Questões para Concursos

Text CG2A1-I Industry, government and law enforcement agencies are in race to keep up with the vast cybercrime ecosystem, experts say, as cybercriminals and malicious actors increasingly exploit the digital economy. “The global law enforcement community is struggling with the sheer volume of cyber-related crimes,” Jürgen Stock, the Secretary-General of INTERPOL, said during the World Economic Forum’s 2024 Annual Meeting in Davos. “The crime statistics only go in one direction, which is up.” Cybercrime rose significantly during the COVID-19 pandemic. Currently, large and sophisticated cybercrimes continue to be deployed today. They are also becoming more expensive for the targeted companies and organizations. The average global cost of a data breach reached US$ 4.45 million last year, according to the latest research, the highest level ever recorded. In Davos, experts maintain that so-called security by design is key to bolstering cyber resilience. The concept of security by design entails building cybersecurity protocols into software and hardware products from the earliest development stage. This approach allows safeguards to be embedded at each state of operation and limits the chances of cybersecurity vulnerabilities emerging as products develop and are put into use. “It has become an imperative for the digital public infrastructure,” Debjani Ghosh, President of Indian technology non-profit NASSCOM, said of security by design. The international community needs to “start thinking about the processes we can put in place to make sure that we can support each other and defend each other’s public infrastructures,” Sadie Creese, a Professor of Cybersecurity at the University of Oxford, said in Davos. Internet: (adapted). Based on text CG2A1-I, judge the following item .

Text CG2A1-II Virtual reality (VR) can, in its own imperfect ways, transport a user into distant experiences. One thing VR can’t yet do, however, is simulate the experience of eating lunch. But that could change thanks to a new “bio-integrated gustatory interface” device called e-Taste. Researchers from Ohio State University created a small electromagnetic pump connected to a liquid channel of chemicals that, when mixed in the right ratios, can approximate the taste of coffee, lemonade, cake, and other food and drinks. That newly crafted chemical liquid is then pushed through via a gel. Users ultimately experience the taste as a liquid that sits in their mouth. And while an initial group of human test subjects struggled to accurately differentiate between different taste profiles, the study suggests a future VR steakhouse experience might not be as far-fetched as it sounds. The researchers tested their new device on 10 volunteers and received mixed results. On the positive side, the test subjects were able to differentiate between various sour taste profile intensities with approximately 70 percent accuracy. The tests were less conclusive though when researchers asked participants to distinguish between flavors intended to represent cake, fried egg, coffee, and fish soup. That discrepancy is not necessarily due entirely to poor device performance, though. Even in the physical world, taste is inherently subjective. Factors such as smell, memory, and visual cues can influence how we perceive food. Two people might experience the taste of the same meal slightly differently. “Taste and smell are greatly related to human emotion and memory,” added one of the researchers. “So our sensor has to learn to capture, control, and store all that information.” The e-Taste researchers believe their device could also have applications beyond video games. Theoretically, the technology could one day allow users to virtually taste-test items before ordering them. Medical professionals might also use the device to remotely assess whether patients have lost certain aspects of taste, which could be an early indicator of illness. Additionally, the device could serve as an aid in reintroducing taste sensations to individuals with certain neurological disorders or illnesses, such as long COVID, that have impaired their ability to taste food. Internet: (adapted). According to text CG2A1-II, judge the item that follow.

Text CG2A1-II Virtual reality (VR) can, in its own imperfect ways, transport a user into distant experiences. One thing VR can’t yet do, however, is simulate the experience of eating lunch. But that could change thanks to a new “bio-integrated gustatory interface” device called e-Taste. Researchers from Ohio State University created a small electromagnetic pump connected to a liquid channel of chemicals that, when mixed in the right ratios, can approximate the taste of coffee, lemonade, cake, and other food and drinks. That newly crafted chemical liquid is then pushed through via a gel. Users ultimately experience the taste as a liquid that sits in their mouth. And while an initial group of human test subjects struggled to accurately differentiate between different taste profiles, the study suggests a future VR steakhouse experience might not be as far-fetched as it sounds. The researchers tested their new device on 10 volunteers and received mixed results. On the positive side, the test subjects were able to differentiate between various sour taste profile intensities with approximately 70 percent accuracy. The tests were less conclusive though when researchers asked participants to distinguish between flavors intended to represent cake, fried egg, coffee, and fish soup. That discrepancy is not necessarily due entirely to poor device performance, though. Even in the physical world, taste is inherently subjective. Factors such as smell, memory, and visual cues can influence how we perceive food. Two people might experience the taste of the same meal slightly differently. “Taste and smell are greatly related to human emotion and memory,” added one of the researchers. “So our sensor has to learn to capture, control, and store all that information.” The e-Taste researchers believe their device could also have applications beyond video games. Theoretically, the technology could one day allow users to virtually taste-test items before ordering them. Medical professionals might also use the device to remotely assess whether patients have lost certain aspects of taste, which could be an early indicator of illness. Additionally, the device could serve as an aid in reintroducing taste sensations to individuals with certain neurological disorders or illnesses, such as long COVID, that have impaired their ability to taste food. Internet: (adapted). According to text CG2A1-II, judge the item that follow.

Text CG2A1-II Virtual reality (VR) can, in its own imperfect ways, transport a user into distant experiences. One thing VR can’t yet do, however, is simulate the experience of eating lunch. But that could change thanks to a new “bio-integrated gustatory interface” device called e-Taste. Researchers from Ohio State University created a small electromagnetic pump connected to a liquid channel of chemicals that, when mixed in the right ratios, can approximate the taste of coffee, lemonade, cake, and other food and drinks. That newly crafted chemical liquid is then pushed through via a gel. Users ultimately experience the taste as a liquid that sits in their mouth. And while an initial group of human test subjects struggled to accurately differentiate between different taste profiles, the study suggests a future VR steakhouse experience might not be as far-fetched as it sounds. The researchers tested their new device on 10 volunteers and received mixed results. On the positive side, the test subjects were able to differentiate between various sour taste profile intensities with approximately 70 percent accuracy. The tests were less conclusive though when researchers asked participants to distinguish between flavors intended to represent cake, fried egg, coffee, and fish soup. That discrepancy is not necessarily due entirely to poor device performance, though. Even in the physical world, taste is inherently subjective. Factors such as smell, memory, and visual cues can influence how we perceive food. Two people might experience the taste of the same meal slightly differently. “Taste and smell are greatly related to human emotion and memory,” added one of the researchers. “So our sensor has to learn to capture, control, and store all that information.” The e-Taste researchers believe their device could also have applications beyond video games. Theoretically, the technology could one day allow users to virtually taste-test items before ordering them. Medical professionals might also use the device to remotely assess whether patients have lost certain aspects of taste, which could be an early indicator of illness. Additionally, the device could serve as an aid in reintroducing taste sensations to individuals with certain neurological disorders or illnesses, such as long COVID, that have impaired their ability to taste food. Internet: (adapted). According to text CG2A1-II, judge the item that follow.

Text CG2A1-II Virtual reality (VR) can, in its own imperfect ways, transport a user into distant experiences. One thing VR can’t yet do, however, is simulate the experience of eating lunch. But that could change thanks to a new “bio-integrated gustatory interface” device called e-Taste. Researchers from Ohio State University created a small electromagnetic pump connected to a liquid channel of chemicals that, when mixed in the right ratios, can approximate the taste of coffee, lemonade, cake, and other food and drinks. That newly crafted chemical liquid is then pushed through via a gel. Users ultimately experience the taste as a liquid that sits in their mouth. And while an initial group of human test subjects struggled to accurately differentiate between different taste profiles, the study suggests a future VR steakhouse experience might not be as far-fetched as it sounds. The researchers tested their new device on 10 volunteers and received mixed results. On the positive side, the test subjects were able to differentiate between various sour taste profile intensities with approximately 70 percent accuracy. The tests were less conclusive though when researchers asked participants to distinguish between flavors intended to represent cake, fried egg, coffee, and fish soup. That discrepancy is not necessarily due entirely to poor device performance, though. Even in the physical world, taste is inherently subjective. Factors such as smell, memory, and visual cues can influence how we perceive food. Two people might experience the taste of the same meal slightly differently. “Taste and smell are greatly related to human emotion and memory,” added one of the researchers. “So our sensor has to learn to capture, control, and store all that information.” The e-Taste researchers believe their device could also have applications beyond video games. Theoretically, the technology could one day allow users to virtually taste-test items before ordering them. Medical professionals might also use the device to remotely assess whether patients have lost certain aspects of taste, which could be an early indicator of illness. Additionally, the device could serve as an aid in reintroducing taste sensations to individuals with certain neurological disorders or illnesses, such as long COVID, that have impaired their ability to taste food. Internet: (adapted). According to text CG2A1-II, judge the item that follow.

Text CG2A1-II Virtual reality (VR) can, in its own imperfect ways, transport a user into distant experiences. One thing VR can’t yet do, however, is simulate the experience of eating lunch. But that could change thanks to a new “bio-integrated gustatory interface” device called e-Taste. Researchers from Ohio State University created a small electromagnetic pump connected to a liquid channel of chemicals that, when mixed in the right ratios, can approximate the taste of coffee, lemonade, cake, and other food and drinks. That newly crafted chemical liquid is then pushed through via a gel. Users ultimately experience the taste as a liquid that sits in their mouth. And while an initial group of human test subjects struggled to accurately differentiate between different taste profiles, the study suggests a future VR steakhouse experience might not be as far-fetched as it sounds. The researchers tested their new device on 10 volunteers and received mixed results. On the positive side, the test subjects were able to differentiate between various sour taste profile intensities with approximately 70 percent accuracy. The tests were less conclusive though when researchers asked participants to distinguish between flavors intended to represent cake, fried egg, coffee, and fish soup. That discrepancy is not necessarily due entirely to poor device performance, though. Even in the physical world, taste is inherently subjective. Factors such as smell, memory, and visual cues can influence how we perceive food. Two people might experience the taste of the same meal slightly differently. “Taste and smell are greatly related to human emotion and memory,” added one of the researchers. “So our sensor has to learn to capture, control, and store all that information.” The e-Taste researchers believe their device could also have applications beyond video games. Theoretically, the technology could one day allow users to virtually taste-test items before ordering them. Medical professionals might also use the device to remotely assess whether patients have lost certain aspects of taste, which could be an early indicator of illness. Additionally, the device could serve as an aid in reintroducing taste sensations to individuals with certain neurological disorders or illnesses, such as long COVID, that have impaired their ability to taste food. Internet: (adapted). According to text CG2A1-II, judge the item that follow.

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function. Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic. E. H. Gombrich. The story of art . New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function. Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic. E. H. Gombrich. The story of art . New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function. Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic. E. H. Gombrich. The story of art . New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function. Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic. E. H. Gombrich. The story of art . New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).