Bernie Krause: The voice of the natural world

181,540 views ใƒป 2013-07-15

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Gemma Lee ๊ฒ€ํ† : ๋ฐฐ ํ˜„์ค€
00:14
(Nature sounds)
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( ์ž์—ฐ์˜ ์†Œ๋ฆฌ)
00:19
When I first began recording wild soundscapes
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์ œ๊ฐ€ 45๋…„ ์ „ ์ฒ˜์Œ์œผ๋กœ
00:22
45 years ago,
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์ž์—ฐ์˜ ์†Œ๋ฆฌ๋ฅผ ๋…น์Œํ–ˆ์„ ๋•Œ
00:24
I had no idea that ants,
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์ €๋Š” ํ•œ๋ฒˆ๋„ ๊ฐœ๋ฏธ,
00:26
insect larvae, sea anemones and viruses
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๊ณค์ถฉ์˜ ์• ๋ฒŒ๋ ˆ, ๋ง๋ฏธ์ž˜, ๋ฐ”์ด๋Ÿฌ์Šค๊ฐ€
00:30
created a sound signature.
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๋…ํŠนํ•œ ์†Œ๋ฆฌ๋ฅผ ๋‚ด๋Š” ์ค„ ๋ชฐ๋ž์Šต๋‹ˆ๋‹ค.
00:32
But they do.
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ํ•˜์ง€๋งŒ ์ด ์ƒ๋ฌผ๋“ค์€ ์†Œ๋ฆฌ๋ฅผ ๋ƒ…๋‹ˆ๋‹ค.
00:33
And so does every wild habitat on the planet,
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์ง€๊ตฌ์—์„œ ์•ผ์ƒ์œผ๋กœ ์‚ฌ๋Š” ๊ฒƒ๋“ค์€ ๋ชจ๋‘ ์†Œ๋ฆฌ๋ฅผ ๋ƒ…๋‹ˆ๋‹ค.
00:37
like the Amazon rainforest you're hearing behind me.
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์ œ ๋’ค์—์„œ ๋“ค๋ ค์˜ค๋Š” ์•„๋งˆ์กด ์šฐ๋ฆผ์ฒ˜๋Ÿผ ๋ง์ด์ฃ .
00:40
In fact, temperate and tropical rainforests
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์‚ฌ์‹ค ์˜จ๋Œ€์™€ ์—ด๋Œ€ ์šฐ๋ฆผ์€
00:44
each produce a vibrant animal orchestra,
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์ €๋งˆ๋‹ค ์ƒ์ƒํ•œ ๋™๋ฌผ๋“ค์˜ ๊ตํ–ฅ์•…์„ ๋งŒ๋“ค์–ด๋‚ด๋Š”๋ฐ
00:47
that instantaneous and organized expression
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๋ฒŒ๋ ˆ, ํŒŒ์ถฉ๋ฅ˜, ์–‘์„œ๋ฅ˜, ์กฐ๋ฅ˜์™€ ํฌ์œ ๋ฅ˜๊ฐ€
00:50
of insects, reptiles, amphibians, birds and mammals.
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ํ•จ๊ป˜ ๋งŒ๋“ค์–ด๋‚ด๋Š” ์ฆ‰ํฅ์ ์ด๋ฉด์„œ๋„ ์กฐ์ง๋œ ํ‘œํ˜„์ž…๋‹ˆ๋‹ค.
00:55
And every soundscape that springs from a wild habitat
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์•ผ์ƒ ์ƒํƒœ๊ณ„์—์„œ ์šธ๋ ค๋‚˜์˜ค๋Š” ๋ชจ๋“  ์†Œ๋ฆฌ๊ฐ€
00:58
generates its own unique signature,
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์ €๋งˆ๋‹ค ๋…ํŠนํ•œ ์‹ ํ˜ธ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด๋Š”๋ฐ
01:01
one that contains incredible amounts of information,
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๊ทธ ์•ˆ์—๋Š” ๋ฏฟ๊ธฐ ์–ด๋ ค์šธ ๋งŒํผ์˜ ๋งŽ์€ ์ •๋ณด๊ฐ€ ๋‹ด๊ฒจ ์žˆ์Šต๋‹ˆ๋‹ค.
01:04
and it's some of that information I want to share with you today.
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๊ทธ ์ •๋ณด์˜ ์ผ๋ถ€๋ฅผ ์˜ค๋Š˜ ์—ฌ๋Ÿฌ๋ถ„๊ณผ ํ•จ๊ป˜ ๋‚˜๋ˆ„๊ณ  ์‹ถ๊ตฐ์š”.
01:09
The soundscape is made up of three basic sources.
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์†Œ๋ฆฌ์˜ ํ’๊ฒฝ์€ 3 ๊ฐ€์ง€ ๊ธฐ๋ณธ ์Œ์›์œผ๋กœ ์ด๋ค„์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
01:12
The first is the geophony,
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์ฒซ ๋ฒˆ์งธ๋Š” ์ง€๋ฆฌ์  ์†Œ๋ฆฌ
01:14
or the nonbiological sounds that occur
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์–ด๋–ค ์ƒํƒœ๊ณ„์—์„œ๋‚˜ ์ผ์–ด๋‚˜๋Š”
01:17
in any given habitat,
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๋น„์ƒ๋ฌผ์  ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:19
like wind in the trees, water in a stream,
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๋‚˜๋ฌด๋ฅผ ์Šค์ณ๊ฐ€๋Š” ๋ฐ”๋žŒ, ํ๋ฅด๋Š” ๋ฌผ,
01:21
waves at the ocean shore, movement of the Earth.
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๋ฐ”๋‹ค์˜ ํŒŒ๋„ ์†Œ๋ฆฌ, ์ง€๊ตฌ์˜ ์›€์ง์ž„ ๊ฐ™์€ ๊ฒƒ๋“ค์ด์ฃ .
01:25
The second of these is the biophony.
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๋‘ ๋ฒˆ์งธ๋Š” ์ƒ๋ฌผ์  ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:28
The biophony is all of the sound
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์ƒ๋ฌผ์  ์†Œ๋ฆฌ๋Š”
01:31
that's generated by organisms in a given habitat
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์ •ํ•ด์ง„ ์ƒํƒœ๊ณ„ ์•ˆ์— ์žˆ๋Š” ์ƒ๋ฌผ๋“ค์ด
01:34
at one time and in one place.
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ํ•œ ๋ฒˆ์— ํ•œ ๊ณณ์—์„œ ๋‚ด๋Š” ๋ชจ๋“  ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:38
And the third is all of the sound that we humans generate
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์„ธ ๋ฒˆ์งธ๋Š” ์‚ฌ๋žŒ๋“ค์ด ๋งŒ๋“œ๋Š” ๋ชจ๋“  ์†Œ๋ฆฌ๋กœ์„œ
01:43
that's called anthrophony.
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์‚ฌ๋žŒ ์†Œ๋ฆฌ๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
01:44
Some of it is controlled, like music or theater,
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๊ทธ ์ค‘ ์ผ๋ถ€๋Š” ์Œ์•…์ด๋‚˜ ์—ฐ๊ทน์ฒ˜๋Ÿผ ํ†ต์ œ๋œ ์†Œ๋ฆฌ์ด์ง€๋งŒ
01:48
but most of it is chaotic and incoherent,
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๋Œ€๋ถ€๋ถ„์€ ๋ฌด์งˆ์„œํ•˜๊ณ  ์ผ๊ด€์„ฑ์ด ์—†๋Š”๋ฐ
01:52
which some of us refer to as noise.
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์ด๋Ÿฌํ•œ ์†Œ๋ฆฌ๋“ค์€ ๋•Œ๋•Œ๋กœ ์†Œ์Œ์ด๋ผ๊ณ ๋„ ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
01:55
There was a time when I considered wild soundscapes
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ํ•œ ๋•Œ๋Š” ์•ผ์ƒ์˜ ์†Œ๋ฆฌ๊ฐ€
01:58
to be a worthless artifact.
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์“ธ๋ชจ์—†๋Š” ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
02:00
They were just there, but they had no significance.
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๊ทธ๋•Œ๋„ ํ•ญ์ƒ ์กด์žฌํ•ด์™”์ง€๋งŒ, ๊ทธ๊ฒƒ์˜ ๊ฐ€์น˜๋ฅผ ์•Œ์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค.
02:04
Well, I was wrong. What I learned from these encounters
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๊ทธ๋Ÿฐ๋ฐ ์ œ๊ฐ€ ํ‹€๋ ธ์Šต๋‹ˆ๋‹ค. ์ด ์†Œ๋ฆฌ๋“ค์„ ์ฃผ์˜๊นŠ๊ฒŒ ๋“ฃ๋‹ค๋ณด๋‹ˆ,
02:07
was that careful listening gives us incredibly valuable tools
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๊ทธ๊ฒƒ์ด ์•„์ฃผ ๊ฐ’์ง„ ๋„๊ตฌ๊ฐ€ ๋˜์–ด์„œ
02:12
by which to evaluate the health of a habitat
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์ƒํƒœ๊ณ„ ์ „๋ฐ˜์— ๋Œ€ํ•œ ๊ฑด๊ฐ•์„
02:15
across the entire spectrum of life.
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ํ‰๊ฐ€ํ•  ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์„ ๋ฐฐ์šธ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:18
When I began recording in the late '60s,
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60๋…„๋Œ€ ํ›„๋ฐ˜์— ๋…น์Œ์„ ์‹œ์ž‘ํ–ˆ์„ ๋•Œ
02:22
the typical methods of recording were limited
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์ „ํ˜•์ ์ธ ๋…น์Œ ๋ฐฉ์‹์€ ์ฒ˜์Œ์—๋Š”
02:25
to the fragmented capture of individual species
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๋Œ€๋ถ€๋ถ„ ์ƒˆ์™€ ๊ฐ™์€ ํ•˜๋‚˜์˜ ์ข…๋งŒ์„
02:29
like birds mostly, in the beginning,
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๋ถ€๋ถ„์ ์œผ๋กœ ๋…น์Œํ•˜๋Š” ๊ฒƒ ๋ฟ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:33
but later animals like mammals and amphibians.
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ํ•˜์ง€๋งŒ ๋‚˜์ค‘์— ํฌ์œ ๋ฅ˜์™€ ์–‘์„œ๋ฅ˜ ๊ฐ™์€ ๋™๋ฌผ๋„ ํฌํ•จํ•˜๊ฒŒ ๋˜์—ˆ์ฃ .
02:38
To me, this was a little like trying to understand
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์ €ํ•œํ…Œ๋Š” ์ด๊ฒƒ์ด
02:42
the magnificence of Beethoven's Fifth Symphony
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๋ฒ ํ† ๋ฒค์˜ 5๋ฒˆ ๊ตํ–ฅ๊ณก์˜ ์›…์žฅํ•จ์„
02:45
by abstracting the sound of a single violin player
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์˜ค์ผ€์ŠคํŠธ๋ผ์ค‘ ๋‹จ ํ•œ ๋ช…์˜
02:48
out of the context of the orchestra
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๋ฐ”์ด์˜ฌ๋ฆฐ ์—ฐ์ฃผ๊ฐ€๊ฐ€ ๋‚ด๋Š” ์†Œ๋ฆฌ๋ฅผ ์žก์•„๋‚ด์„œ
02:50
and hearing just that one part.
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์ดํ•ดํ•˜๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ๊ณผ ๊ฐ™์•˜์Šต๋‹ˆ๋‹ค.
02:53
Fortunately, more and more institutions
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๋‹คํ–‰ํžˆ๋„ ๋”์šฑ ๋” ๋งŽ์€ ๊ธฐ๊ด€๋“ค์ด
02:56
are implementing the more holistic models
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์ €์™€ ์ œ ๋™๋ฃŒ๊ฐ€
02:58
that I and a few of my colleagues have introduced
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์†Œ๋ฆฌ์˜ ๊ฒฝ๊ด€ ์ƒํƒœ๊ณ„์— ์†Œ๊ฐœํ•œ
03:01
to the field of soundscape ecology.
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์ „์ฒด์ ์ธ ์ ‘๊ทผ๋ฒ•์„ ์‹œํ–‰ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:05
When I began recording over four decades ago,
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์ œ๊ฐ€ 40 ์—ฌ๋…„์ „์— ๋…น์Œ์„ ์‹œ์ž‘ํ–ˆ์„ ๋•Œ๋Š”
03:10
I could record for 10 hours
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10 ์‹œ๊ฐ„์„ ๋…น์Œํ•ด์„œ
03:12
and capture one hour of usable material,
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์“ธ๋งŒํ•œ ๋ถ€๋ถ„์„ 1์‹œ๊ฐ„ ๋ฝ‘์•„๋‚ด๋ฉด
03:14
good enough for an album or a film soundtrack
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์•จ๋ฒ”์ด๋‚˜ ์˜ํ™” ์ฃผ์ œ๊ฐ€๋กœ,
03:17
or a museum installation.
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๋˜๋Š” ๋ฐ•๋ฌผ๊ด€์—์„œ ์“ธ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
03:20
Now, because of global warming,
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ํ•˜์ง€๋งŒ ์ง€๊ธˆ์€ ์ง€๊ตฌ ์˜จ๋‚œํ™”,
03:23
resource extraction,
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์ž์› ์ฑ„๊ตด,
03:25
and human noise, among many other factors,
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๊ทธ๋ฆฌ๊ณ  ํŠนํžˆ ์‚ฌ๋žŒ์ด ๋‚ด๋Š” ์†Œ์Œ ๋•Œ๋ฌธ์—
03:28
it can take up to 1,000 hours or more
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๋˜‘๊ฐ™์€ ๊ฒƒ์„ ๋…น์Œํ•˜๋ ค๋ฉด
03:30
to capture the same thing.
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์ฒœ ์‹œ๊ฐ„ ์ด์ƒ ๊ฑธ๋ฆฝ๋‹ˆ๋‹ค.
03:33
Fully 50 percent of my archive
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์ œ๊ฐ€ ๋…น์Œํ•œ ๊ธฐ๋ก์˜ 50 %๋Š”
03:36
comes from habitats so radically altered
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์•„์ฃผ ๊ธ‰๋ณ€ํ•œ ์ƒํƒœ๊ณ„์—์„œ ๋…น์Œํ•œ๊ฑด๋ฐ
03:39
that they're either altogether silent
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์•„์ฃผ ์กฐ์šฉํ•˜๊ฑฐ๋‚˜
03:42
or can no longer be heard in any of their original form.
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๋”๋Š” ์›๋ž˜ ํ˜•ํƒœ๋Œ€๋กœ ๋“ค์„ ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
03:47
The usual methods of evaluating a habitat
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์ƒํƒœ๊ณ„๋ฅผ ํ‰๊ฐ€ํ•˜๋Š” ๋ณดํ†ต ๋ฐฉ๋ฒ•์€
03:49
have been done by visually counting the numbers of species
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์ข…์˜ ์ˆซ์ž๋ฅผ ๋ˆˆ์œผ๋กœ ๋ณด๋ฉด์„œ ์„ธ๊ฑฐ๋‚˜
03:53
and the numbers of individuals within each species in a given area.
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์ •ํ•ด์ง„ ์ง€์—ญ์— ์žˆ๋Š” ๊ฐ ์ข…์˜ ๊ฐœ์ฒด์ˆ˜๋ฅผ ์„ธ์–ด์„œ ํ‰๊ฐ€ํ•ฉ๋‹ˆ๋‹ค.
03:57
However, by comparing data that ties together
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๊ฐ€ ๋“ฃ๋Š” ์†Œ๋ฆฌ์˜ ๋ฐ€๋„์™€ ๋‹ค์–‘์„ฑ์„
04:00
both density and diversity from what we hear,
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ํ•ฉํ•œ ์ž๋ฃŒ๋ฅผ ๋น„๊ตํ•จ์œผ๋กœ์จ
04:03
I'm able to arrive at much more precise fitness outcomes.
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์ €๋Š” ํ›จ์”ฌ ๋” ์ •ํ™•ํ•œ ๊ฒฐ๊ณผ๋ฅผ ๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:09
And I want to show you some examples
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์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์ด ์„ธ๊ณ„๋กœ ๋น ์ ธ ๋“ค์–ด๊ฐ์œผ๋กœ์จ
04:11
that typify the possibilities unlocked
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ํ’€์–ด๋‚˜๊ฐˆ ์ˆ˜ ์žˆ๋Š” ๊ฐ€๋Šฅ์„ฑ
04:13
by diving into this universe.
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๋ช‡ ๊ฐ€์ง€๋ฅผ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
04:16
This is Lincoln Meadow.
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์ด๊ฒƒ์€ ๋ง์ปจ ๋ชฉ์ดˆ์ง€์ž…๋‹ˆ๋‹ค.
04:18
Lincoln Meadow's a three-and-a-half-hour drive
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๋ง์ปจ ๋ชฉ์ดˆ์ง€๋Š” ์‹œ์—๋ผ ๋„ค๋ฐ”๋‹ค ์‚ฐ๋งฅ์— ์žˆ๋Š”๋ฐ
04:20
east of San Francisco in the Sierra Nevada Mountains,
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์ƒŒํ”„๋ž€์‹œ์Šค์ฝ” ๋™์ชฝ์œผ๋กœ ์ฐจ๋กœ ๋‹ฌ๋ ค์„œ 3์‹œ๊ฐ„ ๋ฐ˜ ๊ฑฐ๋ฆฌ์— ์žˆ์Šต๋‹ˆ๋‹ค.
04:23
at about 2,000 meters altitude,
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๊ณ ๋„๊ฐ€ 2์ฒœ ๋ฏธํ„ฐ์ฏค ๋˜๋Š”๋ฐ
04:25
and I've been recording there for many years.
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์ €๋Š” ๋ช‡๋…„ ๋™์•ˆ ๊ทธ๊ณณ์—์„œ ๋…น์Œํ–ˆ์Šต๋‹ˆ๋‹ค.
04:28
In 1988, a logging company convinced local residents
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1988 ๋…„ ๋ฒŒ๋ชฉํšŒ์‚ฌ๊ฐ€
04:32
that there would be absolutely no environmental impact
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๊ทธ๋“ค์ด ๋งํ•˜๋Š” '์„ ํƒ์ ์ธ ๋ฒŒ๋ชฉ'์ด
04:35
from a new method they were trying
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ํ™˜๊ฒฝ์— ์•„๋ฌด๋Ÿฐ ์˜ํ–ฅ์„ ๋ผ์น˜์ง€ ์•Š์„ ๊ฑฐ๋ผ๊ณ 
์ฃผ๋ฏผ๋“ค์„ ์„ค๋“ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:37
called "selective logging,"
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04:38
taking out a tree here and there
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์ „์ฒด๋ฅผ ํ•œ๊บผ๋ฒˆ์— ๋ฒŒ๋ชฉํ•˜๋Š” ๋Œ€์‹ ์—
04:40
rather than clear-cutting a whole area.
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์—ฌ๊ธฐ ์ €๊ธฐ์„œ ๋‚˜๋ฌด๋ฅผ ๋ฒ ๋Š” ๊ฒƒ์ด์ฃ .
04:43
With permission granted to record
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๋‚˜๋ฌด๋ฅผ ๋ฒ ๊ธฐ ์ „๊ณผ ํ›„์—
04:45
both before and after the operation,
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๋…น์Œ์„ ํ•˜๋„๋ก ํ—ˆ๊ฐ€๋ฅผ ๋ฐ›๊ณ 
04:47
I set up my gear and captured a large number of dawn choruses
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์žฅ๋น„๋ฅผ ์„ค์น˜ํ•ด์„œ ์•„์ฃผ ์—„๊ฒฉํ•œ ๊ธฐ์ค€์—์„ ๋”ฐ๋ผ
04:51
to very strict protocol and calibrated recordings,
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์ƒˆ๋ฒฝ์˜ ์†Œ๋ฆฌ๋ฅผ ๋งŽ์ด ๋…น์Œํ•˜๊ณ  ๋ณด์ •ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:55
because I wanted a really good baseline.
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์™œ๋ƒํ•˜๋ฉด ์•„์ฃผ ์ข‹์€ ๊ธฐ์ค€๊ฐ’์„ ๊ฐ–๊ณ  ์‹ถ์—ˆ๊ฑฐ๋“ ์š”.
04:57
This is an example of a spectrogram.
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์ด๊ฒŒ ์Œํ–ฅ ๋ถ„์„๋„์ž…๋‹ˆ๋‹ค.
04:59
A spectrogram is a graphic illustration of sound
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์Œํ–ฅ ๋ถ„์„๋„๋Š” ์†Œ๋ฆฌ๋ฅผ ๊ทธ๋ž˜ํ”„๋กœ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
05:02
with time from left to right across the page --
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์™ผ์ชฝ์—์„œ ์˜ค๋ฅธ์ชฝ์œผ๋กœ ์‹œ๊ฐ„์ด ๋ณด์ด๊ณ 
05:05
15 seconds in this case is represented โ€”
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์ด ๊ฒฝ์šฐ์—๋Š” 15์ดˆ๋ฅผ ๋‚˜ํƒ€๋ƒ…๋‹ˆ๋‹ค.
05:07
and frequency from the bottom of the page to the top,
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๋ฐ”๋‹ฅ์—์„œ ๊ผญ๋Œ€๊ธฐ๊นŒ์ง€๋Š” ์ฃผํŒŒ์ˆ˜๋ฅผ ๋‚˜ํƒ€๋‚ด๋Š”๋ฐ
05:10
lowest to highest.
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๊ฐ€์žฅ ๋‚ฎ์€ ์ฃผํŒŒ์ˆ˜๋ถ€ํ„ฐ ๊ฐ€์žฅ ๋†’์€ ์ฃผํŒŒ์ˆ˜๋ฅผ ๋ณด์ด์ฃ .
05:12
And you can see that the signature of a stream
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹œ๋‹ค์‹œํ”ผ ๋ƒ‡๋ฌผ์€
05:15
is represented here in the bottom third or half of the page,
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๋ฐ”๋‹ฅ์—์„œ 3๋ฒˆ์งธ๋‚˜ ์ค‘๊ฐ„ ์ฏค์— ๋ณด์ž…๋‹ˆ๋‹ค.
05:19
while birds that were once in that meadow
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ํ•œ๋•Œ ๋ชฉ์ดˆ์ง€์—์„œ ์‚ด์•˜๋˜ ์ƒˆ๋“ค์€
05:23
are represented in the signature across the top.
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๊ผญ๋Œ€๊ธฐ์— ๋ณด์ž…๋‹ˆ๋‹ค.
05:26
There were a lot of them.
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์•„์ฃผ ๋งŽ์ฃ .
05:27
And here's Lincoln Meadow before selective logging.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฑด ๋ง์ปจ ๋ชฉ์ดˆ์ง€์—์„œ ์„ ํƒ์ ์ธ ๋ฒŒ๋ชฉ์„ ํ•˜๊ธฐ ์ „์ž…๋‹ˆ๋‹ค.
05:30
(Nature sounds)
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(์ž์—ฐ์˜ ์†Œ๋ฆฌ)
05:45
Well, a year later I returned,
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1๋…„์ด ์ง€๋‚˜ ์ œ๊ฐ€ ๋‹ค์‹œ ๊ฐ”์„ ๋•Œ
05:47
and using the same protocols
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๊ฐ™์€ ๊ธฐ์ค€์œผ๋กœ
05:49
and recording under the same conditions,
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๊ฐ™์€ ์กฐ๊ฑด์—์„œ ๋…น์Œ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:51
I recorded a number of examples
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๋˜‘๊ฐ™์ด ์ƒˆ๋ฒฝ์˜ ์†Œ๋ฆฌ๋ฅผ
05:54
of the same dawn choruses,
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๋ช‡ ๊ฐœ ๋…น์Œํ–ˆ์–ด์š”.
05:56
and now this is what we've got.
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์ด๊ฒŒ ๊ทธ ๋…น์Œํ•œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
05:58
This is after selective logging.
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์„ ํƒ์ ์ธ ๋ฒŒ๋ชฉ์„ ํ•œ ๋’ค์ฃ .
05:59
You can see that the stream is still represented
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์—ฌ๋Ÿฌ๋ถ„๋„ ๋ณด์‹œ๋‹ค์‹œํ”ผ ๋ƒ‡๋ฌผ์€ ์—ฌ์ „ํžˆ
๋ฐ”๋‹ฅ์—์„œ ์„ธ๋ฒˆ์งธ๋กœ ๋‚˜ํƒ€๋‚˜๊ณ  ์žˆ์ง€๋งŒ
06:02
in the bottom third of the page,
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06:03
but notice what's missing in the top two thirds.
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๊ผญ๋Œ€๊ธฐ 2/3 ์ฏค์—์„œ ๋น ์ง„ ๋ถ€๋ถ„์ด ๋ณด์ด์‹ค ๊ฑฐ์—์š”.
06:08
(Nature sounds)
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(์ž์—ฐ์˜ ์†Œ๋ฆฌ)
06:13
Coming up is the sound of a woodpecker.
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์ข€ ์žˆ๋‹ค๊ฐ€ ๋‚˜์˜ค๋Š” ์†Œ๋ฆฌ๋Š” ๋”ฑ๋”ฐ๊ตฌ๋ฆฌ์ž…๋‹ˆ๋‹ค.
06:23
Well, I've returned to Lincoln Meadow 15 times
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์ €๋Š” ์ง€๋‚œ 25๋…„ ๋™์•ˆ
06:25
in the last 25 years,
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๋ง์ปจ ๋ชฉ์ดˆ์ง€์— 15๋ฒˆ์„ ๊ฐ”๋Š”๋ฐ
06:27
and I can tell you that the biophony,
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์ƒ๋ฌผ์  ์†Œ๋ฆฌ๋Š”
06:30
the density and diversity of that biophony,
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์ƒ๋ฌผ์  ์†Œ๋ฆฌ์˜ ๋ฐ€๋„์™€ ๋‹ค์–‘์„ฑ์€
06:33
has not yet returned to anything like it was
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๋‚˜๋ฌด๋ฅผ ๋ฒ ๊ธฐ ์ „์œผ๋กœ
06:36
before the operation.
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๋Œ์•„๊ฐ€์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค.
06:38
But here's a picture of Lincoln Meadow taken after,
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ํ•˜์ง€๋งŒ ์—ฌ๊ธฐ ๋ง์ปจ ๋ชฉ์ดˆ์ง€์˜ ์‚ฌ์ง„์ด ์žˆ๋Š”๋ฐ
06:41
and you can see that from the perspective of the camera
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์‚ฌ์ง„์œผ๋กœ ๋ด์„œ๋Š”
06:44
or the human eye,
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๋˜๋Š” ์‚ฌ๋žŒ์˜ ๋ˆˆ์œผ๋กœ ๋ด์„œ๋Š”
06:46
hardly a stick or a tree appears to be out of place,
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์–ด๋–ค ๋‚˜๋ฌด ํ† ๋ง‰์ด๋‚˜ ๋‚˜๋ฌด๋„ ์ œ์ž๋ฆฌ๋ฅผ ๋ฒ—์–ด๋‚œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
06:48
which would confirm the logging company's contention
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๊ทธ๊ฒŒ ๋ฒŒ๋ชฉ ํšŒ์‚ฌ์˜ ์˜๋„์˜€์Œ์„ ๋งํ•ด์ค๋‹ˆ๋‹ค.
06:51
that there's nothing of environmental impact.
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ํ™˜๊ฒฝ์— ์•„๋ฌด๋Ÿฐ ์˜ํ–ฅ์„ ๋ฏธ์น˜์ง€ ์•Š๋Š”๋‹ค๋Š” ๊ฑฐ์ฃ .
06:54
However, our ears tell us a very different story.
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ ๊ท€๋Š” ์•„์ฃผ ๋‹ค๋ฅธ ์ด์•ผ๊ธฐ๋ฅผ ๋งํ•ด์ค๋‹ˆ๋‹ค.
07:00
Young students are always asking me
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์–ด๋ฆฐ ํ•™์ƒ๋“ค์€ ๋Š˜ ์ €ํ•œํ…Œ ์ด๋ ‡๊ฒŒ ๋ฌป์ฃ .
07:02
what these animals are saying,
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์ด ๋™๋ฌผ๋“ค์ด ๋ฌด์Šจ ๋ง์„ ํ•˜๊ณ  ์žˆ๋ƒ๊ตฌ์š”.
07:04
and really I've got no idea.
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์ €๋„ ์ •๋ง ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
07:08
But I can tell you that they do express themselves.
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ํ•˜์ง€๋งŒ ๋™๋ฌผ๋“ค์ด ํ‘œํ˜„์„ ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ๊ฒƒ๋งŒ์€ ๋ง์”€๋“œ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:14
Whether or not we understand it is a different story.
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์šฐ๋ฆฌ๊ฐ€ ๊ทธ๊ฒƒ์„ ์ดํ•ดํ•˜๋Š”๊ฐ€๋Š” ๋ณ„๊ฐœ์˜ ๋ฌธ์ œ์ž…๋‹ˆ๋‹ค.
07:17
I was walking along the shore in Alaska,
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์ œ๊ฐ€ ์•Œ๋ž˜์Šค์นด ๋ฐ”๋‹ท๊ฐ€๋ฅผ ๊ฑท๊ณ  ์žˆ์„ ๋•Œ
07:19
and I came across this tide pool
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์šฐ์—ฐํžˆ ๋ง๋ฏธ์ž˜ ๋ฌด๋ฆฌ๊ฐ€ ๊ฐ€๋“ํ•œ
07:21
filled with a colony of sea anemones,
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์กฐ์ˆ˜ ์›…๋ฉ์ด๋ฅผ ๋ณด๊ฒŒ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
07:24
these wonderful eating machines,
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์•„๋ฆ„๋‹ต๊ฒŒ ์ƒ๊ธด ์ด๋“ค ๋จน๋ณด ๊ธฐ๊ณ„๋Š”
07:27
relatives of coral and jellyfish.
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์‚ฐํ˜ธ์™€ ํ•ดํŒŒ๋ฆฌ์˜ ์นœ์ฒ™์ž…๋‹ˆ๋‹ค.
07:29
And curious to see if any of them made any noise,
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๋ง๋ฏธ์ž˜์ด ์–ด๋–ค ์†Œ๋ฆฌ๋ฅผ ๋‚ด๋Š”์ง€ ๊ถ๊ธˆํ•ด์„œ
07:32
I dropped a hydrophone,
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์ˆ˜์ค‘ ์ฒญ์Œ๊ธฐ๋ฅผ ๋„ฃ์–ด๋ดค์Šต๋‹ˆ๋‹ค.
07:33
an underwater microphone covered in rubber,
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๊ณ ๋ฌด๋กœ ๋ฎ์€ ์ˆ˜์ค‘ ๋งˆ์ดํฌ๋ฅผ
07:36
down the mouth part,
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์ฃผ๋‘ฅ์ด ๊ฐ€๊นŒ์ด ๋„ฃ์–ด๋ดค์ฃ .
07:37
and immediately the critter began
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๊ณง๋ฐ”๋กœ ๊ทธ ์ƒ๋ฌผ์€
07:39
to absorb the microphone into its belly,
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๋งˆ์ดํฌ๋ฅผ ๋ฐฐ์†์œผ๋กœ ์ง‘์–ด๋„ฃ๊ณ 
07:41
and the tentacles were searching out of the surface
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์ด‰์ˆ˜๊ฐ€ ํ‘œ๋ฉด์„ ๋”๋“ฌ์œผ๋ฉด์„œ
07:44
for something of nutritional value.
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๋ญ”๊ฐ€ ์˜์–‘๊ฐ€๊ฐ€ ์žˆ๋Š”์ง€ ์ฐพ๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ .
07:46
The static-like sounds that are very low,
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์žก์Œ๊ณผ ๊ฐ™์€ ์†Œ๋ฆฌ๋Š” ์ง€๊ธˆ
07:49
that you're going to hear right now.
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๋“ค์œผ์‹œ๋Š” ๋ฐ”์™€๊ฐ™์ด ์•„์ฃผ ๋‚ฎ์Šต๋‹ˆ๋‹ค.
07:51
(Static sounds)
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(์žก์Œ)
07:55
Yeah, but watch. When it didn't find anything to eat --
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์˜ˆ, ๊ธฐ๋‹ค๋ ค๋ณด์„ธ์š”. ๋จน์„ ๊ฒŒ ์•„๋ฌด๊ฒƒ๋„ ์—†์Œ์„ ๊นจ๋‹ฌ์€ ์ˆœ๊ฐ„
07:58
(Honking sound)
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(ํ‰ ์น˜๋Š” ์†Œ๋ฆฌ)
07:59
(Laughter)
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(์›ƒ์Œ)
08:02
I think that's an expression that can be understood
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์–ด๋–ค ์–ธ์–ด๋กœ๋„ ์ดํ•ดํ•  ์ˆ˜ ์žˆ๋Š”
08:04
in any language.
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ํ‘œํ˜„์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
08:06
(Laughter)
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(์›ƒ์Œ)
08:11
At the end of its breeding cycle,
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๋ฒˆ์‹ ์ฃผ๊ธฐ๊ฐ€ ๋๋‚˜๋ฉด
08:12
the Great Basin Spadefoot toad
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๊ทธ๋ ˆ์ดํŠธ ๋ฒ ์ด์Šจ์— ์žˆ๋Š” ์Ÿ๊ธฐ ๊ฐœ๊ตฌ๋ฆฌ๋Š”
08:15
digs itself down about a meter under
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๋ฏธ๊ตญ ์„œ๋ถ€์˜ ๋”ฑ๋”ฑํ•˜๊ฒŒ ํŽผ์ณ์ง„ ์‚ฌ๋ง‰ ์•„๋ž˜๋กœ
08:17
the hard-panned desert soil of the American West,
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1 ๋ฏธํ„ฐ์ฏค ํŒŒ๊ณ  ๋“ค์–ด๊ฐ€์„œ
08:20
where it can stay for many seasons
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์กฐ๊ฑด์ด ๋งž์•„ ๋‹ค์‹œ ๋•…์œ„๋กœ ์˜ฌ๋ผ์˜ฌ ๋•Œ๊นŒ์ง€
08:22
until conditions are just right for it to emerge again.
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๊ฑฐ๊ธฐ์„œ ์—ฌ๋Ÿฌ ์ฒ ์„ ์ง€๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:25
And when there's enough moisture in the soil
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๋ด„์ด ๋˜์–ด ๋•…์ด ์ด‰์ด‰ํ•ด์ง€๋ฉด
08:27
in the spring, frogs will dig themselves to the surface
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๊ฐœ๊ตฌ๋ฆฌ๋Š” ๋•…์œ„๋กœ ์˜ฌ๋ผ์™€์„œ
08:30
and gather around these large, vernal pools
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๋ด„์ด ๋งŒ๋“ค์–ด๋‚ธ ์•„์ฃผ ์ปค๋‹ค๋ž€ ์›…๋ฉ์ด ๊ทผ์ฒ˜์—
08:34
in great numbers.
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๋–ผ๋กœ ๋ชฐ๋ ค๋“ญ๋‹ˆ๋‹ค.
08:36
And they vocalize in a chorus
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๊ทธ๋ฆฌ๊ณ  ํ•จ๊ป˜ ์šธ์–ด๋Œ€๋Š”๋ฐ
08:40
that's absolutely in sync with one another.
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์„œ๋กœ ์™„๋ฒฝํ•˜๊ฒŒ ์กฐํ™”๋ฅผ ์ด๋ฃจ์ฃ .
08:43
And they do that for two reasons.
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๊ทธ๋ ‡๊ฒŒ ํ•˜๋Š”๋ฐ๋Š” 2๊ฐ€์ง€ ๊นŒ๋‹ญ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:44
The first is competitive, because they're looking for mates,
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์ฒซ ๋ฒˆ์งธ๋Š” ์ง์„ ์ฐพ๊ธฐ ๋•Œ๋ฌธ์— ๊ฒฝ์Ÿ์„ ํ•˜๋Š๋ผ ๊ทธ๋ ‡๊ณ 
08:48
and the second is cooperative,
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๋‘ ๋ฒˆ์งธ๋Š” ํ˜‘๋ ฅํ•˜๊ธฐ ์œ„ํ•ด์„œ์ž…๋‹ˆ๋‹ค.
08:49
because if they're all vocalizing in sync together,
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๊ฐœ๊ตฌ๋ฆฌ๋–ผ๊ฐ€ ํ•œ๊บผ๋ฒˆ์— ์šธ๋ฉด
08:52
it makes it really difficult for predators like coyotes,
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์ฝ”์š”ํ…Œ, ์—ฌ์šฐ, ์˜ฌ๋นผ๋ฏธ์™€ ๊ฐ™์€ ํฌ์‹์ž๋“ค์ด
08:56
foxes and owls to single out any individual for a meal.
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๊ฐœ๊ฐœ์˜ ๊ฐœ๊ตฌ๋ฆฌ๋ฅผ ๋จน์ด๋กœ ์ฐพ์•„๋‚ด๊ธฐ๊ฐ€ ์–ด๋ ต๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
09:00
This is a spectrogram of what the frog chorusing looks like
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์ด๊ฒƒ์€ ๊ฐœ๊ตฌ๋ฆฌ๋–ผ๊ฐ€ ๊ฑด๊ฐ•ํ•œ ์ƒํƒœ๋กœ
09:03
when it's in a very healthy pattern.
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ํ•จ๊ป˜ ์šธ ๋•Œ๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ์Œํ–ฅ ๋ถ„์„์ž…๋‹ˆ๋‹ค.
09:06
(Frogs croaking)
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(๊ฐœ๊ตฌ๋ฆฌ ์šธ์Œ ์†Œ๋ฆฌ)
09:16
Mono Lake is just to the east of Yosemite National Park
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๋ชจ๋…ธ ํ˜ธ์ˆ˜๋Š” ์บ˜๋ฆฌํฌ๋‹ˆ์•„์—์„œ
09:20
in California,
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์š”์„ธ๋ฏธํ‹ฐ ๊ตญ๋ฆฝ๊ณต์› ๋™์ชฝ์— ์žˆ๋Š”๋ฐ
09:21
and it's a favorite habitat of these toads,
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๋‘๊บผ๋น„๋“ค์ด ์ข‹์•„ํ•˜๋Š” ์„œ์‹์ง€์ด๊ณ 
09:24
and it's also favored by U.S. Navy jet pilots,
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๋ฏธ๊ตญ ํ•ด๊ตฐ ์ œํŠธ๊ธฐ ์กฐ์ข…์‚ฌ๋“ค์ด ์ข‹์•„ํ•˜๋Š” ๊ณณ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
09:27
who train in their fighters flying them at speeds
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์กฐ์ข…์‚ฌ๋“ค์ด ์ด๊ณณ์—์„œ ์ œํŠธ๊ธฐ ํ›ˆ๋ จ์„ ํ•˜๋Š”๋ฐ
09:30
exceeding 1,100 kilometers an hour
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1,100km ๊ฐ€ ๋„˜๋Š” ์‹œ์†์œผ๋กœ ๋น„ํ–‰์„ ํ•˜๋ฉฐ,
09:33
and altitudes only a couple hundred meters
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๊ณ ๋„๋Š” ๋ชจ๋…ธ ํ˜ธ์ˆ˜ ์ง€๋ฉด์—์„œ
09:35
above ground level of the Mono Basin,
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๋ถˆ๊ณผ ์ˆ˜๋ฐฑ ๋ฏธํ„ฐ๋ฐ–์— ๋–จ์–ด์ง€์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
09:38
very fast, very low, and so loud
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์•„์ฃผ ๋น ๋ฅด๊ณ , ์•„์ฃผ ๋‚ฎ๊ณ , ์ •๋ง ์‹œ๋„๋Ÿฌ์šด
09:42
that the anthrophony, the human noise,
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์‚ฌ๋žŒ ์†Œ๋ฆฌ, ์‚ฌ๋žŒ์ด ๋‚ด๋Š” ์†Œ์Œ์ด์ฃ .
09:45
even though it's six and a half kilometers
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์—ฌ๋Ÿฌ๋ถ„์ด 1 ์ดˆ ์ „์— ๋“ค์€ ๊ฐœ๊ตฌ๋ฆฌ ์—ฐ๋ชป์—์„œ
6.5 km ๋‚˜ ๋–จ์–ด์ ธ ์žˆ์ง€๋งŒ
09:47
from the frog pond you just heard a second ago,
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09:49
it masked the sound of the chorusing toads.
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๋‘๊บผ๋น„ ์šฐ๋Š” ์†Œ๋ฆฌ๋ฅผ ๋ง‰์•„๋ฒ„๋ฆฝ๋‹ˆ๋‹ค.
09:53
You can see in this spectrogram that all of the energy
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์ด ์Œํ–ฅ ๋ถ„์„์—์„œ ๋ณด์‹œ๋‹ค์‹œํ”ผ
09:56
that was once in the first spectrogram is gone
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์ฒซ๋ฒˆ์งธ ์Œํ–ฅ ๋ถ„์„์—์„œ ๋‚˜ํƒ€๋‚ฌ๋˜ ๋ชจ๋“  ์—๋„ˆ์ง€๊ฐ€
09:59
from the top end of the spectrogram,
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์ œ์ผ ๊ผญ๋Œ€๊ธฐ์—์„œ ์‚ฌ๋ผ์ ธ ๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค.
10:01
and that there's breaks in the chorusing at two and a half,
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์šธ์Œ ์†Œ๋ฆฌ๊ฐ€ 2.5 ์ดˆ์™€
4.5 ์ดˆ, 6.5 ์ดˆ์— ๋ฉˆ์ถ”๊ณ 
10:04
four and a half, and six and a half seconds,
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10:06
and then the sound of the jet, the signature,
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์ œํŠธ๊ธฐ์˜ ๋…ํŠนํ•œ ์†Œ๋ฆฌ๋Š”
10:09
is in yellow at the very bottom of the page.
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๋งจ ์•„๋ž˜์— ๋…ธ๋ž€์ƒ‰์œผ๋กœ ๋ณด์ž…๋‹ˆ๋‹ค.
10:11
(Frogs croaking)
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(๊ฐœ๊ตฌ๋ฆฌ ์šธ์Œ ์†Œ๋ฆฌ)
10:21
Now at the end of that flyby,
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์ด์ œ ์ €๊ณต ๋น„ํ–‰์ด ๋๋‚˜๊ณ 
10:23
it took the frogs fully 45 minutes
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๊ฐœ๊ตฌ๋ฆฌ๋–ผ๊ฐ€ ๋‹ค์‹œ ํ•จ๊ป˜ ์šธ๊ธฐ๊นŒ์ง€
10:27
to regain their chorusing synchronicity,
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๊ผฌ๋ฐ• 45๋ถ„์ด ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
10:29
during which time, and under a full moon,
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๊ทธ ์‹œ๊ฐ„ ๋™์•ˆ, ๋ณด๋ฆ„๋‹ฌ ์•„๋ž˜์„œ
10:32
we watched as two coyotes and a great horned owl
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์šฐ๋ฆฌ๋Š” ์ฝ”์š”ํ…Œ 2๋งˆ๋ฆฌ์™€ ์ˆ˜๋ฆฌ ๋ถ€์—‰์ด 1๋งˆ๋ฆฌ๊ฐ€
10:35
came in to pick off a few of their numbers.
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๊ฐœ๊ตฌ๋ฆฌ ๋ช‡ ๋งˆ๋ฆฌ๋ฅผ ์ฑ„๊ฐ€๋Š” ๊ฒƒ์„ ๋ดค์Šต๋‹ˆ๋‹ค.
10:38
The good news is that, with a little bit of habitat restoration
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์ข‹์€ ์†Œ์‹์€ ์•ฝ๊ฐ„์˜ ์„œ์‹์ง€ ๋ณต์›๊ณผ
10:42
and fewer flights, the frog populations,
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์ ์€ ๋น„ํ–‰ ์—ฐ์Šต์œผ๋กœ
10:44
once diminishing during the 1980s and early '90s,
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1980๋…„๋Œ€์™€ 90๋…„๋Œ€ ์ดˆ๋ฐ˜์— ์‚ฌ๋ผ์ ธ๊ฐ€๋˜ ๊ฐœ๊ตฌ๋ฆฌ ๊ฐœ์ฒด์ˆ˜๊ฐ€
10:48
have pretty much returned to normal.
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๊ฑฐ์˜ ์ •์ƒ์œผ๋กœ ๋Œ์•„์™”์Šต๋‹ˆ๋‹ค.
10:52
I want to end with a story told by a beaver.
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๋น„๋ฒ„ ์ด์•ผ๊ธฐ๋ฅผ ํ•˜๋ฉด์„œ ๋๋‚ด๋„๋ก ํ•˜์ฃ .
10:55
It's a very sad story,
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๋งค์šฐ ์Šฌํ”ˆ ์ด์•ผ๊ธฐ์ด์ง€๋งŒ
10:56
but it really illustrates how animals
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๋•Œ๋กœ๋Š” ๋™๋ฌผ์ด ์–ด๋–ป๊ฒŒ
11:00
can sometimes show emotion,
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๊ฐ์ •์„ ๋“œ๋Ÿฌ๋‚ด๋Š”์ง€ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
11:02
a very controversial subject among some older biologists.
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์ผ๋ถ€ ๋‚˜์ด๋งŽ์€ ์ƒ๋ฌผํ•™์ž๋“ค ์‚ฌ์ด์—์„œ ๋…ผ๋ž€์ด ๋งŽ์€ ์ฃผ์ œ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
11:07
A colleague of mine was recording in the American Midwest
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์ œ ๋™๋ฃŒ๋Š” ๋ฏธ๊ตญ ์ค‘์„œ๋ถ€์—์„œ ๋…น์Œ์„ ํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
11:10
around this pond that had been formed
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๋งˆ์ง€๋ง‰ ๋น™ํ•˜ ์‹œ๋Œ€๊ฐ€ ๋๋‚  ๋ฌด๋ ต ๋งŒ6์ฒœ๋…„ ์ „์— ํ˜•์„ฑ๋œ
11:12
maybe 16,000 years ago at the end of the last ice age.
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์—ฐ๋ชป ๊ทผ์ฒ˜์—์„œ ๋…น์Œ์ค‘์ด์—ˆ์ฃ .
11:16
It was also formed in part by a beaver dam
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๊ทธ๊ณณ์€ ๋ถ€๋ถ„์ ์œผ๋กœ๋Š” ๋น„๋ฒ„๋Œ์œผ๋กœ ํ˜•์„ฑ๋˜์—ˆ๊ณ 
11:18
at one end that held that whole ecosystem together
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ํ•œํŽธ์œผ๋กœ๋Š” ์•„์ฃผ ๋ฏธ๋ฌ˜ํ•˜๊ฒŒ ๊ท ํ˜•์„ ์žก์œผ๋ฉด์„œ
11:21
in a very delicate balance.
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์ „์ฒด ์ƒํƒœ๊ณ„๋ฅผ ๋ฐ›์น˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
11:24
And one afternoon, while he was recording,
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์–ด๋Š ๋‚  ์˜คํ›„ ๊ทธ๊ฐ€ ๋…น์Œ์„ ํ•˜๋Š”๋ฐ
11:28
there suddenly appeared from out of nowhere
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๊ฐ‘์ž๊ธฐ ์–ด๋””์„ ๊ฐ€
11:32
a couple of game wardens,
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์ˆ˜๋ ต ๊ฐ์‹œ๊ด€ ๋ช‡ ๋ช…์ด ๋‚˜ํƒ€๋‚˜๋”๋‹ˆ
11:34
who for no apparent reason,
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๋œฌ๊ธˆ์—†์ด
11:36
walked over to the beaver dam,
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๋น„๋ฒ„๋Œ์œผ๋กœ ๊ฑธ์–ด๊ฐ€
11:37
dropped a stick of dynamite down it, blowing it up,
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๋‹ค์ด๋„ˆ๋งˆ์ดํŠธ๋ฅผ ์•„๋ž˜๋กœ ๋˜์ ธ์„œ ํ„ฐ๋œจ๋ ค
11:41
killing the female and her young babies.
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์•”์ปท๊ณผ ์ƒˆ๋ผ๋“ค์„ ์ฃฝ์—ฌ๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค.
11:45
Horrified, my colleagues remained behind
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๊นœ์ง ๋†€๋ž€ ๋™๋ฃŒ๋Š” ๋’ค์— ๋‚จ์•„์„œ
11:47
to gather his thoughts
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์ •์‹ ์„ ์ฐจ๋ ค
11:50
and to record whatever he could the rest of the afternoon,
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๊ทธ๋ฆฌ๊ณ  ๋‚จ์€ ์˜คํ›„๋‚ด๋‚ด ๋…น์Œํ•  ์ˆ˜ ์žˆ๋Š” ๊ฑธ ๋…น์Œํ–ˆ์Šต๋‹ˆ๋‹ค.
11:53
and that evening, he captured a remarkable event:
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๊ทธ๋‚  ์ €๋… ๊ทธ๋Š” ๋†€๋ผ์šด ์ผ์„ ๊ธฐ๋กํ–ˆ์Šต๋‹ˆ๋‹ค.
11:58
the lone surviving male beaver swimming in slow circles
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ํ™€๋กœ ์‚ด์•„๋‚จ์€ ๋น„๋ฒ„ ์ˆ˜์ปท์ด ์ฒœ์ฒœํžˆ ์›์„ ๊ทธ๋ฆฌ๋ฉฐ ํ—ค์—„์น˜๋ฉด์„œ
12:02
crying out inconsolably for its lost mate and offspring.
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์ฃฝ์€ ์ง๊ณผ ์ƒˆ๋ผ ๋•Œ๋ฌธ์— ์Šฌํ””์„ ๊ฐ€๋ˆ„์ง€ ๋ชปํ•˜๊ณ  ์šฐ๋Š” ๋ชจ์Šต์ด์—ˆ์ฃ .
12:08
This is probably the saddest sound
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ๋“ค์–ด๋ณธ ์ƒ๋ฌผ ์†Œ๋ฆฌ๋‚˜
12:11
I've ever heard coming from any organism,
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์‚ฌ๋žŒ ์†Œ๋ฆฌ, ํ˜น์€ ๋‹ค๋ฅธ ์–ด๋– ํ•œ ์†Œ๋ฆฌ์ค‘
12:14
human or other.
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๊ฐ€์žฅ ์Šฌํ”ˆ ์†Œ๋ฆฌ์ผ ๊ฒ๋‹ˆ๋‹ค.
12:18
(Beaver crying)
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(๋น„๋ฒ„ ์šธ์Œ ์†Œ๋ฆฌ)
12:34
Yeah. Well.
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๋„ค. ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
12:35
There are many facets to soundscapes,
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์†Œ๋ฆฌ์˜ ํ’๊ฒฝ์—๋Š” ์—ฌ๋Ÿฌ ๋ชจ์Šต์ด ์žˆ์Šต๋‹ˆ๋‹ค.
12:38
among them the ways in which animals taught us to dance and sing,
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๊ทธ ๊ฐ€์šด๋ฐ์„œ ๋™๋ฌผ๋“ค์ด ์ถค์ถ”๋Š” ๋ฒ•๊ณผ ๋…ธ๋ž˜ํ•˜๋Š” ๋ฒ•์„ ์šฐ๋ฆฌํ•œํ…Œ ๊ฐ€๋ฅด์ณ์ฃผ๋Š” ๋ถ€๋ถ„์ด ์žˆ๋Š”๋ฐ
12:41
which I'll save for another time.
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๊ทธ๊ฑด ๋‹ค์Œ ๊ธฐํšŒ์— ๋ง์”€๋“œ๋ฆฌ๋„๋ก ํ•˜์ฃ .
12:44
But you have heard how biophonies
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์—ฌ๋Ÿฌ๋ถ„์€ ์šฐ๋ฆฌ๊ฐ€ ์ž์—ฐ ์„ธ๊ณ„๋ฅผ ์ดํ•ดํ•˜๋Š”๋ฐ
12:47
help clarify our understanding of the natural world.
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์ƒ๋ฌผ์  ์†Œ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๋„์›€์„ ์ฃผ๋Š”์ง€ ๋“ค์œผ์…จ์Šต๋‹ˆ๋‹ค.
12:51
You've heard the impact of resource extraction,
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์ž์› ์ฑ„๊ตด, ์‚ฌ๋žŒ์˜ ์†Œ์Œ, ์„œ์‹์ง€ ํŒŒ๊ดด๊ฐ€
12:53
human noise and habitat destruction.
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๋ฏธ์น˜๋Š” ์˜ํ–ฅ์— ๋Œ€ํ•ด ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
12:56
And where environmental sciences have typically
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ํ™˜๊ฒฝ ๊ณผํ•™์€ ์ผ๋ฐ˜์ ์œผ๋กœ
์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ์œผ๋กœ ์„ธ๊ณ„๋ฅผ ์ดํ•ดํ•˜๋ ค๊ณ  ํ•˜์ง€๋งŒ
12:59
tried to understand the world from what we see,
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13:02
a much fuller understanding can be got from what we hear.
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๋”์šฑ ์˜จ์ „ํ•œ ์ดํ•ด๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋“ฃ๋Š” ๊ฒƒ์—์„œ ์–ป์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:06
Biophonies and geophonies are the signature voices
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์ƒ๋ฌผ์  ์†Œ๋ฆฌ์™€ ์ง€๋ฆฌ์  ์†Œ๋ฆฌ๋Š”
13:10
of the natural world,
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์ž์—ฐ ์„ธ๊ณ„์˜ ๋…ํŠนํ•œ ์†Œ๋ฆฌ์ด๊ณ 
13:12
and as we hear them,
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์šฐ๋ฆฌ๊ฐ€ ์ž์—ฐ์˜ ์†Œ๋ฆฌ๋ฅผ ๋“ค์„ ๋•Œ
13:13
we're endowed with a sense of place,
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์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ๊ฐ€ ์‚ด๊ณ  ์žˆ๋Š” ์„ธ์ƒ์˜ ์ง„์งœ ์ด์•ผ๊ธฐ
13:16
the true story of the world we live in.
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์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋Š” ๊ณณ์— ๋Œ€ํ•œ ๋Š๋‚Œ์„
13:19
In a matter of seconds,
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๋ช‡ ์ดˆ ์•ˆ์— ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:21
a soundscape reveals much more information
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์†Œ๋ฆฌ์˜ ํ’๊ฒฝ์€
13:24
from many perspectives,
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์ •๋Ÿ‰ ์ž๋ฃŒ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•ด์„œ ๋ฌธํ™”์ ์ธ ์˜๊ฐ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€
13:26
from quantifiable data to cultural inspiration.
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๋งŽ์€ ๊ด€์ ์—์„œ ํ›จ์”ฌ ๋” ๋งŽ์€ ์ •๋ณด๋ฅผ ๋“œ๋Ÿฌ๋ƒ…๋‹ˆ๋‹ค.
13:30
Visual capture implicitly frames
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์‹œ๊ฐ์ ์ธ ํฌ์ฐฉ์€
13:33
a limited frontal perspective of a given spatial context,
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์ฃผ์–ด์ง„ ๊ณต๊ฐ„์—์„œ ์ •๋ฉด์œผ๋กœ ๋ณด๋Š” ๊ด€์ ์— ์ œํ•œ๋˜์–ด ํ•จ์ถ•์ ์œผ๋กœ ๋ณด์—ฌ์ฃผ์ง€๋งŒ
13:37
while soundscapes widen that scope
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์†Œ๋ฆฌ์˜ ํ’๊ฒฝ์€ ๊ทธ ๋ฒ”์œ„๋ฅผ
13:39
to a full 360 degrees, completely enveloping us.
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360๋„๋กœ ์™„์ „ํžˆ ๋„“ํ˜€์„œ ์šฐ๋ฆฌ๋ฅผ ์˜ค๋กฏ์ด ๊ฐ์‹ธ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
13:45
And while a picture may be worth 1,000 words,
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์‚ฌ์ง„์€ ๋ง ์ฒœ ๋งˆ๋””์˜ ๊ฐ€์น˜๊ฐ€ ์žˆ๋‹ค๊ณ  ํ•˜๋ฉด
13:48
a soundscape is worth 1,000 pictures.
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์†Œ๋ฆฌ์˜ ํ’๊ฒฝ์€ ์‚ฌ์ง„ ์ฒœ ์žฅ์˜ ๊ฐ€์น˜๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
13:53
And our ears tell us
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์šฐ๋ฆฌ์˜ ๊ท€๋Š”
13:55
that the whisper of every leaf and creature
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๋‚˜๋ญ‡์žŽ ํ•˜๋‚˜์™€ ์ƒ๋ฌผ์˜ ์†์‚ญ์ž„์ด
13:59
speaks to the natural sources of our lives,
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์šฐ๋ฆฌ ์‚ถ์˜ ์ž์—ฐ์  ๊ทผ์›์— ํ˜ธ์†Œํ•˜๊ณ  ์žˆ๋‹ค๊ณ  ์–˜๊ธฐํ•ฉ๋‹ˆ๋‹ค.
14:02
which indeed may hold the secrets of love for all things,
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๊ทธ๊ฒƒ์ด์•ผ ๋ง๋กœ ๋ชจ๋“  ์กด์žฌ์— ๋Œ€ํ•œ ์‚ฌ๋ž‘
14:07
especially our own humanity,
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ํŠนํžˆ ์ธ๋ฅ˜ ์Šค์Šค๋กœ์— ๋Œ€ํ•œ ์‚ฌ๋ž‘์˜ ์—ด์‡ ๋ฅผ ์ฅ๊ณ  ์žˆ์„์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
14:09
and the last word goes to a jaguar from the Amazon.
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๊ทธ๋ฆฌ๊ณ  ๋งˆ์ง€๋ง‰์œผ๋กœ ์•„๋งˆ์กด์˜ ์žฌ๊ทœ์–ด ์†Œ๋ฆฌ๋ฅผ ๋“ค๋ ค๋“œ๋ฆฌ๋ฉฐ ๋งˆ์น˜๊ฒ ์Šต๋‹ˆ๋‹ค.
14:15
(Growling)
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(์œผ๋ฅด๋ )
14:29
Thank you for listening.
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๋“ค์–ด์ฃผ์…”์„œ ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค.
14:31
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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