TED Talks - آموزش زبان

🔴Embrace the near win #Art #Failure #Motivation 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

♦️اگه دوست داری درباره انواع پارافریز کردن در رایتینگ و اسپیکینگ بیشتر بدونی این مطلب رو حتما بخون👇👇 http://bit.ly/engparaphrasing Join ➣ @BestIELTS www.bestielts.ir

🔴This Is What Will Happen When The World Runs Out Of Oil #TEDx #Disaster_Relief #Energy #Environment #Oceans #Oil #Pollution 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

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♦️دانلود کتاب معروف Collocations 1000 جهت تقویت و بالابردن نمره بخش واژگان در آزمون آیلتس از طریق لینک مستقیم👇👇 http://bit.ly/1000collocation Join ➣ @BestIELTS www.bestielts.ir

♦️اگه دوست داری درباره انواع پارافریز کردن در رایتینگ و اسپیکینگ بیشتر بدونی این مطلب رو حتما بخون👇👇 http://bit.ly/engparaphrasing Join ➣ @BestIELTS www.bestielts.ir

🔴Why we love, why we cheat? #Cognitive_Science #Culture #Evolution #Gender #Love #Psychology #Relationships #Science 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

🔴یه پست خوب در خصوص اسپیکینگ👇👇 https://www.instagram.com/p/CLUfY8XluVB/?igshid=slqjqv3x06b0

🔴اگه دنبال شیوه های یادگیری لغات جدید هستی به این لینک حتما سر بزن👇👇 http://bit.ly/3b3WyyN Join ➣ @BestIELTSHub www.bestielts.ir

🔴Why should you listen to Vivaldi's Four Seasons? Light, bright, and cheerful. It's some of the most familiar of all early 18th century music. It's been featured in uncounted films and television commercials, but what is it and why does it sound that way? This is the opening of "Spring" from "The Four Seasons," by Italian composer Antonio Vivaldi. "The Four Seasons" are famous in part because they are a delight to the ear. However, even more notable is the fact that they have stories to tell. At the time of their publication in Amsterdam in 1725, they were accompanied by poems describing exactly what feature of that season Vivaldi intended to capture in musical terms. In providing specific plot content for instrumental music, Vivaldi was generations ahead of his time. If one were to read the poems simultaneously to hearing the music, one would find the poetic scenes synchronizing nicely with the musical imagery. We are told that the birds welcome spring with happy song, and here they are doing exactly that. Soon, however, a thunderstorm breaks out. Not only is there musical thunder and lightning, there are also more birds, wet, frightened, and unhappy. In "Summer," the turtle dove sings her name "tortorella" in Italian, before a hail storm flattens the fields. "Autumn" brings eager hunters dashing out in pursuit of their prey. The "Winter" concerto begins with teeth chattering in the cold before one takes refuge by a crackling fire. Then it's back out into the storm where there'll be slips and falls on the ice. In these first weeks of winter, the old year is coming to a close, and so does Vivaldi's musical exploration of the seasons. Not until the early 19th century would such expressive instrumental program music, as it was known, become popular. By then, larger, more varied ensembles were the rule with woodwinds, brass, and percussion to help tell the tale. But Vivaldi pulled it off with just one violin, strings, and a harpsichord. Unlike his contemporary Bach, Vivaldi wasn't much interested in complicated fugues. He preferred to offer readily accessible entertainment to his listeners with melodies that pop back up later in a piece to remind us of where we've been. So the first movement of the "Spring" concerto begins with a theme for spring and ends with it, too, slightly varied from when it was last heard. It was an inspired way to attract listeners, and Vivaldi, considered one of the most electrifying violinists of the early 18th century, understood the value of attracting audiences. Such concerts might feature himself as the star violinist. Others presented the young musicians of the Pietà, a Venetian girls' school where Vivaldi was Director of Music. Most of the students were orphans. Music training was intended not only as social skills suitable for young ladies but also as potential careers for those who might fail to make good marriages. Even in the composer's own time, Vivaldi's music served as diversion for all, not just for the wealthy aristocrats. 300 years later, it's an approach that still works, and Vivaldi's music still sounds like trotting horses on the move. #TED_Ed #Music #History #Brain #Animation #World_Cultures #Culture 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

🔴Why should you listen to Vivaldi's Four Seasons? #TED_Ed #Music #History #Brain #Animation #World_Cultures #Culture 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

🔴How cryptocurrency can help start-ups get investment capital? #TED_Residency #Business #Entrepreneur #Innovation #Investment #Finance #Cryptocurrency #Blockchain #Technology #Future 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

📚یه مقاله جامع و کامل در خصوص شیوه های یادگیری زبان برای علاقه مندان👇👇 http://bit.ly/English_LearningNow Join ➣ @BestIELTS ☜عضويت www.bestielts.ir

🔴Who Decides What Art Means? Imagine you and a friend are strolling through an art exhibit and a striking painting catches your eye. The vibrant red appears to you as a symbol of love, but your friend is convinced it's a symbol of war. And where you see stars in a romantic sky, your friend interprets global warming-inducing pollutants. To settle the debate, you turn to the internet, where you read that the painting is a replica of the artist's first-grade art project: Red was her favorite color and the silver dots are fairies. You now know the exact intentions that led to the creation of this work. Are you wrong to have enjoyed it as something the artist didn’t intend? Do you enjoy it less now that you know the truth? Just how much should the artist's intention affect your interpretation of the painting? It's a question that's been tossed around by philosophers and art critics for decades, with no consensus in sight. In the mid-20th century, literary critic W.K. Wimsatt and philosopher Monroe Beardsley argued that artistic intention was irrelevant. They called this the Intentional Fallacy: the belief that valuing an artist's intentions was misguided. Their argument was twofold: First, the artists we study are no longer living, never recorded their intentions, or are simply unavailable to answer questions about their work. Second, even if there were a bounty of relevant information, Wimsatt and Beardsley believed it would distract us from the qualities of the work itself. They compared art to a dessert: When you taste a pudding, the chef's intentions don't affect whether you enjoy its flavor or texture. All that matters, they said, is that the pudding "works." Of course, what "works" for one person might not "work" for another. And since different interpretations appeal to different people, the silver dots in our painting could be reasonably interpreted as fairies, stars, or pollutants. By Wimsatt and Beardsley's logic, the artist's interpretation of her own work would just be one among many equally acceptable possibilities. If you find this problematic, you might be more in line with Steven Knapp and Walter Benn Michaels, two literary theorists who rejected the Intentional Fallacy. They argued that an artist's intended meaning was not just one possible interpretation, but the only possible interpretation. For example, suppose you're walking along a beach and come across a series of marks in the sand that spell out a verse of poetry. Knapp and Michaels believed the poem would lose all meaning if you discovered these marks were not the work of a human being, but an odd coincidence produced by the waves. They believed an intentional creator is what makes the poem subject to understanding at all. Other thinkers advocate for a middle ground, suggesting that intention is just one piece in a larger puzzle. Contemporary philosopher Noel Carroll took this stance, arguing that an artist's intentions are relevant to their audience the same way a speaker's intentions are relevant to the person they’re engaging in conversation. To understand how intentions function in conversation, Carroll said to imagine someone holding a cigarette and asking for a match. You respond by handing them a lighter, gathering that their motivation is to light their cigarette. The words they used to ask the question are important, but the intentions behind the question dictate your understanding and ultimately, your response. So which end of this spectrum do you lean towards? Do you, like Wimsatt and Beardsley, believe that when it comes to art, the proof should be in the pudding? Or do you think that an artist's plans and motivations for their work affect its meaning? Artistic interpretation is a complex web that will probably never offer a definitive answer. #TED_Ed #Art #History #Culture #Arts #Painting #World_Cultures 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning☜

🔴Who Decides What Art Means? #TED_Ed #Art #History #Culture #Arts #Painting #World_Cultures 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

🔴Who Decides What Art Means? Imagine you and a friend are strolling through an art exhibit and a striking painting catches your eye. The vibrant red appears to you as a symbol of love, but your friend is convinced it's a symbol of war. And where you see stars in a romantic sky, your friend interprets global warming-inducing pollutants. To settle the debate, you turn to the internet, where you read that the painting is a replica of the artist's first-grade art project: Red was her favorite color and the silver dots are fairies. You now know the exact intentions that led to the creation of this work. Are you wrong to have enjoyed it as something the artist didn’t intend? Do you enjoy it less now that you know the truth? Just how much should the artist's intention affect your interpretation of the painting? It's a question that's been tossed around by philosophers and art critics for decades, with no consensus in sight. In the mid-20th century, literary critic W.K. Wimsatt and philosopher Monroe Beardsley argued that artistic intention was irrelevant. They called this the Intentional Fallacy: the belief that valuing an artist's intentions was misguided. Their argument was twofold: First, the artists we study are no longer living, never recorded their intentions, or are simply unavailable to answer questions about their work. Second, even if there were a bounty of relevant information, Wimsatt and Beardsley believed it would distract us from the qualities of the work itself. They compared art to a dessert: When you taste a pudding, the chef's intentions don't affect whether you enjoy its flavor or texture. All that matters, they said, is that the pudding "works." Of course, what "works" for one person might not "work" for another. And since different interpretations appeal to different people, the silver dots in our painting could be reasonably interpreted as fairies, stars, or pollutants. By Wimsatt and Beardsley's logic, the artist's interpretation of her own work would just be one among many equally acceptable possibilities. If you find this problematic, you might be more in line with Steven Knapp and Walter Benn Michaels, two literary theorists who rejected the Intentional Fallacy. They argued that an artist's intended meaning was not just one possible interpretation, but the only possible interpretation. For example, suppose you're walking along a beach and come across a series of marks in the sand that spell out a verse of poetry. Knapp and Michaels believed the poem would lose all meaning if you discovered these marks were not the work of a human being, but an odd coincidence produced by the waves. They believed an intentional creator is what makes the poem subject to understanding at all. Other thinkers advocate for a middle ground, suggesting that intention is just one piece in a larger puzzle. Contemporary philosopher Noel Carroll took this stance, arguing that an artist's intentions are relevant to their audience the same way a speaker's intentions are relevant to the person they’re engaging in conversation. To understand how intentions function in conversation, Carroll said to imagine someone holding a cigarette and asking for a match. You respond by handing them a lighter, gathering that their motivation is to light their cigarette. The words they used to ask the question are important, but the intentions behind the question dictate your understanding and ultimately, your response. So which end of this spectrum do you lean towards? Do you, like Wimsatt and Beardsley, believe that when it comes to art, the proof should be in the pudding? Or do you think that an artist's plans and motivations for their work affect its meaning? Artistic interpretation is a complex web that will probably never offer a definitive answer. #TED_Ed #Art #History #Culture #Arts #Painting #World_Cultures 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning

🔴How a green economy could work for you? #Environment #Climate_Change #TEDx #Economics #Society #Policy 🎙Join ➣ @TEDTalksLearning ☜ 🎙Join ➣ @TEDTalksLearning ☜

🔴🔴برگزارى كلاس هاى انلاين ويژه مهارت اسپيكينگ، ارتقاء نمره 6.5 به 7 🔔مشاهده نمرات زبان آموزان از اینجا جهت اطلاع از شرايط ثبت نام با ID زير تماس بگيريد: @IELTSCANADAAUSTRALIA عضويت در كانال👇🏻👇🏻 Join ➣ @BestIELTS ☜ www.bestielts.ir