BOX SET: 6 Minute English - 'Art & Culture' English mega-class! Thirty minutes of new vocabulary!

290,117 views

2022-10-30 ใƒป BBC Learning English


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BOX SET: 6 Minute English - 'Art & Culture' English mega-class! Thirty minutes of new vocabulary!

290,117 views ใƒป 2022-10-30

BBC Learning English


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ. ื›ืชื•ื‘ื™ื•ืช ืžืชื•ืจื’ืžื•ืช ืžืชื•ืจื’ืžื•ืช ื‘ืžื›ื•ื ื”.

00:05
Hello. Welcome to 6 Minute English, I'm Neil.
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ืฉืœื•ื. ื‘ืจื•ื›ื™ื ื”ื‘ืื™ื ืœ-6 ื“ืงื•ืช ืื ื’ืœื™ืช, ืื ื™ ื ื™ืœ.
00:08
And hello, I'm Rob.
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ื•ื”ืœื•, ืื ื™ ืจื•ื‘.
00:09
Now Rob, how creative are you?
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ืขื›ืฉื™ื• ืจื•ื‘, ื›ืžื” ืืชื” ื™ืฆื™ืจืชื™?
00:12
Very creative, I think.
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ืžืื•ื“ ื™ืฆื™ืจืชื™, ืื ื™ ื—ื•ืฉื‘.
00:14
Creativity is in my bones!
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ื”ื™ืฆื™ืจืชื™ื•ืช ื‘ืขืฆืžื•ืชื™ื™!
00:15
Look at this wonderful script that I wrote and
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ืชืจืื• ืืช ื”ืชืกืจื™ื˜ ื”ื ืคืœื ื”ื–ื” ืฉื›ืชื‘ืชื™ ื•ืื ื—ื ื•
00:17
we're presenting right now.
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ืžืฆื™ื’ื™ื ืขื›ืฉื™ื•.
00:19
You are what we could call 'a creative' โ€“ a noun
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ืืชื” ืžื” ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืงืจื•ื 'ื™ืฆื™ืจืชื™' - ืฉื ืขืฆื
00:22
which means someone with a lot of imagination
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ืฉืคื™ืจื•ืฉื• ืžื™ืฉื”ื• ืขื ื”ืจื‘ื” ื“ืžื™ื•ืŸ
00:25
and ideas.
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ื•ืจืขื™ื•ื ื•ืช.
00:26
In our job we have to create โ€“ or make โ€“
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ื‘ืขื‘ื•ื“ื” ืฉืœื ื• ืขืœื™ื ื• ืœื™ืฆื•ืจ โ€“ ืื• ืœื™ืฆื•ืจ โ€“
00:29
content that teaches English creatively.
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ืชื•ื›ืŸ ืฉืžืœืžื“ ืื ื’ืœื™ืช ื‘ืฆื•ืจื” ื™ืฆื™ืจืชื™ืช.
00:31
Creativity is becoming more important for everyone.
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ื™ืฆื™ืจืชื™ื•ืช ื”ื•ืคื›ืช ื—ืฉื•ื‘ื” ื™ื•ืชืจ ืขื‘ื•ืจ ื›ื•ืœื.
00:34
The World Economic Forum forecasts that by 2020,
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ื”ืคื•ืจื•ื ื”ื›ืœื›ืœื™ ื”ืขื•ืœืžื™ ืฆื•ืคื” ืฉืขื“ 2020,
00:37
creativity will be in the top three most important skills
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ื”ื™ืฆื™ืจืชื™ื•ืช ืชื”ื™ื” ื‘ืฉืœื•ืฉืช ื”ื›ื™ืฉื•ืจื™ื ื”ื—ืฉื•ื‘ื™ื ื‘ื™ื•ืชืจ
00:41
for future jobs.
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ืขื‘ื•ืจ ืžืฉืจื•ืช ืขืชื™ื“ื™ื•ืช.
00:43
This is particularly relevant for younger
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ื–ื” ืจืœื•ื•ื ื˜ื™ ื‘ืžื™ื•ื—ื“ ืขื‘ื•ืจ
00:44
people who will be entering the world of work soon โ€“
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ืื ืฉื™ื ืฆืขื™ืจื™ื ืฉื™ื™ื›ื ืกื• ื‘ืงืจื•ื‘ ืœืขื•ืœื ื”ืขื‘ื•ื“ื” -
00:47
and that's what we'll be discussing today.
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ื•ืขืœ ื–ื” ื ื“ื•ืŸ ื”ื™ื•ื.
00:49
But before we do, Neil, have you created a
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ืื‘ืœ ืœืคื ื™ ืฉื ืขืฉื” ื–ืืช, ื ื™ืœ, ื™ืฆืจืช
00:52
question for us to answer?
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ืœื ื• ืฉืืœื” ื›ื“ื™ ืœืขื ื•ืช ืขืœื™ื”?
00:53
Yes, and it's about the very creative artist Banksy.
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ื›ืŸ, ื•ื–ื” ืขืœ ื”ืืžืŸ ื”ื™ืฆื™ืจืชื™ ืžืื•ื“ ื‘ื ืงืกื™.
00:57
He created a well-known piece of artwork that
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ื”ื•ื ื™ืฆืจ ื™ืฆื™ืจืช ืืžื ื•ืช ื™ื“ื•ืขื” ืฉื”ื™ื™ืชื”
00:59
has been in the news recently,
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ื‘ื—ื“ืฉื•ืช ืœืื—ืจื•ื ื”,
01:00
but do you know what it is called?
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ืื‘ืœ ื”ืื ืืชื” ื™ื•ื“ืข ืื™ืš ืงื•ืจืื™ื ืœื”?
01:03
Is itโ€ฆ
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ื”ืื ื–ื”...
01:04
a) Girl with Balloon
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ื) ื™ืœื“ื” ืขื ื‘ืœื•ืŸ
01:05
b) Girl with Red Balloon
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ื‘) ื™ืœื“ื” ืขื ื‘ืœื•ืŸ ืื“ื•ื
01:07
c) Balloon Girl
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ื’) ื™ืœื“ืช ื‘ืœื•ืŸ
01:08
I can see the picture in my head โ€“
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ืื ื™ ื™ื›ื•ืœ ืœืจืื•ืช ืืช ื”ืชืžื•ื ื” ื‘ืจืืฉื™ -
01:10
so I think it's c) Balloon girl.
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ืื– ืื ื™ ื—ื•ืฉื‘ ืฉื–ื” ื’) ื™ืœื“ืช ื‘ืœื•ืŸ.
01:13
OK, and we'll find out the answer later.
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ื‘ืกื“ืจ, ื•ื ื’ืœื” ืืช ื”ืชืฉื•ื‘ื” ืžืื•ื—ืจ ื™ื•ืชืจ.
01:16
But now back to our discussion about
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ืื‘ืœ ืขื›ืฉื™ื• ื ื—ื–ื•ืจ ืœื“ื™ื•ืŸ ืฉืœื ื• ืขืœ
01:17
creativity.
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ื™ืฆื™ืจืชื™ื•ืช.
01:18
Experts say that students need
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ืžื•ืžื—ื™ื ืื•ืžืจื™ื ืฉืกื˜ื•ื“ื ื˜ื™ื ืฆืจื™ื›ื™ื
01:20
to focus more on creativity to help them
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ืœื”ืชืžืงื“ ื™ื•ืชืจ ื‘ื™ืฆื™ืจืชื™ื•ืช ื›ื“ื™ ืœืขื–ื•ืจ ืœื”ื
01:23
get a job.
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ืœืžืฆื•ื ืขื‘ื•ื“ื”.
01:24
That's perhaps surprising in the UK,
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ื–ื” ืื•ืœื™ ืžืคืชื™ืข ื‘ื‘ืจื™ื˜ื ื™ื”,
01:26
when some of our creative industries โ€“
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ื›ืฉื—ืœืง ืžื”ืชืขืฉื™ื•ืช ื”ื™ืฆื™ืจืชื™ื•ืช ืฉืœื ื• -
01:28
that's businesses that make music, art
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ื›ืœื•ืžืจ ืขืกืงื™ื ืฉืขื•ืฉื™ื ืžื•ื–ื™ืงื”, ืืžื ื•ืช
01:30
and TV for example โ€“ are world famous.
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ื•ื˜ืœื•ื•ื™ื–ื™ื” ืœืžืฉืœ - ืžืคื•ืจืกืžื™ื ื‘ืขื•ืœื.
01:33
We are creative people, Rob!
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ืื ื—ื ื• ืื ืฉื™ื ื™ืฆื™ืจืชื™ื™ื, ืจื•ื‘!
01:35
Of course, but there's not such a focus on
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ื›ืžื•ื‘ืŸ, ืื‘ืœ ืื™ืŸ ื›ืœ ื›ืš ื”ืชืžืงื“ื•ืช
01:38
being creative in education now and that
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ื‘ืœื”ื™ื•ืช ื™ืฆื™ืจืชื™ ื‘ื—ื™ื ื•ืš ืขื›ืฉื™ื• ื•ื–ื”
01:40
might have an effect in the future.
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ืขืฉื•ื™ ืœื”ืฉืคื™ืข ื‘ืขืชื™ื“.
01:43
It's something Bernadette Duffy, an early
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ื–ื” ืžืฉื”ื• ืฉื‘ืจื ื“ื˜ ื“ืืคื™,
01:45
years consultant, has been discussing
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ื™ื•ืขืฆืช ืœื’ื™ืœ ื”ืจืš, ื“ื ื”
01:47
on BBC Radio 4's Bringing up Britain programme.
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ื‘ืชื•ื›ื ื™ืช Bringing up Britain ืฉืœ BBC Radio 4.
01:50
What does she say we have been
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ื‘ืžื” ื”ื™ื ืื•ืžืจืช
01:51
focusing too much on in schools?
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ืฉื”ืชืžืงื“ื ื• ื™ื•ืชืจ ืžื“ื™ ื‘ื‘ืชื™ ื”ืกืคืจ?
01:54
We focus on the things that are legitimately
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ืื ื• ืžืชืžืงื“ื™ื ื‘ื“ื‘ืจื™ื ื”ื—ืฉื•ื‘ื™ื ื‘ืื•ืคืŸ ืœื’ื™ื˜ื™ืžื™,
01:57
important but we teach them in a way that
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ืืš ืื ื• ืžืœืžื“ื™ื ืื•ืชื ื‘ืฆื•ืจื” ืฉืชืงืœ
01:58
makes them easier to measure.
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ืขืœื™ื”ื ืœืžื“ื™ื“ื”.
01:59
I think we
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ืื ื™ ื—ื•ืฉื‘
02:00
need to redress the balance that puts the
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ืฉืขืœื™ื ื• ืœืชืงืŸ ืืช ื”ืื™ื–ื•ืŸ ืฉืฉื ืืช
02:01
focus purely on gaining the skills and far
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ื”ืคื•ืงื•ืก ืืš ื•ืจืง ืขืœ ื”ืฉื’ืช ื”ื›ื™ืฉื•ืจื™ื ื•ื”ืจื‘ื”
02:04
far more on actually using them in a creative
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ื”ืจื‘ื” ื™ื•ืชืจ ืขืœ ืฉื™ืžื•ืฉ ื‘ืคื•ืขืœ ื‘ื”ื ื‘ืฆื•ืจื” ื™ืฆื™ืจืชื™ืช
02:07
way because that's what's going to
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ื›ื™ ื–ื” ืžื” ืฉืขื•ืžื“
02:08
make a difference for the future.
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ืœืขืฉื•ืช ืืช ื”ื”ื‘ื“ืœ ืœืขืชื™ื“.
02:10
So Bernadette feels we teach skills
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ืื– ื‘ืจื ื“ื˜ ืžืจื’ื™ืฉื” ืฉืื ื—ื ื• ืžืœืžื“ื™ื ืžื™ื•ืžื ื•ื™ื•ืช
02:12
in a way that can be easily measured
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ื‘ืฆื•ืจื” ืฉื ื™ืชืŸ ืœืžื“ื•ื“
02:14
and tested.
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ื•ืœื‘ื“ื•ืง ื‘ืงืœื•ืช.
02:15
She says we teach these skills
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ื”ื™ื ืื•ืžืจืช ืฉืื ื—ื ื• ืžืœืžื“ื™ื ืืช ื”ืžื™ื•ืžื ื•ื™ื•ืช ื”ืืœื” ื‘ืฆื•ืจื”
02:16
legitimately โ€“ which here means fairly and reasonably
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ืœื’ื™ื˜ื™ืžื™ืช - ืžื” ืฉืื•ืžืจ ื›ืืŸ ื”ื•ื’ืŸ ื•ื”ื’ื™ื•ื ื™
02:20
But she feels we don't teach a
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ืื‘ืœ ื”ื™ื ืžืจื’ื™ืฉื” ืฉืื ื—ื ื• ืœื ืžืœืžื“ื™ื
02:22
creative approach to learning skills.
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ื’ื™ืฉื” ื™ืฆื™ืจืชื™ืช ืœืœืžื™ื“ื” ืฉืœ ืžื™ื•ืžื ื•ื™ื•ืช.
02:24
So we mean things like problem solving.
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ืื– ืื ื—ื ื• ืžืชื›ื•ื•ื ื™ื ืœื“ื‘ืจื™ื ื›ืžื• ืคืชืจื•ืŸ ื‘ืขื™ื•ืช.
02:26
I guess, even tasks like data inputting and
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ืื ื™ ืžื ื™ื— ืฉืืคื™ืœื• ืžืฉื™ืžื•ืช ื›ืžื• ื”ื–ื ืช ื ืชื•ื ื™ื ื•ื”ื›ื ืช
02:29
preparing spreadsheets can be approached creatively.
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ื’ื™ืœื™ื•ื ื•ืช ืืœืงื˜ืจื•ื ื™ื™ื ื ื™ืชืŸ ืœื’ืฉืช ื‘ืฆื•ืจื” ื™ืฆื™ืจืชื™ืช.
02:33
In any job, it's sometimes good
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ื‘ื›ืœ ืขื‘ื•ื“ื”, ืœืคืขืžื™ื ื˜ื•ื‘
02:35
to 'think outside the box' or find new ways
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'ืœื—ืฉื•ื‘ ืžื—ื•ืฅ ืœืงื•ืคืกื”' ืื• ืœืžืฆื•ื ื“ืจื›ื™ื ื—ื“ืฉื•ืช
02:37
of doing things.
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ืœืขืฉื•ืช ื“ื‘ืจื™ื.
02:39
Bernadette thinks we should move away
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ื‘ืจื ื“ื˜ ื—ื•ืฉื‘ืช ืฉืขืœื™ื ื• ืœื”ืชืจื—ืง
02:40
from just learning skills and start using
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ืžืœื™ืžื•ื“ ืžื™ื•ืžื ื•ื™ื•ืช ื‘ืœื‘ื“ ื•ืœื”ืชื—ื™ืœ ืœื”ืฉืชืžืฉ
02:43
these skills creatively โ€“ she used the
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ื‘ืžื™ื•ืžื ื•ื™ื•ืช ืืœื• ื‘ืฆื•ืจื” ื™ืฆื™ืจืชื™ืช โ€“ ื”ื™ื ื”ืฉืชืžืฉื”
02:45
expression 'redress the balance' which
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ื‘ื‘ื™ื˜ื•ื™ 'ืœื”ื—ื–ื™ืจ ืืช ื”ืื™ื–ื•ืŸ' ืฉืคื™ืจื•ืฉื•
02:47
means 'change things to make them
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'ืœืฉื ื•ืช ื“ื‘ืจื™ื ื›ื“ื™ ืœื”ืคื•ืš ืื•ืชื
02:48
fairer and more equal'.
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ืœื”ื•ื’ื ื™ื ื•ืฉื•ื•ื™ื ื™ื•ืชืจ'.
02:50
Well, here at the BBC we have to creative.
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ื•ื‘ื›ืŸ, ื›ืืŸ ื‘-BBC ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ื™ื•ืช ื™ืฆื™ืจืชื™ื™ื.
02:53
In fact one of our values states that
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ืœืžืขืฉื” ืื—ื“ ื”ืขืจื›ื™ื ืฉืœื ื• ืงื•ื‘ืข
02:55
'creativity is the lifeblood of our organisation'.
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ืฉ"ื™ืฆื™ืจืชื™ื•ืช ื”ื™ื ื ืฉืžืช ืืคื• ืฉืœ ื”ืืจื’ื•ืŸ ืฉืœื ื•".
02:59
Lifeblood here means 'the most important
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ืจื•ื— ื—ื™ื™ื ื›ืืŸ ืคื™ืจื•ืฉื• 'ื”ื“ื‘ืจ ื”ื›ื™ ื—ืฉื•ื‘
03:01
thing to make something a success'.
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ื›ื“ื™ ืœื’ืจื•ื ืœืžืฉื”ื• ืœื”ืฆืœื™ื—'.
03:03
Rob, I can see creativity is in your blood โ€“
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ืจื•ื‘, ืื ื™ ื™ื›ื•ืœ ืœืจืื•ืช ืฉื™ืฆื™ืจืชื™ื•ืช ื”ื™ื ื‘ื“ื ืฉืœืš -
03:06
but on an everyday level how can we all
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ืื‘ืœ ื‘ืจืžื” ื”ื™ื•ืžื™ื•ืžื™ืช ืื™ืš ื›ื•ืœื ื• ื™ื›ื•ืœื™ื
03:08
improve our creativity โ€“ be more like you?!
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ืœืฉืคืจ ืืช ื”ื™ืฆื™ืจืชื™ื•ืช ืฉืœื ื• - ืœื”ื™ื•ืช ื™ื•ืชืจ ื›ืžื•ืš?!
03:11
Well, Neil, I'm no expert but Innovation Manager,
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ื•ื‘ื›ืŸ, ื ื™ืœ, ืื ื™ ืœื ืžื•ืžื—ื” ืื‘ืœ ืžื ื”ืœ ื”ื—ื“ืฉื ื•ืช,
03:14
Nick Skillicorn is.
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ื ื™ืง ืกืงื™ืœื™ืงื•ืจืŸ.
03:16
He's also been speaking to the
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ื”ื•ื ื’ื ื“ื™ื‘ืจ ืขื ื”-
03:17
BBC and explaining what we can do to help ourselves.
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BBC ื•ื”ืกื‘ื™ืจ ืžื” ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ื›ื“ื™ ืœืขื–ื•ืจ ืœืขืฆืžื ื•.
03:21
What does he suggest?
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ืžื” ื”ื•ื ืžืฆื™ืข?
03:23
On a daily basis, everyone should take fifteen
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ืขืœ ื‘ืกื™ืก ื™ื•ืžื™ื•ืžื™, ื›ืœ ืื—ื“ ืฆืจื™ืš ืœืงื—ืช ื—ืžืฉ ืขืฉืจื”
03:25
minutes of what I call unfocused time โ€“
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ื“ืงื•ืช ืžืžื” ืฉืื ื™ ืžื›ื ื” ื–ืžืŸ ืœื ืžืžื•ืงื“ -
03:29
time that they're not looking at any screen,
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ื–ืžืŸ ืฉื”ื ืœื ืžืกืชื›ืœื™ื ืขืœ ืฉื•ื ืžืกืš,
03:31
time that they can essentially get back into
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ื–ืžืŸ ืฉื”ื ื™ื›ื•ืœื™ื ื‘ืขืฆื ืœื—ื–ื•ืจ
03:33
their own head, slow down a bit, and start
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ืœืจืืฉ ืฉืœื•, ืœื”ืื˜ ืงืฆืช ื•ืœื”ืชื—ื™ืœ
03:36
forming these new connections between
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ืœื™ืฆื•ืจ ืืช ื”ื—ื“ืฉื™ื ื”ืืœื”. ืงืฉืจื™ื ื‘ื™ืŸ
03:38
disparate ideas that result in
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ืจืขื™ื•ื ื•ืช ืฉื•ื ื™ื ืฉืžื•ื‘ื™ืœื™ื
03:40
divergent new original ideas.
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ืœืจืขื™ื•ื ื•ืช ืžืงื•ืจื™ื™ื ื—ื“ืฉื™ื ืฉื•ื ื™ื.
03:42
So we need free time to collect all our
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ืื– ืื ื—ื ื• ืฆืจื™ื›ื™ื ื–ืžืŸ ืคื ื•ื™ ื›ื“ื™ ืœืืกื•ืฃ ืืช ื›ืœ
03:45
different thoughts in our head โ€“ what
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ื”ืžื—ืฉื‘ื•ืช ื”ืฉื•ื ื•ืช ืฉืœื ื• ื‘ืจืืฉ ืฉืœื ื• - ืžื”
03:47
Nick calls disparate ideas to create new
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ืฉื ื™ืง ืžื›ื ื” ืจืขื™ื•ื ื•ืช ืฉื•ื ื™ื ื›ื“ื™ ืœื™ืฆื•ืจ
03:49
and amazing ideas.
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ืจืขื™ื•ื ื•ืช ื—ื“ืฉื™ื ื•ืžื“ื”ื™ืžื™ื.
03:51
Disparate ideas are very different ideas,
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ืจืขื™ื•ื ื•ืช ืฉื•ื ื™ื ื”ื ืจืขื™ื•ื ื•ืช ืฉื•ื ื™ื ืžืื•ื“,
03:53
all unrelated.
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ื›ื•ืœื ืœื ืงืฉื•ืจื™ื.
03:55
And we need what we might
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ื•ืื ื—ื ื• ืฆืจื™ื›ื™ื ืืช ืžื” ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื
03:56
call headspace โ€“ that's when your mind is in
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ืœืงืจื•ื ืœ-headspace - ื–ื” ื›ืืฉืจ ื”ืžื•ื— ืฉืœืš
03:58
a good state and you can think clearly.
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ื‘ืžืฆื‘ ื˜ื•ื‘ ื•ืืชื” ื™ื›ื•ืœ ืœื—ืฉื•ื‘ ื‘ื‘ื”ื™ืจื•ืช.
04:00
For me, I have headspace when I'm lying in the bath
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ืžื‘ื—ื™ื ืชื™, ื™ืฉ ืœื™ ืžืจื•ื•ื— ืจืืฉ ื›ืฉืื ื™ ืฉื•ื›ื‘ ื‘ืืžื‘ื˜ื™ื”
04:03
or out riding my bike โ€“ there are no interruptions.
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ืื• ืจื•ื›ื‘ ืขืœ ืื•ืคื ื™ื™ื - ืื™ืŸ ื”ืคืจืขื•ืช.
04:06
Well, you certainly don't get your ideas sitting
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ื•ื‘ื›ืŸ, ืืชื” ื‘ื”ื—ืœื˜ ืœื ืžืงื‘ืœ ืืช ื”ืจืขื™ื•ื ื•ืช ืฉืœืš ื‘ื™ืฉื™ื‘ื” ืœื™ื“
04:08
at a desk, focusing on one task โ€“ we all need
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ืฉื•ืœื—ืŸ, ืชื•ืš ื”ืชืžืงื“ื•ืช ื‘ืžืฉื™ืžื” ืื—ืช - ื›ื•ืœื ื• ืฆืจื™ื›ื™ื
04:11
some downtime to get creative.
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ื–ืžืŸ ื”ืฉื‘ืชื” ื›ื“ื™ ืœื”ื™ื•ืช ื™ืฆื™ืจืชื™ื™ื.
04:13
But children
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ืื‘ืœ ื™ืœื“ื™ื
04:14
going into school now will grow up to do a job
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ืฉื ื›ื ืกื™ื ืขื›ืฉื™ื• ืœื‘ื™ืช ื”ืกืคืจ ื™ื’ื“ืœื• ืœืขืฉื•ืช ืขื‘ื•ื“ื”
04:16
that doesn't yet exist.
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ืฉืขื“ื™ื™ืŸ ืœื ืงื™ื™ืžืช.
04:18
And faced with the
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ื•ืžืชืžื•ื“ื“ ืขื
04:19
challenges of AI, automation, green issues and
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ื”ืืชื’ืจื™ื ืฉืœ ื‘ื™ื ื” ืžืœืื›ื•ืชื™ืช, ืื•ื˜ื•ืžืฆื™ื”, ื‘ืขื™ื•ืช ื™ืจื•ืงื•ืช ื•ืื•ื›ืœื•ืกื™ื™ื”
04:22
an ageing population, creativity
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ืžื–ื“ืงื ืช, ื™ืฆื™ืจืชื™ื•ืช
04:24
and imagination will be vital.
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ื•ื“ืžื™ื•ืŸ ื™ื”ื™ื• ื—ื™ื•ื ื™ื™ื.
04:26
Right, well, let's get back to talking about
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ื ื›ื•ืŸ, ื•ื‘ื›ืŸ, ื‘ื•ื ื ื—ื–ื•ืจ ืœื“ื‘ืจ ืขืœ
04:28
the creativity of Banksy now.
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ื”ื™ืฆื™ืจืชื™ื•ืช ืฉืœ ื‘ื ืงืกื™ ืขื›ืฉื™ื•.
04:31
Ah yes, because earlier I asked you which
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ืื” ื›ืŸ, ื›ื™ ืงื•ื“ื ืœื›ืŸ ืฉืืœืชื™ ืื•ืชืš ืื™ื–ื”
04:33
one of his well-known pieces of artwork
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ืžื™ืฆื™ืจื•ืช ื”ืืžื ื•ืช ื”ื™ื“ื•ืขื•ืช ืฉืœื•
04:35
has been in the news recently?
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ื”ื™ื” ื‘ื—ื“ืฉื•ืช ืœืื—ืจื•ื ื”?
04:37
Is itโ€ฆ
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ื”ืื ื–ื”...
04:38
a) Girl with Balloon
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ื) ื™ืœื“ื” ืขื ื‘ืœื•ืŸ
04:39
b) Girl with Red Balloon
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ื‘) ื™ืœื“ื” ืขื ื‘ืœื•ืŸ ืื“ื•ื
04:41
c) Balloon Girl
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ื’) ื™ืœื“ืช ื‘ืœื•ืŸ
04:44
And I said c) Balloon Girl.
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ื•ืื ื™ ืืžืจืชื™ ื’) ื™ืœื“ืช ื‘ืœื•ืŸ.
04:46
I know it was a girl and a balloon.
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ืื ื™ ื™ื•ื“ืข ืฉื–ื• ื”ื™ื™ืชื” ื™ืœื“ื” ื•ื‘ืœื•ืŸ.
04:49
Not quite right, Rob.
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ืœื ืžืžืฉ ื‘ืกื“ืจ, ืจื•ื‘.
04:50
The artwork is
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ื”ื™ืฆื™ืจื”
04:51
titled 'Girl with Balloon.'
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ื ืงืจืืช 'ื ืขืจื” ืขื ื‘ืœื•ืŸ'.
04:53
This was recently
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ื–ื” ื ืžื›ืจ ืœืื—ืจื•ื ื”
04:54
auctioned in London but amazingly shredded
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ื‘ืžื›ื™ืจื” ืคื•ืžื‘ื™ืช ื‘ืœื•ื ื“ื•ืŸ ืื‘ืœ ื ื’ืจืก ื‘ืฆื•ืจื” ืžื“ื”ื™ืžื”
04:57
in its frame as someone's winning bid was accepted!
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ื‘ืžืกื’ืจืชื• ื›ืฉื”ื”ืฆืขื” ื”ื–ื•ื›ื” ืฉืœ ืžื™ืฉื”ื• ื”ืชืงื‘ืœื”!
05:00
Wow, that's a very creative way to destroy
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ื•ื•ืื•, ื–ื• ื“ืจืš ืžืื•ื“ ื™ืฆื™ืจืชื™ืช ืœื”ืจื•ืก
05:03
a picture!
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ืชืžื•ื ื”!
05:04
I will do the same with this script
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ืื ื™ ืืขืฉื” ืืช ืื•ืชื• ื”ื“ื‘ืจ ืขื ื”ืชืกืจื™ื˜ ื”ื–ื”
05:05
soon but not before we have recapped some
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ื‘ืงืจื•ื‘, ืื‘ืœ ืœื ืœืคื ื™ ืฉื ืกื›ื ื—ืœืง ืžืื•ืฆืจ
05:08
of today's vocabulary.
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ื”ืžื™ืœื™ื ืฉืœ ื”ื™ื•ื.
05:10
Starting with 'a creative' -
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ื”ื—ืœ ืž'ื™ืฆื™ืจืชื™' โ€“
05:11
that's a person whose job is to use a lot of
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ื–ื” ืื“ื ืฉืชืคืงื™ื“ื• ืœื”ืคืขื™ืœ ื”ืจื‘ื”
05:14
imagination and come up with new ideas,
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ื“ืžื™ื•ืŸ ื•ืœื”ืขืœื•ืช ืจืขื™ื•ื ื•ืช ื—ื“ืฉื™ื,
05:16
such as someone who works in the media or advertising.
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ื›ืžื• ืžื™ ืฉืขื•ื‘ื“ ื‘ืชืงืฉื•ืจืช ืื• ื‘ืคืจืกื•ื.
05:19
Then we mentioned legitimately โ€“
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ื•ืื– ื”ื–ื›ืจื ื• ื‘ืื•ืคืŸ ืœื’ื™ื˜ื™ืžื™ -
05:21
which describes doing something fairly
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ืžื” ืฉืžืชืืจ ืœืขืฉื•ืช ืžืฉื”ื• ื‘ืฆื•ืจื” ื”ื•ื’ื ืช
05:23
and reasonably.
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ื•ื”ื’ื™ื•ื ื™ืช.
05:24
Next we heard the expression 'redress the balance'.
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ืœืื—ืจ ืžื›ืŸ ืฉืžืขื ื• ืืช ื”ื‘ื™ื˜ื•ื™ 'ืœื”ื—ื–ื™ืจ ืืช ื”ืื™ื–ื•ืŸ'.
05:27
This means to make things fairer and more equal.
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ื–ื” ืื•ืžืจ ืœืขืฉื•ืช ื“ื‘ืจื™ื ื”ื•ื’ื ื™ื ื•ืฉื•ื•ื™ื ื™ื•ืชืจ.
05:30
We also talked about creativity being the
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ื“ื™ื‘ืจื ื• ื’ื ืขืœ ื›ืš ืฉื™ืฆื™ืจืชื™ื•ืช ื”ื™ื
05:32
lifeblood of the BBC.
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ื ืฉืžืช ืืคื• ืฉืœ ื”-BBC.
05:34
Lifeblood here means
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ื ืฉืžืช ื”ื—ื™ื™ื ื›ืืŸ ื”ื™ื
05:36
the most important thing to make something
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ื”ื“ื‘ืจ ื”ื—ืฉื•ื‘ ื‘ื™ื•ืชืจ ื›ื“ื™ ืœื’ืจื•ื ืœืžืฉื”ื•
05:37
a success.
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ืœื”ืฆืœื™ื—.
05:38
And I know creativity is
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ื•ืื ื™ ื™ื•ื“ืข ืฉื”ื™ืฆื™ืจืชื™ื•ืช
05:40
running through your veins, Rob!
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ื–ื•ืจืžืช ืœืš ื‘ืขื•ืจืงื™ื, ืจื•ื‘!
05:41
Thanks, Neil.
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ืชื•ื“ื”, ื ื™ืœ.
05:42
We also heard the word disparate,
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ืฉืžืขื ื• ื’ื ืืช ื”ืžื™ืœื” ืฉื•ื ื”,
05:44
meaning very different and unrelated.
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ื›ืœื•ืžืจ ืฉื•ื ื” ืžืื•ื“ ื•ืœื ืงืฉื•ืจื”.
05:46
And we talked about headspace, which is when
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ื•ื“ื™ื‘ืจื ื• ืขืœ headspace, ื›ืœื•ืžืจ
05:49
your mind is in a good state and you can think clearly.
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ื›ืฉื”ืžื•ื— ืฉืœืš ื‘ืžืฆื‘ ื˜ื•ื‘ ื•ืืชื” ื™ื›ื•ืœ ืœื—ืฉื•ื‘ ื‘ื‘ื”ื™ืจื•ืช.
05:52
Before we head off to find some headspace,
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ืœืคื ื™ ืฉืื ื—ื ื• ื™ื•ืฆืื™ื ืœืžืฆื•ื ืงืฆืช headspace,
05:54
don't forget to visit our website at bbclearningenglish.com
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ืืœ ืชืฉื›ื— ืœื‘ืงืจ ื‘ืืชืจ ื”ืื™ื ื˜ืจื ื˜ ืฉืœื ื• ื‘ื›ืชื•ื‘ืช bbclearningenglish.com
05:57
for more great learning English content.
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ืœืขื•ื“ ืชื•ื›ืŸ ืžืขื•ืœื” ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช.
06:00
Thatโ€™s all we have time for now.
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ื–ื” ื›ืœ ืžื” ืฉื™ืฉ ืœื ื• ื–ืžืŸ ืขื›ืฉื™ื•.
06:01
Do join us again though.
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ืขื ื–ืืช, ื”ืฆื˜ืจืฃ ืืœื™ื ื• ืฉื•ื‘.
06:02
Goodbye.
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ื”ึฑื™ื” ืฉืœื•ื.
06:03
Bye bye!
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ื‘ื™ื™ ื‘ื™ื™!
06:09
Hello.
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ืฉืœื•ื.
06:10
This is 6 Minute English from
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ื–ื•ื”ื™ 6 ื“ืงื•ืช ืื ื’ืœื™ืช ืžื‘ื™ืช
06:11
BBC Learning English.
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BBC Learning English.
06:13
Iโ€™m Neil.
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ืื ื™ ื ื™ืœ.
06:14
And Iโ€™m Sam.
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ื•ืื ื™ ืกื.
06:15
If you browse through a library, youโ€™ll
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ืื ืชื“ืคื“ืฃ ื‘ืกืคืจื™ื™ื”, ืชืžืฆื
06:17
find a variety of different books, from
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ืžื’ื•ื•ืŸ ืฉืœ ืกืคืจื™ื ืฉื•ื ื™ื,
06:19
fiction to crime to romance.
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ืžืกื™ืคื•ืจืช, ืคืฉืข ื•ืขื“ ืจื•ืžื ื˜ื™ืงื”.
06:22
And if you walk through a city youโ€™ll see a
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ื•ืื ืชื˜ื™ื™ืœ ื‘ืขื™ืจ ืชืจืื”
06:23
variety of people of different ages, body
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ืžื’ื•ื•ืŸ ืฉืœ ืื ืฉื™ื ื‘ื’ื™ืœืื™ื ืฉื•ื ื™ื,
06:26
shapes, skin colours and genders.
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ืฆื•ืจื•ืช ื’ื•ืฃ, ืฆื‘ืขื™ ืขื•ืจ ื•ืžื’ื“ืจื™ื ืฉื•ื ื™ื.
06:29
In this 6 Minute English, weโ€™ll be hearing
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ื‘-6 ื“ืงื•ืช ื”ืื ื’ืœื™ืช ื”ื–ื•, ื ืฉืžืข
06:31
about an unusual library where the books
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ืขืœ ืกืคืจื™ื™ื” ื™ื•ืฆืืช ื“ื•ืคืŸ ืฉื‘ื” ื”ืกืคืจื™ื
06:34
are people, made of flesh and bone instead of paper.
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ื”ื ืื ืฉื™ื, ืขืฉื•ื™ื™ื ืžื‘ืฉืจ ื•ืขืฆื ื‘ืžืงื•ื ืžื ื™ื™ืจ.
06:37
Itโ€™s called The Human Library and the
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ื–ื” ื ืงืจื ื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ื•'ื”ืกืคืจื™ื
06:39
โ€˜booksโ€™ are individuals who have faced prejudice โ€“
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' ื”ื ืื ืฉื™ื ืฉื”ืชืžื•ื“ื“ื• ืขื ื“ืขื•ืช ืงื“ื•ืžื•ืช -
06:43
which means an unreasonable dislike
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ืžื” ืฉืื•ืžืจ ืกืœื™ื“ื” ื‘ืœืชื™ ืกื‘ื™ืจื”
06:45
of certain types of people.
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ืžืกื•ื’ื™ื ืžืกื•ื™ืžื™ื ืฉืœ ืื ืฉื™ื.
06:48
Readers may borrow these โ€˜booksโ€™, who
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ื”ืงื•ืจืื™ื ืขืฉื•ื™ื™ื ืœืฉืื•ืœ ืืช ื”'ืกืคืจื™ื' ื”ืœืœื•,
06:51
are people from all walks of life, for a thirty minute conversation.
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ืฉื”ื ืื ืฉื™ื ืžื›ืœ ืชื—ื•ืžื™ ื”ื—ื™ื™ื, ืœืฉื™ื—ื” ืฉืœ ืฉืœื•ืฉื™ื ื“ืงื•ืช.
06:56
The book titles are
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ื›ื•ืชืจื•ืช ื”ืกืคืจื™ื
06:57
short and to the point - titles like โ€˜transgenderโ€™,
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ืงืฆืจื•ืช ื•ืงื•ืœืขื•ืช - ื›ื•ืชืจื•ืช ื›ืžื• 'ื˜ืจื ืกื’'ื ื“ืจ',
07:00
โ€˜former criminalโ€™ or โ€˜immigrantโ€™.
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'ืขื‘ืจื™ื™ืŸ ืœืฉืขื‘ืจ' ืื• 'ืžื”ื’ืจ'.
07:04
The human books are volunteers, and
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ื”ืกืคืจื™ื ื”ืื ื•ืฉื™ื™ื ื”ื ืžืชื ื“ื‘ื™ื, ื•ืงื•ืจืื™ื
07:06
visiting readers are encouraged to ask
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ืžื‘ืงืจื™ื ืžื•ื–ืžื ื™ื ืœืฉืื•ืœ
07:08
those awkward or embarrassing questions
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ืืช ื”ืฉืืœื•ืช ื”ืžื‘ื™ื›ื•ืช ืื• ื”ืžื‘ื™ื›ื•ืช
07:10
theyโ€™ve always wondered about.
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ืฉืชืžื™ื“ ืชื”ื• ืœื’ื‘ื™ื”ืŸ.
07:13
This means the Human Library needs to
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ื”ืžืฉืžืขื•ืช ื”ื™ื ืฉื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ืฆืจื™ื›ื”
07:15
be a safe space โ€“ a place where people feel
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ืœื”ื™ื•ืช ืžืจื—ื‘ ื‘ื˜ื•ื— - ืžืงื•ื ืฉื‘ื• ืื ืฉื™ื ืžืจื’ื™ืฉื™ื
07:18
protected from danger and harm.
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ืžื•ื’ื ื™ื ืžืคื ื™ ืกื›ื ื” ื•ืคื’ื™ืขื”.
07:20
Itโ€™s a fascinating idea but before we find
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ื–ื” ืจืขื™ื•ืŸ ืžืจืชืง ืื‘ืœ ืœืคื ื™
07:23
out more, I have a question for you, Sam.
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ืฉื ื’ืœื” ื™ื•ืชืจ, ื™ืฉ ืœื™ ืฉืืœื” ืืœื™ืš, ืกืื.
07:25
The Human Library started out in Denmark
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ื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ื”ื—ืœื” ืืช ื“ืจื›ื” ื‘ื“ื ืžืจืง,
07:28
but soon spread across Europe and the world.
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ืืš ืขื“ ืžื”ืจื” ื”ืชืคืฉื˜ื” ื‘ืจื—ื‘ื™ ืื™ืจื•ืคื” ื•ื”ืขื•ืœื.
07:31
So how many countries have a Human Library now?
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ืื– ืœื›ืžื” ืžื“ื™ื ื•ืช ื™ืฉ ืขื›ืฉื™ื• ืกืคืจื™ื™ื” ืื ื•ืฉื™ืช?
07:34
Is it:
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ื”ืื ื–ื”:
07:35
a) 75?
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ื) 75?
07:36
b) 85?
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ื‘) 85?
07:38
or, c) 95?
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ืื•, ื’) 95?
07:40
Well, everyone likes to hear a story โ€“
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ื•ื‘ื›ืŸ, ื›ื•ืœื ืื•ื”ื‘ื™ื ืœืฉืžื•ืข ืกื™ืคื•ืจ -
07:43
so Iโ€˜ll guess, c) 95.
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ืื– ืื ื™ ืžื ื—ืฉ, ื’) 95.
07:45
OK, Sam, weโ€™ll find out if thatโ€™s right
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ื‘ืกื“ืจ, ืกื, ื ื’ืœื” ืื ื–ื” ื ื›ื•ืŸ
07:47
later in the programme.
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ื‘ื”ืžืฉืš ื”ืชื•ื›ื ื™ืช.
07:49
The first Human Library was founded
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ื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ื”ืจืืฉื•ื ื” ื ื•ืกื“ื”
07:51
in Copenhagen by Ronni Abergel.
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ื‘ืงื•ืคื ื”ื’ืŸ ืขืœ ื™ื“ื™ ืจื•ื ื™ ืื‘ืจื’'ืœ.
07:54
Here he is telling BBC World Service programme
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ื›ืืŸ ื”ื•ื ืžืกืคืจ ืœืชื•ื›ื ื™ืช ื”ืฉื™ืจื•ืช ื”ืขื•ืœืžื™ ืฉืœ BBC
07:57
People Fixing the World about the
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People Fixing the World ืขืœ
07:59
inspiration behind his original idea:
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ื”ื”ืฉืจืื” ืžืื—ื•ืจื™ ื”ืจืขื™ื•ืŸ ื”ืžืงื•ืจื™ ืฉืœื•:
08:04
We donโ€™t have time on the street to stop
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ืื™ืŸ ืœื ื• ื–ืžืŸ ื‘ืจื—ื•ื‘ ืœืขืฆื•ืจ
08:06
and get to know everyone, so we drop
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ื•ืœื”ื›ื™ืจ ืืช ื›ื•ืœื, ืื– ืื ื—ื ื• ื–ื•ืจืงื™ื
08:08
people in little boxesโ€ฆ so itโ€™s instinct thatโ€™s
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ืื ืฉื™ื ื‘ืงื•ืคืกืื•ืช ืงื˜ื ื•ืช... ืื– ื–ื” ื”ืื™ื ืกื˜ื™ื ืงื˜
08:10
guiding us, and we never get beyond the
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ืฉืžื ื—ื” ืื•ืชื• ืื•ืชื ื•, ื•ืื ื—ื ื• ืืฃ ืคืขื ืœื ืขื•ื‘ืจื™ื ืืช
08:12
instinct if we donโ€™t get to know the personโ€ฆ
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ื”ืื™ื ืกื˜ื™ื ืงื˜ ืื ืœื ื ื›ื™ืจ ืืช ื”ืื“ื...
08:14
so in our library, we recommend sitting down
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ืื– ื‘ืกืคืจื™ื™ื” ืฉืœื ื•, ืื ื—ื ื• ืžืžืœื™ืฆื™ื ืœืฉื‘ืช
08:17
and meeting some of the people that you
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ื•ืœืคื’ื•ืฉ ื›ืžื” ืžื”ืื ืฉื™ื ืฉื‘ื“ืจืš
08:18
normally might actually not feel interested in
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ื›ืœืœ ืื•ืœื™ ืœื ืชืจื’ื™ืฉื• ืžืขื•ื ื™ื™ื ื™ื
08:22
sitting down with because thereโ€™s something
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ืœืฉื‘ืช ืื™ืชื ื›ื™ ื™ืฉ ืžืฉื”ื•
08:24
about them that you may feel a little bit
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ืขืœื™ื”ื ืืชื” ืขืœื•ืœ ืœื”ืจื’ื™ืฉ ืงืฆืช
08:27
uncomfortable about.
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ืœื ื‘ื ื•ื— ืœื’ื‘ื™ื”ื.
08:28
You learn tremendously
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ืืชื” ืœื•ืžื“ ืžืื•ื“
08:29
not only about them, but also about yourself.
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ืœื ืจืง ืขืœื™ื”ื, ืืœื ื’ื ืขืœ ืขืฆืžืš.
08:34
When we meet someone new, we often already
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ื›ืฉืื ื—ื ื• ืคื•ื’ืฉื™ื ืžื™ืฉื”ื• ื—ื“ืฉ, ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื™ืฉ ืœื ื• ื›ื‘ืจ
08:36
have ideas about what they are like.
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ืจืขื™ื•ื ื•ืช ืœื’ื‘ื™ ืื™ืš ื”ื•ื.
08:39
Ronni says we put someone in a box โ€“ an expression
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ืจื•ื ื™ ืื•ืžืจ ืฉื”ื›ื ืกื ื• ืžื™ืฉื”ื• ืœืงื•ืคืกื” - ื‘ื™ื˜ื•ื™
08:43
meaning to judge what kind of person someone
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ืฉืžืฉืžืขื•ืชื• ืœืฉืคื•ื˜ ืื™ื–ื” ืกื•ื’ ืฉืœ ืื“ื ืžื™ืฉื”ื•
08:45
is based on their appearance or on a limited
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ืขืœ ืกืžืš ื”ืžืจืื” ืฉืœื• ืื• ืขืœ ืกืžืš
08:48
understanding of who they are.
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ื”ื‘ื ื” ืžื•ื’ื‘ืœืช ืฉืœ ืžื™ ื”ื•ื.
08:50
He recommends meeting people who you
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ื”ื•ื ืžืžืœื™ืฅ ืœืคื’ื•ืฉ ืื ืฉื™ื ืฉื‘ื“ืจืš
08:52
wouldnโ€™t usually spend time with, even if this
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ื›ืœืœ ืœื ื”ื™ื™ืช ืžื‘ืœื” ืื™ืชื, ื’ื ืื ื–ื”
08:55
makes you feel uncomfortable โ€“ feel slightly
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ื’ื•ืจื ืœืš ืœื”ืจื’ื™ืฉ ืœื ื‘ื ื•ื— - ืœื”ืจื’ื™ืฉ ืžืขื˜
08:58
worried or embarrassed in a social situation.
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ืžื•ื“ืื’ ืื• ื ื‘ื•ืš ื‘ืžืฆื‘ ื—ื‘ืจืชื™.
09:02
So the main idea of the Human Library is
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ืื– ื”ืจืขื™ื•ืŸ ื”ืžืจื›ื–ื™ ืฉืœ ื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ื”ื•ื
09:04
to challenge the assumptions and stereotypes
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ืœืขืจืขืจ ืขืœ ื”ื”ื ื—ื•ืช ื•ื”ืกื˜ืจื™ืื•ื˜ื™ืคื™ื
09:07
that we all have about other people.
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ืฉื™ืฉ ืœื›ื•ืœื ื• ืœื’ื‘ื™ ืื ืฉื™ื ืื—ืจื™ื.
09:09
Ronni uses social media to find volunteers
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ืจื•ื ื™ ืžืฉืชืžืฉ ื‘ืจืฉืชื•ืช ื”ื—ื‘ืจืชื™ื•ืช ื›ื“ื™ ืœืžืฆื•ื ืžืชื ื“ื‘ื™ื
09:12
who are willing to talk about their lives at
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ืฉืžื•ื›ื ื™ื ืœื“ื‘ืจ ืขืœ ื—ื™ื™ื”ื
09:14
public meetings, which anyone can attend.
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ื‘ืคื’ื™ืฉื•ืช ืฆื™ื‘ื•ืจื™ื•ืช, ื‘ื”ืŸ ื›ืœ ืื—ื“ ื™ื›ื•ืœ ืœื”ืฉืชืชืฃ.
09:17
As the Human Library spreads around the
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ื›ื›ืœ ืฉื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช ืžืชืคืฉื˜ืช ื‘ืจื—ื‘ื™
09:20
world, more money is needed to keep the
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ื”ืขื•ืœื, ื ื“ืจืฉ ื™ื•ืชืจ ื›ืกืฃ ื›ื“ื™ ืœื”ืžืฉื™ืš ืืช
09:22
project going.
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ื”ืคืจื•ื™ืงื˜.
09:23
This mostly comes from hosting
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ื–ื” ื ื•ื‘ืข ื‘ืขื™ืงืจ ืžืื™ืจื•ื—
09:24
events for private companies,
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ืื™ืจื•ืขื™ื ืขื‘ื•ืจ ื—ื‘ืจื•ืช ืคืจื˜ื™ื•ืช,
09:26
including famous businesses like Google.
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ื›ื•ืœืœ ืขืกืงื™ื ืžืคื•ืจืกืžื™ื ื›ืžื• ื’ื•ื’ืœ.
09:29
Transgender volunteer Katy Jon Went is
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ื”ืžืชื ื“ื‘ืช ื”ื˜ืจื ืกื’'ื ื“ืจื™ืช ืงื™ื™ื˜ื™ ื’'ื•ืŸ ื•ื•ื ื˜ ื”ื™ื
09:32
a regular host for the Human Libraryโ€™s business events.
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ืžืืจื—ืช ืงื‘ื•ืขื” ืœืื™ืจื•ืขื™ื ื”ืขืกืงื™ื™ื ืฉืœ ื”ืกืคืจื™ื™ื” ื”ืื ื•ืฉื™ืช.
09:35
Listen to this clip of her
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ื”ืื–ื™ื ื• ืœืงืœื™ืค ื”ื–ื” ืฉืœ
09:37
introducing the project to a group of Dutch
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ื”ืฆื’ืช ื”ืคืจื•ื™ืงื˜ ื‘ืคื ื™ ืงื‘ื•ืฆื” ืฉืœ
09:39
businessmen from BBC World Service
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ืื ืฉื™ ืขืกืงื™ื ื”ื•ืœื ื“ื™ื ืžืชื•ื›ื ื™ืช BBC World Service
09:41
programme, People Fixing the World:
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, People Fixing the World:
09:46
When weโ€™re in the workplace or on
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ื›ืฉืื ื—ื ื• ื‘ืžืงื•ื ื”ืขื‘ื•ื“ื” ืื•
09:48
social media, what we often find is weโ€™re
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ื‘ืžื“ื™ื” ื”ื—ื‘ืจืชื™ืช, ืžื” ืฉืื ื—ื ื• ืžื•ืฆืื™ื ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื”ื•ื ืฉืื ื—ื ื•
09:50
walking on eggshells around diversity
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ื”ื•ืœื›ื™ื ืขืœ ืงืœื™ืคื•ืช ื‘ื™ืฆื™ื ืžืกื‘ื™ื‘ ื’ื™ื•ื•ืŸ
09:51
and difference, and many people donโ€™t
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ื•ืฉื•ื ื™, ื•ืื ืฉื™ื ืจื‘ื™ื ืœื
09:53
want to get it wrong, quite understandably.
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ืจื•ืฆื™ื ืœื˜ืขื•ืช, ื‘ื”ื—ืœื˜ ืžื•ื‘ืŸ.
09:55
The important thing to remember is that
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ื”ื“ื‘ืจ ืฉื—ืฉื•ื‘ ืœื–ื›ื•ืจ ื”ื•ื
09:58
you can ask them anything โ€“ theyโ€™re never
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ืฉืืชื” ื™ื›ื•ืœ ืœืฉืื•ืœ ืื•ืชื ื›ืœ ื“ื‘ืจ - ื”ื ืœืขื•ืœื ืœื
10:00
going to make to feel wrong for the question
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ื™ืจื’ื™ืฉื• ืœื ื‘ืกื“ืจ ืœื’ื‘ื™ ื”ืฉืืœื”
10:02
you ask today, which is an incredibly rare offer.
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ืฉืืชื” ืฉื•ืืœ ื”ื™ื•ื, ืฉื–ื• ื”ืฆืขื” ื ื“ื™ืจื” ืœื”ืคืœื™ื.
10:07
When meeting someone with completely
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ื›ืฉืคื•ื’ืฉื™ื ืžื™ืฉื”ื• ืขื
10:09
different life experiences, people can be
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ื—ื•ื•ื™ื•ืช ื—ื™ื™ื ืฉื•ื ื•ืช ืœื—ืœื•ื˜ื™ืŸ, ืื ืฉื™ื ื™ื›ื•ืœื™ื ืœื”ื™ื•ืช
10:11
worried about saying the wrong thing or
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ืžื•ื“ืื’ื™ื ืžืœื”ื’ื™ื“ ืืช ื”ื“ื‘ืจ ื”ืœื ื ื›ื•ืŸ ืื•
10:13
asking embarrassing questions.
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ืœืฉืื•ืœ ืฉืืœื•ืช ืžื‘ื™ื›ื•ืช.
10:15
Katy says they are walking on eggshells โ€“ an expression
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ืงื™ื™ื˜ื™ ืื•ืžืจืช ืฉื”ื ื”ื•ืœื›ื™ื ืขืœ ืงืœื™ืคื•ืช ื‘ื™ืฆื™ื - ื‘ื™ื˜ื•ื™
10:19
which means to be very careful about what
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ืฉืคื™ืจื•ืฉื• ืœื”ื™ื•ืช ื–ื”ื™ืจ ืžืื•ื“ ื‘ืžื”
10:21
you do and say because you donโ€™t want to
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ืฉืืชื” ืขื•ืฉื” ื•ืื•ืžืจ ื›ื™ ืืชื” ืœื ืจื•ืฆื”
10:23
offend or upset anyone.
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ืœื”ืขืœื™ื‘ ืื• ืœื”ืจื’ื™ื– ืืฃ ืื—ื“.
10:25
But in fact the human โ€˜booksโ€™ are rarely offended.
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ืื‘ืœ ืœืžืขืฉื” ื”'ืกืคืจื™ื' ื”ืื ื•ืฉื™ื™ื ื ืขืœื‘ื™ื ืœืขืชื™ื ืจื—ื•ืงื•ืช.
10:29
The event is all about celebrating peopleโ€™s
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ื”ืื™ืจื•ืข ื›ื•ืœื• ื ื•ืขื“ ืœื—ื’ื•ื’ ืืช
10:32
difference and diversity โ€“ a term which describes
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ื”ืฉื•ื ื•ืช ื•ื”ื’ื™ื•ื•ืŸ ืฉืœ ืื ืฉื™ื - ืžื•ื ื— ืฉืžืชืืจ
10:34
how many different types of people are included together.
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ื›ืžื” ืกื•ื’ื™ื ืฉื•ื ื™ื ืฉืœ ืื ืฉื™ื ื›ืœื•ืœื™ื ื™ื—ื“.
10:38
Exactly. Itโ€™s a celebration for everyone
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ื‘ึผึฐื“ึดื™ื•ึผืง. ื–ื• ื—ื’ื™ื’ื” ืœื›ื•ืœื ืœืœื
10:41
regardless of race, age or genderโ€ฆ
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ื”ื‘ื“ืœ ื’ื–ืข, ื’ื™ืœ ืื• ืžื™ืŸ...
10:44
Or nationalityโ€ฆ and that reminds me โ€“
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ืื• ืœืื•ื... ื•ื–ื” ืžื–ื›ื™ืจ ืœื™ -
10:46
what was the answer to your question, Neil?
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ืžื” ื”ื™ื™ืชื” ื”ืชืฉื•ื‘ื” ืœืฉืืœืชืš, ื ื™ืœ?
10:48
Oh yes, I asked how many counties today
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ืื”, ื›ืŸ, ืฉืืœืชื™ ื‘ื›ืžื” ืžื—ื•ื–ื•ืช
10:51
have a Human Library.
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ื™ืฉ ื”ื™ื•ื ืกืคืจื™ื™ื” ืื ื•ืฉื™ืช.
10:52
What did you say, Sam?
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ืžื” ืืžืจืช, ืกืื?
10:53
I guessed it was c) 95 countries.
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ื ื™ื—ืฉืชื™ ืฉื–ื” ื’) 95 ืžื“ื™ื ื•ืช.
10:56
Which wasโ€ฆ the wrong answer Iโ€™m afraid.
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ืžื” ืฉื”ื™ื”... ื”ืชืฉื•ื‘ื” ื”ืฉื’ื•ื™ื” ืื ื™ ื—ื•ืฉืฉ.
10:59
The correct answer was b) 85 countries,
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ื”ืชืฉื•ื‘ื” ื”ื ื›ื•ื ื” ื”ื™ื™ืชื” ื‘) 85 ืžื“ื™ื ื•ืช,
11:02
from Norway and Hungary all the way to
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ืžื ื•ืจื‘ื’ื™ื” ื•ื”ื•ื ื’ืจื™ื” ืขื“
11:04
Australia and Mongolia!
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ืœืื•ืกื˜ืจืœื™ื” ื•ืžื•ื ื’ื•ืœื™ื”!
11:06
Wow! I bet that makes a lot of interesting stories!
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ื•ื•ืื•! ืื ื™ ื‘ื˜ื•ื— ืฉื–ื” ืขื•ืฉื” ื”ืจื‘ื” ืกื™ืคื•ืจื™ื ืžืขื ื™ื™ื ื™ื!
11:10
OK, letโ€™s recap the vocabulary for
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ื‘ืกื“ืจ, ื‘ื•ืื• ื ืกื›ื ืืช ืื•ืฆืจ ื”ืžื™ืœื™ื ืฉืœ
11:12
this programme about people sharing their
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ื”ืชื•ื›ื ื™ืช ื”ื–ื• ืขืœ ืื ืฉื™ื ืฉื—ื•ืœืงื™ื ืืช
11:15
experience of facing prejudice โ€“ the
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ื”ื—ื•ื•ื™ื” ืฉืœื”ื ืœื”ืชืžื•ื“ื“ ืขื ื“ืขื•ืช ืงื“ื•ืžื•ืช -
11:18
unreasonable dislike of certain groups of people.
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ื”ืกืœื™ื“ื” ื”ื‘ืœืชื™ ืกื‘ื™ืจื” ืžืงื‘ื•ืฆื•ืช ืžืกื•ื™ืžื•ืช ืฉืœ ืื ืฉื™ื.
11:21
A safe space is place where you feel
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ืžืจื—ื‘ ื‘ื˜ื•ื— ื”ื•ื ืžืงื•ื ื‘ื• ืืชื” ืžืจื’ื™ืฉ
11:23
protected from danger and harm.
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ืžื•ื’ืŸ ืžืคื ื™ ืกื›ื ื” ื•ืคื’ื™ืขื”.
11:26
When we put someone in a box, we judge
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ื›ืฉืื ื—ื ื• ืฉืžื™ื ืžื™ืฉื”ื• ื‘ืงื•ืคืกื”, ืื ื—ื ื• ืฉื•ืคื˜ื™ื
11:29
them based on their appearance or a
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ืื•ืชื• ืขืœ ืกืžืš ื”ืžืจืื” ืฉืœื• ืื•
11:31
limited understanding of them.
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ื”ื‘ื ื” ืžื•ื’ื‘ืœืช ืฉืœื•.
11:33
If you feel uncomfortable, you feel slightly
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ืื ืืชื” ืžืจื’ื™ืฉ ืœื ื‘ื ื•ื—, ืืชื” ืžืจื’ื™ืฉ ืžืขื˜
11:35
worried or embarrassed in a social situation.
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ืžื•ื“ืื’ ืื• ื ื‘ื•ืš ื‘ืžืฆื‘ ื—ื‘ืจืชื™.
11:38
The expression walking on eggshells means
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ื”ื‘ื™ื˜ื•ื™ ืœืœื›ืช ืขืœ ืงืœื™ืคื•ืช ื‘ื™ืฆื” ืื•ืžืจ
11:41
being very careful about what you do and say
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ืœื”ื™ื•ืช ื–ื”ื™ืจ ืžืื•ื“ ื‘ืžื” ืฉืืชื” ืขื•ืฉื” ื•ืื•ืžืจ
11:44
because you donโ€™t want to offend anyone.
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ื›ื™ ืืชื” ืœื ืจื•ืฆื” ืœื”ืขืœื™ื‘ ืืฃ ืื—ื“.
11:47
And finally, diversity is a term describing
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ื•ืœื‘ืกื•ืฃ, ื’ื™ื•ื•ืŸ ื”ื•ื ืžื•ื ื— ื”ืžืชืืจ
11:49
many different types of people being included together.
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ืกื•ื’ื™ื ืจื‘ื™ื ื•ืฉื•ื ื™ื ืฉืœ ืื ืฉื™ื ื”ื ื›ืœืœื™ื ื™ื—ื“.
11:52
Well, itโ€™s time to return these human books
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ื•ื‘ื›ืŸ, ื”ื’ื™ืข ื”ื–ืžืŸ ืœื”ื—ื–ื™ืจ ืืช ื”ืกืคืจื™ื ื”ืื ื•ืฉื™ื™ื ื”ืืœื”
11:55
back to the library shelves because our
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ืœืžื“ืคื™ ื”ืกืคืจื™ื™ื” ื›ื™
11:57
six minutes are up!
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ืฉืฉ ื”ื“ืงื•ืช ืฉืœื ื• ื ื’ืžืจื•!
11:59
Join us again for more real-life stories
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ื”ืฆื˜ืจืคื• ืืœื™ื ื• ืฉื•ื‘ ืœืขื•ื“ ืกื™ืคื•ืจื™ื ืืžื™ืชื™ื™ื
12:01
and topical vocabulary here at 6 Minute English
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ื•ืื•ืฆืจ ืžื™ืœื™ื ืืงื˜ื•ืืœื™ ื›ืืŸ ื‘-6 ื“ืงื•ืช ืื ื’ืœื™ืช
12:04
from BBC Learning English.
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ืžื‘ื™ืช BBC Learning English.
12:06
Goodbye for now!
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12:06
Bye!
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ืœื”ืชืจืื•ืช ืœื‘ื™ื ืชื™ื™ื!
ื‘ื™ื™!
12:13
Hello. This is 6 Minute English from
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ืฉืœื•ื. ื–ื•ื”ื™ 6 ื“ืงื•ืช ืื ื’ืœื™ืช ืžื‘ื™ืช
12:15
BBC Learning English.
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BBC Learning English.
12:16
Iโ€™m Neil.
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ืื ื™ ื ื™ืœ.
12:17
And Iโ€™m Georgina.
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ื•ืื ื™ ื’'ื•ืจื’'ื™ื ื”.
12:18
When we think about
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ื›ืฉืื ื—ื ื• ื—ื•ืฉื‘ื™ื ืขืœ
12:19
romantic Hollywood movies, there have
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ืกืจื˜ื™ื ื”ื•ืœื™ื•ื•ื“ื™ื™ื ืจื•ืžื ื˜ื™ื™ื,
12:22
been some famous examples over the years.
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ื”ื™ื• ื›ืžื” ื“ื•ื’ืžืื•ืช ืžืคื•ืจืกืžื•ืช ืœืื•ืจืš ื”ืฉื ื™ื.
12:24
There are classic black-and-white romance
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ื™ืฉ ืกืจื˜ื™ ืจื•ืžื ื˜ื™ืงื” ืงืœืืกื™ื™ื ื‘ืฉื—ื•ืจ-ืœื‘ืŸ
12:26
movies like 1951โ€™s, โ€˜A Streetcar Named Desireโ€™,
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ื›ืžื• 1951, 'ื—ืฉืžืœื™ืช ื•ืฉืžื” ืชืฉื•ืงื”',
12:30
and the love affair between Humphrey Bogart
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ื•ืจื•ืžืŸ ื”ืื”ื‘ื” ื‘ื™ืŸ ื”ืžืคืจื™ ื‘ื•ื’ืจื˜
12:32
and Ingrid Bergman in โ€˜Casablancaโ€™, made in 1942.
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ืœืื™ื ื’ืจื™ื“ ื‘ืจื’ืžืŸ ื‘'ืงื–ื‘ืœื ืงื”', ืฉื ืขืฉื” ื‘ืฉื ืช 1942.
12:35
Youโ€™re really showing your age, Neil!
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ืืชื” ื‘ืืžืช ืžืจืื” ืืช ื’ื™ืœืš, ื ื™ืœ!
12:38
What about more recent movies like
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ืžื” ืœื’ื‘ื™ ืกืจื˜ื™ื ืขื“ื›ื ื™ื™ื ื™ื•ืชืจ ื›ืžื•
12:40
โ€˜When Harry met Sallyโ€™ or that famous
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'ื›ืฉื”ืืจื™ ืคื’ืฉ ืืช ืกืืœื™' ืื• ืื•ืชื”
12:42
kiss between the characters Jack and Rose in the film, โ€˜Titanicโ€™.
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ื ืฉื™ืงื” ืžืคื•ืจืกืžืช ื‘ื™ืŸ ื”ื“ืžื•ื™ื•ืช ื’'ืง ื•ืจื•ื– ื‘ืกืจื˜, 'ื˜ื™ื˜ืื ื™ืง'.
12:46
In their time all these movies were
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ื‘ืชืงื•ืคืชื ื›ืœ ื”ืกืจื˜ื™ื ื”ืœืœื• ื”ื™ื•
12:48
blockbusters โ€“ very popular and successful
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ืฉื•ื‘ืจื™ ืงื•ืคื•ืช - ืกืจื˜ื™ื ืคื•ืคื•ืœืจื™ื™ื ื•ืžืฆืœื™ื—ื™ื ืžืื•ื“
12:50
films which sold millions of cinema tickets.
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ืฉืžื›ืจื• ืžื™ืœื™ื•ื ื™ ื›ืจื˜ื™ืกื™ื ืœืงื•ืœื ื•ืข.
12:53
And this success was often due to the
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ื•ื”ื”ืฆืœื—ื” ื”ื–ื• ื ื‘ืขื” ืœืขืชื™ื ืงืจื•ื‘ื•ืช
12:55
on-screen romance between the leading actors.
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ืžื”ืจื•ืžื ื˜ื™ืงื” ืขืœ ื”ืžืกืš ื‘ื™ืŸ ื”ืฉื—ืงื ื™ื ื”ืžื•ื‘ื™ืœื™ื.
12:58
In romantic movies, love is in the air.
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ื‘ืกืจื˜ื™ื ืจื•ืžื ื˜ื™ื™ื, ืื”ื‘ื” ื‘ืื•ื•ื™ืจ.
13:01
Couples hold hands and kiss, or in other
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ื–ื•ื’ื•ืช ืžื—ื–ื™ืงื™ื ื™ื“ื™ื™ื ื•ืžืชื ืฉืงื™ื, ืื•
13:03
words they show intimacy โ€“
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ื‘ืžื™ืœื™ื ืื—ืจื•ืช ื”ื ืžืจืื™ื ืื™ื ื˜ื™ืžื™ื•ืช -
13:05
a close romantic, or sexual relationship.
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ืงืฉืจ ืจื•ืžื ื˜ื™ ืื• ืžื™ื ื™ ืงืจื•ื‘.
13:09
But while real couples kiss and hold
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ืื‘ืœ ื‘ืขื•ื“ ืฉื–ื•ื’ื•ืช ืืžื™ืชื™ื™ื ืžืชื ืฉืงื™ื ื•ืžื—ื–ื™ืงื™ื
13:11
hands all the time, actors in movies are
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ื™ื“ื™ื™ื ื›ืœ ื”ื–ืžืŸ, ืฉื—ืงื ื™ื ื‘ืกืจื˜ื™ื
13:13
just pretending to be intimate, and this can lead to problems.
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ืคืฉื•ื˜ ืžืขืžื™ื“ื™ื ืคื ื™ื ืฉื”ื ืื™ื ื˜ื™ืžื™ื™ื, ื•ื–ื” ื™ื›ื•ืœ ืœื”ื•ื‘ื™ืœ ืœื‘ืขื™ื•ืช.
13:18
Yes, whether itโ€™s a kiss or a full-nudity
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ื›ืŸ, ื‘ื™ืŸ ืื ื–ื• ื ืฉื™ืงื” ืื•
13:20
sex scene, filming intimate scenes for
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ืกืฆื ืช ืžื™ืŸ ื‘ืขื™ืจื•ื ืžืœื, ืฆื™ืœื•ื ืกืฆื ื•ืช ืื™ื ื˜ื™ืžื™ื•ืช
13:23
movies and TV is a delicate business, as
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ืœืกืจื˜ื™ื ื•ืœื˜ืœื•ื•ื™ื–ื™ื” ื”ื•ื ืขืกืง ืขื“ื™ืŸ, ื›ืคื™ ืฉื ื’ืœื”
13:26
weโ€™ll be finding out in this programme.
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ื‘ืชื•ื›ื ื™ืช ื–ื•.
13:29
But first, Georgina, I have a quiz question for you.
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ืื‘ืœ ืงื•ื“ื, ื’'ื•ืจื’'ื™ื ื”, ื™ืฉ ืœื™ ืฉืืœืช ื—ื™ื“ื•ืŸ ืืœื™ืš.
13:32
Let me guessโ€ฆ
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ืชืŸ ืœื™ ืœื ื—ืฉ...
13:33
Another black-and-white
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ืขื•ื“ ืงืœืืกื™ืงื” ื‘ืฉื—ื•ืจ-ืœื‘ืŸ
13:34
classic from the 1950s?
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ืžืฉื ื•ืช ื”ื—ืžื™ืฉื™ื?
13:36
Yes - 1953 to be exact.
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ื›ืŸ - 1953 ืœื™ืชืจ ื“ื™ื•ืง.
13:38
Which was the year this movie won the Oscar for Best Picture.
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ื–ื• ื”ื™ื™ืชื” ื”ืฉื ื” ืฉื‘ื” ื”ืกืจื˜ ื”ื–ื” ื–ื›ื” ื‘ืื•ืกืงืจ ืœืกืจื˜ ื”ื˜ื•ื‘ ื‘ื™ื•ืชืจ.
13:42
The film thrilled audiences with a famous beach kiss
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ื”ืกืจื˜ ืจื™ื’ืฉ ืืช ื”ืงื”ืœ ืขื ื ืฉื™ืงืช ื—ื•ืฃ ืžืคื•ืจืกืžืช
13:45
between actors, Burt Lancaster, and
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ื‘ื™ืŸ ืฉื—ืงื ื™ื, ื‘ืจื˜ ืœื ืงืกื˜ืจ ื•ื“ื‘ื•ืจื”
13:47
Deborah Kerr, as they rolled around
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ืงืจ, ื›ืฉื”ื ื”ืชื’ืœื’ืœื•
13:49
in the waves โ€“ but what was the movie?
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ื‘ื™ืŸ ื”ื’ืœื™ื - ืื‘ืœ ืžื” ื”ื™ื” ื”ืกืจื˜? ื”ืื
13:52
Was it: a) West Side Story?,
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ื–ื” ื”ื™ื”: ื) West Side Story?,
13:54
b) From Here to Eternity?, or
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ื‘) ืžื›ืืŸ ื•ืขื“ ืœื ืฆื—?, ืื•
13:56
c) Singinโ€™ in the Rain?
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ื’) Singinโ€™ in the Rain?
13:58
Well, 1953 was long before I was
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ื•ื‘ื›ืŸ, 1953 ื”ื™ื™ืชื” ื”ืจื‘ื” ืœืคื ื™
14:01
born but Iโ€™ll guess, b) From Here to Eternity.
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ืฉื ื•ืœื“ืชื™ ืื‘ืœ ืื ื™ ืžื ื—ืฉ, ื‘) ืžื›ืืŸ ื•ืขื“ ืœื ืฆื—.
14:04
OK Georgina, weโ€™ll find out later on if thatโ€™s right.
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ื‘ืกื“ืจ ื’'ื•ืจื’'ื™ื ื”, ื ื’ืœื” ืžืื•ื—ืจ ื™ื•ืชืจ ืื ื–ื” ื ื›ื•ืŸ.
14:08
In 1953 an on-screen kiss
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ื‘-1953 ื ืฉื™ืงื” ืขืœ ื”ืžืกืš
14:10
was still considered a little naughty.
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ืขื“ื™ื™ืŸ ื ื—ืฉื‘ื” ืงืฆืช ืฉื•ื‘ื‘ื”.
14:13
But by 2020 and the filming of the BBC
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ืื‘ืœ ืขื“ ืฉื ืช 2020 ื•ื”ืฆื™ืœื•ืžื™ื ืฉืœ
14:15
television dramas, โ€˜Normal Peopleโ€™ and
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ื“ืจืžื•ืช ื”ื˜ืœื•ื•ื™ื–ื™ื” ืฉืœ ื”-BBC, 'ืื ืฉื™ื ืจื’ื™ืœื™ื' ื•'ืื ื™
14:18
โ€˜I May Destroy Youโ€™, things had changed.
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ืขืœื•ืœ ืœื”ืฉืžื™ื“ ืื•ืชืš', ื“ื‘ืจื™ื ื”ืฉืชื ื•.
14:21
Nudity and sexual content had become commonplace.
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ืขื™ืจื•ื ื•ืชื›ื ื™ื ืžื™ื ื™ื™ื ื”ืคื›ื• ืœื“ื‘ืจ ืฉื‘ืฉื’ืจื”.
14:25
Ita O'Brien worked on both these BBC dramas.
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ืื™ื˜ื” ืื•ื‘ืจื™ืืŸ ืขื‘ื“ื” ืขืœ ืฉืชื™ ื”ื“ืจืžื•ืช ื”ืœืœื• ืฉืœ ื”-BBC.
14:28
She describes herself as an
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ื”ื™ื ืžืชืืจืช โ€‹โ€‹ืืช ืขืฆืžื”
14:29
โ€˜intimacy coordinatorโ€™ - someone who
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ื›'ืจื›ื–ืช ืื™ื ื˜ื™ืžื™ื•ืช' - ื›ื–ื• ืฉืขื•ื–ืจืช
14:32
helps actors and directors plan and film intimate scenes.
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ืœืฉื—ืงื ื™ื ื•ืœื‘ืžืื™ื ืœืชื›ื ืŸ ื•ืœืฆืœื ืกืฆื ื•ืช ืื™ื ื˜ื™ืžื™ื•ืช.
14:36
Listen as she gives her definition of
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ื”ืงืฉื™ื‘ื• ื›ืฉื”ื™ื ื ื•ืชื ืช ืืช ื”ื”ื’ื“ืจื” ืฉืœื”
14:38
intimacy to BBC World Service
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ืœืื™ื ื˜ื™ืžื™ื•ืช ืœืชื•ื›ื ื™ืช ื”ืฉื™ืจื•ืช ื”ืขื•ืœืžื™ ืฉืœ ื”-BBC
14:40
programme, The Conversation:
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, The Conversation:
14:42
A hand hold, a stroke of the cheek,
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ืื—ื™ื–ืช ื™ื“, ืžื›ืช ืœื—ื™,
14:46
you know, through to a hug, and then
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ืืชื ื™ื•ื“ืขื™ื, ืขื“ ืœื—ื™ื‘ื•ืง, ื•ืื–
14:48
obviously, right the way through to
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ื‘ืจื•ืจ, ืขื“
14:50
intimate content โ€“ it might be familial
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ืœืชื•ื›ืŸ ืื™ื ื˜ื™ืžื™ - ื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช
14:51
content of an adult to a child; it could
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ืชื•ื›ืŸ ืžืฉืคื—ืชื™ ืฉืœ ืžื‘ื•ื’ืจ ืœื™ืœื“; ื–ื” ื™ื›ื•ืœ
14:55
be the content of perhaps a medical
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ืœื”ื™ื•ืช ืชื•ื›ืŸ ืื•ืœื™ ืฉืœ
14:58
procedure, someone having a mammogram,
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ื”ืœื™ืš ืจืคื•ืื™, ืžื™ืฉื”ื• ืฉืขื•ื‘ืจ ืžืžื•ื’ืจืคื™ื”,
15:02
or it could be right the way through to
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ืื• ืฉื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช ืžืžืฉ ื”ื“ืจืš
15:04
intimacy, simulated sexual content.
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ืœืื™ื ื˜ื™ืžื™ื•ืช, ืชื•ื›ืŸ ืžื™ื ื™ ืžื“ื•ืžื”.
15:07
Itaโ€™s definition of intimacy is very wide,
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ื”ื”ื’ื“ืจื” ืฉืœ ืื™ื˜ื” ืœืื™ื ื˜ื™ืžื™ื•ืช ื”ื™ื ืžืื•ื“ ืจื—ื‘ื”,
15:11
including hugging and stroking โ€“ gently
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ื›ื•ืœืœ ื—ื™ื‘ื•ืง ื•ืœื™ื˜ื•ืฃ -
15:13
touching someone in a pleasurable way.
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ื ื’ื™ืขื” ื‘ืขื“ื™ื ื•ืช ื‘ืžื™ืฉื”ื• ื‘ืฆื•ืจื” ืžื”ื ื”.
15:16
It also includes simulated sex.
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ื–ื” ื›ื•ืœืœ ื’ื ืกืงืก ืžื“ื•ืžื”.
15:18
Movie actors arenโ€™t really having sex, theyโ€™re
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ืฉื—ืงื ื™ ืงื•ืœื ื•ืข ืœื ื‘ืืžืช ืžืงื™ื™ืžื™ื ืกืงืก, ื”ื
15:21
simulating it โ€“ pretending to do
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ืžื“ืžื™ื ืืช ื–ื” - ืžืขืžื™ื“ื™ื ืคื ื™ื ืฉื”ื ืขื•ืฉื™ื
15:23
something so that it looks real but is not.
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ืžืฉื”ื• ื›ื“ื™ ืฉื–ื” ื™ื™ืจืื” ืืžื™ืชื™ ืื‘ืœ ืœื.
15:26
just like dance sequences in musicals,
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ื‘ื“ื™ื•ืง ื›ืžื• ืงื˜ืขื™ ืจื™ืงื•ื“ ื‘ืžื—ื–ื•ืช ื–ืžืจ,
15:29
intimate movie scenes are planned and
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ืกืฆื ื•ืช ืงื•ืœื ื•ืข ืื™ื ื˜ื™ืžื™ื•ืช ืžืชื•ื›ื ื ื•ืช
15:30
choreographed beforehand so that the
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ื•ืžื•ื›ื ื•ืช ืžืจืืฉ ื›ืš ืฉื”ื‘ืžืื™
15:32
director, film crew and, above all, the
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, ืฆื•ื•ืช ื”ืงื•ืœื ื•ืข ื•ืžืขืœ ืœื›ืœ,
15:35
actors are comfortable with whatโ€™s being filmed.
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ื”ืฉื—ืงื ื™ื ื™ื”ื™ื• ื ื•ื—ื™ื ืขื ืžื” ืฉืžืฆื•ืœื.
15:38
But recent scandals about the on-set
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ืื‘ืœ ืฉืขืจื•ืจื™ื•ืช ืื—ืจื•ื ื•ืช ืœื’ื‘ื™
15:40
behaviour of some British and American
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ื”ืชื ื”ื’ื•ืชื ืขืœ ื”ืกื˜ ืฉืœ ื›ืžื”
15:42
film stars have highlighted how
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ื›ื•ื›ื‘ื™ ืงื•ืœื ื•ืข ื‘ืจื™ื˜ื™ื ื•ืืžืจื™ืงืื™ื ื”ื“ื’ื™ืฉื• ืขื“ ื›ืžื” ืžื“ื•ื‘ืจ
15:44
delicate a balance this is.
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ื‘ืื™ื–ื•ืŸ ืขื“ื™ืŸ.
15:47
Hereโ€™s Ita Oโ€™Brien again talking to
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ื”ื ื” ืื™ื˜ื” ืื•ื‘ืจื™ืืŸ ืฉื•ื‘ ืžื“ื‘ืจืช ืขื
15:49
BBC World Serviceโ€™s, The Conversation,
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ืฉื™ืจื•ืช ื”-BBC World Service, The Conversation,
15:51
about the different ways that intimate
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ืขืœ ื”ื“ืจื›ื™ื ื”ืฉื•ื ื•ืช ืฉื‘ื”ืŸ
15:54
scenes are filmed on either side of the
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ืžืฆื•ืœืžื™ื ืกืฆื ื•ืช ืื™ื ื˜ื™ืžื™ื•ืช ืžืฉื ื™ ืฆื“ื™
15:56
Atlantic, in Britain and the US.
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ื”ืื•ืงื™ื™ื ื•ืก โ€‹โ€‹ื”ืื˜ืœื ื˜ื™, ื‘ื‘ืจื™ื˜ื ื™ื” ื•ื‘ืืจื”"ื‘.
15:59
With actors from the US, what they do
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ืขื ืฉื—ืงื ื™ื ืžืืจื”"ื‘, ืžื” ืฉื›ืŸ
16:02
have, what they put in place is that with
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ื™ืฉ ืœื”ื, ืžื” ืฉื”ื ืฉืžื™ื ื–ื”
16:04
each and every intimate scene we
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ืฉื‘ื›ืœ ืกืฆื ื” ืื™ื ื˜ื™ืžื™ืช ืื ื—ื ื•
16:06
create a nudity / simulated sex waiver,
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ื™ื•ืฆืจื™ื ืขื™ืจื•ื / ื•ื™ืชื•ืจ ืขืœ ืžื™ืŸ ืžื“ื•ืžื”,
16:09
for each and every scene and I actually
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ืœื›ืœ ืกืฆื ื” ื•ืกืฆื ื” ื•ืื ื™
16:11
really like that way of working.
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ืžืžืฉ ืื•ื”ื‘ ืืช ืื•ืคืŸ ื”ืขื‘ื•ื“ื” ื”ื–ื”.
16:13
In the UK, actors are asked to sign a nudity clause
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ื‘ื‘ืจื™ื˜ื ื™ื”, ืฉื—ืงื ื™ื ืžืชื‘ืงืฉื™ื ืœื—ืชื•ื ืขืœ ืกืขื™ืฃ ืขื™ืจื•ื
16:16
and generally thatโ€™s an overall, for the
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ื•ื‘ืื•ืคืŸ ื›ืœืœื™ ื–ื” ื›ื•ืœืœ, ืขื‘ื•ืจ
16:19
whole of a production.
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ื”ื”ืคืงื” ื›ื•ืœื”.
16:21
British actors sign only one document
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ืฉื—ืงื ื™ื ื‘ืจื™ื˜ื™ื ื—ื•ืชืžื™ื ืจืง ืขืœ ืžืกืžืš ืื—ื“
16:23
with a nudity clause to cover the whole film.
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ืขื ืกืขื™ืฃ ืขื™ืจื•ื ืฉื™ื›ืกื” ืืช ื”ืกืจื˜ ื›ื•ืœื•.
16:26
But in the US, actors sign a waiver โ€“
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ืื‘ืœ ื‘ืืจื”"ื‘, ืฉื—ืงื ื™ื ื—ื•ืชืžื™ื ืขืœ ื•ื™ืชื•ืจ -
16:29
a legal document that allows or prevents
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ืžืกืžืš ืžืฉืคื˜ื™ ื”ืžืืคืฉืจ ืื• ืžื•ื ืข
16:31
an action that is different from
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ืคืขื•ืœื” ืฉื•ื ื” ืžื”ืื•ืคืŸ ืฉื‘ื•
16:33
how things are usually done.
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ื”ื“ื‘ืจื™ื ื ืขืฉื™ื ื‘ื“ืจืš ื›ืœืœ.
16:34
Ita thinks itโ€™s better if the actors agree
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ืื™ื˜ื” ื—ื•ืฉื‘ืช ืฉืขื“ื™ืฃ ืฉื”ืฉื—ืงื ื™ื ื™ืกื›ื™ืžื•
16:37
to each and every scene โ€“
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ืœื›ืœ ืกืฆื ื” ื•ืกืฆื ื” -
16:39
and she uses the phrase, โ€˜each and everyโ€™
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ื•ื”ื™ื ืžืฉืชืžืฉืช ื‘ื‘ื™ื˜ื•ื™ 'ื›ืœ ืื—ื“ ื•ืื—ื“'
16:42
because it emphasises that she means every single one.
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ื›ื™ ื–ื” ืžื“ื’ื™ืฉ ืฉื”ื™ื ืžืชื›ื•ื•ื ืช ืœื›ืœ ืื—ื“.
16:45
In this way there is no confusion about
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ื‘ื“ืจืš ื–ื• ืื™ืŸ ื‘ืœื‘ื•ืœ ืœื’ื‘ื™
16:47
what should or shouldnโ€™t happen on set,
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ืžื” ืฆืจื™ืš ืื• ืœื ืฆืจื™ืš ืœืงืจื•ืช ืขืœ ื”ืกื˜, ืžื”
16:50
leaving the director and actors free to
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ืฉืžื•ืชื™ืจ ืืช ื”ื‘ืžืื™ ื•ื”ืฉื—ืงื ื™ื ื—ื•ืคืฉื™ื™ื
16:52
make dramatic and romantic blockbusters.
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ืœื™ืฆื•ืจ ืฉื•ื‘ืจื™ ืงื•ืคื•ืช ื“ืจืžื˜ื™ื™ื ื•ืจื•ืžื ื˜ื™ื™ื.
16:55
You mean like that famous beach scene,
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ืืชื” ืžืชื›ื•ื•ืŸ ื›ืžื• ืกืฆื ืช ื”ื—ื•ืฃ ื”ืžืคื•ืจืกืžืช ื”ื”ื™ื,
16:57
kissing and rolling in the waves, Neil?
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ืžืชื ืฉืงืช ื•ืžืชื’ืœื’ืœืช ื‘ื’ืœื™ื, ื ื™ืœ?
16:59
Ah, you mean my quiz question when
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ืื”, ืืชื” ืžืชื›ื•ื•ืŸ ืœืฉืืœืช ื”ื—ื™ื“ื•ืŸ ืฉืœื™ ื›ืฉืฉืืœืชื™
17:01
I asked you: What was the name of the
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ืื•ืชืš: ืžื” ื”ื™ื” ืฉืžื• ืฉืœ
17:03
1953 movie featuring a famous beach
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ื”ืกืจื˜ ืžืฉื ืช 1953 ื”ื›ื•ืœืœ ื ืฉื™ืงืช ื—ื•ืฃ ืžืคื•ืจืกืžืช
17:06
kiss between movie stars Burt Lancaster
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ื‘ื™ืŸ ื›ื•ื›ื‘ื™ ื”ืงื•ืœื ื•ืข ื‘ืจื˜ ืœื ืงืกื˜ืจ
17:09
and Deborah Kerr?
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ื•ื“ื‘ื•ืจื” ืงืจ?
17:10
What did you say, Georgina?
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ืžื” ืืžืจืช, ื’'ื•ืจื’'ื™ื ื”?
17:12
I said it was b), From Here to Eternity.
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ืืžืจืชื™ ืฉื–ื” ื‘), ืžื›ืืŸ ื•ืขื“ ื”ื ืฆื—.
17:15
Which isโ€ฆ the right answer!
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ื•ื–ื”... ื”ืชืฉื•ื‘ื” ื”ื ื›ื•ื ื”! ื›ืœ
17:17
Well done, Georgina โ€“ so you do like classic
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ื”ื›ื‘ื•ื“, ื’'ื•ืจื’'ื™ื ื” - ืื– ืืชื” ื›ืŸ ืื•ื”ื‘
17:20
black-and-white movies after all!
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ืกืจื˜ื™ื ืงืœืืกื™ื™ื ื‘ืฉื—ื•ืจ-ืœื‘ืŸ!
17:22
Not really, Neil, but I remember my
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ืœื ืžืžืฉ, ื ื™ืœ, ืื‘ืœ ืื ื™ ื–ื•ื›ืจ
17:23
grandad watching it!
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ืฉืกื‘ื ืฉืœื™ ืฆืคื” ื‘ื–ื”!
17:25
OK, letโ€™s recap
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ื‘ืกื“ืจ, ื‘ื•ืื• ื ืกื›ื ืืช ืื•ืฆืจ
17:26
the vocabulary from this programme
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ื”ืžื™ืœื™ื ืžื”ืชื•ื›ื ื™ืช ื”ื–ื•
17:28
about intimacy โ€“ a close romantic
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ืขืœ ืื™ื ื˜ื™ืžื™ื•ืช -
17:30
or sexual relationship.
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ืงืฉืจ ืจื•ืžื ื˜ื™ ืื• ืžื™ื ื™ ืงืจื•ื‘.
17:32
A blockbuster is a very popular and
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ืฉื•ื‘ืจ ืงื•ืคื•ืช ื”ื•ื ืกืจื˜ ืคื•ืคื•ืœืจื™ ื•ืžืฆืœื™ื— ืžืื•ื“
17:34
successful movie or a book that
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ืื• ืกืคืจ
17:36
sells many copies.
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ืฉืžื•ื›ืจ ืขื•ืชืงื™ื ืจื‘ื™ื.
17:38
If you stroke someoneโ€™s face, you
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ืื ืืชื” ืžืœื˜ืฃ ืืช ืคื ื™ื• ืฉืœ ืžื™ืฉื”ื•, ืืชื”
17:40
touch it gently in a pleasurable way.
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ื ื•ื’ืข ื‘ื”ื ื‘ืขื“ื™ื ื•ืช ื‘ืฆื•ืจื” ืžื”ื ื”.
17:43
To simulate means to do or make
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ืœื“ืžื•ืช ืคื™ืจื•ืฉื• ืœืขืฉื•ืช ืื• ืœื™ืฆื•ืจ
17:44
something that looks real but is not.
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ืžืฉื”ื• ืฉื ืจืื” ืืžื™ืชื™ ืื‘ืœ ืœื.
17:47
In the US, a waiver is a legal document
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ื‘ืืจื”"ื‘, ื•ื™ืชื•ืจ ื”ื•ื ืžืกืžืš ืžืฉืคื˜ื™
17:50
to either allow or prevent something
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ื›ื“ื™ ืœืืคืฉืจ ืื• ืœืžื ื•ืข ืžืฉื”ื•
17:52
being done in a different way from usual.
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ืฉื ืขืฉื” ื‘ืฆื•ืจื” ืฉื•ื ื” ืžื”ืจื’ื™ืœ.
17:55
And you can use the phrase, each and
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ื•ืืชื” ื™ื›ื•ืœ ืœื”ืฉืชืžืฉ ื‘ื‘ื™ื˜ื•ื™, ื›ืœ ืื—ื“ ื•ืื—ื“
17:57
every to emphasise that you mean
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ื›ื“ื™ ืœื”ื“ื’ื™ืฉ ืฉืืชื” ืžืชื›ื•ื•ืŸ
17:58
every single one of something.
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ืœื›ืœ ืื—ื“ ื•ืื—ื“ ืฉืœ ืžืฉื”ื•.
18:01
Thatโ€™s all for this romantic edition of
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ื–ื” ื”ื›ืœ ืขื‘ื•ืจ ื”ืžื”ื“ื•ืจื” ื”ืจื•ืžื ื˜ื™ืช ื”ื–ื• ืฉืœ
18:03
6 Minute English but join us here again
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6 ื“ืงื•ืช ืื ื’ืœื™ืช, ืื‘ืœ ื”ืฆื˜ืจืฃ ืืœื™ื ื• ืฉื•ื‘
18:05
soon for more topical chat and useful vocabulary.
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ื‘ืงืจื•ื‘ ืœืฆ'ืื˜ ืืงื˜ื•ืืœื™ ื™ื•ืชืจ ื•ืื•ืฆืจ ืžื™ืœื™ื ืฉื™ืžื•ืฉื™.
18:09
Bye for now!
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ืœื”ืชืจืื•ืช ื‘ื™ื ืชื™ื™ื!
18:10
Bye!
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ื‘ื™ื™!
18:16
Hello. This is 6 Minute English from
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ืฉืœื•ื. ื–ื•ื”ื™ 6 ื“ืงื•ืช ืื ื’ืœื™ืช ืžื‘ื™ืช
18:18
BBC Learning English.
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BBC Learning English.
18:20
Iโ€™m Rob.
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ืื ื™ ืจื•ื‘.
18:21
And Iโ€™m Georgina.
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ื•ืื ื™ ื’'ื•ืจื’'ื™ื ื”.
18:22
Now, Georgina, you recently mentioned
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ืขื›ืฉื™ื•, ื’'ื•ืจื’'ื™ื ื”, ื”ื–ื›ืจืช ืœืื—ืจื•ื ื”
18:24
in one 6 Minute English programme
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ื‘ืชื•ื›ื ื™ืช ืื—ืช ืฉืœ 6 ื“ืงื•ืช ื‘ืื ื’ืœื™ืช
18:26
about NFTs and that you had a collection of
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ืขืœ NFTs ื•ืฉื”ื™ื” ืœืš ืื•ืกืฃ ืฉืœ
18:29
Pokemon cards when you were younger.
473
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ืงืœืคื™ ืคื•ืงื™ืžื•ืŸ ื›ืฉื”ื™ื™ืช ืฆืขื™ืจ ื™ื•ืชืจ.
18:31
Yes โ€“ I did, and I still canโ€™t find them.
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ื›ืŸ - ืขืฉื™ืชื™, ื•ืื ื™ ืขื“ื™ื™ืŸ ืœื ืžื•ืฆื ืื•ืชื.
18:34
Why did you bring that up?
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ืœืžื” ื”ืขืœืช ืืช ื–ื”?
18:37
Well, Pokemon started out as a video
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ื•ื‘ื›ืŸ, ืคื•ืงื™ืžื•ืŸ ื”ืชื—ื™ืœื”
18:39
game series that turned into anime movies
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ื›ืกื“ืจืช ืžืฉื—ืงื™ ื•ื™ื“ืื• ืฉื”ืคื›ื”
18:42
and trading cards among other things โ€“
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ื‘ื™ืŸ ื”ื™ืชืจ ืœืกืจื˜ื™ ืื ื™ืžื” ื•ื›ืจื˜ื™ืกื™ ืžืกื—ืจ -
18:45
and in this programme weโ€™re talking about
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ื•ื‘ืชื•ื›ื ื™ืช ื”ื–ื• ืื ื—ื ื• ืžื“ื‘ืจื™ื ืขืœ
18:47
a video game character that is iconic โ€“
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ื“ืžื•ืช ืžืฉื—ืง ื•ื™ื“ืื• ืฉื”ื™ื ืื™ื™ืงื•ื ื™ืช -
18:50
a word which means widely known and recognised.
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ืžื™ืœื” ืฉืžืฉืžืขื•ืชื” ื™ื“ื•ืขื” ื•ืžื•ื›ืจืช.
18:53
That characterโ€™s name is Super Mario.
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ื”ืฉื ืฉืœ ื”ื“ืžื•ืช ื”ื–ื• ื”ื•ื ืกื•ืคืจ ืžืจื™ื•.
18:56
Ahhh I spent many hours of my childhood
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ืื”ื”ื” ื‘ื™ืœื™ืชื™ ืฉืขื•ืช ืจื‘ื•ืช ืžื™ืœื“ื•ืชื™
18:59
playing with Nintendoโ€™s Super Mario or
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ื‘ืžืฉื—ืง ืขื ื”ืกื•ืคืจ ืžืจื™ื• ืฉืœ ื ื™ื ื˜ื ื“ื• ืื• ืขื
19:01
his rival, Segaโ€™s Sonic the Hedgehog.
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ื™ืจื™ื‘ื•, ืกื•ื ื™ืง ื”ืงื™ืคื•ื“ ืฉืœ ืกื’ื”.
19:05
Now, these days, video games are
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ื›ื™ื•ื, ื‘ื™ืžื™ื ื•, ืžืฉื—ืงื™ ื•ื™ื“ืื• ื ืžืฆืื™ื
19:07
everywhere, and people of all ages enjoy playing them.
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ื‘ื›ืœ ืžืงื•ื, ื•ืื ืฉื™ื ืžื›ืœ ื”ื’ื™ืœืื™ื ื ื”ื ื™ื ืœืฉื—ืง ื‘ื”ื.
19:11
Thereโ€™s also competitive
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ื™ืฉ ื’ื
19:13
e-sports events where gamers compete
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ืื™ืจื•ืขื™ ืกืคื•ืจื˜ ืืœืงื˜ืจื•ื ื™ ืชื—ืจื•ืชื™ื™ื ืฉื‘ื”ื ื’ื™ื™ืžืจื™ื ืžืชื—ืจื™ื
19:16
for what are often considerable
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ืขืœ ืžื” ืฉื”ื ืœืจื•ื‘
19:17
amounts of money.
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ืกื›ื•ืžื™ ื›ืกืฃ ื ื›ื‘ื“ื™ื.
19:19
Yes, and there are also streamers that
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ื›ืŸ, ื•ื™ืฉ ื’ื ืกื˜ืจื™ืžืจื™ื
19:22
appear on platforms like Twitch and
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ืฉืžื•ืคื™ืขื™ื ื‘ืคืœื˜ืคื•ืจืžื•ืช ื›ืžื• Twitch
19:24
YouTube who have become celebrities in their own right.
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ื•ื™ื•ื˜ื™ื•ื‘ ืฉื”ืคื›ื• ืœืกืœื‘ืจื™ื˜ืื™ื ื‘ื–ื›ื•ืช ืขืฆืžื. ืื ื›ื‘ืจ
19:29
Talking about celebrities, I have a
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ืžื“ื‘ืจื™ื ืขืœ ืกืœื‘ืจื™ื˜ืื™ื, ื™ืฉ ืœื™
19:31
question about the famous character
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ืฉืืœื” ืœื’ื‘ื™ ื”ื“ืžื•ืช ื”ืžืคื•ืจืกืžืช
19:33
weโ€™re talking about in this programme.
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ืฉืื ื—ื ื• ืžื“ื‘ืจื™ื ืขืœื™ื” ื‘ืชื•ื›ื ื™ืช ื”ื–ื•.
19:36
Many people remember Super Mario Bros.
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ืื ืฉื™ื ืจื‘ื™ื ื–ื•ื›ืจื™ื ืืช Super Mario Bros
19:39
as being the first time we saw Mario,
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ื‘ืชื•ืจ ื”ืคืขื ื”ืจืืฉื•ื ื” ืฉืจืื™ื ื• ืืช ืžืจื™ื•,
19:43
but he first appeared in another game โ€“
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ืื‘ืœ ื”ื•ื ื”ื•ืคื™ืข ืœืจืืฉื•ื ื” ื‘ืžืฉื—ืง ืื—ืจ -
19:45
which was it?
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ืžื” ื–ื” ื”ื™ื”?
19:46
Was it:
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ื”ืื ื–ื” ื”ื™ื”:
19:47
a) The Legend of Zelda
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ื) ื”ืื’ื“ื” ืฉืœ ื–ืœื“ื”
19:49
b) Donkey Kong; or
504
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ื‘) ื“ื•ื ืงื™ ืงื•ื ื’; ืื•
19:51
c) Pokemon
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ื’) ืคื•ืงื™ืžื•ืŸ
19:52
Iโ€™m not sure about that โ€“ I canโ€™t remember
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ืื ื™ ืœื ื‘ื˜ื•ื— ืœื’ื‘ื™ ื–ื” - ืื ื™ ืœื ื–ื•ื›ืจ
19:55
him being in Pokemon, so Iโ€™ll go for a) The Legend of Zelda.
507
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ืฉื”ื•ื ื”ื™ื” ื‘ืคื•ืงื™ืžื•ืŸ, ืื– ืื ื™ ืืœืš ืขืœ ื) ื”ืื’ื“ื” ืฉืœ ื–ืœื“ื”.
20:00
OK, Georgina, weโ€™ll find out if youโ€™re right
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ื‘ืกื“ืจ, ื’'ื•ืจื’'ื™ื ื”, ื ื’ืœื” ืื ืืชื” ืžืžืฉ
20:03
at the end of the programme.
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ื‘ืกื•ืฃ ื”ืชื•ื›ื ื™ืช.
20:05
So, we established at the start of the programme
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ืื–, ืงื‘ืขื ื• ื‘ืชื—ื™ืœืช ื”ืชื•ื›ื ื™ืช
20:07
that these days the video games industry is thriving.
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ืฉื‘ื™ืžื™ื ืืœื” ืชืขืฉื™ื™ืช ืžืฉื—ืงื™ ื”ื•ื•ื™ื“ืื• ืžืฉื’ืฉื’ืช.
20:12
True โ€“ but it wasnโ€™t always that way.
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ื ื›ื•ืŸ - ืื‘ืœ ื–ื” ืœื ืชืžื™ื“ ื”ื™ื” ื›ื›ื”.
20:14
Itโ€™s hard to imagine now, but in the 1980s
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ืงืฉื” ืœื“ืžื™ื™ืŸ ืืช ื–ื” ืขื›ืฉื™ื•, ืื‘ืœ ื‘ืฉื ื•ืช ื”-80
20:18
the console market was struggling,
514
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ืฉื•ืง ื”ืงื•ื ืกื•ืœื•ืช ื”ื™ื” ืžืชืงืฉื”,
20:20
particularly in the US.
515
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ื‘ืžื™ื•ื—ื“ ื‘ืืจื”"ื‘.
20:22
Keza MacDonalds, video games editor
516
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ืงื–ื” ืžืงื“ื•ื ืœื“ืก, ืขื•ืจืš ืžืฉื—ืงื™ ื•ื™ื“ืื•
20:24
for the Guardian newspaper, explains
517
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ื‘ืขื™ืชื•ืŸ "ื’ืจื“ื™ืืŸ", ืžืกื‘ื™ืจ
20:27
what was happening in the early 1980s.
518
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ืžื” ื”ืชืจื—ืฉ ื‘ืชื—ื™ืœืช ืฉื ื•ืช ื”ืฉืžื•ื ื™ื.
20:29
Here she is on BBC World Service
519
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ื”ื ื” ื”ื™ื ื‘ืชื•ื›ื ื™ืช ื”ืฉื™ืจื•ืช ื”ืขื•ืœืžื™ ืฉืœ BBC
20:32
programme You and Yours, speaking with Peter White.
520
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You and Yours, ืžื“ื‘ืจืช ืขื ืคื™ื˜ืจ ื•ื•ื™ื™ื˜.
20:35
Well, back then, especially in America,
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ื•ื‘ื›ืŸ, ืื–, ื‘ืžื™ื•ื—ื“ ื‘ืืžืจื™ืงื”,
20:38
there had been a flood of games that
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ื”ื™ื” ืžื‘ื•ืœ ืฉืœ ืžืฉื—ืงื™ื ืฉืคืฉื•ื˜
20:40
were just not very high quality.
523
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ืœื ื”ื™ื• ืื™ื›ื•ืชื™ื™ื ื‘ืžื™ื•ื—ื“.
20:42
One of the games thatโ€™s often cited as a factor
524
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ืื—ื“ ื”ืžืฉื—ืงื™ื ืฉืฆื•ื™ื ื• ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื›ื’ื•ืจื
20:45
in the collapse was this game called ET
525
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ืœืงืจื™ืกื” ื”ื™ื” ื”ืžืฉื—ืง ื”ื–ื” ืฉื ืงืจื ET
20:47
on the Atari, which was so bad they ended
526
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ืขืœ ื”ืื˜ืืจื™, ืฉื”ื™ื” ื›ืœ ื›ืš ื’ืจื•ืข ืฉื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ
20:50
up burying thousands of copies of it in
527
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ืงื‘ืจื• ืืœืคื™ ืขื•ืชืงื™ื ืฉืœื•
20:52
the desert, because nobody liked it.
528
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ื‘ืžื“ื‘ืจ, ื›ื™ ืืฃ ืื—ื“ ืœื ืื”ื‘ ืื•ืชื•.
20:53
And, so weโ€™d had that, especially in America,
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ื•ื›ืš ื”ื™ื” ืœื ื•, ื‘ืžื™ื•ื—ื“ ื‘ืืžืจื™ืงื”,
20:56
this didn't happen so much in Europe,
530
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ื–ื” ืœื ืงืจื” ื›ืœ ื›ืš ื”ืจื‘ื” ื‘ืื™ืจื•ืคื”,
20:57
but in America just been lots and lots of software.
531
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ืืœื ื‘ืืžืจื™ืงื” ืคืฉื•ื˜ ื”ื™ื• ื”ืžื•ืŸ ื”ืžื•ืŸ ืชื•ื›ื ื•ืช.
21:00
None of it was all that great.
532
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ืฉื•ื ื“ื‘ืจ ืžื–ื” ืœื ื”ื™ื” ื›ืœ ื›ืš ื ื”ื“ืจ.
21:01
There hadn't been anything really revolutionary
533
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ืœื ื”ื™ื” ืžืฉื”ื• ืžืžืฉ ืžื”ืคื›ื ื™
21:03
in some years, so the video game boom was
534
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ื‘ืฉื ื™ื ืžืกื•ื™ืžื•ืช, ืื– ื”ื‘ื•ื ืฉืœ ืžืฉื—ืงื™ ื”ื•ื•ื™ื“ืื•
21:05
really falling off a cliff and Nintendo is
535
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ื‘ืืžืช ื™ืจื“ ืžื”ืฆื•ืง ื•ื ื™ื ื˜ื ื“ื• ื”ื™ื
21:07
what rescued in the US especially.
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ืžื” ืฉื”ืฆื™ืœื” ื‘ืืจื”"ื‘ ื‘ืžื™ื•ื—ื“.
21:10
Keza MacDonald used the term a flood of โ€“
537
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ืงื–ื” ืžืงื“ื•ื ืœื“ ื”ืฉืชืžืฉ ื‘ืžื•ื ื— ืžื‘ื•ืœ ืฉืœ -
21:14
meaning a large number in a short period
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ื›ืœื•ืžืจ ืžืกืคืจ ื’ื“ื•ืœ ื‘ืคืจืง
21:16
of time โ€“ to describe the number of
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ื–ืžืŸ ืงืฆืจ - ื›ื“ื™ ืœืชืืจ ืืช ืžืกืคืจ
21:18
games that were coming out.
540
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2020
ื”ืžืฉื—ืงื™ื ืฉื™ืฆืื•.
21:20
She used cited, which means referenced
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ื”ื™ื ื”ืฉืชืžืฉื” ื‘-cited, ืฉืคื™ืจื•ืฉื• ืžื•ื–ื›ืจ
21:23
or noted, when talking about the game ET
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ืื• ืฆื•ื™ืŸ, ื›ืฉื“ื™ื‘ืจื” ืขืœ ื”ืžืฉื—ืง ET
21:27
being a reference for a factor in the
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ืฉื”ื•ื ื”ืชื™ื™ื—ืกื•ืช ืœื’ื•ืจื
21:29
collapse of the console market.
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ื‘ืงืจื™ืกืช ืฉื•ืง ื”ืงื•ื ืกื•ืœื•ืช.
21:32
And she said boom โ€“ a sudden period of growth.
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ื•ื”ื™ื ืืžืจื” ื‘ื•ื - ืชืงื•ืคื” ืคืชืื•ืžื™ืช ืฉืœ ืฆืžื™ื—ื”.
21:35
So as ET was mentioned as a factor in the collapse,
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ืื– ืžื›ื™ื•ื•ืŸ ืฉ-ET ื”ื•ื–ื›ืจ ื›ื’ื•ืจื ืœืงืจื™ืกื”,
21:39
many people say that Super Mario Bros.
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ืื ืฉื™ื ืจื‘ื™ื ืื•ืžืจื™ื ืฉ-Super Mario Bros.
21:42
was the reason that video games really
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ื”ื™ื™ืชื” ื”ืกื™ื‘ื” ืฉืžืฉื—ืงื™ ื”ื•ื•ื™ื“ืื• ื‘ืืžืช
21:44
took off, especially in the US.
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ื”ืžืจื™ืื•, ื‘ืžื™ื•ื—ื“ ื‘ืืจื”"ื‘.
21:47
Itโ€™s interesting to consider what might
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ืžืขื ื™ื™ืŸ ืœืฉืงื•ืœ ืžื” ื”ื™ื” ื™ื›ื•ืœ
21:50
have been if his creator, Shigeru Miyamoto,
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ืœื”ื™ื•ืช ืื ื”ื™ื•ืฆืจ ืฉืœื•, ืฉื™ื’ืจื• ืžื™ื™ืžื•ื˜ื•,
21:53
had never created that character.
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ืžืขื•ืœื ืœื ื”ื™ื” ื™ื•ืฆืจ ืืช ื”ื“ืžื•ืช ื”ื–ื•.
21:56
The question is, why is that game so popular,
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ื”ืฉืืœื” ื”ื™ื ืœืžื” ื”ืžืฉื—ืง ื”ื–ื” ื›ืœ ื›ืš ืคื•ืคื•ืœืจื™,
21:59
what made it so fun to play?
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ืžื” ืขืฉื” ืื•ืชื• ื›ืœ ื›ืš ื›ื™ืฃ ืœืฉื—ืง?
22:02
Here is Keza Macdonald speaking again
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ื”ื ื” ืงื–ื” ืžืงื“ื•ื ืœื“ ืžื“ื‘ืจ ืฉื•ื‘
22:04
with Peter White, on BBC World Service
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ืขื ืคื™ื˜ืจ ื•ื•ื™ื™ื˜, ื‘ืชื•ื›ื ื™ืช BBC World Service
22:06
programme, You and Yours, explaining why
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, You and Yours, ื•ืžืกื‘ื™ืจ ืžื“ื•ืข
22:09
Mario is just so popular and what makes
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ืžืจื™ื• ืคืฉื•ื˜ ื›ืœ ื›ืš ืคื•ืคื•ืœืจื™ ื•ืžื” ื”ื•ืคืš
22:12
the original game so satisfying to play.
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ืืช ื”ืžืฉื—ืง ื”ืžืงื•ืจื™ ืœื›ืœ ื›ืš ืžืฉื‘ื™ืข ืœืฉื—ืง.
22:15
Itโ€™s just such a joy to play.
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ื–ื” ืคืฉื•ื˜ ื›ื™ืฃ ืœืฉื—ืง.
22:18
It's running and
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ื–ื” ืจื™ืฆื”
22:19
jumping, and it's the joy of movement.
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ื•ืงืคื™ืฆื”, ื•ื–ื• ื—ื“ื•ื•ืช ื”ืชื ื•ืขื”.
22:20
When, when you play, even the original
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ื›ืืฉืจ, ื›ืฉืืชื” ืžืฉื—ืง, ืืคื™ืœื• ื‘-
22:22
Super Mario Bros, you just feel this sense
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Super Mario Bros ื”ืžืงื•ืจื™, ืืชื” ืคืฉื•ื˜ ืžืจื’ื™ืฉ ืืช ืชื—ื•ืฉืช
22:24
of joy in your movement, and it's one of
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ื”ืฉืžื—ื” ื”ื–ื• ื‘ืชื ื•ืขื” ืฉืœืš, ื•ื–ื” ืื—ื“
22:27
the greatest games ever made.
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ื”ืžืฉื—ืงื™ื ื”ื’ื“ื•ืœื™ื ื‘ื™ื•ืชืจ ืฉื ื•ืฆืจื• ืื™ ืคืขื.
22:29
And a lot of games from 35 years ago are basically
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ื•ื”ืจื‘ื” ืžืฉื—ืงื™ื ืžืœืคื ื™ 35 ืฉื ื” ื‘ืขืฆื
22:31
unplayable now. They might have been a
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ืื™ ืืคืฉืจ ืœืฉื—ืง ืขื›ืฉื™ื•. ืื•ืœื™ ื”ื ื”ื™ื•
22:33
step to something greater, but Mario was
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ืฆืขื“ ืœืžืฉื”ื• ื’ื“ื•ืœ ื™ื•ืชืจ, ืื‘ืœ ืžืจื™ื• ื”ื™ื”
22:35
one of those few that really holds up today as it did then.
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ืื—ื“ ืžืื•ืชื ืžืขื˜ื™ื ืฉื‘ืืžืช ืžื—ื–ื™ืงื™ื ืžืขืžื“ ื”ื™ื•ื ื›ืžื• ืื–.
22:39
Keza Macdonald said that some games
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ืงื–ื” ืžืงื“ื•ื ืœื“ ืืžืจ ืฉื—ืœืง ืžื”ืžืฉื—ืงื™ื
22:41
from 35 years ago are unplayable โ€“
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ืžืœืคื ื™ 35 ืฉื ื” ืื™ื ื ื ื™ืชื ื™ื ืœื”ืคืขืœื” -
22:44
so, not possible to play them.
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ื›ืš ืฉืœื ื ื™ืชืŸ ืœืฉื—ืง ื‘ื”ื.
22:46
But she said that Mario holds up โ€“
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ืื‘ืœ ื”ื™ื ืืžืจื” ืฉืžืจื™ื• ืžื—ื–ื™ืง ืžืขืžื“ -
22:49
a term used to say that somethingโ€™s standards
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ืžื•ื ื— ื”ืžืฉืžืฉ ืœื•ืžืจ ืฉื”ืกื˜ื ื“ืจื˜ื™ื
22:52
or quality has not lessened.
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ืื• ื”ืื™ื›ื•ืช ืฉืœ ืžืฉื”ื• ืœื ืคื—ืชื•.
22:54
It certainly does hold up โ€“ in fact,
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ื–ื” ื‘ื”ื—ืœื˜ ืžื—ื–ื™ืง ืžืขืžื“ - ืœืžืขืฉื”,
22:57
I played it the other day and I had lots of
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ืฉื™ื—ืงืชื™ ื‘ื• ืœืคื ื™ ื›ืžื” ื™ืžื™ื ื•ื”ื™ื” ืœื™
22:59
fun with it โ€“ it reminded me of my childhood,
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ื›ื™ืฃ ืขื ื–ื” - ื–ื” ื”ื–ื›ื™ืจ ืœื™ ืืช ื”ื™ืœื“ื•ืช ืฉืœื™,
23:02
and itโ€™s still as good now as it was then.
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ื•ื–ื” ืขื“ื™ื™ืŸ ื˜ื•ื‘ ืขื›ืฉื™ื• ื›ืžื• ืื–.
23:05
Which reminds me of your quiz question, Rob.
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ืžื” ืฉืžื–ื›ื™ืจ ืœื™ ืืช ืฉืืœืช ื”ื—ื™ื“ื•ืŸ ืฉืœืš, ืจื•ื‘.
23:07
Yes, in my quiz question I asked Georgina
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ื›ืŸ, ื‘ืฉืืœืช ื”ื—ื™ื“ื•ืŸ ืฉืœื™ ืฉืืœืชื™ ืืช ื’'ื•ืจื’'ื™ื ื”
23:10
which game had the first appearance
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ื‘ืื™ื–ื” ืžืฉื—ืง ื”ื•ืคื™ืข ืœืจืืฉื•ื ื”
23:13
of that famous plumber, Mario.
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ืื•ืชื• ืฉืจื‘ืจื‘ ืžืคื•ืจืกื, ืžืจื™ื•.
23:15
I went for a) The Legend of Zelda.
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ื”ืœื›ืชื™ ืขืœ ื) ื”ืื’ื“ื” ืฉืœ ื–ืœื“ื”.
23:19
Which is wrong, Iโ€™m afraid!
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ืžื” ืœื ื‘ืกื“ืจ, ืื ื™ ื—ื•ืฉืฉ!
23:21
Marioโ€™s first appearance was in Donkey Kong,
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ื”ื”ื•ืคืขื” ื”ืจืืฉื•ื ื” ืฉืœ ืžืจื™ื• ื”ื™ื™ืชื” ื‘ื“ื•ื ืงื™ ืงื•ื ื’,
23:24
and his creator, Shigeru Miyamoto,
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ื•ื”ื™ื•ืฆืจ ืฉืœื•, ืฉื™ื’ืจื• ืžื™ื™ืžื•ื˜ื•,
23:27
never thought he would be that popular.
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ืžืขื•ืœื ืœื ื—ืฉื‘ ืฉื”ื•ื ื™ื”ื™ื” ื›ืœ ื›ืš ืคื•ืคื•ืœืจื™.
23:29
Well, I guess weโ€™ve all really learnt
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ื•ื‘ื›ืŸ, ืื ื™ ืžื ื™ื— ืฉื›ื•ืœื ื• ื‘ืืžืช ืœืžื“ื ื•
23:31
something today.
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ืžืฉื”ื• ื”ื™ื•ื.
23:32
Letโ€™s recap the vocabulary
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ื‘ื•ืื• ื ืกื›ื ืืช ืื•ืฆืจ ื”ืžื™ืœื™ื
23:34
from todayโ€™s programme about Super Mario,
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ืžื”ืชื•ื›ื ื™ืช ืฉืœ ื”ื™ื•ื ืขืœ ืกื•ืคืจ ืžืจื™ื•,
23:36
starting with iconic โ€“ famously associated
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ื”ื—ืœ ื‘ืื™ืงื•ื ื™ - ื”ืžืคื•ืจืกื
23:40
with something and instantly recognisable.
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ืขื ืžืฉื”ื• ื•ื ื™ืชืŸ ืœื–ื™ื”ื•ื™ ืžื™ื™ื“ื™.
23:43
Then we had a flood of which means a large
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ื•ืื– ื”ื™ื” ืœื ื• ืžื‘ื•ืœ ืฉืžืฉืžืขื•ืชื•
23:45
amount of something in a short space of time.
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ื›ืžื•ืช ื’ื“ื•ืœื” ืฉืœ ืžืฉื”ื• ื‘ืคืจืง ื–ืžืŸ ืงืฆืจ.
23:49
Cited means reference as or noted.
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ืžืฆื•ื˜ื˜ ืคื™ืจื•ืฉื• ื”ืชื™ื™ื—ืกื•ืช ื›ืžื• ืื• ืฆื•ื™ืŸ.
23:52
Boom relates to explosion and means a
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ื‘ื•ื ืžืชื™ื™ื—ืก ืœืคื™ืฆื•ืฅ ื•ืžืฉืžืขื•ืชื•
23:54
short period of sudden growth.
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ืชืงื•ืคื” ืงืฆืจื” ืฉืœ ืฆืžื™ื—ื” ืคืชืื•ืžื™ืช.
23:57
Unplayable describes something that canโ€™t be
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ืœื ื ื™ืชืŸ ืœืฉื—ืง ืžืชืืจ ืžืฉื”ื• ืฉืœื ื ื™ืชืŸ
23:59
played or a game that is very difficult to enjoy.
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ืœืฉื—ืง ื‘ื• ืื• ืžืฉื—ืง ืฉืงืฉื” ืžืื•ื“ ืœื™ื”ื ื•ืช ืžืžื ื•.
24:03
And finally, holds up means that the quality
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ื•ืœื‘ืกื•ืฃ, ืžื—ื–ื™ืง ืžืขืžื“ ืคื™ืจื•ืฉื• ืฉื”ืื™ื›ื•ืช
24:06
or standards of something hasnโ€™t changed
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ืื• ื”ืกื˜ื ื“ืจื˜ื™ื ืฉืœ ืžืฉื”ื• ืœื ื”ืฉืชื ื•
24:09
and still looks good or plays well.
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ื•ืขื“ื™ื™ืŸ ื ืจืื” ื˜ื•ื‘ ืื• ืžืฉื—ืง ื˜ื•ื‘.
24:11
Thatโ€™s all for this programme.
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ื–ื” ื”ื›ืœ ืขื‘ื•ืจ ื”ืชื•ื›ื ื™ืช ื”ื–ื•.
24:13
Bye for now!
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ืœื”ืชืจืื•ืช ื‘ื™ื ืชื™ื™ื!
24:14
Bye!
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ื‘ื™ื™!
24:20
Hello. This is 6 Minute English from
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ืฉืœื•ื. ื–ื•ื”ื™ 6 ื“ืงื•ืช ืื ื’ืœื™ืช ืžื‘ื™ืช
24:22
BBC Learning English.
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BBC Learning English.
24:23
Iโ€™m Neil.
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ืื ื™ ื ื™ืœ.
24:24
And Iโ€™m Sam.
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ื•ืื ื™ ืกื.
24:25
Do you think robots could ever
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ืืชื” ื—ื•ืฉื‘ ืฉืจื•ื‘ื•ื˜ื™ื ื™ื›ื•ืœื™ื ืื™ ืคืขื
24:26
become intelligent, Sam?
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ืœื”ืคื•ืš ืœืื™ื ื˜ืœื™ื’ื ื˜ื™ื™ื, ืกื?
24:28
Well, if you believe Hollywood movies
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ื•ื‘ื›ืŸ, ืื ืืชื” ืžืืžื™ืŸ ืœืกืจื˜ื™ื ื”ื•ืœื™ื•ื•ื“ื™ื™ื
24:30
like โ€˜Robocopโ€™, robots will grow more
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ื›ืžื• 'ืจื•ื‘ื•ืงื•ืค', ื”ืจื•ื‘ื•ื˜ื™ื ื™ื’ื“ืœื•
24:32
powerful than their human creators and take control.
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ื—ื–ืงื™ื ื™ื•ืชืจ ืžื”ื™ื•ืฆืจื™ื ื”ืื ื•ืฉื™ื™ื ืฉืœื”ื ื•ื™ืฉืชืœื˜ื•.
24:35
Youโ€™ve been watching too many
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ืฆืคื™ืช ื‘ื™ื•ืชืจ ืžื“ื™
24:36
sci-fi movies, Sam!
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ืกืจื˜ื™ ืžื“ืข ื‘ื“ื™ื•ื ื™, ืกื!
24:38
But seriously - do you
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ืื‘ืœ ื‘ืจืฆื™ื ื•ืช - ืืชื”
24:39
think robots will ever be able to think or dream?
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ื—ื•ืฉื‘ ืฉืจื•ื‘ื•ื˜ื™ื ืื™ ืคืขื ื™ื•ื›ืœื• ืœื—ืฉื•ื‘ ืื• ืœื—ืœื•ื?
24:43
Could they fall in love or create art?
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ื”ืื ื”ื ื™ื›ื•ืœื™ื ืœื”ืชืื”ื‘ ืื• ืœื™ืฆื•ืจ ืืžื ื•ืช?
24:44
Itโ€™s hard to say but because of the huge
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ืงืฉื” ืœื•ืžืจ ืื‘ืœ ื‘ื’ืœืœ
24:47
advances in artificial intelligence over
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ื”ื”ืชืงื“ืžื•ืช ื”ืขืฆื•ืžื” ื‘ืชื—ื•ื ื”ื‘ื™ื ื” ื”ืžืœืื›ื•ืชื™ืช ื‘ืขืฉืจ
24:49
the last ten years, questions like these
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ื”ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช, ืฉืืœื•ืช ื›ืžื• ืืœื”
24:52
are being asked more and more.
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ื ืฉืืœื•ืช ื™ื•ืชืจ ื•ื™ื•ืชืจ.
24:55
In this programme weโ€™ll be meeting a
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ื‘ืชื•ื›ื ื™ืช ื–ื• ื ืคื’ื•ืฉ
24:56
very unusual โ€˜personโ€™ (if thatโ€™s the right word)
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"ืื“ื" ืžืื•ื“ ื™ื•ืฆื ื“ื•ืคืŸ (ืื ื–ื• ื”ืžื™ืœื” ื”ื ื›ื•ื ื”)
25:00
who could help answer some of these questions.
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ืฉื™ื›ื•ืœ ืœืขื–ื•ืจ ืœืขื ื•ืช ืขืœ ื—ืœืง ืžื”ืฉืืœื•ืช ื”ืœืœื•.
25:02
Sheโ€™s called Ai-Da, sheโ€™s an
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ืงื•ืจืื™ื ืœื” ืื™ื™-ื“ื”, ื”ื™ื
25:04
artist who can draw, paint and
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ืืžื ื™ืช ืฉื™ื›ื•ืœื” ืœืฆื™ื™ืจ, ืœืฆื™ื™ืจ
25:06
create sculptures โ€“ and sheโ€™s a robot.
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ื•ืœื™ืฆื•ืจ ืคืกืœื™ื - ื•ื”ื™ื ืจื•ื‘ื•ื˜.
25:09
Yes, the humanoid robot, Ai-Da, uses
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ื›ืŸ, ื”ืจื•ื‘ื•ื˜ ื“ืžื•ื™ ื”ืื“ื, Ai-Da, ืžืฉืชืžืฉ
25:12
a robotic arm and a pencil to draw what
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ื‘ื–ืจื•ืข ืจื•ื‘ื•ื˜ื™ืช ื•ืขื™ืคืจื•ืŸ ื›ื“ื™ ืœืฆื™ื™ืจ ืืช ืžื”
25:14
it sees with a camera in its eye.
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ืฉื”ื•ื ืจื•ืื” ืขื ืžืฆืœืžื” ื‘ืขื™ืŸ.
25:17
Itโ€™s very life-like and can even talk to the people
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ื–ื” ืžืื•ื“ ื“ืžื•ื™ ื—ื™ื™ื ื•ื™ื›ื•ืœ ืืคื™ืœื• ืœื“ื‘ืจ ืขื ื”ืื ืฉื™ื ืฉื–ื”
25:20
whose picture itโ€™s drawing.
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ืžืฆื™ื™ืจ ืืช ื”ืชืžื•ื ื” ืฉืœื”ื. ื‘ืงืจื•ื‘
25:22
Weโ€™ll hear more about this extraordinary
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ื ืฉืžืข ืขื•ื“ ืขืœ ื”ืจื•ื‘ื•ื˜ ื™ื•ืฆื ื”ื“ื•ืคืŸ ื”ื–ื”
25:24
robot and the team of inventors behind
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ื•ืขืœ ืฆื•ื•ืช ื”ืžืžืฆื™ืื™ื
25:26
her soon, but first I have a quiz question.
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ืฉืžืื—ื•ืจื™ื”, ืื‘ืœ ืงื•ื“ื ื™ืฉ ืœื™ ืฉืืœืช ื—ื™ื“ื•ืŸ.
25:29
The name, Ai-Da, uses the abbreviation
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ื”ืฉื, Ai-Da, ืžืฉืชืžืฉ ื‘ืงื™ืฆื•ืจ
25:31
for โ€˜artificial intelligenceโ€™ - AI - to make a
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ืฉืœ 'ื‘ื™ื ื” ืžืœืื›ื•ืชื™ืช' - AI - ื›ื“ื™ ืœื™ืฆื•ืจ ืืช
25:35
womanโ€™s first name, but which famous,
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ื”ืฉื ื”ืคืจื˜ื™ ืฉืœ ืื™ืฉื”, ืื‘ืœ ืขืœ ืื™ื–ื• ืขื“ื” ืžืคื•ืจืกืžืช,
25:38
real-life Ada was the robot named after?
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ืืžื™ืชื™ืช, ื ืงืจื ื”ืจื•ื‘ื•ื˜?
25:41
Was it:
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ื”ืื ื–ื” ื”ื™ื”:
25:42
a) Ada Brown?,
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ื) ืขื“ื” ื‘ืจืื•ืŸ?,
25:43
b) Ada Lovelace?
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ื‘) ืขื“ื” ืœืื‘ืœื™ื™ืก?
25:44
or,
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ืื•,
25:45
c) Ada Maris?
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ื’) ืขื“ื” ืžืืจื™ืก?
25:47
I think it must be, b) Ada Lovelace.
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ืื ื™ ื—ื•ืฉื‘ ืฉื–ื” ื—ื™ื™ื‘ ืœื”ื™ื•ืช, ื‘) ืขื“ื” ืœืื‘ืœื™ื™ืก.
25:49
OK, Sam, weโ€™ll find out if thatโ€™s right later.
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ื‘ืกื“ืจ, ืกืื, ื ื’ืœื” ืื ื–ื” ื ื›ื•ืŸ ืžืื•ื—ืจ ื™ื•ืชืจ.
25:53
Of course building a realistic
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ื›ืžื•ื‘ืŸ ืœื‘ื ื•ืช
25:54
robot that can see, hold a pencil
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ืจื•ื‘ื•ื˜ ืจื™ืืœื™ืกื˜ื™ ืฉื™ื›ื•ืœ ืœืจืื•ืช, ืœื”ื—ื–ื™ืง ืขื™ืคืจื•ืŸ
25:56
and draw is not easy.
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ื•ืœืฆื™ื™ืจ ื–ื” ืœื ืงืœ.
25:58
Behind the creation of Ai-Da was a
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ืžืื—ื•ืจื™ ื”ื™ืฆื™ืจื” ืฉืœ Ai-Da ืขืžื“
26:00
team led by Cornish robotics company,
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ืฆื•ื•ืช ื‘ืจืืฉื•ืช ื—ื‘ืจืช ื”ืจื•ื‘ื•ื˜ื™ืงื” ื”ืงื•ืจื ื™ืช,
26:03
Engineered Arts, and supported by
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Engineered Arts, ื•ื ืชืžืš ืขืœ ื™ื“ื™
26:05
engineers in Leeds who built her robotic
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ืžื”ื ื“ืกื™ื ื‘ืœื™ื“ืก ืฉื‘ื ื• ืืช ื”ื–ืจื•ืขื•ืช ื”ืจื•ื‘ื•ื˜ื™ื•ืช ืฉืœื”
26:08
arms using AI systems developed at Oxford University.
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ื‘ืืžืฆืขื•ืช ืžืขืจื›ื•ืช ื‘ื™ื ื” ืžืœืื›ื•ืชื™ืช ืฉืคื•ืชื—ื• ื‘ืื•ื ื™ื‘ืจืกื™ื˜ืช ืื•ืงืกืคื•ืจื“.
26:12
Hereโ€™s chief engineer, Marcus Hold,
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ื”ื ื” ื”ืžื”ื ื“ืก ื”ืจืืฉื™, ืžืจืงื•ืก ื”ื•ืœื“,
26:15
introducing presenter, Karl Bos, to the still
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ืžืฆื™ื’ ืืช ื”ืžื’ื™ืฉ, ืงืืจืœ ื‘ื•ืก, ืœ-
26:17
unfinished Ai -Da for the first time for
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Ai-Da ืฉืขื“ื™ื™ืŸ ืœื ื ื’ืžืจ, ื‘ืคืขื ื”ืจืืฉื•ื ื” ืขื‘ื•ืจ
26:20
BBC World Service programme, In The Studio:
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ืชื•ื›ื ื™ืช BBC World Service, In The Studio:
26:23
Itโ€™s very strange because on first glance
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ื–ื” ืžืื•ื“ ืžื•ื–ืจ ื›ื™ ื‘ืžื‘ื˜ ืจืืฉื•ืŸ
26:25
she looks incredibly scary, a bit like a
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ื”ื™ื ื ืจืื™ืช ืžืคื—ื™ื“ื” ืœื”ืคืœื™ื, ืงืฆืช ื›ืžื•
26:28
dystopian robot from the future but when
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ืจื•ื‘ื•ื˜ ื“ื™ืกื˜ื•ืคื™ ืžื”ืขืชื™ื“ ืื‘ืœ ื›ืฉืืชื”
26:31
you see her move and express she becomes incredibly cute.
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ืจื•ืื” ืื•ืชื” ื–ื–ื” ื•ืžืชื‘ื˜ืืช ื”ื™ื ื”ื•ืคื›ืช ื—ืžื•ื“ื” ืœื”ืคืœื™ื.
26:35
People tend to refer to them as โ€˜heโ€™ or โ€˜sheโ€™,
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ืื ืฉื™ื ื ื•ื˜ื™ื ืœื”ืชื™ื™ื—ืก ืืœื™ื”ื ื›ืืœ 'ื”ื•ื' ืื• 'ื”ื™ื',
26:38
theyโ€™re drawn to the robots.
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ื”ื ื ืžืฉื›ื™ื ืœืจื•ื‘ื•ื˜ื™ื. ื›ืœ
26:41
So much of our
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ื›ืš ื”ืจื‘ื” ืžื”ืชืงืฉื•ืจืช ืฉืœื ื•
26:42
communication is non-verbal โ€“ Iโ€™m gesturing
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ื”ื™ื ืœื ืžื™ืœื•ืœื™ืช - ืื ื™ ืžื—ื•ื•ื”
26:44
with my arms, Iโ€™m smilingโ€ฆ and our robots โ€“
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ื‘ื–ืจื•ืขื•ืชื™ื™, ืื ื™ ืžื—ื™ื™ื›ืช... ื•ื”ืจื•ื‘ื•ื˜ื™ื ืฉืœื ื• -
26:47
a big part of their appeal and their human nature
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ื—ืœืง ื’ื“ื•ืœ ืžื”ืžืฉื™ื›ื” ืฉืœื”ื ื•ืžื”ื˜ื‘ืข ื”ืื ื•ืฉื™ ืฉืœื”ื
26:52
is in the way they behave and move and
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ื”ื•ื ื‘ื“ืจืš ืฉื‘ื” ื”ื ืžืชื ื”ื’ื™ื ื•ื–ื–ื™ื,
26:55
itโ€™s great that youโ€™re picking up on that from
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ื•ื–ื” ื ื”ื“ืจ ืฉืืชื” ืงื•ืœื˜ื™ื ืืช ื–ื”
26:59
something that has no skin.
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ืžืžืฉื”ื• ืฉืื™ืŸ ืœื• ืขื•ืจ.
27:00
When Karl first meets Ai-Da he sees a wired-up
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ื›ืฉืงืจืœ ืคื•ื’ืฉ ืœืจืืฉื•ื ื” ืืช ืื™ื™-ื“ื” ื”ื•ื ืจื•ืื”
27:03
metal skull without skin.
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ื’ื•ืœื’ื•ืœืช ืžืชื›ืช ืžื—ื•ื•ื˜ืช ืœืœื ืขื•ืจ.
27:06
She looks like a robot
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ื”ื™ื ื ืจืื™ืช ื›ืžื• ืจื•ื‘ื•ื˜
27:07
from a dystopia - an imaginary future world
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ืžื“ื™ืกื˜ื•ืคื™ื” - ืขื•ืœื ืขืชื™ื“ื™ ื“ืžื™ื•ื ื™
27:10
where everything is bad โ€“ like the movie โ€˜Robocopโ€™.
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ืฉื‘ื• ื”ื›ืœ ืจืข - ื›ืžื• ื”ืกืจื˜ 'ืจื•ื‘ื•ืงื•ืค'.
27:12
But as Karl spends more time with Ai-Da
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ืื‘ืœ ื›ืฉืงืืจืœ ืžื‘ืœื” ื™ื•ืชืจ ื–ืžืŸ ืขื ืื™ื™-ื“ื”
27:14
he begins to see her move and express herself.
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ื”ื•ื ืžืชื—ื™ืœ ืœืจืื•ืช ืื•ืชื” ื–ื–ื” ื•ืœื”ื‘ื™ืข ืืช ืขืฆืžื”.
27:17
She smiles, blinks and uses facial expressions
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ื”ื™ื ืžื—ื™ื™ื›ืช, ืžืžืฆืžืฆืช ื•ืžืฉืชืžืฉืช ื‘ื”ื‘ืขื•ืช ืคื ื™ื
27:20
and hand gestures known as non-verbal
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ื•ื‘ืชื ื•ืขื•ืช ื™ื“ื™ื™ื ื”ื™ื“ื•ืขื•ืช ื›ืชืงืฉื•ืจืช ืœื ืžื™ืœื•ืœื™ืช
27:22
communication to appear more human.
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ื›ื“ื™ ืœื”ื™ืจืื•ืช ืื ื•ืฉื™ืช ื™ื•ืชืจ.
27:25
This human-like behaviour is part of Ai-Daโ€™s appeal -
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ื”ืชื ื”ื’ื•ืช ืื ื•ืฉื™ืช ื–ื• ื”ื™ื ื—ืœืง ืžื”ืžืฉื™ื›ื” ืฉืœ ืื™ื™-ื“ื” -
27:28
the quality in someone that makes them
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ื”ืื™ื›ื•ืช ืฉืœ ืžื™ืฉื”ื• ืฉื”ื•ืคื›ืช ืื•ืชื
27:31
attractive and interesting โ€“ and soon Karl
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ืœืื˜ืจืงื˜ื™ื‘ื™ื™ื ื•ืžืขื ื™ื™ื ื™ื - ื•ืขื“ ืžื”ืจื” ืงืืจืœ
27:34
is calling the robot โ€˜sheโ€™ instead of โ€˜itโ€™.
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ืงื•ืจื ืœืจื•ื‘ื•ื˜ 'ื”ื™ื' ื‘ืžืงื•ื 'ื–ื”'.
27:38
Former art gallery owner, Aidan Mellor,
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ื‘ืขืœ ื’ืœืจื™ื™ืช ืืžื ื•ืช ืœืฉืขื‘ืจ, ืื™ื™ื“ืŸ ืžืœื•ืจ,
27:40
manages the Ai-Da project.
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ืžื ื”ืœ ืืช ืคืจื•ื™ืงื˜ Ai-Da.
27:42
Here he is speaking to BBC World Serviceโ€™s, In The Studio,
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ื›ืืŸ ื”ื•ื ืžื“ื‘ืจ ืขื BBC World Service, In The Studio,
27:46
about the complex process involved in
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ืขืœ ื”ืชื”ืœื™ืš ื”ืžื•ืจื›ื‘ ื”ื›ืจื•ืš
27:48
building a working robot:
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ื‘ื‘ื ื™ื™ืช ืจื•ื‘ื•ื˜ ืขื•ื‘ื“:
27:50
Weโ€™ve got the programmers and researchers
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ื™ืฉ ืœื ื• ืืช ื”ืžืชื›ื ืชื™ื ื•ื”ื—ื•ืงืจื™ื
27:51
working at Oxford University and Goldsmiths
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ืฉืขื•ื‘ื“ื™ื ื‘ืื•ื ื™ื‘ืจืกื™ื˜ืช ืื•ืงืกืคื•ืจื“ ื•ื‘ื’ื•ืœื“ืกืžื™ืช'ืก
27:55
and theyโ€™re doing their algorithmic programming,
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ื•ื”ื ืžื‘ืฆืขื™ื ืืช ื”ืชื›ื ื•ืช ื”ืืœื’ื•ืจื™ืชืžื™ ืฉืœื”ื,
27:57
programming the AI that is going to be eventually
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ืžืชื›ื ืชื™ื ืืช ื”-AI ื–ื” ื”ื•ืœืš ืœืฉืžืฉ ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ
28:00
used for the art pieces that weโ€™re doingโ€ฆ
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ืขื‘ื•ืจ ื™ืฆื™ืจื•ืช ื”ืืžื ื•ืช ืฉืื ื—ื ื• ืขื•ืฉื™ื...
28:02
But weโ€™ve also got a couple of guys who
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ืื‘ืœ ื™ืฉ ืœื ื• ื’ื ื›ืžื” ื‘ื—ื•ืจื™ื
28:04
are actually working on her arm โ€“
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ืฉืขื•ื‘ื“ื™ื ืขืœ ื”ื–ืจื•ืข ืฉืœื” -
28:06
her ability to draw โ€“ and actually getting
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ื”ื™ื›ื•ืœืช ืฉืœื” ืœืฆื™ื™ืจ - ื•ืœืžืขืฉื” ื’ื•ืจืžื™ื
28:09
her to do a compelling drawing of what she sees.
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ืœื” ืœืฆื™ื™ืจ ืฆื™ื•ืจ ืžืฉื›ื ืข ืฉืœ ืžื” ืฉื”ื™ื ืจื•ืื”.
28:12
Thereโ€™s some battles still to be won before
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ื™ืฉ ืขื•ื“ ื›ืžื” ืงืจื‘ื•ืช ืฉืฆืจื™ืš ืœื ืฆื— ืœืคื ื™
28:15
the show, we will eventually hopefully iron out
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ื”ื”ื•ืคืขื”, ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ ืื ื—ื ื• ืžืงื•ื•ื™ื ืœื‘ืจื•ืจ ืืช
28:18
all the issues before that time.
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ื›ืœ ื”ื‘ืขื™ื•ืช ืœืคื ื™ ื”ื–ืžืŸ ื”ื–ื”.
28:19
One challenge the team faced was building a
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ืืชื’ืจ ืื—ื“ ืฉืขืžื“ ื‘ืคื ื™ ื”ืฆื•ื•ืช ื”ื™ื” ื‘ื ื™ื™ืช
28:22
robotic arm that could allow Ai-Da to draw
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ื–ืจื•ืข ืจื•ื‘ื•ื˜ื™ืช ืฉื™ื›ื•ืœื” ืœืืคืฉืจ ืœืื™-ื“ื” ืœืฆื™ื™ืจ
28:25
pictures that were compelling โ€“ exciting,
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ืชืžื•ื ื•ืช ืžืฉื›ื ืขื•ืช - ืžืจื’ืฉื•ืช,
28:28
interesting and able to keep your attention.
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ืžืขื ื™ื™ื ื•ืช ื•ืžืกื•ื’ืœื•ืช ืœืฉืžื•ืจ ืขืœ ืชืฉื•ืžืช ื”ืœื‘ ืฉืœืš.
28:31
In combining an electronic AI brain with
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ื‘ืฉื™ืœื•ื‘ ืžื•ื— ื‘ื™ื ื” ืžืœืื›ื•ืชื™ืช ืืœืงื˜ืจื•ื ื™ืช ืขื
28:33
mechanical robot eyes and arms there were
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ืขื™ื ื™ื™ื ื•ื–ืจื•ืขื•ืช ืจื•ื‘ื•ื˜ื™ื ืžื›ื ื™ื™ื, ื”ื™ื•
28:36
many battles to be won โ€“ difficulties and
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ื”ืจื‘ื” ืงืจื‘ื•ืช ืœื ืฆื— - ืงืฉื™ื™ื ื•ืžื›ืฉื•ืœื™ื
28:38
technical obstacles to be overcome.
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ื˜ื›ื ื™ื™ื ืฉืฆืจื™ืš ืœื”ืชื’ื‘ืจ ืขืœื™ื”ื.
28:40
And at the time of the interview, the team
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ื•ื‘ื–ืžืŸ ื”ืจืื™ื•ืŸ, ืœืฆื•ื•ืช
28:42
still had some issues to iron out โ€“ removing
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ืขื“ื™ื™ืŸ ื”ื™ื• ื›ืžื” ื‘ืขื™ื•ืช ืœืชืงืŸ - ื”ืกืจืช
28:46
problems by finding solutions โ€“ before Ai-Daโ€™s
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ื‘ืขื™ื•ืช ืขืœ ื™ื“ื™ ืžืฆื™ืืช ืคืชืจื•ื ื•ืช - ืœืคื ื™ ืžื•ืคืข ื”ืคืชื™ื—ื” ืฉืœ ืื™ื™-ื“ื”
28:49
opening show: an exhibition of her
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: ืชืขืจื•ื›ื” ืฉืœ
28:51
artwork at The Design Museum in London.
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ื™ืฆื™ืจื•ืช ื”ืืžื ื•ืช ืฉืœื” ื‘ืžื•ื–ื™ืื•ืŸ ื”ืขื™ืฆื•ื‘ ื‘ืœื•ื ื“ื•ืŸ.
28:54
Amazing! Itโ€™s nice to think that a robot
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ืžื“ื”ื™ื! ื–ื” ื ื—ืžื“ ืœื—ืฉื•ื‘ ืฉืจื•ื‘ื•ื˜
28:56
could be the next Picasso instead of an
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ื™ื›ื•ืœ ืœื”ื™ื•ืช ื”ืคื™ืงืืกื• ื”ื‘ื ื‘ืžืงื•ื
28:58
out-of-control sci-fi policeman!
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ืฉื•ื˜ืจ ืžื“ืข ื‘ื“ื™ื•ื ื™ ืฉื™ืฆื ืžืฉืœื™ื˜ื”!
29:00
Yes, and the whole project was inspired
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ื›ืŸ, ื•ื›ืœ ื”ืคืจื•ื™ืงื˜ ื ื•ืฆืจ
29:02
by a real-life woman โ€“ whose name was?
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ื‘ื”ืฉืจืืช ืื™ืฉื” ืžื”ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื - ืฉืžื”?
29:05
What was the answer to your quiz question, Neil?
726
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ืžื” ื”ื™ื™ืชื” ื”ืชืฉื•ื‘ื” ืœืฉืืœืช ื”ื—ื™ื“ื•ืŸ ืฉืœืš, ื ื™ืœ?
29:07
Ah yes, I asked Sam which famous
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ืื” ื›ืŸ, ืฉืืœืชื™ ืืช ืกื ืื™ื–ื•
29:10
Ada was the real-life inspiration
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ืขื“ื” ืžืคื•ืจืกืžืช ื”ื™ื ื”ื”ืฉืจืื” ื”ืืžื™ืชื™ืช
29:12
behind the robot, Ai-Da.
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ืžืื—ื•ืจื™ ื”ืจื•ื‘ื•ื˜, ืื™ื™-ื“ื”.
29:14
I said, b) Ada Lovelace.
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ืืžืจืชื™, ื‘) ืขื“ื” ืœืื‘ืœื™ื™ืก.
29:16
Was I right?
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ืฆื“ืงืชื™?
29:17
You wereโ€ฆ right, Sam!
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ื”ื™ื™ืช... ืฆื•ื“ืง, ืกื!
29:19
Ai-Da is named after
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Ai-Da ื ืงืจืืช ืขืœ ืฉื
29:20
Ada Lovelace, the 19th century English
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ืขื“ื” ืœืื‘ืœื™ื™ืก, ื”ืžืชืžื˜ื™ืงืื™ืช ื”ืื ื’ืœื™ืช ืžื”ืžืื” ื”-19
29:22
mathematician and first computer programmer in the world.
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ื•ืžืชื›ื ืชืช ื”ืžื—ืฉื‘ื™ื ื”ืจืืฉื•ื ื” ื‘ืขื•ืœื.
29:26
OK, Neil.
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ื‘ืกื“ืจ, ื ื™ืœ.
29:27
Letโ€™s recap the vocabulary from
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ื‘ื•ืื• ื ืกื›ื ืืช ืื•ืฆืจ ื”ืžื™ืœื™ื ืžื”ืชื•ื›ื ื™ืช
29:28
this programme, starting with dystopia -
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ื”ื–ื•, ื”ื—ืœ ื‘ื“ื™ืกื˜ื•ืคื™ื” -
29:31
an imaginary future society where everything is bad.
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ื—ื‘ืจื” ืขืชื™ื“ื™ืช ื“ืžื™ื•ื ื™ืช ืฉื‘ื” ื”ื›ืœ ืจืข.
29:35
Non-verbal communication is communication
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ืชืงืฉื•ืจืช ืœื ืžื™ืœื•ืœื™ืช ื”ื™ื ืชืงืฉื•ืจืช
29:37
using physical gestures and facial expressions instead of speech.
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ื‘ืืžืฆืขื•ืช ืžื—ื•ื•ืช ืคื™ื–ื™ื•ืช ื•ื”ื‘ืขื•ืช ืคื ื™ื ื‘ืžืงื•ื ื“ื™ื‘ื•ืจ.
29:41
The appeal of something is a quality it
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ื”ืžืฉื™ื›ื” ืฉืœ ืžืฉื”ื• ื”ื™ื ืื™ื›ื•ืช
29:43
has which people find attractive.
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ืฉื™ืฉ ืœื• ืฉืื ืฉื™ื ืžื•ืฆืื™ื ืื˜ืจืงื˜ื™ื‘ื™ืช.
29:45
If something is compelling, it holds your
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ืื ืžืฉื”ื• ืžืฉื›ื ืข, ื”ื•ื ืžื•ืฉืš ืืช
29:47
attention because you find it so interesting.
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ืชืฉื•ืžืช ื”ืœื‘ ืฉืœืš ื›ื™ ืืชื” ืžื•ืฆื ืืช ื–ื” ื›ืœ ื›ืš ืžืขื ื™ื™ืŸ.
29:50
A battle to be won means a problem to be
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ืงืจื‘ ืฉื™ืฉ ืœื ืฆื— ืคื™ืจื•ืฉื• ื‘ืขื™ื” ืฉื™ืฉ
29:53
solved or an obstacle to overcome.
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ืœืคืชื•ืจ ืื• ืžื›ืฉื•ืœ ืฉืฆืจื™ืš ืœื”ืชื’ื‘ืจ ืขืœื™ื•.
29:56
And finally, to iron something out means to
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ื•ืœื‘ืกื•ืฃ, ืœื’ื”ืฅ ืžืฉื”ื• ืคื™ืจื•ืฉื•
29:58
remove or find solutions to a problem.
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ืœื”ืกื™ืจ ืื• ืœืžืฆื•ื ืคืชืจื•ื ื•ืช ืœื‘ืขื™ื”.
30:01
With artificial intelligence improving so fast
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ื›ืฉื”ื‘ื™ื ื” ื”ืžืœืื›ื•ืชื™ืช ืžืฉืชืคืจืช ื›ืœ ื›ืš ืžื”ืจ,
30:04
it may not be too long before we see robot
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ื™ื™ืชื›ืŸ ืฉืœื ื™ืขื‘ื•ืจ ื–ืžืŸ ืจื‘ ืžื“ื™ ืขื“ ืฉื ืจืื” ืจื•ื‘ื•ื˜ื™ื ืฉืœ
30:08
presenters of Six Minute English!
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ืคืจื–ื ื˜ื•ืจื™ื ืฉืœ ืื ื’ืœื™ืช ืฉืฉ ื“ืงื•ืช!
30:10
But until Sam and I are replaced by AI we
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ืื‘ืœ ืขื“ ืฉืกื ื•ืื ื™ ืžื•ื—ืœืคื™ื ื‘-AI, ืื ื•
30:12
hope youโ€™ll join us again next time for more
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ืžืงื•ื•ื™ื ืฉืชืฆื˜ืจืฃ ืืœื™ื ื• ืฉื•ื‘ ื‘ืคืขื ื”ื‘ืื”
30:15
trending topics and useful vocabulary,
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ืœื ื•ืฉืื™ื ืžื’ืžืชื™ื™ื ื•ืื•ืฆืจ ืžื™ืœื™ื ืฉื™ืžื•ืฉื™,
30:17
here at BBC Learning English.
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ื›ืืŸ ื‘-BBC Learning English.
30:18
Bye for now!
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ืœื”ืชืจืื•ืช ื‘ื™ื ืชื™ื™ื!
30:19
Goodbye!
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ื”ึฑื™ื” ืฉืœื•ื!
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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