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    The first time I saw an encaustic painting, I 
was mesmerized by its beautiful surface, 
translucency, and incredible texture which you 
could appreciate for hours. Encaustics are like 
[5] no other form of painting, in that there are 
endless techniques and fleeting seconds before 
your medium solidifies. It is a medium where 
you have to trust your instincts and paint in the 
moment. You have to take leaps of faith. In the 
[10] beginning there are many frustrations, but over 
time you learn how to work with the beautiful 
accidents which incur.

     Encaustic painting is one of the oldest forms of 
painting, and stems from the word Enkaustikos, 
[15] which means “to burn in”. It originated in 
Ancient Greece three thousand years ago when 
ancient ship builders would use a combination 
of wax and resin to seal and waterproof their 
hulls. Pigments were then added to the medium 
[20] and led to the decoration of warships. Most 
likely the most famous encaustic paintings of all 
time are the Fayum mummy funeral portraits 
from the late 1st century BCE or the early 2nd 
century CE onwards. As tradition, funeral 
[25] portraits were placed over a person’s mummy 
as a memorial.  Many of these mummies have 
survived to present day, and the portraits 
maintain their bright and vivid colors because 
the pigments remain suspended in the wax 
[30] medium; thereby retaining their vibrance.

     After the decline of the Roman Empire, 
encaustic painting fell by the wayside as the 
country faced instability and economic turmoil. 
At this time, encaustic was largely replaced by 
[35] tempera, which was easier to work with and 
more economical. Some painting continued as 
late as the 7th century, but encaustics soon 
became a lost art. Later in the 19th century 
mural painters in northern climates 
[40] experimented with encaustics to battle 
problems of dampness in mural paintings, but 
success was limited. Leonardo da Vinci 
experimented with using encaustics in his work, 
but was not successful. Other European artists 
[45] including Vincent van Gogh and Julius Schnorr 
von Carolsfeld used encaustics in their oil 
paintings to separate layers of paint with 
translucent layers. 

     Wax has many qualities that last the test of 
[50] time, and encaustic may be the most durable

form of painting. Beeswax is moisture resistant, 
it is a natural adhesive, it does not attract 
insects, and it resists mildew. Solvents and oils 
can darken or yellow over time, but beeswax 
[55] does not change color at all.   

     As with oil paint, you should only paint with

encaustics in a well-ventilated studio

environment, using either an industrial

ventilating system, or a fan near your work

[60] surface to blow air away …….. you in

combination with open windows. A safe working

range for encaustic is …….. 150–175ºF.

Beeswax has a flash point of …….. 470ºF, but at

no point should you allow the wax to get close 
[65] to this temperature. If your wax begins to 
smoke at any point, turn …….. the heat. Keep a 
fire extinguisher handy in your studio because 
water does not extinguish wax which is 
inflamed. If you use tools such as a griddle with 
[70] encaustic painting, do not later use them for 
food preparation. Rather, dedicate them solely 
to work with encaustic.

Adapted from: MARGELL, J. Encaustic Art. 7. ed. APA (American Psychological Assoc.) Parkstone International, 2013.

Choose a replacement for the sentence Encaustics are like no other form of painting (l. 04-05) in which its core meaning would be preserved.

Texto 1

 

The fact that so few African Americans write science fiction is perplexing since they, in a very real sense, inhabit a sci-fi nightmare in which unseen but no less palpable acts of intolerance frustrate their movement; official histories undo what has been done; and technology is too often brought to bear on black bodies. Moreover, the sublegitimate status of science fiction in literature mirrors the subaltern position to which blacks have been relegated throughout American history. The notion of Afrofuturism gives rise to a troubling antinomy: can a community whose past has been deliberately rubbed out, and whose energies have been consumed by the search for legible traces of its history, imagine possible futures?

(Adaptado de DERY, M. Black to the future: interviews with Samuel R. Delany, Greg Tate, and Tricia Rose. In: ___. (Ed.) The Discourse of cyberculture. Durham; London: Duke University Press, p. 179-222, 1994.)

 

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Texto 2

 

“Parable of the Talents”

(Octavia E. Butler)

 

“To survive,
Let the past
Teach you--
Past customs,
Struggles,
Leaders and thinkers.
Let
These
Help you.
Let them inspire you,
Warn you,
Give you strength.
But beware:
God is Change.

Past is past.
What was
Cannot
Come again.
To survive,
know the past.
Let it touch you.
Then let
The past Go.”

(BUTLER, Octavia E. Parable of the Talents. New York, Durham and London: Open Road, 1998.)

 

O texto 2 toca em um aspecto central do afrofuturismo e remete ao tema do questionamento do texto 1. Assim, pode-se dizer que o poema reconhece que

Leia o texto a seguir.

 

Com base no texto, considere as afirmativas a seguir.

 

I. O humor do texto está no interesse similar sobre o conteúdo da aula manifestado na fala da professora e da estudante.

II. A preocupação da estudante está relacionada a questões vivenciadas pela sociedade contemporânea.

III. A crítica do texto está relacionada às diferentes percepções sobre quais conteúdos são importantes para o futuro.

IV. O aumento do nível do mar e a polarização ideológica estão entre os conteúdos de interesse da estudante.

 

Assinale a alternativa correta.

Leia os dois textos a seguir, disponíveis na rede social "Brainly", cujo foco é responder às perguntas de seus usuários sobre os mais variados temas.

https://brainly.com

Sobre a pergunta e a resposta, esta última gerada pela Inteligência Artificial do Brainly, atribua V (verdadeiro) ou F (falso) às afirmativas a seguir.

( ) El Niño é um padrão climático que afeta da mesma maneira diferentes regiões do mundo.
( ) Os impactos do El Niño resumem-se a fortes chuvas e alagamentos nas regiões banhadas pelo Oceano Pacífico.
( ) El Niño é causado pelas mudanças na quantidade de água quente no Oceano Pacífico que altera o clima.
( ) A força magnética do núcleo da Terra é um fator determinante para a regularidade do El Niño.
( ) El Niño e La Niña têm em comum o fato de que ambos afetam o clima no Pacífico.

Assinale a alternativa que contém, de cima para baixo, a sequência correta.

Climate change is messing with time

 

    “The melting of polar ice due to global warming is affecting Earth’s rotation and could impact on precision timekeeping, according to a recent study.

    The planet is not about to jerk to a halt, nor speed up so rapidly that everyone gets flung into space. But timekeeping is an exact science in a highly technological society, which is why global authorities more than half a century ago felt compelled by the slight changes in Earth’s rotation to invent the concept of the ‘leap second’.

    Climate change makes these calculations even more complicated: Soon it may be necessary to insert a ‘negative leap second’ into the calendar to get the planet’s rotation in sync with Coordinated Universal Time.

    Timekeeping is based on an astronomical basis. Earth is a type of a clock. In simpler times, the planet would spin one full revolution on its axis, and everyone would call it a day.

    But Earth doesn’t spin at a perfectly constant speed. Our planet is in a complicated gravitational dance with the moon, the sun, the oceanic tides, Earth’s own atmosphere and the motion of the planet’s solid inner core.

    The planet’s fluctuating spin rate is carefully tracked by the International Earth Rotation and Reference Systems Service. In the early 1970s, Earth was clearly slowing down in its rotation, and a gap was forming between atomic time and astronomical time. Thus, was born the ‘leap second’ to adjust for the fact that the ‘day’ was getting a bit longer.

    The melting of the ice caps in Antarctica and Greenland shifts mass — meltwater — toward the equator. That process increases the equatorial bulge of the planet. Meanwhile, at the poles, the land that had been pressed down by ice rises, and Earth becomes more spherical.

    According to the study, although the core is causing the planet to spin faster, the planetary shape changes caused by a warming climate are slowing that process. Absent this effect, the overall acceleration of the planet’s rotation might require timekeepers to insert a ‘negative leap second’ at the end of 2026. Because of climate change, that might not be necessary until 2029.”

Disponível em https://www.washingtonpost.com/science/2024/03/27/ (Adaptado).

Conforme o texto, os fenômenos naturais que desempenham papel significativo na complexa interação gravitacional que afeta a rotação da Terra são

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The Emily Dickinson Museum’s Annual Tell

It Slant Poetry Festival is an event with international reach that celebrates Emily Dickinson’s poetic legacy and the contemporary creativity she and her work continues to inspire from the place she called home.

The Festival is named for Dickinson’s poem, “Tell all the truth but tell it slant,” emphasizing the revolutionary power of poetry to shift our perspective and reveal new truths. Festival organizers are

focused on presenting established and emerging poets who represent the diversity of the contemporary poetry landscape and to building community by introducing poetry to public spaces.

This year’s program features workshops, panels, and readings, by a diverse and talented group of poets from around the world. The cornerstone of the Festival, the Emily Dickinson Poetry Marathon, is an epic reading of all 1,789 of Emily Dickinson’s poems.

To follow along with the Emily Dickinson Poetry Marathon, get your copy of the Franklin edition from the Emily Dickinson Museum Shop.

The annual event attracts a diverse audience of Dickinson fans and poetry lovers, including students, educators, aspiring writers, and those who are new to poetry and literary events. Past Festival headliners have included Marilyn Nelson, Abigail Chabitnoy, Tracy K. Smith, Tiana Clark, Tess Taylor, Ada Limón, Jericho Brown, Franny Choi, Aimee Nezhukumatathil, Paisley Rekdal, Adrian Matejka, Kaveh Akbar, and Ocean Vuong.

Support The Tell It Slant Poetry Festival:

Admission to all Poetry Festival events is free-made possible by contributions from Museum supporters. Please consider making a donation of any size during the registration process or anytime on the Museum’s website.

(Adaptado de: Tell It Slant Poetry Festival 2024 Schedule. In: Emily Dickinson Museum (online) – Programs. (sem data). Disponível em: https://www.emilydickinsonmuseum.org/tell-it-slant-poetry-festival-2024/. Acesso em: 14 ago. 2024.)

Em relação ao evento descrito no texto, considere as afirmativas a seguir.

I. A gratuidade de participação no evento é garantida pelas doações feitas ao museu por patrocinadores.
II. O Emily Dickinson Poetry Marathon é considerado o evento principal do Festival, com a leitura de todos os poemas da autora.
III. O Festival celebra tanto a herança poética de Emily Dickinson quanto a inspiração que sua obra continua fornecendo.
IV. O requisito para participar do evento é a aquisição do livro de poemas de Franklin na loja do Museu.

Assinale a alternativa correta.