学术交流英语口语考试视频文本

Video 1 listen better We are losing our listening. We spend roughly 60 percent of our communication time listening, but we're not very good at it. We retain just 25 percent of what we hear. Now not you, not this talk, but that is generally true. Let's define listening as making meaning from sound. It's a mental process, and it's a process of extraction.We use some pretty cool techniques to do this. One of them is pattern recognition. (Crowd Noise) So in a cocktail party like this, if I say, "David, Sara, pay attention," some of you just sat up. We recognize patterns to distinguish noise from signal, and especially our name.Differencing is another technique we use. If I left this pink noise on for more than a couple of minutes, you would literally cease to hear it. We listen to differences, we discount sounds that remain the same.And then there is a whole range of filters. These filters take us from all sound down to what we pay attention to. Most people are entirely unconscious of these filters. But they actually create our reality in a way, because they tell us what we're paying attention to right now.Give you one example of that: Intention is very important in sound, in listening. When I married my wife, I promised her that I would listen to her every day as if for the first time.Now that's something I fall short of on a daily basis. (Laughter) But it's a great intention to have in a relationship.But that's not all. Sound places us in space and in time. If you close your eyes right now in this room, you're aware of the size of the room from the reverberation and the bouncing of the sound off the surfaces. And you're aware of how many people are around you because of the micro-noises you're receiving. And sound places us in time as well, because sound always has time embedded in it. In fact, I would suggest that our listening is the main waythat we experience the flow of time from past to future. So, "Sonority is time and meaning" -- a great quote.I said at the beginning, we're losing our listening. Why did I say that? Well there are a lot of reasons for this. First of all, we invented ways of recording -- first writing, then audio recording and nowVideo recording as well. The premium on accurate and careful listeninghas simply disappeared. Secondly, the world is now so noisy, (Noise) with this cacophony going on visually and auditorily, it's just hard to listen; it's tiring to listen. Many people take refuge in headphones, but they turn big, public spaces like this, shared soundscapes, into millions of tiny, little personal sound bubbles. In this scenario, nobody's listening to anybody.We're becoming impatient. We don't want oratory anymore, we want sound bites. And the art of conversation is being replaced -- dangerously, I think -- by personal broadcasting. I don't know how much listening there is in this conversation, which is sadly very common,especially in the U.K. We're becoming desensitized. Our media have to scream at us with these kinds of headlines in order to get our attention. And that means it's harder for us to pay attention to the quiet, the subtle, the understated.This is a serious problem that we're losing our listening. This is not trivial. Because listening is our access to understanding. Conscious listening always creates understanding. And only without conscious listening can these things happen -- a world where we don't listen to each other at all, is a very scary place indeed. So I'd like to share with you five simple exercises, tools you can take away with you, to improve your own conscious listening.Would you likethat?(Audience: Yes.) Good.The first one is silence. Just three minutes a day of silence is a wonderful exercise to reset your ears and to recalibrate so that you can hear the quiet again. If you can't get absolute silence, go for quiet, that's absolutely fine.Second, I call this the mixer. (Noise) So even if you're in a noisy environment like this -- and we all spend a lot of time in places like this -- listen in the coffee bar to how many channels of sound can I hear? How many individual channels in that mix am I listening to? You can do it in a beautiful place as well, like in a lake. How many birds am I hearing? Where are they? Where are those ripples? It's a great exercise for improving the quality of your listening.Third, this exercise I call savoring, and this is a beautiful exercise. It's about enjoying mundane sounds. This, for example, is my tumble dryer. (Dryer) It's a waltz. One, two, three. One, two, three. One, two, three. I love it. Or just try this one on for size. (Coffee grinder) Wow! So mundane sounds can be really interesting if you pay attention. I call that the hidden choir. It's around us all the time.The next exercise is probably the most important of all of these, if you just take one thing away. This is listening positions -- the idea that you can move your listening position to what's appropriate to what you're listening to. This is playing with those filters. Do you remember, I gave you those filters at the beginning. It's starting to play with them as levers,to get conscious about them and to move to different places. These are just some of the listening positions, or scales of listening positions, that you can use. There are many. Have fun with that. It's very exciting.And finally, an acronym. You can use this in listening, in communication. If you're in any one of those roles -- and I think that probably is everybody who's listening to this talk -- the acronym is RASA, which is the Sanskrit word for juice or essence. And RASA stands for Receive, which means pay attention to the person; Appreciate, making little noises like "hmm," "oh," "okay"; Summarize, the word "so" is very important in communication; and Ask, ask questions afterward.Now sound is my passion, it's my life. I wrote a whole book about it. So I live to listen.That's too much to ask from most people. But I believe that every human being needs to listen consciously in order to live fully -- connected in space and in time to the physical world around us, connected in understanding to each other, not to mention spiritually connected, because every spiritual path I know of has listening and contemplation at its heart.That's why we need to teach listening in our schools as a skill. Why is it not taught? It's crazy. And if we can teach listening in our schools, we can take our listening off that slippery slope to that dangerous, scary world that I talked about and move it to a place where everybody is consciously listening all the time -- or at least capable of doing it.Now I don't know how to do that, but this is TED, and I think the TED community is capable of anything. So I invite you to connect with me, connect with each other, take this mission out and let's get listening taught in schools, and transform the world in one generation to a conscious listening world -- a world of connection, a world of understanding and a world of peace.Thank you for listening to me today.(Applause)我们正在丧失倾听的能力我们交流过程中60%的时间都是用来倾听但其实我们并不擅长倾听我们只保留了25%所听到的内容不是指在座各位和这个演讲这是一个普遍的事实让我们来定义倾听就是使得声音有意义这是一个心理过程它也是一个提取的过程我们用一些很酷的技术完成这个过程其中之一是模式识别技术（人群噪音）在像这样的一个鸡尾酒会上如果我说“大卫，莎拉，注意了”你们中间就会有人坐直身子我们能识别出一些声音特点从而从信号中区分它们特别是对于自己的名字区分是我们用的另外一个技术如果我让这种粉红噪声保持几分钟你就不会很认真的听它了我们只会听有变化声音我们不大专注于持续不变的声音这里有一系列的过滤功能它把我们从所有声音中抽离出来重点去听我们所关注的大多数人都完全没有察觉这些过滤器但是它们在某种程度上创造了现实生活因为它们告诉我们当下我们正在关注什么举个例子：意向在声音和听觉中非常重要我娶我夫人的时候我向她承诺我每天都会像我们第一次见面那样去倾听她现在我每天都在下降（笑声）但这是这种关系下的一个很好的意愿但这不是全部声音把我们置于时间和空间中如果你现在马上闭上眼你会通过声音回响以及声音在物体表面撞击的力度感觉出这件房间的大小你还可以感觉到在你周围有多少人因为你可以听到周围微小的噪音同时，声音还把我们置于时间中因为声音总是和时间并存的实际上我认为听觉是我们最主要的方式去感受时间从过去到未来的流动因此“声音是时间和存在”--很好的引述我在演讲开始的时候说过，我们正逐渐丧失倾听的能力我为什么这么说呢？这里面有许多的原因首先，我们发明了记录的方式-- 一开始通过书写，接着是录音然后到了现在可以记录影像精确、仔细的倾听所带来的好处已经消失了第二，现在的世界太嘈杂了（噪音）伴随着视觉、听觉上的这样的污染已经很难去倾听了也疲于去倾听了许多人用耳机逃避吵杂的世界但是他们把像这样的庞大的，公共空间本可被共享的音乐场景变成了数百万个这样的私人音乐小气泡这种情况下，没有人会倾听其他人我们正在变得浮躁我们更青睐简单的语言而不再需要那些华丽的词藻交谈的艺术正在被私人化的平实语言所取代我认为这是很危险的我不清楚这种交谈中倾听能够占几成通常都很不乐观特别是在英国我们正在变得麻木媒体不得不用这样的标题向我们“嘶吼”就是为了夺人眼球这就意味着我们难以专注于安静的，细微的需要理解的东西丧失倾听的能力是个很严重的问题这不是没有意义的因为倾听是我们去认识事物的途径有意识的去倾听往往有助于我们的理解力如果失去有意识的倾听就会导致以下的后果-- 一个人们不会相互倾听的世界是非常可怕的因此我希望与大家分享五个简单的技巧来帮助大家改进自己有意识的倾听你们想听吗？（听众：当然）好！首先是安静每天只需拿出三分钟让自己安静下来就是一个很好的练习来让听觉系统进行重置和调整从而可以再一次感受到宁静如果没有完全无声的环境那就去一个安静的地方也没问题第二点，我称之为混合器（噪音）即使你在一个像这样嘈杂的环境中-- 我们很多时间都生活在这样的环境中-- 在咖啡厅里听你可以听到多少种声音？你可以在混杂噪音中分辨出多少独立的声音？这种方法也可以在幽静的地方练习，比如在湖边我可以听到多少种鸟叫声？它们从哪里发出？传向哪里？这也是很好的练习来改善我们的听觉能力第三点，我称之为品味声音这是个很好的练习是关于享受平淡声音的比如说，这是我的滚筒式干衣机（干衣机）像华尔兹一样 1－2－3，1－2－3，1－2－3 我喜欢它或者试试这个（咖啡研磨机）哇喔！如果你用心，如此平凡的声音也可以这样有趣我称其为隐形合唱团他们一直都在我们周围下一个练习也许是五项之中最重要的如果只选一个的话那就是倾听的状态-- 你可以改变你倾听的状态根据你所听的内容而定这些要用到哪些过滤器还记得吗，我开始的时候提到过的像一个杠杆一样去运用它们根据它们来移动到不同的地方屏幕上只是一部分倾听的状态或者是大家可以运用的倾听状态的一些尺度还有许多它很有趣，很让人激动最后，是一个缩略词你可以在倾听、交流时用到它只要你处于其中一种情况下-- 我想可能听这个演讲的在座各位都是吧-- 这个缩写就是RASA 它本身是个梵文意思是汁液或者精华同时RASA这里代表着接受意思是关注于与你交谈的人赏识，做出些反映比如，恩，哦，好不错；小结“所以，因此”这个词在交流中是非常重要的以及询问最后的时候问些问题声音是我的爱好我的生命我为此写了一本书，所以我为倾听而生当然这对大多数人来说要求太高了但是我相信每一个人都需要有意识的倾听才是完整的生活-- 把空间和时间和我们周围的自然世界联系起来把每个人用相互理解联系起来更不用说是精神层面的联系因为每一个我了解的精神幽径都包括发自内心的倾听和凝视这就是为什么我们需要在学校把倾听当作一个技能去传授为什么实际情况却相反？太不可理解了如果我们可以在学校里传授倾听技巧可以阻止我们的听觉坠向我提到过的那个危险、可怕的世界并将其引导到一个每个人都乐于有意识的去倾听的地方-- 或者至少有能力去倾听现在还不知道如何做到这点但这就是TED 我认为TED团体有能力做任何事情因此我邀请大家联系我，同时彼此互相联系秉承这个使命，同时让倾听课程进入学校通过一代人的努力把世界变成一个乐于倾听的世界-- 一个彼此联系的世界一个相互理解的世界一个和平的世界谢谢大家今天倾听我的演讲（掌声）Vedio2 Remix We're going to begin in 1964. Bob Dylan is 23 years old, and his career is just reaching its pinnacle. He's been christened the voice of a generation, and he's churning out classic songs at a seemingly impossible rate, but there's a small minority of dissenters, and they claim that Bob Dylan is stealing other people's songs.2004. Brian Burton, aka Danger Mouse, takes the Beatles' "White Album," combines it with Jay-Z's "The Black Album" to create "The Grey Album." "The Grey Album" becomes an immediate sensation online, and the Beatles' record company sends out countless cease-and-desist letters for "unfair competition and dilution of our valuable property."Now, "The Grey Album" is a remix. It is new media created from old media. It was made using these three techniques: copy, transform and combine. It's how you remix. You take existing songs, you chop them up, you transform the pieces, you combine them back together again, and you've got a new song, but that new song is clearly comprised of old songs.But I think these aren't just the components of remixing. I think these are the basic elements of all creativity. I think everything is a remix, and I think this is a better way to conceive of creativity.All right, let's head back to 1964, and let's hear where some of Dylan's early songs came from. We'll do some side-by-side comparisons here.All right, this first song you're going to hear is "Nottamun Town." It's a traditional folk tune.After that, you'll hear Dylan's "Masters of War."Jean Ritchie: ♫ In Nottamun Town, not a soul would look out, ♫♫ not a soul would look up, not a soul would look down. ♫Bob Dylan: ♫ Come you masters of war, ♫♫ you that build the big guns, you that build the death planes, ♫♫ You that build all the bombs. ♫Kirby Ferguson: Okay, so that's the same basic melody and overall structure. This next one is "The Patriot Game," by Dominic Behan. Alongside that, you're going to hear "With God on Our Side," by Dylan.Dominic Behan: ♫ Come all ye young rebels, ♫♫and list while I sing, ♫♫ for the love of one's land is a terrible thing. ♫BD: ♫ Oh my name it is nothin', ♫♫ my age it means less, ♫♫the country I come from is called the Midwest. ♫KF: Okay, so in this case, Dylan admits he must have heard "The Patriot Game," he forgot about it, then when the song kind of bubbled back up in his brain, he just thought it was his st one, this is "Who's Going To Buy You Ribbons," another traditional folk tune.Alongside that is "Don't Think Twice, It's All Right." This one's more about the lyric.Paul Clayton: ♫ It ain't no use to sit and sigh now, ♫♫darlin', and it ain't no use to sit and cry now. ♫BD: ♫ It ain’t no use to sit and wonder why, babe, ♫♫if you don't know by now, ♫♫ and it ain't no use to sit and wonder why, babe, ♫♫it'll never do somehow. ♫KF: Okay, now, there's a lot of these. It's been estimated that two thirds of the melodiesDylan used in his early songs were borrowed. This is pretty typical among folk singers.Here's the advice of Dylan's idol, Woody Guthrie."The worlds are the important thing. Don't worry about tunes. Take a tune, sing high when they sing low, sing fast when they sing slow, and you've got a newtune." (Laughter) (Applause)And that's, that's what Guthrie did right here, and I'm sure you all recognize the results. (Music) We know this tune, right? We know it? Actually you don't. That is "When the World's on Fire," a very old melody, in this case performed by the Carter Family. Guthrie adapted it into "This Land Is Your Land." So, Bob Dylan, like all folk singers, he copied melodies, he transformed them, he combined them with new lyrics which were frequently their own concoction of previous stuff.Now, American copyright and patent laws run counter to this notion that we build on the work of others. Instead, these laws and laws around the world use the rather awkward analogy of property. Now, creative works may indeed be kind of like property, but it's property that we're all building on, and creations can only take root and grow once that ground has been prepared.Henry Ford once said, "I invented nothing new. I simply assembled the discoveries of other men behind whom were centuries of work. Progress happens when all the factors that make for it are ready and then it is inevitable."2007. The iPhone makes it debut. Apple undoubtedly brings this innovation to us early, but its time was approaching because its core technology had been evolving for decades. That's multi-touch, controlling a device by touching its display. Here is Steve Jobs introducing multi-touch and making a rather foreboding joke.Steve Jobs: And we have invented a new technology called multi-touch. You can do multi-fingered gestures on it, and boy have we patented it. (Laughter) KF: Yes. And yet, here is multi-touch in action. This is at TED, actually, about a year earlier. This is Jeff Han, and, I mean, that's multi-touch. It's the same animal, at least. Let's hear what Jeff Han has to say about this newfangled technology. Jeff Han: Multi-touch sensing isn't anything -- isn't completely new. I mean, people like Bill Buxton have been playing around with it in the '80s.The technology, you know, isn't the most exciting thing here right now other than probably its newfound accessibility. KF: So he's pretty frank about it not being new. So it's not multi-touch as a whole that's patented. It's the small parts of it that are, and it's in these small details where we can clearly see patent law contradicting its intent: to promote the progress of useful arts.Here is the first ever slide-to-unlock. That is all there is to it. Apple has patented this. It's a 28-page software patent, but I will summarize what it covers. Spoiler alert: Unlocking your phone by sliding an icon with your finger. (Laughter) I'm only exaggerating a little bit. It's a broad patent.Now, can someone own this idea? Now, back in the '80s, there were no software patents,and it was Xerox that pioneered the graphical user interface. What if they had patented pop-up menus, scrollbars, the desktop with icons that look like folders and sheets of paper?Would a young and inexperienced Apple have survived the legal assault from a much largerand more mature company like Xerox?Now, this idea that everything is a remix might sound like common sense until you're the one getting remixed. For example ... SJ: I mean, Picasso had a saying. He said, "Good artists copy. Great artists steal." And we have, you know, always been shameless about stealing great ideas. KF: Okay, so that's in '96. Here's in 2010. "I'm going to destroy Android because it's a stolen product." (Laughter) "I'm willing to go thermonuclear war on this." (Laughter) Okay, so in other words, great artists steal, but not from me. (Laughter)Now, behavioral economists might refer to this sort of thing as loss aversion We have a strong predisposition towards protecting what we feel is ours. Wehave no such aversion towards copying what other people have, because we do that nonstop.So here's the sort of equation we're looking at. We've got laws that fundamentally treat creative works as property, plus massive rewards or settlements in infringement cases, plus huge legal fees to protect yourself in court, plus cognitive biases against perceived loss.And the sum looks like this. That is the last four years of lawsuits in the realm of smartphones. Is this promoting the progress of useful arts?1983. Bob Dylan is 42 years old, and his time in the cultural spotlight is long since past. He records a song called "Blind Willie McTell," named after the blues singer, and the song is a voyage through the past, through a much darker time, but a simpler one, a time when musicians like Willie McTell had few illusions about what they did. "I jump 'em from other writers but I arrange 'em my own way."I think this is mostly what we do. Our creativity comes from without, not from within. We are not self-made. We are dependent on one another, and admitting this to ourselves isn't an embrace of mediocrity and derivativeness. It's a liberation from our misconceptions, and it's an incentive to not expect so much from ourselves and to simply begin.Thank you so much. It was an honor to be here. Thank you. (Applause)Thank you. Thank you. (Applause)Thank you. (Applause)我们从1964 年开始谈起。