Os liquens são associações simbióticas, geralmente mutualistas, entre algas e fungos. Como alguns desses organismos são muito sensíveis à poluição ambiental, os liquens têm sido usados como bioindicadores da qualidade do ar. Suponha que determinada área apresentava grande diversidade de liquens. Porém, após a instalação de uma indústria no local, que passou a emitir grande quantidade de poluentes atmosféricos, tenha-se observado o aumento da abundância de certos liquens, mas uma redução geral da diversidade dos liquens.

A queda da diversidade de liquens relatada acima:

Uma criança brincando com um ímã, por descuido, o deixa cair, e ele se rompe em duas partes. Ao tentar consertá-lo, unindo-as no local da ruptura, ela percebe que os dois pedaços não se encaixam devido à ação magnética.Pensando nisso, se o ímã tivesse o formato e as polaridades da figura a seguir, é válido afirmar que o ímã poderia ter se rompido

(Uel) Leia o texto a seguir.

Na verdade, a ideologia impessoal do liberalismo democrático jamais se naturalizou entre nós. Só assimilamos efetivamente esses princípios até onde coincidiram com a negação pura e simples de uma autoridade incômoda, confirmando nosso instintivo horror às hierarquias e permitindo tratar com familiaridade os governantes.

(HOLANDA, S. B. de. Raízes do Brasil. São Paulo: Companhia das Letras, 1995. p. 160.)

O trecho de Raízes do Brasil ilustra a interpretação de Sérgio Buarque de Holanda sobre a tradição política brasileira.

A esse respeito, considere as afirmativas a seguir.

I. As mudanças políticas no Brasil ocorreram conservando elementos patrimonialistas e paternalistas que dificultam a consolidação democrática.

II. A política brasileira é tradicionalmente voltada para a recusa das relações hierárquicas, as quais são incompatíveis com regimes democráticos.

III. As relações pessoais entre governantes e governados inviabilizaram a instauração do fenômeno democrático no país com a mesma solidez verificada nas nações que adotaram o liberalismo clássico.

IV. A cordialidade, princípio da democracia, possibilitou que se enraizassem, no país, práticas sociais opostas aos princípios do clientelismo político.

Assinale a alternativa correta. 

Numa instalação elétrica de um escritório, são colocadas 3 lâmpadas idênticas em paralelo conectadas a uma fonte de tensão.

Se uma das lâmpadas queimar, o que acontecerá com a corrente nas outras lâmpadas? 

(UERJ) The art of difference

Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process?

¹A vision based on ideologies solves both challenges of sharing – the interpretation of the past and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly ²and non-conformist doubts produce suspicion.

A democratic vision – shared aspirations for the future, based on negotiated interpretations of the past that respect diversity – is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, ¹¹though, that this social engineering is a phantasm, largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity by trying to mould memories and hopes.

Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such “engineering”. ¹²Nevertheless, despite this, and maybe even because of it, we cannot give up trying the ³impossible: to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an ⁴unlikely scenario, can art play this part?

The role of art is precisely to keep inspiration alive, to deconstruct ideology, to ⁵recall the necessary dream of freedom, of the individual and of the common good beyond the “either/or” and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion.

What makes art so unique? And why? Because the best narratives of art are purpose-free, uniquely non-instrumental, simply human. Art narrates what we don’t understand in ⁷enlightened ways. Artists in particular offer a wealth of ⁶unseen perspectives and ⁸unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the ⁹unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be ¹⁰intercultural – and art will be the ally in the art of difference that needs to be further developed. “Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence.

Gottfried Wagner alliancepublishing.org

The ideas expressed in a text might be perceived as true because of the choice and repetition of a specific tense.

The verb tense that makes the ideas in the text seem true is: