聽力原文如下
<code>1.I am a cultural omnivore, one whose daily commute is made possible by attachment to an iPod -- an iPod that contains Wagner and Mozart,
我是個文化老饕。 每天上下班時， 我都會戴著iPod, 聽著瓦格納和莫扎特，
2.pop diva Christina Aguilera, country singer Josh Turner, gangsta rap artist Kirk Franklin, concerti, symphonies and more and more.
還有流行女星克里斯蒂娜·阿奎萊拉、 鄉村歌手喬什·特納、 非常棒的說唱大師柯克·富蘭克林、 協奏曲、交響樂，等等，等等。
3.I'm a voracious reader, a reader who deals with Ian McEwan down to Stephanie Meyer.
我還是個閱讀狂， 從伊恩·麥克伊文到斯蒂芬尼·梅耶。
4.I have read the "Twilight" tetralogy.
《暮光之城》四部曲我已經全部看完。
5.And one who lives for my home theater, a home theater where I devour DVDs, video-on-demand and a lot of television.
我也是個家庭影院迷， 我貪婪的觀看DVD，視頻點播節目， 及許多電視節目。
6.For me, "Law and Order: SVU,"
我最喜歡的有，“法律與秩序：特殊受害者”、
7.Tine Fey and "30 Rock"
蒂娜·菲和“搖滾30”、
8.and "Judge Judy" -- "The people are real, the cases are real, the rulings are final."
還有“朱蒂法官” -- “人物確實，案件確實， 裁決是最終裁決。”
9.Now, I'm convinced a lot of you probably share my passions, especially my passion for Judge Judy, and you'd fight anybody who attempted to take her away from us,
我相信，你們中有很多人 都有和我一樣的熱情， 特別是對“朱蒂法官”的熱情。 你們多半會抗議 任何想把她從我們身邊帶走的人。
10.but I'm a little less convinced that you share the central passion of my life, a passion for the live professional performing arts,
但是，我不太相信你們都有和我一樣的核心熱情， 那就是對專業現場表演藝術的熱情。
11.performing arts that represent the orchestral repertoire, yes, but jazz as well, modern dance, opera, theater and more and more and more.
專業現場表演藝術包括所有的管絃樂現場演奏劇目， 也包括爵士樂、現代舞、歌劇、 戲劇，等等，等等。
12.You know, frankly it's a sector that many of us who work in the field worry is being endangered and possibly dismantled by technology.
坦白說， 很多在這個領域工作的人都擔心 這一領域正在受到來自科技的威脅 並可能逐漸消失。
13.While we initially heralded the Internet as the fantastic new marketing device that was going to solve all our problems, we now realize that the Internet is, if anything,
最初我們把互聯網看做是 奇妙的新行銷手段， 認為它能解決我們所有的問題， 我們現在意識到互聯網
14.too effective in that regard.
在這方面有些過頭了。
15.Depending on who you read, an arts organization or an artist, who tries to attract the attention of a potential single ticket buyer,
根據你所瞭解的，一個藝術組織， 或一名藝術家，試著吸引 一名潛在的購票者的注意，
16.now competes with between three and 5,000 different marketing messages a typical citizen sees every single day.
現在需要與 一個典型的市民 每天看到的3到500條 不同的行銷信息競爭。
17.We now know in fact that technology is our biggest competitor for leisure time.
現在我們知道實際上 科技才是我們休閒時間的最大佔用者。
18.Five years ago, Gen-X'ers spent 20.7 hours online and TV, the majority on TV.
五年前， X世代的人花費20.7小時上網和看電視， 主要是看電視。
19.Gen-Y'ers spent even more -- 23.8 hours, the majority online.
Y世代的人花費更多的時間 -- 23.8小時，主要是上網。
20.And now, a typical university entering student arrives at college already having spent 20,000 hours online and an additional 10,000 hours
現在，一名典型的 大學新生 在學校 會花費 兩萬個小時上網 還有一萬個小時
21.playing video games -- a stark reminder that we operate in a cultural context where video games now outsell music and movie recordings combined.
花在玩視頻遊戲上， 這提醒我們正處在一個 視頻遊戲賣的比 音樂和電影製品加起來 還要多的文化環境中。
22.Moreover, we're afraid that technology has altered our very assumptions of cultural consumption.
而且，我們擔心科技 已經改變了我們的文化消費設想。
23.Thanks to the Internet, we believe we can get anything we want whenever we want it, delivered to our own doorstep.
感謝互聯網， 我們相信我們能隨時得到想要的東西， 並送貨上門。
24.We can shop at three in the morning or eight at night, ordering jeans tailor-made for our unique body-types.
我們能在凌晨三點或是晚上八點進行購物， 為自己獨特的體型訂購定製的牛仔褲。
25.Expectations of personalization and customization that the live performing arts -- which have set curtain times, set venues, attendant inconveniences of travel, parking and the like --
對個性化 和定製化的期待 現場表演藝術 -- 需要固定的劇場時間，固定的場所， 去場館的路途、停車等不便之處 --
26.simply cannot meet.
無法達到。
27.And we're all acutely aware: what's it going to mean in the future when we ask someone to pay a hundred dollars for a symphony, opera or ballet ticket,
我們都敏銳的意識到： 這在未來意味著什麼 當我們讓人花一百美元 去買交響樂、歌劇或是芭蕾演出的票
28.when that cultural consumer is used to downloading on the internet 24 hours a day for 99 cents a song or for free?
當文化消費者習慣與在英特網上 一天二十四小時的 以99美分一首或是免費的下載歌曲時？
29.These are enormous questions for those of us who work in this terrain.
我們這些工作在這一 領域的人面臨著許多難題。
30.But as particular as they feel to us, we know we're not alone.
但我們有種奇特的感覺， 我們知道我們不是孤獨的。
31.All of us are engaged in a seismic, fundamental realignment of culture and communications, a realignment that is shaking and decimating
我們一起努力 對文化和溝通 進行翻天覆地的基本的重組， 這種重組動搖和摧毀了
32.the newspaper industry, the magazine industry, the book and publishing industry and more.
報紙業、雜誌業、 圖書和出版業等行業。
33.Saddled in the performing arts as we are, by antiquated union agreements that inhibit and often prohibit mechanical reproduction and streaming,
我們揹負著表演藝術，通過陳舊的聯盟協議 這協議阻止，常常禁止 機械性的複製和傳播，
34.locked into large facilities that were designed to ossify the ideal relationship between artist and audience most appropriate to the 19th century
我們被困在龐大的設施之中， 這些設施旨在 使藝術家和觀眾間 的理想關係變得僵化 這在十九世紀有最佳的體現
35.and locked into a business model dependent on high ticket revenues, where we charge exorbitant prices.
把我們困在了依賴於高票房收入的商業模式中， 在這種模式中我們收取了過高的票價，
36.Many of us shudder in the wake of the collapse of Tower Records and ask ourselves, "Are we next?"
我們中許多人在“淘兒唱片”倒閉後戰慄不已 我們問自己，“我們是下一個麼？”
37.Everyone I talk to in performing arts resonates to the words of Adrienne Rich, who, in "Dreams of a Common Language," wrote, "We are out in a country that has
我交談過的每個現場藝術領域中的人 都對艾德里安娜·裡奇的一句話產生共鳴， 她在“共同語言之夢”中寫道， “我們身處在一個
38.no language, no laws.
沒有語言、沒有法律的國度。
39.Whatever we do together is pure invention.
無論我們一起做什麼都是完全虛構的。
40.The maps they gave us are out of date by years."
呈現給我們的地圖 也已過時多年。”
41.And for those of you who love the arts, aren't you glad you invited me here to brighten your day?
對你們中那些愛好藝術的人來說， 有沒有為邀請我來這兒，點亮你們的生活，而感到高興？
42.(Laughter) (Applause) Now, rather than saying that we're on the brink of our own annihilation, I prefer to believe that we are engaged in a fundamental reformation,
（笑聲） （掌聲） 現在，與其說我們正處在崩潰的邊緣， 我寧願相信我們在進行基礎性的改革，
43.a reformation like the religious Reformation of the 16th century.
像十六世紀時的宗教改革 那樣的重組。
44.The arts reformation, like the religious Reformation, is spurred in part by technology, with indeed, the printing press really leading the charge
藝術改革，像宗教改革那樣， 部分是被科技推動的， 事實上是印刷機引領了
45.on the religious Reformation.
宗教革命。
46.Both reformations were predicated on fractious discussion, internal self-doubt and massive realignment of antiquated business models.
以富有爭議的討論， 內部的自我懷疑為前提的改革 和過時的商業模型的大型重組。
47.And at heart, both reformations, I think were asking the questions: who's entitled to practice?
實際上，我想這兩種改革 都提出了問題： 誰有資格來進行改革？
48.How are they entitled to practice?
他們是如何獲得資格的？
49.And indeed, do we need anyone to intermediate for us in order to have an experience with a spiritual divine?
事實上，為了感受到崇高的神 我們需要人 來為我們作為媒介麼？
50.Chris Anderson, someone I trust you all know, editor-in-chief of Wired magazine and author of "The Long Tail,"
克里斯·安德森，我相信你們都知道他， 他是聯線雜誌的主編和《長尾理論》的作者，
51.really was the first -- for me -- to nail a lot of this.
對我而言，他確實是第一個專注於此的人。
52.He wrote a long time ago, you know, thanks to the invention of the Internet, web technology, mini-cams and more, the means of artistic production
在很久之前，你知道，他寫 下了對互聯網發明、 網絡科技、 迷你攝像頭等等的感謝， 這意味著藝術產品
53.have been democratized for the first time in all of human history.
在人類歷史上 第一次變得大眾化。
54.In the 1930s, if any of you wanted to make a movie, you had to work for Warner Brothers or RKO because who could afford a movie set
在20世紀30年代，如果你們中任何人想拍部電影， 你需要為華納兄弟公司或是雷電華電影公司工作 因為他們能提供攝影場地
55.and lighting equipment and editing equipment and scoring and more?
燈光設備、剪輯設備 和配樂設備等？
56.And now who in this room doesn't know a 14 year-old hard at work on her second, third, or fourth movie?
而現在，這屋裡的人不知道的一名14歲的孩子 卻在努力製作她第二、第三或者第四部電影了？
57.(Laughter) Similarly, the means of artistic distribution have been democratized for the first time in human history.
（笑聲） 同樣地，這意味著藝術的傳播 在人類歷史上第一次變得大眾化。
58.Again, in the '30s, Warner Brothers, RKO did that for you.
再提一次，在三十年代，華納兄弟公司或是雷電華電影公司為你們做了這些藝術傳播。
59.Now, go to YouTube, Facebook; you have worldwide distribution without leaving the privacy of your own bedroom.
現在，去YouTube、Facebook； 你可以不用離開 你自己臥室的私密空間就能在世界範圍內傳播藝術。
60.This double impact is occasioning a massive redefinition of the cultural market, a time when anyone is a potential author.
這雙重影響引起了 文化市場的重大調整， 任何人都是潛在的創作者的時代來臨了。
61.Frankly, what we're seeing now in this environment is a massive time, when the entire world is changing as we move from a time when audience numbers are plummeting.
坦白說，現在我們這個環境中所見的 是一個劇變的時期， 當整個世界都在變化時， 我們遠離了觀眾人數下降的時期。
62.But the number of arts participants, people who write poetry, who sing songs, who perform in church choirs, is exploding beyond our wildest imaginations.
但藝術參與者的數量， 寫詩的人、唱歌的人、 演出教堂合唱的人， 正以遠超我們想象的速度增加。
63.This group, others have called the "pro ams,"
這一團體，大家稱之為“專業餘者”
64.amateur artists doing work at a professional level.
業餘藝術家達到一個專業的水準。
65.You see them on YouTube, in dance competitions, film festivals and more.
你能在YouTube中看到他們，在舞蹈比賽中， 電影節中，等等。
66.They are radically expanding our notions of the potential of an aesthetic vocabulary, while they are challenging and undermining the cultural autonomy of our traditional institutions.
他們正完全地擴展 我們美學詞彙潛力的觀念， 而他們在調整和漸漸破壞著 我們傳統制度的文化自主性。
67.Ultimately, we now live in a world defined not by consumption, but by participation.
最後，我們現在生活在 由參與定義， 而不是由消費定義的世界中。
68.But I want to be clear, just as the religious Reformation did not spell the end to the formal Church or to the priesthood; I believe that our artistic institutions
但我想弄清楚， 正如宗教改革並沒有終結 正式的教堂或是神職， 我相信我們的藝術機構
69.will continue to have importance.
將繼續擁有重要的地位。
70.They currently are the best opportunities for artists to have lives of economic dignity -- not opulence -- of dignity.
目前這些機構仍然是藝術家們 保障經濟上的體面的最好途徑， 不是富裕，只是經濟上的體面。
71.And they are the places where artists who deserve and want to work at a certain scale of resources will find a home.
而在這些地方那些應得的和 需要一定規模資源的藝術家將 找到歸宿。
72.But to view them as synonymous with the entirety of the arts community is, by far, too short-sighted.
但把他們看作 是整個藝術界 則顯然太短視了。
73.And indeed, while we've tended to polarize the amateur from the professional, the single most exciting development in the last five to 10 years
而事實上，在我們傾向於把 業餘者從專業人員中分離出來時， 近五年到十年來 最令人激動的
74.has been the rise of the professional hybrid artist, the professional artist who works, not primarily in the concert hall or on the stage;
進展就是 專業的複合型藝術家的興起， 這些專業藝術家， 主要不是在音樂廳或是舞臺上表演
75.but most frequently around women's rights, or human rights, or on global warming issues or AIDS relief for more -- not out of economic necessity,
而常常為 女權、人權、 全球變暖問題或AIDS救助等表演， 他們並不是出於經濟上的需求，
76.but out of a deep, organic conviction that the work that she or he, is called to do cannot be accomplished in the traditional hermetic arts environment.
而是出於一種內心的信念， 他或她被召喚去做的工作 在傳統封閉的藝術環境中 是無法完成的。
77.Today's dance world is not defined solely by the Royal Winnipeg Ballet or the National Ballet of Canada, but by Liz Lerman's Dance Exchange --
當今的舞蹈世界不再單純 由皇家溫尼伯芭蕾舞團或加拿大國家芭蕾舞團來界定了， 而是由莉茲·萊爾曼舞蹈交流這樣的公司來界定，
78.a multi-generational, professional dance company, whose dancers range in age from 18 to 82, and who work with genomic scientists to embody the DNA strand
這是個跨越好幾代的專業舞蹈公司， 其中舞者的年齡從18歲到82歲， 該公司與基因科學家合作 具體描述出DNA鏈
79.and with nuclear physicists at CERN.
並與歐洲原子核研究委員會合作。
80.Today's professional theater community is defined, not only the Shaw and Stratford Festivals, but by the Cornerstone Theater of Los Angeles --
如今的專業劇院團體 也不是在由肖伯納和斯特拉特福德節來界定， 而是由洛杉磯基石劇院來界定，
81.a collective of artists that after 9/11, brought together 10 different religious communities -- the Bahia, the Catholic, the Muslim, the Jewish,
這是一個藝術家的共同體，在9/11之後， 彙集了十個不同宗教信仰的社群 -- 巴哈伊教徒、天主教徒、 穆斯林教徒、猶太人、
82.even the Native American and the gay and lesbian communities of faith, helping them create their own individual plays and one massive play,
甚至還有美洲原住民 及男女同性戀者， 它幫助他們創造自己獨特的戲劇 和一臺大型戲劇，
83.where they explored the differences in their faith and found commonality as an important first step toward cross-community healing.
在其中他們探索了他們信仰的不同 並發現了信仰的共同性 在跨信仰融合上 邁出了重要的第一步。
84.Today's performers, like Rhodessa Jones, work in women's prisons, helping women prisoners articulate the pain of incarceration, while today's playwrights and directors work with youth gangs
如今的表演者，如羅德薩·瓊斯， 在女子監獄工作， 幫助女囚犯減輕監禁的痛苦， 而如今的劇作家和導演們與年輕的幫派合作
85.to find alternate channels to violence and more and more and more.
以找出可改變暴力的渠道 等等等等。
86.And indeed, I think, rather than being annihilated, the performing arts are posed on the brink of a time when we will be more important
實際上，我想與其說現場表演藝術正走向滅亡， 不如說它正處在一個時代的邊緣， 在這個時代中我們變得
87.than we have ever been.
前所未有的重要。
88.You know, we've said for a long time, we are critical to the health of the economic communities in your town.
我們強調了很久， 我們對城鎮內的經濟共同體的健康很重要。
89.And absolutely -- I hope you know that every dollar spent on a performing arts ticket in a community generates five to seven additional dollars for the local economy,
絕對重要。 我希望大家知道，每在現場表演藝術的門票上花一美元， 就為地方經濟帶來五到七美元的額外收入，
90.dollars spent in restaurants or on parking, at the fabric stores where we buy fabric for costumes, the piano tuner who tunes the instruments and more.
而花在餐館或停車上的錢， 我們為演出服裝在布料店購買布料花的錢 我們為樂器調音僱傭鋼琴調音師等等。
91.But the arts are going to be more important to economies as we go forward, especially in industries we can't even imagine yet, just as they have been central to the iPod
但隨著我們不斷前進，藝術將 對經濟越來越重要 特別是對那些我們甚至沒有想到的產業， 就像它們曾對iPod
92.and the computer game industries, which few, if any of us come have foreseen 10 to 15 years ago.
和電腦遊戲產業那樣極為重要， 少數人，如果我們中有人， 能預測10到15年之後的情形。
93.Business leadership will depend more and more on emotional intelligence, the ability to listen deeply, to have empathy, to articulate change, to motivate others --
商業領導將越來越依賴於 情商， 認真傾聽， 產生共鳴， 清晰的表達變化，激勵他人的能力 --
94.the very capacities that the arts cultivate with every encounter.
每次相遇這種藝術 都能培養出這些真正的能力。
95.Especially now, as we all must confront the fallacy of a market-only orientation, uninformed by social conscience; we must seize and celebrate the power of the arts
尤其是當下， 我們都必須面對 只以市場為導向、 泯滅社會良知的謬論。 我們必須利用和宣揚藝術的力量
96.to shape our individual and national characters, and especially characters of the young people, who all too often, are subjected to bombardment of sensation,
來塑造我們個人和國民的特性， 尤其是年輕人的特性， 他們時常屈從於感性的衝擊，
97.rather than digested experience.
而不是從中獲取經驗。
98.Ultimately, especially now in this world, where we live in a context of regressive and onerous immigration laws, in reality TV that thrives on humiliation,
最後，尤其是在當今世界， 我們生活在一個 退步且繁雜的移民法律之下， 在電視真人秀中繁盛的屈辱性的節目，
99.and in a context of analysis, where the thing we hear most repeatedly, day-in, day-out in the United States, in every train station, every bus station, every plane station is,
並在一個解析的環境中， 其中我們在美國 常不斷地日復一日地聽到， 在每個火車站，每個公交車站，每個飛機場都能聽到，
100."Ladies and gentlemen, please report any suspicious behavior or suspicious individuals to the authorities nearest you,"
“女士們先生們， 請向距您最近的相關部門 報告任何 可疑行為和可疑人員，”
101.when all of these ways we are encouraged to view our fellow human being with hostility and fear and contempt and suspicion.
我們被鼓勵用所有這些 帶著敵意、恐懼、輕視和猜疑的 方式來觀察我們周圍的人們。
102.The arts, whatever they do, whenever they call us together, invite us to look at our fellow human being with generosity and curiosity.
不論做什麼，不論何時，藝術把我們召集在一起， 藝術讓我們用慷慨和好奇的 眼光來看待周圍的人。
103.God knows, if we ever needed that capacity in human history, we need it now.
上帝知道，如果我們在 人類歷史上曾需要過這種能力， 那麼我們現在也需要它。
104.You know, we're bound together, not, I think by technology, entertainment and design, but by common cause.
我們緊密的連接在一起， 我想這不是因為技術、娛樂或是設計， 而是一個共同的理由。
105.We work to promote healthy vibrant societies, to ameliorate human suffering, to promote a more thoughtful, substantive, empathic world order.
我們努力建立一個健康且充滿活力的社會， 為了減輕人類的痛苦， 為了促成一個更周到的、 更持久的、更多感情投入的世界秩序。
106.I salute all of you as activists in that quest and urge you to embrace and hold dear the arts in your work, whatever your purpose may be.
我向所有為這一目標努力的人們致敬， 並強烈希望你們擁抱並珍視你們所從事的藝術， 無論你們的意圖是什麼。
107.I promise you the hand of the Doris Duke Charitable Foundation is stretched out in friendship for now and years to come.
我向你們承諾，從現在至將來 多麗絲?杜克慈善基金會都會伸出友誼之手。
108.And I thank you for your kindness and your patience in listening to me this afternoon.
十分感謝各位的善良和耐心來聽我今天下午的演講。
109.Thank you, and godspeed.
謝謝，祝萬事如意。/<code>
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