Questões Militares Para ime

                                                 Texto 4

      FRANK WHITTLE AND THE INVENTION OF THE JET ENGINE:

                            SIX PLACES TO TRACE HIS GENIUS

      It was, in many ways, a very British sort of achievement. When the turbine began to spin on the “WU” – the prototype jet engine developed by the Coventry-born engineer Frank Whittle – it was a moment which changed the world. Had you been passing through the byways of Rugby, in Warwickshire, more than 80 years ago, you might even have heard it. A thrum of mechanics in sync, building and building, growing in intensity to become a roar; a giddy howl which would permanently alter the way we journey around our planet.

      And yet it might so easily not have happened. Whittle’s triumph – on April 12, 1937 – was garnered in the face of official indifference and scientific doubt, and was only pulled off by a merest financial hair’s breadth, with the Second World War crowding in on all sides.

                                             ( . . . )

       Here was a visionary who began fomenting his design for a jet engine as early as 1927, and patented it in 1930, yet had to swim against the current after seeing his idea pooh-poohed by the UK's Air Ministry – which, upon seeing the blueprint in 1929, deemed it “impracticable.”

      Undeterred, Whittle took his own path. In January 1936, he founded a private company, Power Jets Ltd, with aeronautical engineer Rolf Dudley Williams and retired RAF officer James Collingwood Tinling. With £2,000 of funding from O.T. Falk & Partners – an investment bank which was known for taking risks – the trio began converting what had been decried as fantasy into reality. That first blur of blades as the WU (Whittle Unit) screamed into life was followed by a series of leaps forward.

      The Air Ministry placed its first order for Whittle’s brainwave in January 1940. The first jet-powered British plane took off from RAF Cranwell, Lincolnshire, on May 15, 1941. The rest is so much history.

      None of this occurred in isolation. The story of the jet engine can never be told without mentions of Maxime Guillaume, who secured a French patent for a jet engine with a gas turbine in 1921 (no prototype was ever produced as it was beyond the scope of existing technology), and of Hans Von Ohain, who beat Whittle to the punch by building the first fully operational jet engine in 1939 as Germany chased advantages in the global conflict.

                                               ( . . . )
  

RAF = Royal Air Force

LEADBEATER, C. Adaptado de Frank Whittle and the invention of the jet engine: Six places to trace his genius. In: The Telegraph. Disponível em: <https://www.telegraph.co.uk/travel/destinations/europe/unitedkingdom/england/articles/frank-whittle-and-the-birth-of-the-jet-engine/>. Acesso em: 08/06/2018

                                                 Texto 4

      FRANK WHITTLE AND THE INVENTION OF THE JET ENGINE:

                            SIX PLACES TO TRACE HIS GENIUS

      It was, in many ways, a very British sort of achievement. When the turbine began to spin on the “WU” – the prototype jet engine developed by the Coventry-born engineer Frank Whittle – it was a moment which changed the world. Had you been passing through the byways of Rugby, in Warwickshire, more than 80 years ago, you might even have heard it. A thrum of mechanics in sync, building and building, growing in intensity to become a roar; a giddy howl which would permanently alter the way we journey around our planet.

      And yet it might so easily not have happened. Whittle’s triumph – on April 12, 1937 – was garnered in the face of official indifference and scientific doubt, and was only pulled off by a merest financial hair’s breadth, with the Second World War crowding in on all sides.

                                             ( . . . )

       Here was a visionary who began fomenting his design for a jet engine as early as 1927, and patented it in 1930, yet had to swim against the current after seeing his idea pooh-poohed by the UK's Air Ministry – which, upon seeing the blueprint in 1929, deemed it “impracticable.”

      Undeterred, Whittle took his own path. In January 1936, he founded a private company, Power Jets Ltd, with aeronautical engineer Rolf Dudley Williams and retired RAF officer James Collingwood Tinling. With £2,000 of funding from O.T. Falk & Partners – an investment bank which was known for taking risks – the trio began converting what had been decried as fantasy into reality. That first blur of blades as the WU (Whittle Unit) screamed into life was followed by a series of leaps forward.

      The Air Ministry placed its first order for Whittle’s brainwave in January 1940. The first jet-powered British plane took off from RAF Cranwell, Lincolnshire, on May 15, 1941. The rest is so much history.

      None of this occurred in isolation. The story of the jet engine can never be told without mentions of Maxime Guillaume, who secured a French patent for a jet engine with a gas turbine in 1921 (no prototype was ever produced as it was beyond the scope of existing technology), and of Hans Von Ohain, who beat Whittle to the punch by building the first fully operational jet engine in 1939 as Germany chased advantages in the global conflict.

                                               ( . . . )
  

RAF = Royal Air Force

LEADBEATER, C. Adaptado de Frank Whittle and the invention of the jet engine: Six places to trace his genius. In: The Telegraph. Disponível em: <https://www.telegraph.co.uk/travel/destinations/europe/unitedkingdom/england/articles/frank-whittle-and-the-birth-of-the-jet-engine/>. Acesso em: 08/06/2018

                                                 Texto 4

      FRANK WHITTLE AND THE INVENTION OF THE JET ENGINE:

                            SIX PLACES TO TRACE HIS GENIUS

      It was, in many ways, a very British sort of achievement. When the turbine began to spin on the “WU” – the prototype jet engine developed by the Coventry-born engineer Frank Whittle – it was a moment which changed the world. Had you been passing through the byways of Rugby, in Warwickshire, more than 80 years ago, you might even have heard it. A thrum of mechanics in sync, building and building, growing in intensity to become a roar; a giddy howl which would permanently alter the way we journey around our planet.

      And yet it might so easily not have happened. Whittle’s triumph – on April 12, 1937 – was garnered in the face of official indifference and scientific doubt, and was only pulled off by a merest financial hair’s breadth, with the Second World War crowding in on all sides.

                                             ( . . . )

       Here was a visionary who began fomenting his design for a jet engine as early as 1927, and patented it in 1930, yet had to swim against the current after seeing his idea pooh-poohed by the UK's Air Ministry – which, upon seeing the blueprint in 1929, deemed it “impracticable.”

      Undeterred, Whittle took his own path. In January 1936, he founded a private company, Power Jets Ltd, with aeronautical engineer Rolf Dudley Williams and retired RAF officer James Collingwood Tinling. With £2,000 of funding from O.T. Falk & Partners – an investment bank which was known for taking risks – the trio began converting what had been decried as fantasy into reality. That first blur of blades as the WU (Whittle Unit) screamed into life was followed by a series of leaps forward.

      The Air Ministry placed its first order for Whittle’s brainwave in January 1940. The first jet-powered British plane took off from RAF Cranwell, Lincolnshire, on May 15, 1941. The rest is so much history.

      None of this occurred in isolation. The story of the jet engine can never be told without mentions of Maxime Guillaume, who secured a French patent for a jet engine with a gas turbine in 1921 (no prototype was ever produced as it was beyond the scope of existing technology), and of Hans Von Ohain, who beat Whittle to the punch by building the first fully operational jet engine in 1939 as Germany chased advantages in the global conflict.

                                               ( . . . )
  

RAF = Royal Air Force

LEADBEATER, C. Adaptado de Frank Whittle and the invention of the jet engine: Six places to trace his genius. In: The Telegraph. Disponível em: <https://www.telegraph.co.uk/travel/destinations/europe/unitedkingdom/england/articles/frank-whittle-and-the-birth-of-the-jet-engine/>. Acesso em: 08/06/2018

                                                 Texto 4

      FRANK WHITTLE AND THE INVENTION OF THE JET ENGINE:

                            SIX PLACES TO TRACE HIS GENIUS

      It was, in many ways, a very British sort of achievement. When the turbine began to spin on the “WU” – the prototype jet engine developed by the Coventry-born engineer Frank Whittle – it was a moment which changed the world. Had you been passing through the byways of Rugby, in Warwickshire, more than 80 years ago, you might even have heard it. A thrum of mechanics in sync, building and building, growing in intensity to become a roar; a giddy howl which would permanently alter the way we journey around our planet.

      And yet it might so easily not have happened. Whittle’s triumph – on April 12, 1937 – was garnered in the face of official indifference and scientific doubt, and was only pulled off by a merest financial hair’s breadth, with the Second World War crowding in on all sides.

                                             ( . . . )

       Here was a visionary who began fomenting his design for a jet engine as early as 1927, and patented it in 1930, yet had to swim against the current after seeing his idea pooh-poohed by the UK's Air Ministry – which, upon seeing the blueprint in 1929, deemed it “impracticable.”

      Undeterred, Whittle took his own path. In January 1936, he founded a private company, Power Jets Ltd, with aeronautical engineer Rolf Dudley Williams and retired RAF officer James Collingwood Tinling. With £2,000 of funding from O.T. Falk & Partners – an investment bank which was known for taking risks – the trio began converting what had been decried as fantasy into reality. That first blur of blades as the WU (Whittle Unit) screamed into life was followed by a series of leaps forward.

      The Air Ministry placed its first order for Whittle’s brainwave in January 1940. The first jet-powered British plane took off from RAF Cranwell, Lincolnshire, on May 15, 1941. The rest is so much history.

      None of this occurred in isolation. The story of the jet engine can never be told without mentions of Maxime Guillaume, who secured a French patent for a jet engine with a gas turbine in 1921 (no prototype was ever produced as it was beyond the scope of existing technology), and of Hans Von Ohain, who beat Whittle to the punch by building the first fully operational jet engine in 1939 as Germany chased advantages in the global conflict.

                                               ( . . . )
  

RAF = Royal Air Force

LEADBEATER, C. Adaptado de Frank Whittle and the invention of the jet engine: Six places to trace his genius. In: The Telegraph. Disponível em: <https://www.telegraph.co.uk/travel/destinations/europe/unitedkingdom/england/articles/frank-whittle-and-the-birth-of-the-jet-engine/>. Acesso em: 08/06/2018

                                           Texto 3

THE DISCOVERY OF PENICILLIN—NEW INSIGHTS AFTER MORE THAN 75 YEARS OF CLINICAL USE

ABSTRACT   

        After just over 75 years of penicillin’s clinical use, the world can see that its impact was immediate and profound. In 1928, a chance event in Alexander Fleming’s London laboratory changed the course of medicine. However, the purification and first clinical use of penicillin would take more than a decade. Unprecedented United States/Great Britain cooperation to produce penicillin was incredibly successful by 1943. This success overshadowed efforts to produce penicillin during World War II in Europe, particularly in the Netherlands. Information about these efforts, available only in the last 10–15 years, provides new insights into the story of the first antibiotic. Researchers in the Netherlands produced penicillin using their own production methods and marketed it in 1946, which eventually increased the penicillin supply and decreased the price. The unusual serendipity involved in the discovery of penicillin demonstrates the difficulties in finding new antibiotics and should remind health professionals to expertly manage these extraordinary medicines.

                                                      ( . . . )

GAYNES, R. The Discovery of Penicillin—New Insights After More Than 75 Years of Clinical Use. In: Science, 2017. Disponível em: <http://wwwnc.cdc.gov/eid/article/23/5/16-1556_article>. Acesso em: 26/06/2018.

                                                     Texto 2

CORPORATE CONTROL AND GLOBAL GOVERNANCE OF MARINE GENETIC RESOURCES

INTRODUCTION   

      The prospect of the ocean generating a new era of “blue growth” is increasingly finding its way into national and international policy documents around the world and has spurred a rush to claim ocean space and resources. If economic activities in coastal and offshore areas are to expand in an equitable and sustainable manner, in line with the Sustainable Development Goals (SDGs), progress is needed toward addressing multiple and potentially conflicting uses of ocean space within national jurisdictions, in addition to developing a consistent and transparent legal framework for the vast areas beyond national jurisdiction (ABNJ). These areas cover 64% of the world’s ocean and 47% of the Earth’s surface yet remain poorly understood or described.   

      Marine organisms have evolved to thrive in the extremes of pressure, temperature, chemistry, and darkness found in the ocean, resulting in unique adaptations that make them the object of commercial interest, particularly for biomedical and industrial applications. By 2025, the global market for marine biotechnology is projected to reach $6.4 billion, spanning a broad range of commercial purposes for the pharmaceutical, biofuel, and chemical industries. One way to ensure exclusive access to these potential economic benefits is through patents associated with “marine genetic resources” (MGRs). Although the term MGRs has never been formally described, it suggests a subset of “genetic resources”, which have been defined under the Convention on Biological Diversity (CBD) as “genetic material of actual or potential value”._(33)_. The adoption of the Nagoya Protocol in 2010 represented an important step within the international policy arena to define obligations associated with monetary and nonmonetary benefit sharing of genetic resources and their products sourced from within national jurisdictions. No such mechanism currently exists for ABNJ.

                                                     ( . . . )

BLASIAK, R.; JOUFFRAY, JB.; WABNITZ, C.; SUNDSTROM, E. e OSTERBLOM, H. Adaptado de Corporate control and global governance of marine genetic resources. In: Science Advances. Disponível em <http://advances.sciencemag.org/ content/4/6/eaar5237.full>. Acesso em: 07/08/2018.

                                                     Texto 2

CORPORATE CONTROL AND GLOBAL GOVERNANCE OF MARINE GENETIC RESOURCES

INTRODUCTION   

      The prospect of the ocean generating a new era of “blue growth” is increasingly finding its way into national and international policy documents around the world and has spurred a rush to claim ocean space and resources. If economic activities in coastal and offshore areas are to expand in an equitable and sustainable manner, in line with the Sustainable Development Goals (SDGs), progress is needed toward addressing multiple and potentially conflicting uses of ocean space within national jurisdictions, in addition to developing a consistent and transparent legal framework for the vast areas beyond national jurisdiction (ABNJ). These areas cover 64% of the world’s ocean and 47% of the Earth’s surface yet remain poorly understood or described.   

      Marine organisms have evolved to thrive in the extremes of pressure, temperature, chemistry, and darkness found in the ocean, resulting in unique adaptations that make them the object of commercial interest, particularly for biomedical and industrial applications. By 2025, the global market for marine biotechnology is projected to reach $6.4 billion, spanning a broad range of commercial purposes for the pharmaceutical, biofuel, and chemical industries. One way to ensure exclusive access to these potential economic benefits is through patents associated with “marine genetic resources” (MGRs). Although the term MGRs has never been formally described, it suggests a subset of “genetic resources”, which have been defined under the Convention on Biological Diversity (CBD) as “genetic material of actual or potential value”._(33)_. The adoption of the Nagoya Protocol in 2010 represented an important step within the international policy arena to define obligations associated with monetary and nonmonetary benefit sharing of genetic resources and their products sourced from within national jurisdictions. No such mechanism currently exists for ABNJ.

                                                     ( . . . )

BLASIAK, R.; JOUFFRAY, JB.; WABNITZ, C.; SUNDSTROM, E. e OSTERBLOM, H. Adaptado de Corporate control and global governance of marine genetic resources. In: Science Advances. Disponível em <http://advances.sciencemag.org/ content/4/6/eaar5237.full>. Acesso em: 07/08/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.

                                                     Texto 1

              FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR

      I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.

       __(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.

      ___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.

In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.

      While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)

CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em: . Acesso em: 15/06/2018.