Texto 3

HOSNI MUBARAK CAI NA REDE​

Na charge, o principal elemento responsável pelo tom de ironia é o fato de



Com um dedo, um garoto pressiona contra a parede duas moedas, de R$ 0,10 e R$ 1,00, uma sobre a outra, mantendo-as paradas. Em contato com o dedo está a moeda de R$ 0,10 e contra a parede está a de R$ 1,00. O peso da moeda de R$ 0,10 é 0,05 N e o da de R$ 1,00 é 0,09N. A força de atrito exercida pela parede é suficiente para impedir que as moedas caiam.

Qual é a força de atrito entre a parede e a moeda de R$1,00? 

Durante um procedimento de pouso no Aeroporto Internacional Tom Jobim, no Rio de Janeiro, o piloto, que estava com seu avião alinhado com a pista 1, recebeu instruções para corrigir sua rota e pousar na pista 2, conforme o desenho abaixo.

Qual é a medida, em graus, do menor ângulo formado entre as pistas do aeroporto?

(UFRGS) A(s) questão(ões) está(ão) relacionada(s) ao texto abaixo.

The study of game ¹³aesthetics is a very recent practice, spanning less than two ⁷decades. Unlike game studies in ⁴mathematics or the social sciences, ¹_________ are much older, games became subject to humanistic study only after computer and video games became popular. This lack of persistent interest might seem ¹⁵odd, but only if we see traditional games and computer games as intrinsically similar, ²_________ ¹⁹they are not. We might try to explain this lack by noting that games are usually seen as trivial and ¹⁶lowbrow by the aesthetic and theoretical elites ³__________ cultivate the ⁵analysis of artistic ¹⁴media objects: literature, the visual arts, theatre, music, etc. But this does not explain the fact that aesthetic studies of games are now not only possible, but even encouraged and supported with funding. What happened to cause this change?

A possible explanation could be that digital games, unlike traditional games or sports, consist of non-ephemeral content (stored words, sounds and images), which ⁸places them much closer to the ideal object of the ⁹Humanities, the work of art. Thus, they become visible and textualizable for ²⁹the aesthetic observer, in a way the ⁶previous ¹⁰phenomena were not.

However, ²¹this sudden visibility, probably also caused by the tremendous economic and cultural ¹²success of computer games, produces ²⁶certain blind spots in the aesthetic observer, especially if ¹⁸he/she is trained in textual/visual analysis, as is usually the case. Instead of treating ²²the new phenomena carefully, and as ²⁴objects of ³⁰a study for which no methodology yet exists, they are analyzed with tools that happen to be at hand, such as ²⁷film or narrative theories. Therefore ²⁸we need to outline and promote ²³a methodology for ²⁵the aesthetic study of games, ²⁰which, ³¹given the current ¹⁷nascent state of the field, ³²will doubtlessly give way to more sophisticated ¹¹approaches in the years to come.Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis.

Available at: http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf. Accessed on July 26th, 2014. 

Select the alternative which presents the words or phrases to which he/ she (ref. 18), they (ref. 19) and which (ref. 20) refer.