Questões de Vestibular
Sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 4.863 questões
Q1379408
Inglês
Texto associado
Text 2 - How to Tell if Your Sunscreen Protects You From the Sun - Here’s what you need to know.
Don’t go overboard with the SPF. The American Academy of Dermatology recommends using an SPF of at
least 30, but most experts agree to not go over 50. It’s not that a higher SPF doesn’t provide any more protection, but
once you get above 50, that increase is negligible. Case in point: SPF 50 blocks about 97% of UVB rays, while SPF 100
blocks about 99%.
But most sunscreen users don’t think about that; rather, they see a number that’s twice as high and assume
they’ll get twice as much protection or that the protection will last twice as long, which cultivates a false sense of
security that could lead to a bad burn. “SPF values above 50 are really misleading,” Lunder says. “They offer a very
small increase in sunburn [UVB] protection, and they don't offer better UVA protection.” She says that the FDA is
considering a rule to cap SPF values at 50, but nothing has been finalized.
And then there’s the fact that, although the increase in SPF doesn’t add much protection, it could increase your
chances of negative side effects from the ingredients. “We do not recommend SPF of 50 or higher, as the minimal
added protection does not outweigh the exponentially more active ingredients required to do so,” Chris Birchby, the
founder of the sun-care line Coola, tells Teen Vogue. “More active ingredients increase the chances of skin irritation.”
http://www.teenvogue.com/story/how-to-tell-if-sunscreen-protects-you-from-the-sun
Chris Birchby, founder of sun-care Coola argues that:
Q1379407
Inglês
Texto associado
Text 2 - How to Tell if Your Sunscreen Protects You From the Sun - Here’s what you need to know.
Don’t go overboard with the SPF. The American Academy of Dermatology recommends using an SPF of at
least 30, but most experts agree to not go over 50. It’s not that a higher SPF doesn’t provide any more protection, but
once you get above 50, that increase is negligible. Case in point: SPF 50 blocks about 97% of UVB rays, while SPF 100
blocks about 99%.
But most sunscreen users don’t think about that; rather, they see a number that’s twice as high and assume
they’ll get twice as much protection or that the protection will last twice as long, which cultivates a false sense of
security that could lead to a bad burn. “SPF values above 50 are really misleading,” Lunder says. “They offer a very
small increase in sunburn [UVB] protection, and they don't offer better UVA protection.” She says that the FDA is
considering a rule to cap SPF values at 50, but nothing has been finalized.
And then there’s the fact that, although the increase in SPF doesn’t add much protection, it could increase your
chances of negative side effects from the ingredients. “We do not recommend SPF of 50 or higher, as the minimal
added protection does not outweigh the exponentially more active ingredients required to do so,” Chris Birchby, the
founder of the sun-care line Coola, tells Teen Vogue. “More active ingredients increase the chances of skin irritation.”
http://www.teenvogue.com/story/how-to-tell-if-sunscreen-protects-you-from-the-sun
If you use a SPF above 50 the increase is:
Q1379406
Inglês
Texto associado
Text 1:
“ Autism affects one in 45 children in the United States, almost twice the rate from a few years ago, said a survey Friday
that uses a new approach to assess the frequency of the developmental disorder. The latest figures may reflect a more
accurate picture of autism spectrum disorder, said the report by the Centers for Disease Control and Prevention's
(CDC) National Center for Health Statistics, and so does not necessarily mean that there is a ballooning autism
epidemic.
In fact, the study found that while autism spectrum diagnoses are more frequent than in the past, the overall number of
people affected by neurodevelopment problems has not risen, but has remained steady over time.
Autism spectrum disorder is a developmental disability that may cause a person to have difficulty behaving, learning,
communicating and interacting with people. It is believed to be influenced by genetic and environmental factors, though
scientists do not fully understand all its causes.”
According to the text 1, choose the best reason why the author wrote this article:
Q1379208
Inglês
Texto associado
Disponível em: https://www.bbc.com/news/newsbeat-48277942
Leia o texto abaixo e responda à questão.
Disponível em: https://www.bbc.com/news/newsbeat-48277942
Qual das expressões abaixo pode
substituir a conjunção ALTHOUGH (linha 17),
sem prejuízo para o significado da frase?
Q1379207
Inglês
Texto associado
Disponível em: https://www.bbc.com/news/newsbeat-48277942
Leia o texto abaixo e responda à questão.
Disponível em: https://www.bbc.com/news/newsbeat-48277942
Por que Maisie Williams alega ter crescido
sob os olhos do público?
Q1378955
Inglês
Mark the alternative which contains a modal verb which expresses permission:
Q1378953
Inglês
Men relapse more often than women.
Q1378952
Inglês
According to the text:
Q1378951
Inglês
According to the text:
Q1378769
Inglês
Texto associado
Big education publisher to end printed textbooks
The world's largest education publisher, Pearson, has said it will gradually phase out printed textbooks. It has taken a decision to make all of its learning resources "digital first". Pearson said the future of the industry is in e-books and digital services. Pearson CEO John Fallon explained more about the company's future direction. He told the BBC: "We are now over the digital tipping point. Over half our annual revenues come from digital sales, so we've decided, a little bit like in other industries like newspapers or music or in broadcast, that it is time to flick the switch in how we primarily make and create our products." He added: "I am increasingly confident and excited about this." Pearson said a huge advantage of digital books is that they can be continually updated, _________3 means teachers will always have access to the latest versions of textbooks. Mr. Fallon said Pearson would stop its current business model of revising printed course books every three years. He said this model has dominated the industry for over four decades and is now past its use-by date. Fallon said: "We learn by engaging and sharing with others, and a digital environment enables you to do that in a much more effective way." He added the digital books will appeal to the "Netflix and Spotify generation". Textbook writers are worried they will earn less from their books as digital products are sold on a subscription basis.
Source: https://breakingnewsenglish.com/1907/190718- textbooks.html Captured on: 26/07/19
According to the text, it is wrong to affirm that:
Q1378768
Inglês
Texto associado
Big education publisher to end printed textbooks
The world's largest education publisher, Pearson, has said it will gradually phase out printed textbooks. It has taken a decision to make all of its learning resources "digital first". Pearson said the future of the industry is in e-books and digital services. Pearson CEO John Fallon explained more about the company's future direction. He told the BBC: "We are now over the digital tipping point. Over half our annual revenues come from digital sales, so we've decided, a little bit like in other industries like newspapers or music or in broadcast, that it is time to flick the switch in how we primarily make and create our products." He added: "I am increasingly confident and excited about this." Pearson said a huge advantage of digital books is that they can be continually updated, _________3 means teachers will always have access to the latest versions of textbooks. Mr. Fallon said Pearson would stop its current business model of revising printed course books every three years. He said this model has dominated the industry for over four decades and is now past its use-by date. Fallon said: "We learn by engaging and sharing with others, and a digital environment enables you to do that in a much more effective way." He added the digital books will appeal to the "Netflix and Spotify generation". Textbook writers are worried they will earn less from their books as digital products are sold on a subscription basis.
Source: https://breakingnewsenglish.com/1907/190718- textbooks.html Captured on: 26/07/19
Read the statements below:
I. Pearson has stopped printing textbooks.
II. The publisher has profits of over 50% from digital sales.
III. Printed course books are revised by Pearson every three years.
According to the text, choose the only correct alternative:
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377323
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
In the last paragraph, one can infer that the most important thing
for Sebastião Salgado is
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377322
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Segundo o texto, a tribo Zo’e
Q1377319
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do quinto parágrafo – I would put it inside my clothes,
my assistant would give me another one –, a palavra one referese, no texto, a
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377318
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
The Yamal peninsula
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377317
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
One of the problems Salgado had when photographing Genesis
was
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377316
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Sebastião Salgado
Q1377205
Inglês
In the sentence, “while it’s impossible to believe that everyone can speak in exactly the same way in all areas of
a vast nation, the different accents may at times be so difficult to understand that they inhibit communication”.
The modal verbs can and may express:
Q1377203
Inglês
In the sentence, “By discouraging the use of regional English accents, such stereotypes and barriers of
communication can be forsaken”. The verb, forsaken, in its past participle form, may be substituted for:
Q1377202
Inglês
According to the text:
Conheça nossos planos