Questões de Inglês

Read the text to answer question.

High-flying ideas?

  A camera-equipped drone flies around the outskirts of Seoul, South Korea, hovering near an industrial plant and capturing video of pollutants. Below, on the crowded, litter-covered streets, residents wear white and black masks that cover their noses and mouths. A gray haze hangs in the sky.

  The unmanned aerial vehicle, or UAV, is part of a pilot program by South Korea’s Ministry of Environment. Tasked with inspecting factory emissions in the capital’s greater metropolitan area, it’s the latest in a series of tech solutions aimed at solving Seoul’s dust dilemma. In fact, the fine dust has South Koreans so concerned they’ve cited it as their No. 1 stressor in life – more distressing than the country’s economic stagnation, its rapidly aging population and even North Korea’s erratic dictator and nuclear weapons program.

  Their worries are well-founded. The World Health Organization (WHO) advises exposure to fine dust, or PM10, of no more than a daily average of 50 micrograms per cubic meter, and to ultra-fine dust, or PM2.5, of no more than 25. At one point in 2017, Seoul’s PM10 hit 179. In late March 2018, Seoul’s PM2.5 soared to over 100. PM2.5 is of greatest concern. So small it can get lodged into the lungs and penetrate the lining to enter the bloodstream, PM2.5 is comprised of black carbon, nitrates, ammonia and other harmful compounds linked to respiratory diseases and cancer. The WHO has classified fine and ultra-fine dust as carcinogenic since 2013.

  Developed by the government-run National Institute of Environmental Research, the drone is the first of what the environment ministry intends to be a fleet deployed nationwide. Some South Korean tech companies, too, are stepping in with their own innovations. Although much of the new tech appears promising, Greenpeace’s Seoul office stresses the importance of addressing the root of the problem. Part of the solution is getting residents to recognize their own role in curbing carbon output. So, even though the new fixes may do a good job of measuring dust, what about actually busting it? That’s where the technology hasn’t quite caught up yet.

(Ann Babe. www.usnews.com, 08.08.2018. Adapted.)

Read the text to answer question.

High-flying ideas?

  A camera-equipped drone flies around the outskirts of Seoul, South Korea, hovering near an industrial plant and capturing video of pollutants. Below, on the crowded, litter-covered streets, residents wear white and black masks that cover their noses and mouths. A gray haze hangs in the sky.

  The unmanned aerial vehicle, or UAV, is part of a pilot program by South Korea’s Ministry of Environment. Tasked with inspecting factory emissions in the capital’s greater metropolitan area, it’s the latest in a series of tech solutions aimed at solving Seoul’s dust dilemma. In fact, the fine dust has South Koreans so concerned they’ve cited it as their No. 1 stressor in life – more distressing than the country’s economic stagnation, its rapidly aging population and even North Korea’s erratic dictator and nuclear weapons program.

  Their worries are well-founded. The World Health Organization (WHO) advises exposure to fine dust, or PM10, of no more than a daily average of 50 micrograms per cubic meter, and to ultra-fine dust, or PM2.5, of no more than 25. At one point in 2017, Seoul’s PM10 hit 179. In late March 2018, Seoul’s PM2.5 soared to over 100. PM2.5 is of greatest concern. So small it can get lodged into the lungs and penetrate the lining to enter the bloodstream, PM2.5 is comprised of black carbon, nitrates, ammonia and other harmful compounds linked to respiratory diseases and cancer. The WHO has classified fine and ultra-fine dust as carcinogenic since 2013.

  Developed by the government-run National Institute of Environmental Research, the drone is the first of what the environment ministry intends to be a fleet deployed nationwide. Some South Korean tech companies, too, are stepping in with their own innovations. Although much of the new tech appears promising, Greenpeace’s Seoul office stresses the importance of addressing the root of the problem. Part of the solution is getting residents to recognize their own role in curbing carbon output. So, even though the new fixes may do a good job of measuring dust, what about actually busting it? That’s where the technology hasn’t quite caught up yet.

(Ann Babe. www.usnews.com, 08.08.2018. Adapted.)

Leia o texto para responder à questão.

  There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

  By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

  “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

  Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

  It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

  There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

  By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

  “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

  Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

  It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

  There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

  By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

  “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

  Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

  It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

  There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

  By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

  “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

  Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

  It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)