Todas as questões do ENEM

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    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.)

O padrão internacional ISO 216 define os tamanhos de papel utilizados em quase todos os países. O formato-base é uma folha retangular de papel chamada de A0, cujas dimensões estão na razão 1 :√2 . A partir de então, dobra-se a folha ao meio, sempre no lado maior, definindo os demais formatos, conforme o número da dobradura. Por exemplo, A1 é a folha A0 dobrada ao meio uma vez, A2 é a folha A0 dobrada ao meio duas vezes, e assim sucessivamente, conforme figura.

Um tamanho de papel bastante comum em escritórios brasileiros é o A4, cujas dimensões são 21,0 cm por 29,7 cm.

Quais são as dimensões, em centímetros, da folha A0? 

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    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.)

O trecho que melhor define a “incompreensão fundamental” (L.6) referida pela autora é:

Uma barraca de tiro ao alvo de um parque de diversões dará um prêmio de R$ 20,00 ao participante, cada vez que ele acertar o alvo. Por outro lado, cada vez que ele errar o alvo, deverá pagar R$ 10,00. Não há cobrança inicial para participar do jogo. Um participante deu 80 tiros e, ao final, recebeu R$ 100,00.

Qual foi o número de vezes que esse participante acertou o alvo?

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    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.)

No próximo final de semana, um grupo de alunos participará de uma aula de campo. Em dias chuvosos, aulas de campo não podem ser realizadas. A ideia é que essa aula seja no sábado, mas, se estiver chovendo no sábado, a aula será adiada para o domingo. Segundo a meteorologia, a probabilidade de chover no sábado é de 30% e a de chover no domingo é de 25%.

A probabilidade de que a aula de campo ocorra no domingo é de

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    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.)

Considerando as seguintes semirreações, em uma célula galvânica com eletrodos de alumínio e chumbo, é correto afirmar que

Al3+ + 3e- ⇄ Al0 E0red = -0,13V

Pb2+ + 2e- ⇄ Pb0 E0red = -1,66V

    E Sofia? interroga impaciente a leitora, tal qual Orgon: Et Tartufe? Ai, amiga minha, a resposta é naturalmente a mesma, – também ela comia bem, dormia largo e fofo, – coisas que, aliás, não impedem que uma pessoa ame, quando quer amar. Se esta última reflexão é o motivo secreto da vossa pergunta, deixai que vos diga que sois muito indiscreta, e que eu não me quero senão com dissimulados.

    Repito, comia bem, dormia largo e fofo. Chegara ao fim da comissão das Alagoas, com elogios da imprensa; a Atalaia chamou‐lhe “o anjo da consolação”. E não se pense que este nome a alegrou, posto que a lisonjeasse; ao contrário, resumindo em Sofia toda a ação da caridade, podia mortificar as novas amigas, e fazer‐lhe perder em um dia o trabalho de longos meses. Assim se explica o artigo que a mesma folha trouxe no número seguinte, nomeando, particularizando e glorificando as outras comissárias – “estrelas de primeira grandeza”.

Machado de Assis, Quincas Borba.

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    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.)

Sabe-se que o valor cobrado na conta de energia elétrica correspondente ao uso de cada eletrodoméstico é diretamente proporcional à potência utilizada pelo aparelho, medida em watts (W), e também ao tempo que esse aparelho permanece ligado durante o mês. Certo consumidor possui um chuveiro elétrico com potência máxima de 3 600 W e um televisor com potência máxima de 100 W. Em certo mês, a família do consumidor utilizou esse chuveiro elétrico durante um tempo total de 5 horas e esse televisor durante um tempo total de 60 horas, ambos em suas potências máximas.

Qual a razão entre o valor cobrado pelo uso do chuveiro e o valor cobrado pelo uso do televisor?

Um promotor de eventos foi a um supermercado para comprar refrigerantes para uma festa de aniversário. Ele verificou que os refrigerantes estavam em garrafas de diferentes tamanhos e preços. A quantidade de refrigerante e o preço de cada garrafa, de um mesmo refrigerante, estão na tabela.

Para economizar o máximo possível, o promotor de eventos deverá comprar garrafas que tenham o menor preço por litro de refrigerante.

O promotor de eventos deve comprar garrafas do tipo