Shadowing Practice: Why humans need fiction, according to neuroscience - Learn English Speaking with Video
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The behavior comes out.
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And then there's this little narrator up there that turns it into a story that makes us feel coherent and unified.
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Turns out it's a thing in the left hemisphere that does this and we called it the interpreter.
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Consciousness is not a linear flow of what's happening around us, but sort of a convenient narrative of what's happening around us, created for our viewing pleasure by the unconscious brain.
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It's a very powerful force in the human condition, and it's always trying to figure out and seek explanations for our behavior.
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In my early part of my career, I studied patients who had their two brains disconnected, working out the functions of each hemisphere.
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Test results show that speech is localized in only one half brain.
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Doctor Gazzaniga now reconstructs the test.
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We would put a question to the right non-speaking hemisphere, and it, in effect, would direct the left hand to do something.
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So the patient would do that. - And Joe sees two words simultaneously.
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Bell goes to his non-speaking right brain — Music to his speaking left brain.
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When asked to point to a picture of what he saw, he chooses Bell.
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And then we would simply say to the patient, well, why did you do that?
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We found out that in the left brain, there's a special system that seems to always want to explain actions and moods that we have after they occurred.
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Why do you pick that one?
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Music. - Music?
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There was music and bell.
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And it was a few minutes ago.
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The last time I heard any music was coming from the bells out here.
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Banging away.
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So the bells outside here.
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What's extraordinary is that Joe's speaking left brain concocts a plausible story of why he pointed to Bell, even when some of the other pictures more obviously represent music.
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We're learning and appreciating the ways in which we produce our perception, our cognition and our consciousness and all the rest of it.
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There's evidence that consciousness is not really what it seems to be.
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We feel our subjective experiences unfolding in the world around us in sort of this linear narrative in which B follows A, in which C follows B and D follows C, but in reality it seems that our conscious narrative might not be that linear.
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If you think of something like speech, you're probably not aware of my speech in a syllable-by-syllable, word-by-word manner.
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So, for example, the word mouse could mean a rodent, or it could be the mouse pad of a computer.
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Well if I say, "The mouse pad was beside the computer," in that case, the mouse can only be understood as a mouse pad.
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So it seems to be this chunking that happens, in which your unconscious mind reaches a point of analysis by sampling everything that's happening around it to deliver something a nice narrative of the world around us into our conscious mind.
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I think the human as a storytelling animal, as some people put it, is because the system is continually trying to keep the story coherent, even though these actions may be coming from processors going on outside of, initially, of conscious awareness.
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It's one of the reasons why people are different too, because people have different experiences, so they have different things they're trying to explain.
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So your experiences are different than my experiences and so your storyline, and we may start off with the same interpreter, but because all your experiences are different, your actual environmental experience, your temperament differences and all the rest of it, that's going to color everything in a little different way and this interpreter is going to make up a different story about it.
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Why does the human always seem to like fiction?
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Could it be that that prepares us for unexpected things that happen in our life?
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because we've already thought about them in our fantasy world, saw how those characters acted, and so then when we're confronted with it, we're writing it.
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We've sort of lived through that movie, as it were.
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So why do we like that stuff?
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Well, maybe that's a reason why we like it.
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And to think of all of those things, it seems to me, just to make it all richer, a richer experience.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación de nivel C1 se basa en el vídeo “Why humans need fiction, according to neuroscience”. Las palabras que más se repiten: brain, experience, bell, seem, mouse. Este vídeo tiene 39 frases y 728 palabras para practicar shadowing. La parte hablada dura 4:46. El hablante habla a un ritmo natural de unas 153 palabras por minuto, cercano a una conversación cotidiana. El 85 % de las palabras está entre las 3.000 más comunes del inglés; conviene repasar el resto antes de empezar. 6 de sus 39 frases son preguntas, así que sirve para practicar la entonación de las preguntas y las respuestas cortas.
Vocabulario clave de este vídeo
Las 15 palabras más avanzadas del vídeo, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| hemisphere sustantivo | /ˈhɛmɪsfɪə/ | hemisferio |
| syllable sustantivo | /ˈsɪl.ə.bəl/ | sílaba |
| coherent adjetivo | /koʊˈhɛɹ.ənt/ | coherente |
| unconscious adjetivo | /ˌʌnˈkɑnʃəs/ | inconsciente |
| cognition sustantivo | /kɑɡˈnɪʃ.ən/ | cognición |
| concoct verbo | /kənˈkɒkt/ | confeccionar, concocer |
| disconnect verbo | /dɪskəˈnɛkt/ | desconectar |
| localize verbo | /ˈloʊkəlaɪz/ | localizar |
| reconstruct verbo | /ˌɹiːkənˈstɹʌkt/ | reconstruir |
| temperament sustantivo | /ˈtɛm.pɚ.ə.mənt/ | temperamento |
| unfold verbo | /ʌnˈfoʊld/ | desplegar, explayar |
| plausible adjetivo | /ˈplɑ.zɪ.bəl/ | probable, plausible |
| chunk sustantivo | /t͡ʃʌŋk/ | trozo, pedazo |
| storytelling sustantivo | narración, narrativa | |
| storyline sustantivo | narrativa, línea de la narración |
Phrasal verbs que vas a escuchar
| Palabra | Pronunciación | Significado |
|---|---|---|
| come out verbo | /ˌkʌm ˈaʊt/ | revelarse, salir a la luz |
| figure out verbo | averiguar, captar | |
| find out verbo | averiguar, anoticiarse | |
| make up verbo | /ˌmeɪk ˈʌp/ | reponer, suplir |
| turn out verbo | resultar |
Pronunciación a tener en cuenta
El hablante usa 7 contracciones y formas reducidas, como we're, we've, they're. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “sh” y “zh”: unconscious /ˌʌnˈkɑnʃəs/, cognition /kɑɡˈnɪʃ.ən/
- Palabras largas — cuida el acento: interpreter /ɪnˈtɝ.pɹɪ.tɚ/, temperament /ˈtɛm.pɚ.ə.mənt/, continually /kənˈtɪnjuəli/
Sonidos difíciles para hispanohablantes:
- /z/ — sonora, no /s/: localize /ˈloʊkəlaɪz/, plausible /ˈplɑ.zɪ.bəl/
- /h/ — una aspiración suave, no la “j”: hemisphere /ˈhɛmɪsfɪə/, coherent /koʊˈhɛɹ.ənt/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como hemisphere, syllable, coherent.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.