Questões de Concursos Agente Técnico Legislativo Especializado

Espaço e tempo modernos

Nota-se nos romances mais representativos do século XX uma modificação análoga à que sucedeu com a pintura moderna, modificação que parece ser essencial à estrutura do modernismo. À eliminação do espaço ou da ilusão do espaço, na pintura, parece corresponder, no romance, a da sucessão temporal. A cronologia e a continuidade temporal foram abaladas, "os relógios foram destruídos". O romance moderno nasceu no momento em que Proust, Joyce e Gide começam a desfazer a ordem cronológica, fundindo passado, presente e futuro, fazendo prevalecer o princípio da simultaneidade sobre o da sucessão temporal.
A visão de uma realidade mais profunda, mais real que a do senso comum, é assim incorporada à forma total da obra de arte. O homem já não vive "no tempo", ele passa a "ser tempo", ou seja, a carregar dentro de si a dimensão de um tempo que não apenas flui, mas que problematiza a si mesmo.

(Adaptado de Anatol Rosenfeld. Texto/contexto)

Espaço e tempo modernos

Nota-se nos romances mais representativos do século XX uma modificação análoga à que sucedeu com a pintura moderna, modificação que parece ser essencial à estrutura do modernismo. À eliminação do espaço ou da ilusão do espaço, na pintura, parece corresponder, no romance, a da sucessão temporal. A cronologia e a continuidade temporal foram abaladas, "os relógios foram destruídos". O romance moderno nasceu no momento em que Proust, Joyce e Gide começam a desfazer a ordem cronológica, fundindo passado, presente e futuro, fazendo prevalecer o princípio da simultaneidade sobre o da sucessão temporal.
A visão de uma realidade mais profunda, mais real que a do senso comum, é assim incorporada à forma total da obra de arte. O homem já não vive "no tempo", ele passa a "ser tempo", ou seja, a carregar dentro de si a dimensão de um tempo que não apenas flui, mas que problematiza a si mesmo.

(Adaptado de Anatol Rosenfeld. Texto/contexto)

Espaço e tempo modernos

Nota-se nos romances mais representativos do século XX uma modificação análoga à que sucedeu com a pintura moderna, modificação que parece ser essencial à estrutura do modernismo. À eliminação do espaço ou da ilusão do espaço, na pintura, parece corresponder, no romance, a da sucessão temporal. A cronologia e a continuidade temporal foram abaladas, "os relógios foram destruídos". O romance moderno nasceu no momento em que Proust, Joyce e Gide começam a desfazer a ordem cronológica, fundindo passado, presente e futuro, fazendo prevalecer o princípio da simultaneidade sobre o da sucessão temporal.
A visão de uma realidade mais profunda, mais real que a do senso comum, é assim incorporada à forma total da obra de arte. O homem já não vive "no tempo", ele passa a "ser tempo", ou seja, a carregar dentro de si a dimensão de um tempo que não apenas flui, mas que problematiza a si mesmo.

(Adaptado de Anatol Rosenfeld. Texto/contexto)

Espaço e tempo modernos

Nota-se nos romances mais representativos do século XX uma modificação análoga à que sucedeu com a pintura moderna, modificação que parece ser essencial à estrutura do modernismo. À eliminação do espaço ou da ilusão do espaço, na pintura, parece corresponder, no romance, a da sucessão temporal. A cronologia e a continuidade temporal foram abaladas, "os relógios foram destruídos". O romance moderno nasceu no momento em que Proust, Joyce e Gide começam a desfazer a ordem cronológica, fundindo passado, presente e futuro, fazendo prevalecer o princípio da simultaneidade sobre o da sucessão temporal.
A visão de uma realidade mais profunda, mais real que a do senso comum, é assim incorporada à forma total da obra de arte. O homem já não vive "no tempo", ele passa a "ser tempo", ou seja, a carregar dentro de si a dimensão de um tempo que não apenas flui, mas que problematiza a si mesmo.

(Adaptado de Anatol Rosenfeld. Texto/contexto)

When I talk with librarians about thinking of themselves as designers, sometimes they demur. "Designer? I cant even draw a stick figure!" But you dont need to. Whether you know it or not, youre already a designer.

Every time librarians create a bookmark, decide to house a collection in a new spot, or figure out how a new service
might work, theyre making design decisions. This is what I like to call design by neglect or unintentional design. Whether library employees wear name tags is a design decision. The length of loan periods and whether or not you charge fines is a design decision. Anytime you choose how people will interact with your library, youre making a design decision. All of these decisions add up to create an experience, good or bad, for your patrons.

When we are mindful of our roles as library experience designers, we can make more informed design choices. This awareness can provide better experiences for our patrons and demonstrate that we care about them.

Really. People will notice, [CONJUNCTION] not necessarily consciously, if we [VERB] the time to think about them when were developing our services. The secret here is not to think of library patrons, users, or customers: we need to think of people. We need to consider their lives and what theyre trying to accomplish. This act, which can only be done by cultivating the skill of empathy, is the most important ? and perhaps the most difficult ? part of user experience design.

(Adapted from http://www.libraryjournal.com/article/CA6713142.html?nid=2673&source=title&rid=1105906703)

When I talk with librarians about thinking of themselves as designers, sometimes they demur. "Designer? I cant even draw a stick figure!" But you dont need to. Whether you know it or not, youre already a designer.

Every time librarians create a bookmark, decide to house a collection in a new spot, or figure out how a new service
might work, theyre making design decisions. This is what I like to call design by neglect or unintentional design. Whether library employees wear name tags is a design decision. The length of loan periods and whether or not you charge fines is a design decision. Anytime you choose how people will interact with your library, youre making a design decision. All of these decisions add up to create an experience, good or bad, for your patrons.

When we are mindful of our roles as library experience designers, we can make more informed design choices. This awareness can provide better experiences for our patrons and demonstrate that we care about them.

Really. People will notice, [CONJUNCTION] not necessarily consciously, if we [VERB] the time to think about them when were developing our services. The secret here is not to think of library patrons, users, or customers: we need to think of people. We need to consider their lives and what theyre trying to accomplish. This act, which can only be done by cultivating the skill of empathy, is the most important ? and perhaps the most difficult ? part of user experience design.

(Adapted from http://www.libraryjournal.com/article/CA6713142.html?nid=2673&source=title&rid=1105906703)

When I talk with librarians about thinking of themselves as designers, sometimes they demur. "Designer? I cant even draw a stick figure!" But you dont need to. Whether you know it or not, youre already a designer.

Every time librarians create a bookmark, decide to house a collection in a new spot, or figure out how a new service
might work, theyre making design decisions. This is what I like to call design by neglect or unintentional design. Whether library employees wear name tags is a design decision. The length of loan periods and whether or not you charge fines is a design decision. Anytime you choose how people will interact with your library, youre making a design decision. All of these decisions add up to create an experience, good or bad, for your patrons.

When we are mindful of our roles as library experience designers, we can make more informed design choices. This awareness can provide better experiences for our patrons and demonstrate that we care about them.

Really. People will notice, [CONJUNCTION] not necessarily consciously, if we [VERB] the time to think about them when were developing our services. The secret here is not to think of library patrons, users, or customers: we need to think of people. We need to consider their lives and what theyre trying to accomplish. This act, which can only be done by cultivating the skill of empathy, is the most important ? and perhaps the most difficult ? part of user experience design.

(Adapted from http://www.libraryjournal.com/article/CA6713142.html?nid=2673&source=title&rid=1105906703)

When I talk with librarians about thinking of themselves as designers, sometimes they demur. "Designer? I cant even draw a stick figure!" But you dont need to. Whether you know it or not, youre already a designer.

Every time librarians create a bookmark, decide to house a collection in a new spot, or figure out how a new service
might work, theyre making design decisions. This is what I like to call design by neglect or unintentional design. Whether library employees wear name tags is a design decision. The length of loan periods and whether or not you charge fines is a design decision. Anytime you choose how people will interact with your library, youre making a design decision. All of these decisions add up to create an experience, good or bad, for your patrons.

When we are mindful of our roles as library experience designers, we can make more informed design choices. This awareness can provide better experiences for our patrons and demonstrate that we care about them.

Really. People will notice, [CONJUNCTION] not necessarily consciously, if we [VERB] the time to think about them when were developing our services. The secret here is not to think of library patrons, users, or customers: we need to think of people. We need to consider their lives and what theyre trying to accomplish. This act, which can only be done by cultivating the skill of empathy, is the most important ? and perhaps the most difficult ? part of user experience design.

(Adapted from http://www.libraryjournal.com/article/CA6713142.html?nid=2673&source=title&rid=1105906703)