听力原文如下

<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,
   我是个文化老饕。 每天上下班时， 我都会戴着iPod, 听着瓦格纳和莫扎特，
2.pop diva Christina Aguilera, country singer Josh Turner, gangsta rap artist Kirk Franklin, concerti, symphonies and more and more.
   还有流行女星克里斯蒂娜·阿奎莱拉、 乡村歌手乔什·特纳、 非常棒的说唱大师柯克·富兰克林、 协奏曲、交响乐，等等，等等。
3.I'm a voracious reader, a reader who deals with Ian McEwan down to Stephanie Meyer.
   我还是个阅读狂， 从伊恩·麦克伊文到斯蒂芬尼·梅耶。
4.I have read the "Twilight" tetralogy.
   《暮光之城》四部曲我已经全部看完。
5.And one who lives for my home theater, a home theater where I devour DVDs, video-on-demand and a lot of television.
   我也是个家庭影院迷， 我贪婪的观看DVD，视频点播节目， 及许多电视节目。
6.For me, "Law and Order: SVU,"
   我最喜欢的有，“法律与秩序：特殊受害者”、
7.Tine Fey and "30 Rock"
   蒂娜·菲和“摇滚30”、
8.and "Judge Judy" -- "The people are real, the cases are real, the rulings are final."
   还有“朱蒂法官” -- “人物确实，案件确实， 裁决是最终裁决。”
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，你们中有很多人 都有和我一样的热情， 特别是对“朱蒂法官”的热情。 你们多半会抗议 任何想把她从我们身边带走的人。
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，我不太相信你们都有和我一样的核心热情， 那就是对专业现场表演艺术的热情。 

11.performing arts that represent the orchestral repertoire, yes, but jazz as well, modern dance, opera, theater and more and more and more.
   专业现场表演艺术包括所有的管弦乐现场演奏剧目， 也包括爵士乐、现代舞、歌剧、 戏剧，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.
   坦白说， 很多在这个领域工作的人都担心 这一领域正在受到来自科技的威胁 并可能逐渐消失。
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,
   最初我们把互联网看做是 奇妙的新行销手段， 认为它能解决我们所有的问题， 我们现在意识到互联网
14.too effective in that regard.
   在这方面有些过头了。
15.Depending on who you read, an arts organization or an artist, who tries to attract the attention of a potential single ticket buyer,
   根据你所了解的，一个艺术组织， 或一名艺术家，试着吸引 一名潜在的购票者的注意，
16.now competes with between three and 5,000 different marketing messages a typical citizen sees every single day.
   现在需要与 一个典型的市民 每天看到的3到500条 不同的行销信息竞争。
17.We now know in fact that technology is our biggest competitor for leisure time.
   现在我们知道实际上 科技才是我们休闲时间的最大占用者。
18.Five years ago, Gen-X'ers spent 20.7 hours online and TV, the majority on TV.
   五年前， X世代的人花费20.7小时上网和看电视， 主要是看电视。
19.Gen-Y'ers spent even more -- 23.8 hours, the majority online.
   Y世代的人花费更多的时间 -- 23.8小时，主要是上网。
20.And now, a typical university entering student arrives at college already having spent 20,000 hours online and an additional 10,000 hours
   现在，一名典型的 大学新生 在学校 会花费 两万个小时上网 还有一万个小时 

21.playing video games -- a stark reminder that we operate in a cultural context where video games now outsell music and movie recordings combined.
   花在玩视频游戏上， 这提醒我们正处在一个 视频游戏卖的比 音乐和电影制品加起来 还要多的文化环境中。
22.Moreover, we're afraid that technology has altered our very assumptions of cultural consumption.
   而且，我们担心科技 已经改变了我们的文化消费设想。
23.Thanks to the Internet, we believe we can get anything we want whenever we want it, delivered to our own doorstep.
   感谢互联网， 我们相信我们能随时得到想要的东西， 并送货上门。
24.We can shop at three in the morning or eight at night, ordering jeans tailor-made for our unique body-types.
   我们能在凌晨三点或是晚上八点进行购物， 为自己独特的体型订购定制的牛仔裤。
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 --
   对个性化 和定制化的期待 现场表演艺术 -- 需要固定的剧场时间，固定的场所， 去场馆的路途、停车等不便之处 --
26.simply cannot meet.
   无法达到。
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,
   我们都敏锐的意识到： 这在未来意味着什么 当我们让人花一百美元 去买交响乐、歌剧或是芭蕾演出的票
28.when that cultural consumer is used to downloading on the internet 24 hours a day for 99 cents a song or for free?
   当文化消费者习惯与在英特网上 一天二十四小时的 以99美分一首或是免费的下载歌曲时？
29.These are enormous questions for those of us who work in this terrain.
   我们这些工作在这一 领域的人面临着许多难题。
30.But as particular as they feel to us, we know we're not alone.
   但我们有种奇特的感觉， 我们知道我们不是孤独的。 

31.All of us are engaged in a seismic, fundamental realignment of culture and communications, a realignment that is shaking and decimating
   我们一起努力 对文化和沟通 进行翻天覆地的基本的重组， 这种重组动摇和摧毁了
32.the newspaper industry, the magazine industry, the book and publishing industry and more.
   报纸业、杂志业、 图书和出版业等行业。
33.Saddled in the performing arts as we are, by antiquated union agreements that inhibit and often prohibit mechanical reproduction and streaming,
   我们背负着表演艺术，通过陈旧的联盟协议 这协议阻止，常常禁止 机械性的复制和传播，
34.locked into large facilities that were designed to ossify the ideal relationship between artist and audience most appropriate to the 19th century
   我们被困在庞大的设施之中， 这些设施旨在 使艺术家和观众间 的理想关系变得僵化 这在十九世纪有最佳的体现
35.and locked into a business model dependent on high ticket revenues, where we charge exorbitant prices.
   把我们困在了依赖于高票房收入的商业模式中， 在这种模式中我们收取了过高的票价，
36.Many of us shudder in the wake of the collapse of Tower Records and ask ourselves, "Are we next?"
   我们中许多人在“淘儿唱片”倒闭后战栗不已 我们问自己，“我们是下一个么？”
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
   我交谈过的每个现场艺术领域中的人 都对艾德里安娜·里奇的一句话产生共鸣， 她在“共同语言之梦”中写道， “我们身处在一个
38.no language, no laws.
   没有语言、没有法律的国度。
39.Whatever we do together is pure invention.
   无论我们一起做什么都是完全虚构的。
40.The maps they gave us are out of date by years."
   呈现给我们的地图 也已过时多年。” 

41.And for those of you who love the arts, aren't you glad you invited me here to brighten your day?
   对你们中那些爱好艺术的人来说， 有没有为邀请我来这儿，点亮你们的生活，而感到高兴？
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,
   （笑声） （掌声） 现在，与其说我们正处在崩溃的边缘， 我宁愿相信我们在进行基础性的改革，
43.a reformation like the religious Reformation of the 16th century.
   像十六世纪时的宗教改革 那样的重组。
44.The arts reformation, like the religious Reformation, is spurred in part by technology, with indeed, the printing press really leading the charge
   艺术改革，像宗教改革那样， 部分是被科技推动的， 事实上是印刷机引领了
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.
   以富有争议的讨论， 内部的自我怀疑为前提的改革 和过时的商业模型的大型重组。
47.And at heart, both reformations, I think were asking the questions: who's entitled to practice?
   实际上，我想这两种改革 都提出了问题： 谁有资格来进行改革？
48.How are they entitled to practice?
   他们是如何获得资格的？
49.And indeed, do we need anyone to intermediate for us in order to have an experience with a spiritual divine?
   事实上，为了感受到崇高的神 我们需要人 来为我们作为媒介么？
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，我相信你们都知道他， 他是联线杂志的主编和《长尾理论》的作者，
51.really was the first -- for me -- to nail a lot of this.
   对我而言，他确实是第一个专注于此的人。 

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，他写 下了对互联网发明、 网络科技、 迷你摄像头等等的感谢， 这意味着艺术产品
53.have been democratized for the first time in all of human history.
   在人类历史上 第一次变得大众化。
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世纪30年代，如果你们中任何人想拍部电影， 你需要为华纳兄弟公司或是雷电华电影公司工作 因为他们能提供摄影场地
55.and lighting equipment and editing equipment and scoring and more?
   灯光设备、剪辑设备 和配乐设备等？
56.And now who in this room doesn't know a 14 year-old hard at work on her second, third, or fourth movie?
   而现在，这屋里的人不知道的一名14岁的孩子 却在努力制作她第二、第三或者第四部电影了？
57.(Laughter) Similarly, the means of artistic distribution have been democratized for the first time in human history.
   （笑声） 同样地，这意味着艺术的传播 在人类历史上第一次变得大众化。
58.Again, in the '30s, Warner Brothers, RKO did that for you.
   再提一次，在三十年代，华纳兄弟公司或是雷电华电影公司为你们做了这些艺术传播。
59.Now, go to YouTube, Facebook; you have worldwide distribution without leaving the privacy of your own bedroom.
   现在，去YouTube、Facebook； 你可以不用离开 你自己卧室的私密空间就能在世界范围内传播艺术。
60.This double impact is occasioning a massive redefinition of the cultural market, a time when anyone is a potential author.
   这双重影响引起了 文化市场的重大调整， 任何人都是潜在的创作者的时代来临了。
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. 

   坦白说，现在我们这个环境中所见的 是一个剧变的时期， 当整个世界都在变化时， 我们远离了观众人数下降的时期。
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.
   但艺术参与者的数量， 写诗的人、唱歌的人、 演出教堂合唱的人， 正以远超我们想象的速度增加。
63.This group, others have called the "pro ams,"
   这一团体，大家称之为“专业余者”
64.amateur artists doing work at a professional level.
   业余艺术家达到一个专业的水准。
65.You see them on YouTube, in dance competitions, film festivals and more.
   你能在YouTube中看到他们，在舞蹈比赛中， 电影节中，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.
   他们正完全地扩展 我们美学词汇潜力的观念， 而他们在调整和渐渐破坏着 我们传统制度的文化自主性。
67.Ultimately, we now live in a world defined not by consumption, but by participation.
   最后，我们现在生活在 由参与定义， 而不是由消费定义的世界中。
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， 正如宗教改革并没有终结 正式的教堂或是神职， 我相信我们的艺术机构
69.will continue to have importance.
   将继续拥有重要的地位。
70.They currently are the best opportunities for artists to have lives of economic dignity -- not opulence -- of dignity.
   目前这些机构仍然是艺术家们 保障经济上的体面的最好途径， 不是富裕，只是经济上的体面。 

71.And they are the places where artists who deserve and want to work at a certain scale of resources will find a home.
   而在这些地方那些应得的和 需要一定规模资源的艺术家将 找到归宿。
72.But to view them as synonymous with the entirety of the arts community is, by far, too short-sighted.
   但把他们看作 是整个艺术界 则显然太短视了。
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
   而事实上，在我们倾向于把 业余者从专业人员中分离出来时， 近五年到十年来 最令人激动的
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;
   进展就是 专业的复合型艺术家的兴起， 这些专业艺术家， 主要不是在音乐厅或是舞台上表演
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,
   而常常为 女权、人权、 全球变暖问题或AIDS救助等表演， 他们并不是出于经济上的需求，
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.
   而是出于一种内心的信念， 他或她被召唤去做的工作 在传统封闭的艺术环境中 是无法完成的。
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 --
   当今的舞蹈世界不再单纯 由皇家温尼伯芭蕾舞团或加拿大国家芭蕾舞团来界定了， 而是由莉兹·莱尔曼舞蹈交流这样的公司来界定，
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
   这是个跨越好几代的专业舞蹈公司， 其中舞者的年龄从18岁到82岁， 该公司与基因科学家合作 具体描述出DNA链
79.and with nuclear physicists at CERN.
   并与欧洲原子核研究委员会合作。 

80.Today's professional theater community is defined, not only the Shaw and Stratford Festivals, but by the Cornerstone Theater of Los Angeles --
   如今的专业剧院团体 也不是在由肖伯纳和斯特拉特福德节来界定， 而是由洛杉矶基石剧院来界定，
81.a collective of artists that after 9/11, brought together 10 different religious communities -- the Bahia, the Catholic, the Muslim, the Jewish,
   这是一个艺术家的共同体，在9/11之后， 汇集了十个不同宗教信仰的社群 -- 巴哈伊教徒、天主教徒、 穆斯林教徒、犹太人、
82.even the Native American and the gay and lesbian communities of faith, helping them create their own individual plays and one massive play,
   甚至还有美洲原住民 及男女同性恋者， 它帮助他们创造自己独特的戏剧 和一台大型戏剧，
83.where they explored the differences in their faith and found commonality as an important first step toward cross-community healing.
   在其中他们探索了他们信仰的不同 并发现了信仰的共同性 在跨信仰融合上 迈出了重要的第一步。
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，如罗德萨·琼斯， 在女子监狱工作， 帮助女囚犯减轻监禁的痛苦， 而如今的剧作家和导演们与年轻的帮派合作
85.to find alternate channels to violence and more and more and more.
   以找出可改变暴力的渠道 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
   实际上，我想与其说现场表演艺术正走向灭亡， 不如说它正处在一个时代的边缘， 在这个时代中我们变得
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.
   我们强调了很久， 我们对城镇内的经济共同体的健康很重要。 

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,
   绝对重要。 我希望大家知道，每在现场表演艺术的门票上花一美元， 就为地方经济带来五到七美元的额外收入，
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.
   而花在餐馆或停车上的钱， 我们为演出服装在布料店购买布料花的钱 我们为乐器调音雇佣钢琴调音师等等。
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
   但随着我们不断前进，艺术将 对经济越来越重要 特别是对那些我们甚至没有想到的产业， 就像它们曾对iPod
92.and the computer game industries, which few, if any of us come have foreseen 10 to 15 years ago.
   和电脑游戏产业那样极为重要， 少数人，如果我们中有人， 能预测10到15年之后的情形。
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 --
   商业领导将越来越依赖于 情商， 认真倾听， 产生共鸣， 清晰的表达变化，激励他人的能力 --
94.the very capacities that the arts cultivate with every encounter.
   每次相遇这种艺术 都能培养出这些真正的能力。
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
   尤其是当下， 我们都必须面对 只以市场为导向、 泯灭社会良知的谬论。 我们必须利用和宣扬艺术的力量
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,
   来塑造我们个人和国民的特性， 尤其是年轻人的特性， 他们时常屈从于感性的冲击，
97.rather than digested experience.
   而不是从中获取经验。 

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,
   最后，尤其是在当今世界， 我们生活在一个 退步且繁杂的移民法律之下， 在电视真人秀中繁盛的屈辱性的节目，
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,
   并在一个解析的环境中， 其中我们在美国 常不断地日复一日地听到， 在每个火车站，每个公交车站，每个飞机场都能听到，
100."Ladies and gentlemen, please report any suspicious behavior or suspicious individuals to the authorities nearest you,"
   “女士们先生们， 请向距您最近的相关部门 报告任何 可疑行为和可疑人员，”
101.when all of these ways we are encouraged to view our fellow human being with hostility and fear and contempt and suspicion.
   我们被鼓励用所有这些 带着敌意、恐惧、轻视和猜疑的 方式来观察我们周围的人们。
102.The arts, whatever they do, whenever they call us together, invite us to look at our fellow human being with generosity and curiosity.
   不论做什么，不论何时，艺术把我们召集在一起， 艺术让我们用慷慨和好奇的 眼光来看待周围的人。
103.God knows, if we ever needed that capacity in human history, we need it now.
   上帝知道，如果我们在 人类历史上曾需要过这种能力， 那么我们现在也需要它。
104.You know, we're bound together, not, I think by technology, entertainment and design, but by common cause.
   我们紧密的连接在一起， 我想这不是因为技术、娱乐或是设计， 而是一个共同的理由。
105.We work to promote healthy vibrant societies, to ameliorate human suffering, to promote a more thoughtful, substantive, empathic world order.
   我们努力建立一个健康且充满活力的社会， 为了减轻人类的痛苦， 为了促成一个更周到的、 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.
   我向所有为这一目标努力的人们致敬， 并强烈希望你们拥抱并珍视你们所从事的艺术， 无论你们的意图是什么。
107.I promise you the hand of the Doris Duke Charitable Foundation is stretched out in friendship for now and years to come.
   我向你们承诺，从现在至将来 多丽丝?杜克慈善基金会都会伸出友谊之手。
108.And I thank you for your kindness and your patience in listening to me this afternoon.
   十分感谢各位的善良和耐心来听我今天下午的演讲。
109.Thank you, and godspeed.
   谢谢，祝万事如意。/<code>

结束语

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關鍵字: 爵士乐 克里斯蒂娜·阿奎莱拉 听力