Shadowing-Übung: IELTS Listening Podcast Ep 54 Practice Test | Daily English Conversation & ASMR #ib8 - Englisch Sprechen Lernen mit YouTube
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Transcribed by
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ESO, translated by —
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Part 1.
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You will hear a customer calling a virtual reality arcade to organize a group booking.
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Hello!
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Welcome to Vauxhall Hub VR Arcade.
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How can I help you today?
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Hi there.
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I'm calling to organize a group booking for next week.
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Great!
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Are you planning a birthday celebration?
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Actually, no. One of our university colleagues is moving overseas for work, so we are throwing a farewell party form.
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We thought virtual reality would be a memorable experience.
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That sounds lovely.
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A farewell party is a fun way to send someone off.
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How many people will be coming in total?
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Let me think.
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Initially, we only had 11 people on the guest list, but three more colleagues just confirmed this morning, so please put us down for 14.
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Alright, 14 players.
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Yes, that works perfectly.
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Now, regarding the games, we have the Adventure Package and the Galaxy Package.
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I was looking at your brochure.
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The Adventure one is nice, but I think the Galaxy package has better multiplayer games.
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We will definitely go with that one.
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Excellent choice.
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It includes a huge variety of team-based missions.
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Do you know how long you want to play?
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Is it possible to extend the standard one-hour session?
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Yes.
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For group bookings, we usually recommend 75 minutes.
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That gives everyone plenty of time to get comfortable in the headsets.
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Perfect.
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75 minutes sounds just right.
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Now, does that package include any food?
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Yes, it does.
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We used to offer sandwiches, but recently we changed the menu.
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Now every player gets a burger as part of the deal.
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Oh, a burger will be fantastic.
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That should definitely keep our energy levels up while playing.
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What about drinks?
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We have a few options at the bar, but the meal comes with unlimited juice for everyone in the group.
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It keeps everyone refreshed after the intense VR sessions.
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Excellent.
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Now, about the schedule.
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I'd like to book this for a Monday if possible.
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It's a bit quieter then.
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A Monday is completely fine.
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Could I just get your personal details to secure the slot?
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Sure.
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My first name is Tobias.
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And your surname, Tobias?
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It's Phalen.
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Let me spell that out.
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It's F-A-E-L-E-N.
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F-A-E-L-E-N.
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Got it.
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And I will also need an email address for the confirmation forms.
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You can use my university address.
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It's tobias at campus.edu.
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Tobias at campus.edu.
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Okay, the last thing we need is a small advance payment.
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No problem.
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How much is the deposit?
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The standard fee is normally $95, but wait, since you are booking early in the week, it's actually $85.
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Great.
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I will pay that $85 online right now.
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Thanks.
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Part 2
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You will hear a tour coordinator giving an introductory talk to
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a group of visitors at a modern sculpture park located on the coast.
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Good morning everyone, and a very warm welcome to the Azure Coast Sculpture Park.
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I will be your lead coordinator for today's tour.
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Before we set off to explore the grounds, I would like to give you a bit of background about this unique site.
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The park officially opened in 1992, but the land itself has a much longer history.
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Long before it became an art destination, this area was a working limestone quarry.
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When the quarry closed in the late 1970s,
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the land sat derelict for over a decade until it was purchased by a local philanthropist, Diane Thorne.
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She had a vision to blend contemporary art with the rugged natural beauty of the coastline.
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Today the park spans over 40 hectares
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and houses more than 60 permanent sculptures along with several rotating exhibitions that change every six months.
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One of the most frequent questions I get is about the rules regarding the artworks.
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While we want you to get as close as possible to experience the textures
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and scales we must ask that you do not climb on any of the sculptures.
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The only exception is the Iron Giant near the woods, which was specifically designed for children to play on.
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Also, feel free to take as many photographs as you like for personal use, but please leave your tripods and drones in your vehicles,
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as they can disturb other visitors and the local bird life.
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Before we move on, it is worth remembering
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that the Grand Fountain is often used as the main meeting point if anyone in your group gets separated.
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Now let us look at your maps so you can get your bearings.
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We are currently standing at the Visitor's Centre, which is at the southern entrance of the park.
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If you look directly to the north, you will see a large paved area.
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This is the Grand Fountain, which serves as our central landmark.
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To the east of the fountain, tucked away behind a row of pine trees, is the mirror maze.
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This is a fan favourite, consisting of several high-gloss steel panels that reflect the surrounding forest.
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Just a word of caution, the floor there can be quite slippery when wet.
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If you head west from the fountain, you will find the sound garden.
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This is a very peaceful area, where the sculptures are designed to create music when the wind blows through them.
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It is the perfect spot for some quiet reflection.
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For those of interest in the creative process, the artist's workshop is located in the far northeast corner of the park.
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On most weekends, you can actually watch resident artists working on new pieces.
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It is a bit of a trek from here, but well worth the walk.
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Finally, if you are feeling a bit peckish, our Glass House Café is located just to the west of the main entrance.
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It offers a stunning 180-degree view of the ocean.
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They serve excellent local pastries and organic coffee.
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Part 3.
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You will hear two university students, Olaf and Penny, discussing the environmental impact of crypto art.
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Hey Penny, how are you getting on with the research for our presentation on the environmental impact of crypto art?
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Pretty well, Olaf.
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I've been doing a lot of reading.
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Honestly, when the whole crypto art thing exploded, everyone in the media was talking about the millions of dollars people were paying for digital files.
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I mean, the prices were shocking.
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But what really blew my mind was finding out about the massive energy consumption behind it all.
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I had no idea it was so destructive.
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Right.
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I was entirely focused on the financial side too initially.
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But the energy issue is huge.
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It mainly comes down to how these sales are verified, using that older proof-of-work model.
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Exactly.
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It's like a giant guessing game for computers all over the world.
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Yeah, and the issue I have with proof-of-work isn't just that it requires specialised equipment, which is bad enough.
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The real problem is that it encourages unnecessary competition.
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Thousands of computers race to solve the exact same mathematical puzzle, and only one wins.
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The rest just waste enormous amounts of electricity for absolutely nothing.
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It's incredibly inefficient.
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I actually read a fascinating report yesterday.
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It was published by researchers at Valerius University.
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They analysed the total life cycle of a single digital artwork.
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Did they find that the major art platforms are deliberately hiding their emissions?
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Not exactly hiding them, but the numbers are terrifying.
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The study proved that minting just one standard piece of crypto art equals flying across the globe in terms of pollution.
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It's the equivalent of a commercial long-haul flight.
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Wow!
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Flying across the globe?
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That really puts the pollution into perspective.
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So what about the clean crypto movement?
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Well, there is a strong push for greener alternatives now.
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Some critics argue it still lacks public awareness and others say transitioning to new network systems is just too expensive right now.
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I guess those are valid points
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but honestly any effort to move away from the old dirty methods has to be a step in the right direction.
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We have to start somewhere.
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I completely agree with you.
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One solution being promoted is lazy minting.
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Basically the artwork isn't registered on the network until someone buys it, delaying the energy use.
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Sounds brilliant.
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What's the catch?
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Does it require complex coding software for the artist?
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No, the technical side is easy.
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The main drawback is that it transfers extra fees to the buyer.
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When they purchase the art, they suddenly have to pay the processing costs, which can definitely scare off potential collectors.
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Ah, I see.
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Well, for the second part of our presentation, we need to evaluate specific eco-friendly blockchain platforms as case studies.
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Let's run through the list.
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First up is AuraLedger.
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They claim to be entirely emission-free because they invest heavily in tree planting initiatives.
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However, environmentalists accuse them of greenwashing.
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It turns out they have a controversial climate offset scheme that doesn't actually reduce their core emissions at all.
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Good to know.
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OK, what about Novamint?
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I really liked their visual interface, but unfortunately they have a very strict vetting process.
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They only accept established artists with a large following.
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So for a student or beginner, it's impossible to join.
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That's too restrictive.
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Well, Crypto Bloom is another major option.
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Do they use the standard energy-saving systems?
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Actually, no. While most green platforms use a system called proof-of-stake, Crypto Bloom pioneered something called proof-of-space.
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It relies on a unique validation method based on computer storage rather than processing power.
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That sounds innovative.
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Let's definitely include them.
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Next is Zenith Block.
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I looked into their energy reports and they are incredibly efficient.
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They are, but there's a practical issue.
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Almost nobody is trading on there yet.
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It currently lacks a sufficient user base, meaning artists who upload their work simply cannot find any buyers.
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That makes it pretty useless for now.
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Finally, what about Vortex Art?
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They are heavily marketed as the greenest platform around.
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They are popular, but their servers are terribly unreliable.
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Users complain that the platform frequently experiences technical crashes, sometimes locking creators out of their accounts for days.
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Oh, that's a deal-breaker.
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We should highlight that in the presentation.
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Part 4.
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You will hear a lecturer giving a presentation on the topic of cognitive load in user interface design.
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Good morning everyone and welcome to today's lecture on user experience.
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Today we are going to delve into a fascinating intersection of psychology and technology,
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specifically focusing on cognitive load in user interface or UI design.
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As designers, our primary goal is to make digital environments as seamless as possible.
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When users interact with a digital product, their working memory has a strictly limited capacity for processing new information.
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If we inadvertently exceed this limit, users quickly become overwhelmed, frustrated and typically abandon the platform altogether.
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Therefore, understanding how the human brain processes visual and interactive information is not just theoretical, it is highly practical.
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Cognitive load theory identifies three main types of mental effort.
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Let's start with intrinsic load.
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This relates to the core difficulty associated with a specific action the user is trying to perform.
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You cannot entirely eliminate this because the inherent complexity of the task itself dictates the intrinsic load.
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For example, calculating taxes online will always be computationally harder than simply clicking a like button on social media.
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Next, we have extraneous cognitive load,
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which is the mental processing that takes up vital resources but doesn't actually help the user understand the content.
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This is usually the fault of the designer.
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For instance, if you have a confusing layout on your website, extraneous load inevitably increases.
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We must consistently strip away unnecessary elements to minimize this waste of energy.
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Finally, there is Germain Load.
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Unlike the previous two, this is actually highly beneficial.
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It is the mental effort devoted to processing information and creating long-term memory structures.
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The successful construction of a mental schema is directly facilitated by Germain Load.
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This means users learn how your application works and can navigate it intuitively in the future without having to relearn the interface.
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Now, let us examine some foundational psychological principles that guide effective UI design.
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The first is Hicks law, which deals with the number of options presented to a user at any given time.
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You might intuitively think that offering more choices is always better, but research shows the exact opposite is true.
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In reality, decisions take significantly more time to make when the number of available options multiplies.
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Therefore, simplifying navigation menus is crucial for maintaining a smooth user flow.
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Another key principle is Miller's Law.
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This psychological law suggests that the average person can only keep around seven items in their working memory at once.
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To bypass this strict limitation, designers use a practical technique called chunking.
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By forming a visual cluster out of multiple related items, designers can significantly aid a user's short-term memory.
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Moving on, let's discuss how we actively guide the user's eye across a digital screen.
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We use what is fundamentally known as visual hierarchy.
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while font size
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and generous spacing definitely play a role contrast is typically the primary tool designers utilize to immediately capture
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and direct attention making a primary call to action button a
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bright saturated color against a muted neutral background ensures the user
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knows exactly where to click next we also rely heavily on standard conventions particularly when it comes to iconography.
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A magnifying glass universally means search and a tiny house means home.
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The mental translation required by users is heavily minimized through the implementation of these familiar icons.
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If you try to invent completely new abstract symbols for standard functions, you force the user to think far too much.
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Another strategy is progressive disclosure.
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This involves sequencing complex information and actions across several interconnected screens,
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rather than presenting absolutely everything at once.
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Experiencing an overwhelming immediate overload of information is effectively avoided by revealing data only as it is logically needed.
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Finally, let us touch upon the overall relationship between the user and the digital product.
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Consistency across all pages of a website drastically reduces cognitive friction.
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When an interface remains predictable and consistent, strong user trust is rapidly established.
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Users feel inherently safe knowing
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that a button will behave the exact same way on page 5 as it did on page 1.
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However, academic theories and industry best practices can only take you so far.
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The specific demographic of your target audience can vastly change how a design is perceived.
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Ultimately, to guarantee maximum accessibility for all potential demographics,
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continuous testing with real users remains absolutely essential.
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Thank you for your attention today.
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Next week we will move beyond cognitive load and look at the emotional impact of colour theory and typography.
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you
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Kontext & Hintergrund
In dieser Episode des IELTS Listening Podcasts hören die Zuhörer ein Gespräch zwischen einem Kunden und einem Mitarbeiter eines virtuellen Reality-Arkades. Der Kunde möchte eine Gruppenbuchung organisieren, um eine Abschiedsparty für einen Kollegen zu feiern, der ins Ausland zieht. Dieses alltägliche Gespräch bietet nicht nur Einblicke in die Buchungserfahrung, sondern auch in den Umgang mit verschiedenen Kommunikationssituationen. Wenn Sie Ihr Englisch verbessern möchten, ist das Nachahmen solch realer Dialoge ein effektiver Weg, um Ihre Englische Aussprache zu verbessern und die Dynamik alltäglicher Unterhaltungen zu erfassen.
Top 5 Phrasen für die tägliche Kommunikation
- „Wie kann ich Ihnen heute helfen?“ – eine höfliche Eröffnung in einem Kundenservice-Gespräch.
- „Ich möchte eine Gruppenbuchung organisieren.“ – klar und direkt, wenn man eine Reservierung vornehmen möchte.
- „Das klingt großartig!“ – eine positive Bestätigung der Vorschläge oder Optionen.
- „Könnte ich Ihre persönlichen Daten bekommen?“ – eine höfliche Bitte um Informationen zur Bestätigung einer Buchung.
- „Das sind die Optionen, die wir haben.“ – ein nützlicher Satz, um Alternativen anzubieten.
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