Практика Shadowing: Compréhension orale : je parle français sans pause pour entraîner votre cerveau - Изучайте разговорный английский с YouTube
B2
It's a classic scene, we have all these images in mind,
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It's a classic scene, we have all these images in mind,
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we know these rules of grammar by the heart,
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we have memorized these lists interminables of vocabulary,
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we approach the comptoir to order a simple cafe at Paris or,
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I don't know, at Montréal… Yeah, the moment fatidic.
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Exactly.
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And there, the server responds to the light of the light with an expression totally ingenue,
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avalant the half of the syllables.
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And it's the total panic.
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But really, the brain is completely fiching.
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Welcome to our deep dive today.
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We have on the table a very intriguing document,
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a intensive training guide called Mastering Natural French,
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Brain Training for B2 Listening Comprehension.
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It's fascinating.
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Yes.
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And that things are clear,
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the goal of our exploration is not to do a simple course of linguistic探椅.
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Today, the mission is to really decode the mechanics of our brain face to an learning complex skills.
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Absolutely.
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How do we pass from a school-educated,
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very artificial and artificial, to a knowledge of a natural information and completely imprevisible?
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The challenge is largely the context of the French.
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Because to understand a language at an advanced level,
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it's above all a exercise of treatment of information in real, under pressure.
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A mental exercise, what?
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Analyse today, whether it be the management of information,
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the lack of information in the unknown,
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or the unconscious unconscious of the schemas,
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Well, these are actually the same rouages that allow us to acquire any high level skills in a chaotic environment.
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Well, we can't do a little bit of that.
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The point of view is that our brain is supposed to identify the phonemes,
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the grammatical structure and the global sense of a phrase in...
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.. a fraction of a second.
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A real war machine!
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But the big coupable, the major obstacle which makes it to the best mechanics of the intermédiaire,
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is what we call the mental translation.
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Ah oui, le fameux réflexe.
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Le fait de s'accrocher désespérément à sa langue maternelle.
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Ça me fait penser à une analogie très concrète du document.
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Essayer de traduire mentalement chaque mot,
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c'est exactement comme regarder une vidéo en streaming avec une connexion Internet défaillante.
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Ah, j'adore cette image.
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N'est-ce pas ?
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Le cerveau fait une mise en mémoire tampon,
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un petit buffering sur un mot précis qu'il ne reconnaît pas immédiatement.
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Il se met sur pause pour chercher dans son dictionnaire interne.
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And that's where the difference is created.
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That's it.
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Because the problem is that the real life has no buttons to pause.
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While the brain charge the translation of this word,
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the direct conversation continues to flow. Of course.
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The time that the translation is found,
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we have a problem with the next three words and we are completely erased.
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What is fascinating here is the way this analogy illustrates the physical limits of our memory of work.
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Neurologically speaking, it's even more drastic than a simple connection.
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C'est-à-dire ?
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Notre mémoire de travail ne peut retenir qu'un nombre très limité d'éléments simultanément.
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Quand on active le processus de traduction,
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on remplit ces cases de mémoire avec les mots de notre langue maternelle.
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D'accord.
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Résultat, il n'y a littéralement plus d'espace cognitif disponible pour faire entrer les nouveaux sons de la langue étrangère qui,
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eux, continuent d'arriver.
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L'audio rebondit sur un mur.
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Et j'imagine que c'est épuisant ?
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C'est le mot.
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This creates a fatigue mental foudroyant,
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because the brain is on-sour-chopting trying to try to jongle with two linguistics linguistics at the same time.
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The ultimate goal, this famous automatic compréhension,
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is to court-circuiter this translation.
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But how do we do it, concrètement ?
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The only way to come to the ears is to expose the ears to a constant natural flux, without pause.
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It's to force the brain,
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by pure instinct of cognitive to abandon the maternal language language.
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It's a real therapy of shock, in fact.
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And this saturation explains perfectly why we hit a mirror at a very precise moment of the learning.
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The source identifies the challenges specific to the level B2,
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which we could compare to four mirrors invisible.
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Yes, the level where everything goes down.
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Exactly.
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At this stage, we don't get more against the alphabet or the conjugations of the present.
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The nature of the obstacle changes.
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First, we confront the variable vitesse.
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And that's destabilizing.
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Completely.
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A native native speaker doesn't have a limit of metronomical.
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He accélère when he is passionate,
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he murmured, he made some pause,
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he fusioned three words in one single song.
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It's the natural rhythm of the oral.
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Then, there is the vocabulary, which is suddenly abstract.
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We pass from the description of his house to the debate on his politics or environment.
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What is the need for different neurons.
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Then, there is the challenge of the sudden changes of language.
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A person can start a sentence with a hyper-formel and end with an expression of an argo super familiar.
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Yes, like, I have to say that it's really a bit of a bad thing.
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Exactly.
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The brain must do a constant gymnastics to follow its ruptures of tons.
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And there's the fourth wall,
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which is often the most stabilizing,
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which is the most important thing about the implicit cultural references.
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Ah, that.
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The fact that a simple conversation is being used to a subject of the country related to the history of the country,
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to the recent recent news,
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or even to the publicities that have marked a generation,
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these are data that exist in any grammar manual.
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It's just on this point that I'm a little bit perplexed.
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Ah, bon ?
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Yes.
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I understand that we can get our ears to get a word pronounced more quickly or identify records of languages.
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But how can we seriously pretend to understand the implicit culture with a simple exercise of listening?
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I see what you mean.
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The implicit, by definition, is what is not said.
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Is it not an illusion of thinking that we can handle it without having lived years in the country?
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It's an excellent remark.
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But if we relate this to the global context of development cognitive,
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we need to understand
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that the goal of this training is absolutely not to transform the learning in an encyclopedia of an ambulatory.
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So we're not supposed to know all of this?
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Not at all.
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It's not to know how to decode each obscure reference.
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In reality, the real goal is to develop the adaptability face to the unknown,
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what we call the tolerance to ambiguity.
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The tolerance to ambiguity, it's interesting.
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Yes, because when a blague or a cultural reference occurs and creates a black hole in the comprehension,
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the reaction of an apprentice to a intermediate level, it's panic.
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The same buffering.
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The training aims to modify this reaction.
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It's a sense of accepting this temporal zone,
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not to approach the temporal zone and use the environment.
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The tone of the voice, the body, the body.
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Exactly.
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To deduce the intention global.
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To know avancer and to take decisions even when we need crucial data,
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it is a vital executive skill,
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beyond the language of the language.
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So, technically impossible to know or to control this chaos,
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the solution is in the art of triage.
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The document offers a survival strategy,
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which seems almost counterintuitive to first abord.
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It is to say ?
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It is to say 100% of the sense global and to make the deal of 100% of the words.
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It is to decide to ignore one part of what we hear.
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And that is a change of paradigm that asks a lot of courage.
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Why do you say that ?
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Because the school system has conditioned to the perfectionism.
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We have told each word to have the right note.
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Or, the natural oral understanding is on a principle of economy energy.
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We can't listen to everything at maximum intensity.
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That's it.
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The strategy consists of bragging all his attention on the words ported sense,
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namely the verbs of action and the non-principal verbs,
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and to filter impitoyablement all the noise around.
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The noise, like the prepositions,
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the articles… And, especially, the famous words of remplissage which parasitic the discourse.
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Just the guide gives an example extremely parlant to this subject.
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Let's take an example of a simple phrase,
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saturated with a tick of language.
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Genre, du coup, je me disais qu'on pourrait peut-être se voir demain si t'es pas trop occupé, bien sûr.
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Une phrase super typique.
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Complètement.
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Un apprenant qui essaye de tout traduire va s'épuiser dès le premier « du coup ».
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Chercher une logique, puis très gûcher sur le « euh ».
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Et il perd le fil.
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Alors que le cerveau n'a besoin d'isoler que trois piliers pour reconstruire l'intégralité du message.
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Disait, voir et demain.
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Tout le reste, c'est littéralement de l'emballage.
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C'est fascinant quand on y pense.
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C'est la même chose dans un contexte plus formel,
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comme l'exemple du texte sur le télétravail mentionné dans les sources.
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Si une phrase commence par « alors je voulais vous parler d'un sujet qui me tient particulièrement à cœur ».
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L'oreille entraînée ne cherche qu'à capter les mots clés qui vont suivre.
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Comme « pandémie », « liberté » ou « isoler ».
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Voilà.
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Tout en reconnaissant les expressions comme « ce qui est sûr »,
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non pas comme une suite de mots à analyser grammaticalement,
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but like a simple block of sense prefabricated,
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a signal that announces a conclusion.
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And the identification of these prefabricated blocks is a technique of reduction of the cognitive charge redoutable.
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Ah oui !
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Yes, instead of treating the expression « what is sure » as four distincts,
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asking four analyses separated, the brain is treated as one single image global.
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Like one single word, in fact.
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Exactly.
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This liberate instantaneously the mental band to analyze the true information that follows.
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That's where it becomes really interesting.
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It reminds me of the professional photography,
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you know, where the photographer plays with the depth of the pitch.
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Ah, the effect of flow in the back-plan.
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That's right.
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When you look at a success,
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the eye is immediately attracted by the main subject,
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which is an absolute net,
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while the rear-plane, the decor,
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is fluted in a aesthetic way.
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The brain isola what counts.
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It's a beautiful analogy.
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It's this natural filter that we operate all the day in our maternal language without thinking.
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We don't listen to each syllable of our colleagues.
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Heureusement, by the way.
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But as soon as we plonged into a foreign language,
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L'anxiété nous transforme en perfectionnistes,
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voulant que chaque pixel de la scène soit net.
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La métaphore visuelle est puissante.
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Mais pour rester dans le registre auditif de notre sujet,
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je dirais plutôt que c'est l'équivalent du travail d'un ingénieur du son lors d'un mixage audio.
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Oh, j'aime bien ça.
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Comment ça ?
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Eh bien, ils ne suppriment pas la batterie ou la basse de la piste,
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ils baissent simplement leur volume pour que la voix du chanteur puisse percer le mix.
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Pour aider le cerveau à effectuer ce mixage en temps réel,
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The method suggests to impose what she calls an intention of listening.
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An intention of listening?
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Yes.
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Before pressing on the lecture,
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we need to give a role.
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Is it simply to identify the general theme of the debate?
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Or is it to be able to identify the specific argument of the guest against the telework?
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So, we program the brain before even listening?
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Exactly.
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This intention precise is like a frequency filter for our attention.
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The brain stops the wave of sound and starts to scan the flow to find its target.
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Okay.
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So the theory of triage,
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of audio and of the release is very clear.
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But how do we go from a concept of concept to a real brain reflex neurologic?
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Ah, the practice of practice.
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Right.
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The document is a test of attack on 30 days.
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Pensé for re-education of the brain progressively.
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It's not just a list of tasks, it's a real adaptation.
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And how does it structure?
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The first week begins with a light and passive immersion.
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15 minutes per day, without taking notes,
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without trying to understand everything,
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just to habitate the audio audio,
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to the loud rhythm of the language.
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A bit of a sound effect.
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Yes.
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The second week, we go to a crank with an active immersion of 20 minutes,
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where we introduce the strategic prise of notes to see the frequency of certain words.
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Very good.
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Then, the third week, the famous technique of shadowing,
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which consists of repeating the audio with a very light decalation, for 25 minutes.
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And the last week, the third week,
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the immersion total of 30 minutes,
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without any security, followed by a synthesis of synthetics.
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This protocol is remarkable because it really respect the cerebral plasticity.
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How about that?
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It starts with implicit to go to explicit.
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And for this plasticity to be stimulated at maximum,
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the choice of resources is also important that the time passed.
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It is necessary to create a real fraction fractionation for the ear.
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Justement, the sources insistent on the extreme variety of supports.
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Alternate between the blind and structured of journalists on radio like France Inter or RFI.
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Yes, the French is very proper.
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Exactly.
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And on the other side,
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the debris-in-the-bit filled with coupes-montages of creators YouTube like Hugo Décrypte or Cyprien.
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It's a great deal.
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And without forgetting the dramatic rich series of contemporary films,
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like Lupin, The Bureau of Legends or 10%,
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where the dialogues are chevaux,
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where the actors are talking or talking about camera.
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It's the real world.
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And it's this permanent contrast that force adaptability.
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But there is an element of this plan on which I would like to stop.
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I listen to you.
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The phase 3, the shadowing.
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The fact of listening to an extrait is to repeat it immediately in high voice in imitating the tone and rhythm.
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I am sorry that logic is a little.
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It's normal.
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It's often not understood.
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What the fact of doing the perroquet alone in his salon,
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doing his own own macework,
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is specifically to listen and understand what others say?
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It's like a practice of oral expression, not understanding?
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It's a great question.
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And it's often the point that the most derroute but the answer is in the incredible intricacies of our physiology.
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Our physiology, it is to say?
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It is not only a passive reception process in the ear.
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It is also a internal simulation.
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The cells of the brain,
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responsible for the articulation of the words,
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and the cells responsible for the audio decoding,
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are connected by the neural networks.
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Okay.
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I see.
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When we practice shadowing, we force our own phonateur,
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our own, our vocal cords,
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to physically reproduce the complex liaisons, complex, illusions, rapid rhythms.
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Genre, the fact of fusioning,
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I don't know, in a simple, I don't know.
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Exactly.
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In generating these micro movements,
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we create a proprioceptive memory.
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The brain registra the physical sensation of producing these sounds.
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Wow.
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TIFF uses this data to decode the sound almost instantaneously.
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In clear, we train his ability to listen through the movement of his own mouth.
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It's fascinating to realize that the key of the listening voice is in the motricity.
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Well, on the paper with all these techniques,
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this program of 30 days seems infaillible.
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On the paper, yes.
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But the reality of the learning is much more rugged.
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The daily execution of this exercise confront inevitably the prenant to a psychological mur.
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And that's where many abandonment.
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The guide met a point of honor to normalize an emotion, the frustration.
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It is described not as an error,
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but as an indicator biological growth.
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And it's fundamental to understand it for not to abandon.
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The frustration, the feeling of disappointment or confusion total,
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it's literally the chemical signature of the brain which signale that it is in the way to create new connections synaptic.
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It's the moment where it works really?
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It's the price of the zone of comfort.
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If the exercise is comfortable,
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it's not an neural adaptation in course.
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The progression of this type of skills is never a nice and nice curve and lice.
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That's sure.
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It's made of plates, and sometimes even a day where we have the impression of having carrément regress.
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That's where the unconsciousness of the learnings is in the game.
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The document reminds that the brain works intensely in the back-end.
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Even when we don't realize it.
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Even when you're feeling like 20% of a podcast in making the oven,
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our brain records the statistics.
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It's a real work of an ombre.
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It's a real work of an ombre.
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Like the fact of a rire to a black spontaneity,
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before even having realized in which language was formulated.
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What does that mean at the end?
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Good question.
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What I retire from this analysis is that this famous training to natural comprehension is not a simple accumulation of academic knowledge.
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It is a true experience of emotional resilience.
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Yes.
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To achieve the fluidity, it is necessary to accept the vulnerability of not understanding.
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It is necessary to accept the feeling of disarm
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and confused for weeks to leave the brain time to do his work of assembly.
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This brings a crucial question on the psychology of performance.
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It's the importance of the trust in the process.
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The fact of believing even when it's a blank.
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Yes, because the permanent doubt is the acquisition.
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This minutiae and unconscious of the sound structures by the brain is totally silent on the daily basis.
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We don't feel it.
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No, but this accumulation of effort invisible ends ineluctablement by entering a critical issue critique.
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C'est l'origine de ce phénomène bien connu des apprenants persévérants, le fameux déclic.
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Ah, ce moment magique !
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Un jour, sans cri égard,
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sans avoir fait d'efforts supplémentaires ce matin-là,
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le brouillard auditif se dissipe.
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La chaîne de son indistincte se sépare soudainement en mots clairs et porteurs de sens.
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Ce n'est pas de la magie,
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c'est simplement le résultat d'un travail de fond qui vient d'atteindre la surface de la conscience.
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It's an extremely encouraging perspective for all those who debate this learning.
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To synthesize our exploration of sources today,
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to try to get a complex information and natural,
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it's above all a act of cognitive education.
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It's exactly that.
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It's to learn to get a sense of the chaos rather than to try to control it.
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It's to develop the surgical capacity to filter the essential,
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while ignoring the noise.
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It demands a variation, a active practice,
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including even our own body with shadowing,
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and, above all, patience to endure the initial frustration.
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The regularity of the exposition is the only real maître of the game.
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There is a last aspect in our documentary that deserves a bit more large reflection.
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What is it?
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It was mentioned that even during a passive écoute,
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in the background, our brain is able to cartograph
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and to absorb unconsciously the complex schemas and the sound of a foreign language.
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Yes, the radio thing when we do the TV.
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Yes, it's a demonstration of force of our subconscious,
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but it opens the door to a much more vertigineuse question,
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which is largely over the linguistics.
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I'm curious.
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If our neural architecture is configured to aspire and integrate passively structures also elaborated simply because they resonate in the rear-plan,
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what other type of invisible schemas is our brain-like to communicate in this moment?
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Wow, that's an excellent question.
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It is a great question.
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It is a lot of beliefs that are vehiculized by media that we have to turn,
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the level of cynicism of our environment of the work or the ambient ambient in our backyard.
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It is true that the brain doesn't always feel what enters.
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Yes.
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If our brain is constantly on the buffering of our environment in our own sound,
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perhaps we should have paid attention to the quality of the sound of our own life.
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Об этом уроке
В этом уроке мы сосредоточимся на практике восприятия речи на иностранном языке, используя метод, который позволяет вашему мозгу адаптироваться к естественной скорости и ритму произношения. Вы будете работать над тем, как справляться с реальными ситуациями, в которых носители языка говорят быстро и часто неразборчиво. Правильное восприятие информации в контексте является ключом к успешному общению. Этот урок позволит вам перейти от механического перевода слов к более естественному восприятию языка, что поможет избежать "бросков" в вашем разговоре и улучшит вашу способность реагировать на собеседника.
Ключевая лексика и фразы
- без паузы - способность воспринимать информацию быстро и эффективно
- ментальная трансляция - попытка перевода слов с родного языка на иностранный
- управление информацией - процесс восприятия и обработки данных в разговоре
- фонемы - звуковые единицы, которые составляют слова и фразы
- грамматическая структура - правила, которые определяют, как слова объединяются в предложения
- означение предложения - общее содержание и смысл того, что было сказано
- буферизация - процесс временной «остановки» для понимания информации
- реальная жизнь - сложности общения в естественной среде
Советы по практике
Используя метод shadowspeak, постарайтесь следовать за аудио с видео. Повторяйте за диктором его слова и интонацию, стараясь не делать пауз. Обратите внимание на скорость речи: она будет быстрой, поэтому важно не переводить слова на ходу, а воспринимать фразы целиком. Задержитесь на сложных словах или фразах, но не позволяйте себе сильно отвлекаться на их перевод. Идея заключается в том, чтобы ваш мозг научился воспринимать язык так, как это делается в реальной жизни, без «кнопки паузы». При помощи техники shadow speech вы сможете улучшить свои навыки восприятия и произношения, что, в свою очередь, повысит вашу уверенность в общении.
Что такое техника Shadowing?
Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.
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