ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Hue Knew? The Hidden Power of Color | Alex Mason | TEDxUGA
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Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal As a lighting designer,
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Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal Reviewer Gopal As a lighting designer,
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my job is focused on transformation.
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I take blank slates, empty theaters,
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stages, sets, costumes, and turn them into nuanced,
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cohesive visual worlds for performers and audiences to inhabit.
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Lighting designers are curators in that we generally don't work in isolation.
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Instead, we take content that's mostly designed by others,
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like sets and costumes and onstage action,
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and we use tools like color,
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texture, and intensity to shape an audience's perception of the work of those directors and other designers.
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My job has a couple of parts.
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By day, I run the MFA program in lighting design at the University of Georgia,
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where I teach graduate and undergraduate courses in lighting design and technology,
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and maybe most importantly, where I mentor student designers preparing for careers in the entertainment industry.
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By night, I work professionally as a lighting designer,
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where I collaborate with theater,
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dance, and opera companies in addition to orchestras across the country.
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As the designer, it's my job to decide which lights we'll use for a production,
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where we'll put them, how they'll get focused,
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and to manage all the people involved in that process.
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Once everything's working, we use a computer to store a set of light cues,
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which are sort of like photographs in that they represent discrete instances of different combinations of lights doing different jobs.
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I often find that the strongest reactions to my work come from dramatic shifts in color.
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Most of my personal practice is in the theater,
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where it's common to move quickly from relatively realistic scenes lit mostly in white to big,
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dramatic, colorful looks.
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And those transitions often yield strong audience reactions.
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Because they're rich and visually dynamic,
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yes, but also because we're biologically and culturally attuned to color and its meanings.
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Understanding those associations allows me to deploy colors strategically in my work to emphasize meaning,
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direct attention, foreshadow, and set a mood on stage.
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Our experience of the world around us,
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including color, starts with photoreceptors,
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which are cells in the retina that collect specific kinds of light and pass it off to the brain for processing.
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Rods help us sense light and dark,
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motion, aid in peripheral vision,
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and can function even in low-light conditions.
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Cones function best in brighter light and respond specifically to red,
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green, and blue wavelengths, which in combination allows us to see a full range of colors.
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But vision alone isn't enough.
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We really need our brains to name and contextualize color information if it's going to be of any use to us.
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Without a word like red,
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for example, we wouldn't have a way to warn others to avoid poisonous red berries.
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Experts generally agree that languages develop color words only as they're needed.
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So while we've had the same photoreceptors and been able to see the same colors as long as we've been a species,
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our color vocabulary has shifted dramatically over time.
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One famous example is Homer,
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the Greek poet, who often referred to the sea as wine dark
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because the ancient Greeks didn't have a word for blue in the same way that we do.
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It does appear that all languages have words for black and white.
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An ability to describe that distinction is probably a biological imperative
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because it allows us to do things like identify the difference between good and bad weather,
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talk about movement, maybe even point out the location of a camouflaged predator.
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Incredibly, after black and white,
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every language has developed color words in exactly the same order.
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So next comes red, which is likely useful for identifying danger,
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then yellow and green, which probably help us talk about food items,
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then blue and brown, and finally, purple, gray, and pink.
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The colors at the end of that list are really biological wants rather than needs.
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Highly industrialized societies might benefit from words like purple and pink to help us describe manufactured items in daily use.
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Less industrialized societies, of course,
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can see all the same colors,
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but might have less need to describe them with a single word.
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Once we have a variety of words to describe things,
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it's natural for us to start sorting those words by their characteristics,
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and color is no exception.
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All colors have at least two definable qualities,
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which we call hue and saturation.
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Hue is just another word for color.
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So red, orange, orchid, tan,
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and green are all hues.
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Saturation describes depth of color.
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Sky blue, for example, describes a blue that's probably closer to white than navy blue.
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And forest green describes a green that's almost certainly deeper or darker than grass green.
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Combinations of hue and saturation evoke predictable and often universal responses.
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Red makes us feel angry or passionate,
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and bright red can make us feel like the thing we're looking at is urgent.
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Biologically, that's because we're primed to detect blood flow to the skin,
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both because that's a way to know whether other people are interested in us,
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like when they blush, and also to detect anger and prepare for possible fight or flight.
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Red also has strong cultural associations.
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We often use red signs,
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for example, to mean stop,
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go here in case of an emergency or danger.
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By contrast, blue makes us feel calm or peaceful.
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Exposure to blue in general and blue light in particular seems to stimulate the production of serotonin.
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Culturally, that might be because we associate blue with the open sea or sky and a lack of captivity.
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One of the most astonishing aspects of visual processing is that our brains can see colors our eyes can't.
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There's no pink light, for example, on the visible spectrum.
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Visible light waves go from red to purple through green.
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But we experience color in a circle rather than on a straight line,
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and our brains have invented pink to fill in that empty space.
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Pink is a relatively new addition to the English language.
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It was first written down during the Renaissance,
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and it's one of our more controversial color words because of its associations with femininity.
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But that pairing is also fairly new.
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As late as the early part of the 20th century,
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contemporary color gender roles were reversed.
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Blue was associated with femininity because it was felt to be delicate,
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while pink was strong and masculine.
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Those roles reversed in the 1940s and 50s,
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which is probably a strong indication that there's no concrete link between color and gender or sexuality.
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While some of our color associations have strong physiological components,
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others are strictly cultural.
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We often need that cultural context to help us inform color meanings because lots of colors have contradictory connotations.
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Green, for example, seems to evoke a generally peaceful physiological response,
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but it has much less pleasant cultural connotations like greed and jealousy,
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reptiles and amphibians, or illness.
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Similarly, some color associations are universal,
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but others are definitely local.
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Yellow is closely associated with lightheartedness or happiness in the United States,
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but in ancient Egypt or contemporary Myanmar,
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yellow is a morning color.
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In China, red is closely associated with good fortune and prosperity,
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but in the United States,
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much more so with anger or passion.
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Advertisers routinely play on our biological and cultural associations with color.
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What sort of businesses do you think of when you look at this color combination?
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Maybe you said things like health care, insurance, or agriculture.
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And that makes sense given the generally peaceful associations we've already identified with blue and feelings of calm,
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health, and trustworthiness that can accompany green and white.
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How about this combination?
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Good participation.
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You almost certainly said things like fast food or maybe gas stations.
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We've already seen that exposure to red can prepare the body for fight or flight,
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and warm colors more generally connote feelings of urgency.
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When used in combination, these colors can make us feel like the only possible time to stop for a hamburger
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or get gas is right now.
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So returning to my career.
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For a long time, the tools of my trade were exclusively the provenance of lighting designers.
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Theatrical lighting fixtures are expensive and efficient LEDs weren't yet invented or weren't widely available.
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But that's changed in recent years.
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Home improvement stores have always had aisles full of lighting,
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but the contemporary variety is pretty extraordinary.
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Chances are excellent
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that many of the people in this room can change the
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color of at least some of the lights in your home using an app on your phone.
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For the first time I'm aware of,
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it's possible to easily select the color temperature of your car headlights.
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that control is just in lighting.
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You also have enormous color control of the other items in your daily life.
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That shift in availability means that it's now not just possible
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but practical for you to curate your personal color space based on a variety of emotional,
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physical, and work needs.
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So with that in mind,
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here are three ways you can leverage color in your personal life using items you already own
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or things that are relatively inexpensive and easy to get hold of.
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Looking to spark attraction?
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Try red.
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Wear a red outfit, red lipstick, even red nail polish.
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Red's attractive qualities are universal and they seem to apply equally to men and women.
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Conversely, avoid red if you're working on difficult tasks like studying.
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Exposure to red and other saturated colors seems to limit achievement.
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Turn the lights to blue if you want to relax,
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have just been in a stressful situation,
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or want to evoke the outdoors while you're inside.
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But be cognizant of the time of day.
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Exposure to blue light can trick the brain into thinking that it's morning,
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which suppresses melatonin production, and that can keep you awake.
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That's the same reason you shouldn't spend time with your screens right before bed.
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Read and study under warm or neutral white light.
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the rooms where you work white or light yellow,
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and always take notes on white or light yellow paper.
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These colors increase visual contrast and seem to stimulate brain activity.
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The colors surrounding us have a meaningful impact on our daily lives,
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and with just a little bit of context from science and culture,
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we can manipulate them to improve our overall well-being.
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Exactly like lighting a stage,
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the colors we choose carry meaning.
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So select Help them with care to shape the way you want to feel, think, and live.
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Thank you.
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ในบทเรียนนี้ นักเรียนจะได้ฝึกฝนทักษะการฟังและการพูดโดยการติดตามวิดีโอ "Hue Knew? The Hidden Power of Color" จาก Alex Mason ซึ่งจะช่วยให้คุณเข้าใจเกี่ยวกับการใช้สีในการออกแบบแสงในโรงละครและผลกระทบต่อความรู้สึกของผู้ชม เมื่อคุณฝึกฝนด้วยวิธีการ ชาโดว์อิ้งภาษาอังกฤษ คุณจะสามารถปรับปรุงการออกเสียง การตั้งจังหวะ และความมั่นใจในการพูดภาษาอังกฤษของคุณได้อย่างมีประสิทธิภาพ
คำศัพท์และวลีสำคัญ
- Lighting designer (นักออกแบบแสง)
- Transform (เปลี่ยนแปลง)
- Curators (ผู้ดูแล)
- Color vocabulary (ศัพท์เกี่ยวกับสี)
- Photoreceptors (เซลล์รับแสง)
- Cultural associations (การเชื่อมโยงทางวัฒนธรรม)
- Audiences' reactions (ปฏิกิริยาของผู้ชม)
- Visual worlds (โลกภาพลักษณ์)
เคล็ดลับการฝึกอบรม
ในการฝึกฝนด้วยวิดีโอนี้ ขอแนะนำให้คุณลองใช้เทคนิค ชาโดว์อิ้ง โดยการฟังเสียงของ Alex Mason อย่างตั้งใจ และพยายามเลียนแบบเขาในขณะพูด เทคนิคนี้จะช่วยพัฒนาความเร็วในการพูดและโทนเสียงของคุณให้เหมาะสม เนื่องจากการพูดของเขามีความหลากหลายทั้งในเรื่องอารมณ์และจังหวะ ทำให้คุณได้เรียนรู้วิธีที่มีประสิทธิภาพในการสื่อสารและส่งสารที่ใส่ในแต่ละความหมาย การฝึกซ้ำหลาย ๆ ครั้งและการแบ่งช่วงวิดีโอเป็นส่วนเล็ก ๆ จะช่วยให้คุณติดตามได้ง่ายขึ้น นอกจากนี้ การบันทึกเสียงของคุณขณะฝึกพูดตามและเปรียบเทียบกับต้นฉบับจะทำให้คุณสามารถพัฒนาทักษะการออกเสียงและการพูดอย่างมั่นใจมากขึ้น
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