Questões de Concursos Análise Sintática Syntax Parsing

Text 2

(Part II) Students’ skills

But graduation rates, while important, speak little to the quality of education received. The OECD’s Programme for International Student Assessment (PISA) reviews the extent to which students near the end of their compulsory education (usually around age 15) have acquired some of the knowledge and skills that are essential for full participation in modern societies, particularly in reading, mathematics and science.

In 2018, PISA tested students from 79 countries, including OECD countries, Brazil, the Russian Federation and South Africa. The students were tested on their reading ability, their skills in maths and level in sciences. Research shows that these skills are more reliable predictors of economic and social well-being than the number of years spent in school or in post -formal education. The average student in the OECD area scored 488. On average in the OECD, girls scored 491 compared with 485 for boys.

Estonia is the highest-performing OECD country, with average PISA scores of 526, followed by Japan and Korea with 520 points. The lowest performing OECD country, Colombia, has an average score of 406. This means that the gap between the highest and lowest performing OECD countries is 120 points.

The best-performing school systems manage to provide highquality education to all students. In Canada, Estonia, Finland and Ireland for example, students tend to perform well regardless of their social background. In Israel and Luxembourg however, the gap between the students with the lowest socio-economic background and the students with the highest socio-economic background reaches more than 120 points, suggesting students’ socio-economic background tends to have an impact on their results. On average across OECD countries, there is a widening 89-point difference in PISA scores between the students with the highest and lowest socio-economic background.

https://www.oecdbetterlifeindex.org/topics/education/

Text 7A2-I

If we believe that our own information age is defined by the digital structures of electronic communication, we must take early modern culture as inextricably bound to the medium of print. Printed text and image arose within a few years of each other in the mid-fifteenth century, credited to the German goldsmith Johannes Gutenberg, who seemingly drew together a series of extant yet disparate technologies into a new machine that could print several thousand sheets a day. The ancient oil or wine press, the goldsmith’s craft in fine metal carving, the late-medieval development of plentiful rag paper, and the recent formulation of more stable oil-based inks enabled Gutenberg’s ‘revolution’.

Similarly, early photography developed from a coming together of two otherwise disparate technologies: on the one hand, the pinhole camera through which capture a refected view of the world as an image, and on the other the chemical means to fix the effects of light exposure on paper. In both cases, these technologies shared aesthetic resources with other media available at the time, while also producing forms of representation that were uniquely theirs, and which offered access to new ways of seeing, and enabled new forms of subjectivity. The greatly expanded flow of visual information facilitated by these technological breakthroughs worked to quicken the circulation of knowledge, and the foundations of thought itself.

Genevieve Warwick and Richard Taws. After Prometheus:

Art and Technology in Early Modern Europe. In:

Art History – Journal of the Association of Art Historians.

Special Edition: Art and Technology in Early Modern Europe. p. 201 (adapted)

Read the following text to answer the question.

Written by Virginia Woolf, the following letter expresses her fear of another mental breakdown and her decision to take her own life.

“Dearest, I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier 'til this terrible disease came. I can't fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that – everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been. V.”

Read the text and answer question.

Education in a language which is not the first language of the learner is as old as education itself. As individuals from different language groups have lived together, some have been educated in an additional language. This is as true of Ancient Rome as it is of the increasingly multilingual societies being created through mobility and globalization in the 21th century.

Two thousand years ago, provision of an educational curriculum in an additional language happened as the Roman Empire expanded and absorbed Greek territory, language and culture. Families in Rome educated their children in Greek to ensure that they would have access to not only the language, but also the social and professional opportunities it would provide for them in their future lives, including living in Greek-speaking educational communities. This historical experience has been replicated across the world through the centuries, and is now particularly true of the global uptake of English language learning.

Researchers and educators have sought new practices in education that will suit the demands of the present day. Globalization and the forces of economic and social convergence have had a significant impact on who learns which language, at what stage in their development, and in which way. The driving forces for language learning differ according to country and region, but they share the objective of wanting to achieve the best possible results in the shortest time. This need has often dovetailed with the need to adapt content-teaching methodologies so as to raise overall levels of proficiency.

(COYLE, Do; HOOD, Philip; MARSH, David. 2010. Adaptado)

Text 7A2-II

In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.

I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.

As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.

Where is the Art? A History in Technology.

Internet: <https://www.infoq.com> (adapted).