Практика Shadowing: IELTS Listening Podcast Ep 54 Practice Test | Daily English Conversation & ASMR #ib8 - Изучайте разговорный английский с 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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Топ-5 фраз для повседневного общения
- Hello! Welcome to Vauxhall Hub VR Arcade. - Привет! Добро пожаловать в Vauxhall Hub VR Arcade.
- How can I help you today? - Как я могу помочь вам сегодня?
- Are you planning a birthday celebration? - Вы планируете празднование дня рождения?
- How long do you want to play? - Как долго вы хотите играть?
- Does that package include any food? - В этот пакет входит еда?
Пошаговое руководство по теневому говорению
Для улучшения ваших навыков разговорного английского через shadow speak, следуйте этому простому пошаговому руководству, в частности при работе с этим подкастом:
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- Разбейте диалог на части. Если какой-то фрагмент звучит сложно, повторяйте его несколько раз, пока не почувствуете уверенность.
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Следуя этим шагам, вы сможете успешно освоить материал из подкаста и улучшить свои навыки в разговорном английском, что откроет перед вами новые возможности для общения на иностранном языке.
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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