Anexo 2

Tarea 3 - Disoluciones y gases

Tablas para el desarrollo de los ejercicios.
Código (documento de
Nombre y apellidos: 1088590773
identidad)
Nombre del tutor: Programa académico:

Ejercicio 1. Leyes de los gases ideales (15 puntos).

Tabla 1. Leyes de los gases ideales

Número
de
Ley de Boyle Ley de Charles Ley de Gay-Lussac
estudiant
e
0,05101
5 21956 , 853 1203,325

Datos:
Volumen 1= 3872 cm3 pasar a litros = 3,872 l
Presion 1=793 mmHg pasar a litros =0,000793 l

Formula:
P P1∗V 1
2=
V2

Solucion:

P 0,000793∗3,872
2=
6 ,1
 P2=0,00050336 litros

0,00050336 litros pasar a atm =0,05101 atm

2.

Datos

volumen1 = 0,019 m3 pasar a litros=19000

Temperatura1 = 31 ℃ pasar a ° k=304 ,15

Temperatura2 = 173 ℉ pasar a ° k=351,483

volumen2 = ¿

Formula

V 1∗T 2
V 2=
T1

19000∗351,483
V 2=
304 ,15

V 2=21956 ,853 Litros

3.

Datos

Presion1 = 861 torr

Temperatura1= 83 ℉

Temperatura2= 116 ℉

Presion2= ¿

Formula
P1∗T 2
P 2=
T1

861∗116
P 2=
83

P2=1203,325 torr

Ejercicio 2: Gases ideales (15 puntos).

Tabla 2. Gases ideales

Número
de Gases ideales
 estudiant
e
0,00791

Datos
V 1=1 , 1 L

T 1=139 ℃

Formula

T
P=
V

1 , 1l
P=
139 ℃

P=0,00791
Ejercicio 3: Soluciones (15 puntos).
 Tabla 3. Soluciones
Número Datos del
de ejercicio
I II III
estudiant
e

1200 ml =3 ,5 M
HNO 3
52,6 52,6 1
Densidad=
1,5 g/ml

Aplicacion del ejercicio

Pregunta a:
m 63∗100 63100
% = = =52 , 6
v 1200 ml 1200

Pregunta b:

m 63∗100 63100
% = = =52 , 6
m 1200 g 1200

Pregunta c:
 1 ,5
g
ml
∗(1200 ml
1l ) (
∗( 3 , 5 )∗
1g
63 mol)=
6300
100
=1 M

Ejercicio 4: Aplicación del tema (25 puntos).

Tabla 4. Aplicación del tema asignado

Número de Área de campo
estudiante asignada
THE ELECTRONIC
Title
Electronica is a term that appeared in the later 1990s as a descriptor for divergent electronic dance musics
(EDMs) and their abstractions. This article aims to engage not only with digital culture in general but also
with its necessarily analog roots and the continued existence of hybrid signal chains. Its remit is to
concentrate on the age from the founding of the musical instrument digital interface standard (1983), and
this coincides with the proliferation of digital equipment, the rise of EDM, and then its multiply fractured
and fast breeding offshoots. There are also parallel adventures in digital art, noise music, video jockeying
Abstract (VJing), live electronics, and a host of other movements touching on the electric and the programmable.
Much of the technology itself is available to all, however, and many electronic musics have crossed over
into mass appeal, from EDM to the more abstract electronica freely employed in technology commercials.
735 films from 51 countries were submitted for prize consideration this year. 140 of them made it past the
jury’s first round of cuts, and thereby remained in contention for the Golden Nica grand prize, two Awards of
Distinction and 12 Honorary Mentions.

Introduction For years, it seemed impossible to keep up with the impressive new developments coming out of VFX studios
serving the movie business giants. In compe - tition with them, films produced by artists and indie filmmakers
usually didn’t stand a chance. But the rapid development of hardware and the price reduc - tions that went
along with it as well as the growing professionalism of the training that was available brought about a decisive
change. Now, VFX has be - come an essential element of computer animation, a standard of everyday life in this
field.
Generative and interactive works, projections in an exhibition context or open-air setting, innovative hybrids of
 analog and digital animation that deliver totally new visual experiences, and found footage—all these develop -
ments attest to how this genre’s boundaries have steadily shifted outward and dissolved altogether. Plus,
there’s the fact that the internet and its rapidly growing databases provide artists with access to knowledge to
an extent that was utterly unimaginab - le not so long ag

Only a few years ago, short films with a linear plot still predominated among entries to the Prix Ars Electronica.
Since then, this approach has undergone a quantitative decline, but what has dramatically increased over the
same timeframe is narrative and aesthetic complexity that reflects the profound social transformations we’ve
Discussion been living through.
But by no means should this be construed to imply that the short film genre—be it traditionally narrative or
experimental—has lost any of its power to get across a message or to attract viewer interest.

The Ars Electronica Animation Festival’s lineup is complemented by a Young Animations program showcasing
excellent submissions to the Prix’s u19 – CREATE YOUR WORLD category for young people under age 19 who
Conclusion live in Austria. Young Animations thus brings together the best of the steadily increasing number of entries to
this compe - tition and also prizewinning works from the partner institutions bugnplay ( CH), MB21 (DE) and C3

Electronic page electronic festival article, 2014,

Reference
https://ars.electronica.art/export/files/2013/11/FE_2014_Animationfestival_Folder_A5_L
Y-pagemissing.pdf

Referencia (Normas APA):

Registre en este espacio las referencias bibliográficas de consulta.