp and the pulp was again washed; and (3) chlorine dioxide (ClO2 ) was introduced and the pulp washed a final time. The result was like fluffy cream of wheat. By this time the pulp was nearly ready to be made into paper.
From the bleachery, the stock of pulp was held for a short time in storage (a maximum of 16 hours) and then proceeded through a series of blending operations that permitted a string of additives (for example, filler clay, resins, brighteners, alum, dyes) to be mixed into the pulp according to the recipe for the paper grade being produced. Here, too, “broke” (paper wastes from the mill itself) was recycled into the pulp. The pulp was then once again cleaned and blended into an even consistency before moving to the papermaking machine itself.
It made a difference whether the broke was of coated
or uncoated paper, and whether it was white or colored. White, uncoated paper could be recycled immediately. Colored, uncoated paper had to be rebleached.
Coated papers, because of the clays in them, could not
be reclaimed.
A Brief and Simplified Description of Papermaking
The paper we use today is created from individual wood fibers that are first suspended in water and then pressed and dried into sheets. The process of converting the wood to a suspension of wood fibers in water is known as pulp making, while the manufacture of the dried and pressed sheets of paper is formally termed papermaking. The process of making paper has undergone a steady evolution, and larger and more sophisticated equipment and better technology continue to improve it.
The Wood yard and Wood rooms
The process at Androscogging began with receiving wood in the form of chips or of logs 4 or 8 feet in length. From 6 AM to 10 PM a steady stream of trucks and railroad cars were weighted and unloaded. About 40 percent were suplied by independents who were paid by weight their logs. The mill also received wood chips from lumber mills in the area. The chips and logs were stored in mammoth piles with separate piles for wood of different species (such as pine, spruce, hemlock).
When needed, logs were floated in flumes......(1).....the wood yard.....(2).....one of the mill’s three wood rooms. There, bark was rubbed......(3)........in long, ribbed debarking drums by tumbling the logs against one another. The logs then fell into a chipper;......(4)......seconds a large log was reduced to a pile of chips approximately 1 inch by 1 inch by 1/4 inch.
The chips were stored in silos. There were separate silos for softwoods (spruce, fir, hemlock, and pine) and hardwoods (maple, oak, beech, and birch). This separate and temporary storage of chips permitted the controlled mixing of chips into the precise recipe for the grade of paper being produced.
The wood chips were then sorted through large, flat vibrating screens. Oversized chips were rechipped, and ones that were too small were collected for burning in the power house. (The mill provided approximately 20 percent of all its own steam and electricity needs from burning waste. An additional 50 percent of total electricity needs was produced by harnessing the river for hydroelectric power.)
Once drawn from the silo into the digesters, there was no stopping the flow of chips into paper.
Pulpmaking
The pulp made at Androscoggin was of two types: Kraft pulp (produced chemically) and ground wood pulp (produced mechanically). Kraft pulp was far more important to the high quality white papers produced at Androscoggin, accounting for 80 percent of all the pulp used. Kraft pulp makes strong paper. (Kraft is German for strength. A German invented the Kraft pulp process in 1884.) A paper’s strength generally comes from the overlap and binding of long fibers of softwood; only chemically was it initially possible to separate long wood fibers for suspension in water. Hardwood fibers are generally smaller and thinner and help smooth the paper and make it less porous.
The ground wood pulping process was simpler and less expensive than the Kraft process. It took high quality spruce and fir logs and pressed them continuously against a revolving stone that broke apart the wood’s fibers. The fibers, however, were smaller than those produced by the Kraft process and, although used to make newsprint, were useful at Androscoggin in providing “fill” for the coated publication gloss papers of machines 2 and 3, as will be described later.
(A)The chemical Kraft process worked by dissolving the lignin that bonds wood fibers together. (B) It did this in a tall pressure cooker, called a digester, by “cooking” the chips in a solution of caustic soda (NaOH) and sodium sulfide (Na2S), which was termed the “white liquor.” (C)The two digesters at Androscoggin were continuous digesters; chips and liquor went into the top, were cooked together as they slowly settled down to the bottom, and were drawn off the bottom after about three hours. (D) By this time, the white liquor had changed chemically to “black liquor’’; the digested chips were then separated from this black liquor. (E)
In what was known as the “cold blow” process, the hot, pressurized chips were gradually cooled and depressurized. A “cold liquor’’ (170°F) was introduced to the bottom of the digester and served both to cool and to transport the digested chips to a diffusion washer that washed and depressurized the chips. Because so much of the lignin bonding the fibers together had been removed, the wood fiber in the chips literally fell apart at this stage.
The black liquor from the digester entered a separate four-step recovery process. Over 95 percent of the black liquor could be reconstituted as white liquor, thereby saving on chemical costs and significantly lowering pollution. The four-step process involved (1) washing the black liquor from the cooked fiber to produce weak black liquor, (2) evaporating the weak black liquor to a thicker consistency, (3) combustion of this heavy black liquor with sodium sulfate (Na2SO4 ), and redissolving the smelt, yielding a “green liquor” (sodium carbonate + sodium sulfide), and (4) adding lime, which reacted with the green liquor to produce white liquor. The last step was known as causticization.
Meanwhile, the wood-fiber pulp was purged of impurities like bark and dirt by mechanical screening and by spinning the mixture in centrifugal cleaners. The pulp was then concentrated by removing water from it so that it could be stored and bleached more economically.
By this time, depending on the type of pulp being made, it had been between 3 1/2 and 5 hours since the chips had entered the pulp mill.
All the Kraft pulp was then bleached. Bleaching took between 5 and 6 hours. It consisted of a three-step process in which (1) a mix of chlorine (Cl2 ) and chlorine dioxide (CIO2 ) was introduced to the pulp and the pulp was washed; (2) a patented mix of sodium hydroxide (NaOH), liquid oxygen, and hydrogen peroxide (H2 O2 ) was then added to the pulp and the pulp was again washed; and (3) chlorine dioxide (ClO2 ) was introduced and the pulp washed a final time. The result was like fluffy cream of wheat. By this time the pulp was nearly ready to be made into paper.
From the bleachery, the stock of pulp was held for a short time in storage (a maximum of 16 hours) and then proceeded through a series of blending operations that permitted a string of additives (for example, filler clay, resins, brighteners, alum, dyes) to be mixed into the pulp according to the recipe for the paper grade being produced. Here, too, “broke” (paper wastes from the mill itself) was recycled into the pulp. The pulp was then once again cleaned and blended into an even consistency before moving to the papermaking machine itself.
It made a difference whether the broke was of coated
or uncoated paper, and whether it was white or colored. White, uncoated paper could be recycled immediately. Colored, uncoated paper had to be rebleached.
Coated papers, because of the clays in them, could not
be reclaimed.
Column 1 Words 1. strength 2. spruce 3. newsprint 4. coated
Column 2 Meanings ( ) printing paper ( ) strong ( ) covered with an outer layer ( ) a type of tree
Choose the alternative that presents the correct sequence, from top to bottom.
Texto 3
Notas de uma resenha
BENJAMIN, Walter. A obra de arte na época de sua reprodutibilidade técnica. In: ADORNO et al. Teoria da Cultura de massa. Trad. de C. N. Coutinho. São Paulo: Paz e Terra, 2000. p. 221-254. [O texto de Benjamin foi escrito em 1936.]
Walter Benjamin é um grande autor moderno e nos aproxima de suas reflexões sobre uma teoria materialista da arte e a discussão de cultura de massa na modernidade capitalista. Em seu texto, o autor aponta para algumas questões importantes como a noção de autenticidade, o valor de culto e a unicidade na obra de arte. O “hic et nunc” (“aqui e agora”) do original constitui o que chama de autenticidade, a unicidade de sua presença no próprio local onde ela se encontra. No entanto, esse conceito não tem sentido para uma reprodução, técnica ou não, pois essa noção escapa a toda reprodução.
Discute-se em que época da reprodutibilidade técnica a obra de arte é atingida em sua aura, definida como “única aparição de uma realidade longínqua, por mais próxima que ela possa estar” (p. 229). O valor da unicidade “autêntica” se baseia no ritual que originariamente foi dado. Sendo assim, a reprodutibilidade contribui diretamente para a destruição do caráter único da autenticidade e da tradição. No sistema capitalista, a existência única é substituída por uma existência serial. Desde que o critério de autenticidade não mais se aplica à produção artística, toda função de arte é subvertida, ela se funda agora não apenas no ritual, mas noutra forma da práxis: a política. À medida que se emancipam, as obras de arte tornam-se mais acessíveis a serem expostas. Isso afeta também a qualidade da própria natureza da arte, pois seu valor expositivo lhe empresta funções novas de maneira que a função artística apareça como acessória.
Benjamin aponta o cinema como agente eficaz dessas contradições. A exemplo de polêmicas entre pintores e fotógrafos, em curso no século XIX, no que diz respeito aos valores respectivos das suas obras, também o cinema e o teatro são polemizados. No teatro, o ator adapta-se diante das reações diretas do público e, assim, nota-se a aparição única de algo distante, ou seja, a aura. Já no cinema há todo um mecanismo de mediação, com restrição do papel da aura e a construção artificial da “personalidade” do ator, ou seja, o culto da “estrela” a favor do capitalismo dos produtores.
Segundo o autor, “a massa é a matriz de onde brota, atualmente, todo um conjunto de novas atitudes em face da obra de arte. A quantidade tornou-se qualidade” (p. 250). As massas buscam diversão. Mas a arte necessita do recolhimento. Quem se recolhe diante da obra de arte, por ela é envolvido. Como imagem dialética, o autor cita a história de um pintor chinês que, de acordo com a lenda, perdeu-se na paisagem que acabara de pintar.
FIGUEIREDO, V. M. C. de.; OLIVEIRA, A. P. Disponível em: <https://www.revistas.ufg.br/fef/article/view/130/1487>. [Adaptado] Acesso: 03/set/2018.
Texto 4
Entrevista com Mia CoutoPrestes a completar 62 anos, o escritor moçambicano Mia Couto é uma das poucas pessoas no mundo capaz de juntar com beleza e propriedade assuntos que vão da medicina à ecologia, da biologia à poesia, da prosa à política.
Quais seus principais interesses como cientista?
Sou biólogo e ecologista. O que me fascina é a fronteira entre a descoberta científica e a margem de mistério que sempre subsiste. Mas sobretudo a Biologia me ajudou a repensar-me como pessoa solidária e de identidades partilhadas. A Biologia ensinou-me a entender outras linguagens, ensinou-me a fala das árvores, a fala dos que não falam. Hoje em nenhum lugar me sinto uma criatura solitária. Mais do que tudo ela me trouxe a saúde de pensar que faço parte de uma epopeia partilhada por milhões de criaturas, e nessa antiga saga não existe nunca um ator principal.
De que maneira a ciência ajuda na sua obra literária e vice-versa?
Confirmei na ciência o que suspeitava como poeta: a certeza de um parentesco perdido com o mundo natural, seja ele tido como vivo ou inorgânico. Não imaginamos, nós seres humanos, o quanto somos feitos de material não humano. E mesmo nesse lugar sagrado onde se acreditava estar registrado o nosso pedigree distinto de todas as outras espécies, mesmo no nosso genoma mora a vida inteira.
As palavras que existem na língua portuguesa já não bastam para expressar o que se quer?
Os idiomas são entidades vivas e raramente são os escritores que criam mudanças que se tornam registro corrente. São as pessoas comuns. Não podemos abdicar do direito (e sobretudo do prazer) de sermos coprodutores desse corpo social. Não se trata de uma questão literária. Mas da possibilidade de ver no idioma um modo de assumirmos uma identidade solidária e coletiva e em permanente construção.
Qual sua palavra favorita (inventada ou existente) e o que ela tem de especial?
Um dia um desconhecido num aeroporto em Moçambique abordou-me para me dizer que queria oferecer uma palavra. Estranhei mas ele explicou-se: era um engenheiro de obras e numa certa ocasião teve que chamar a atenção de um operário sobre algo que não estava bem feito. E o homem respondeu: esta é uma coisa “improvisória”. Este termo é genial. Porque reúne muito do que somos em Moçambique (e possivelmente no Brasil): improvisamos na lógica do provisório. Numa única palavra se exprime um modo de uma cultura se dizer a si mesma.
Como conduzir o leitor entre o real e o imaginário sem confundi-lo?
Talvez o leitor precise mesmo de ficar confuso, de perder o pé e ser convidado a procurar um novo chão. Se a obra de arte não fizer isso ela não cumpre a sua função de nos conduzir a uma viagem, a saltar fronteiras e a desobedecer certezas. E talvez seja necessário questionar essa construção de literatura do “mágico” e do “fantástico”. Não existe literatura que não caminhe com um pé no fantástico e outro no real.
PEREIRA, C.; MASSON, C. Revista Isto É. Edição 15/06/2017 - nº 2479. Disponível em: <https://istoe.com.br/teremos-que-inventar-um-ou-tro-modo-de-fazer-politica/#> [Adaptado]. Acesso: 05/set/2018.
Assinale a alternativa correta, de acordo com os textos 3 e 4.
( ) Mia Couto aproxima seu universo literário ao mundo interligado da ecologia e biologia, o que se evidencia pela construção “epopeia partilhada por milhões de criaturas”. (1ª resposta) ( ) Para Mia Couto, a ciência ainda conserva um lado de mistério e enigma. ( ) A mudança das línguas, segundo Mia Couto, ocorre geralmente em decorrência dos usos feitos pelas pessoas comuns e não de motivações literárias, sendo os escritores tidos como coprodutores. ( ) O escritor africano reforça a dicotomia entre vida racional e irracional, o que fica claro com a construção “mesmo no nosso genoma mora a vida inteira”. ( ) Mia Couto vincula o idioma a uma identidade coletiva, compartilhada e mutável.
Assinale a alternativa que indica a sequência correta, de cima para baixo.
1. “Mia Couto é uma das poucas pessoas no mundo capaz de juntar com beleza e propriedade assuntos que vão da medicina à ecologia, da biologia à poesia, da prosa à política.” (1º parágrafo) 2. “Confirmei na ciência o que suspeitava como poeta: a certeza de um parentesco perdido com o mundo natural, seja ele tido como vivo ou inorgânico.” (2ª resposta) 3. “E mesmo nesse lugar sagrado onde se acreditava estar registrado o nosso pedigree distinto de todas as outras espécies, mesmo no nosso genoma mora a vida inteira.” (2ª resposta) 4. “Um dia um desconhecido num aeroporto em Moçambique abordou-me para me dizer que queria oferecer uma palavra.” (4ª resposta)
Identifique abaixo as afirmativas verdadeiras ( V ) e as falsas ( F ) em relação as frases acima.
( ) Em 1, o verbo ir tem o mesmo significado de deslocamento espacial que em: “viajantes que vão do Rio a São Paulo”. ( ) Em 2, há uma relação lógico-semântica de disjunção em “seja ele tido como vivo ou inorgânico”. ( ) Em 3, a palavra “mesmo” funciona, nas duas ocorrências, como operador argumentativo que realça um argumento, direcionando o sentido para determinada conclusão. ( ) Em 3, “a vida inteira” funciona como adjunto adverbial temporal. ( ) Em 4, as duas ocorrências do pronome “me” são correferenciais e desempenham a mesma função sintática: objeto direto.
Assinale a alternativa que indica a sequência correta, de cima para baixo.
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