A Glimpse of Our Shopping Future未來購物方式 科技不離人性

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2017/05/12 第171期 訂閱/退訂看歷史報份
編輯小語 A Glimpse of Our Shopping Future未來購物方式 科技不離人性
紐時周報精選 Japan’s Sand Museum,a Home to Ephemeral Treasures鳥取只有沙 拚觀光全靠它

A Glimpse of Our Shopping Future未來購物方式 科技不離人性
文/Elizabeth Paton
譯/李京倫 What will the store of the future look like? Will we be served by fleets of gleaming robots, using built-in facial recognition technology to adjust each sales pitch to a person’s current mood or past spending preferences? Will there be voice-activated personal assistants, downloading the availability, color and fit of any and every garment to your smartphone? Three-D printing stations? No checkout counters when you leave? Could there even be floating, holographic product displays on the shop floor that change when a customer walks by? Perhaps shoppers will make all their purchases from their own home, using virtual fitting rooms via virtual reality headsets. Drones will then drop deliveries in the backyard or on the front steps. 未來的商店看起來會像什麼樣子?我們會接受成排閃閃發光的機器人服務,讓這些機器人藉由內建的臉部辨識科技,把推銷商品的用語調整成適合客人當下的心情或過往的消費喜好嗎?會有聲控個人助理,把每件服裝的供貨情況、顏色和版型下載到你的智慧手機裡嗎?可會有3D列印站?離店時不會再有結帳櫃檯了嗎?當顧客走過店家地板時,半空中會展示產品全像投影嗎? 也許消費者會在自家戴上虛擬實境眼鏡,用虛擬試衣間完成所有的購物行為,接著無人機會把商品投送到後院或前門台階上。 As fanciful as these innovations may sound, none are hypothetical. All exist, are being tested and could be rolled out in as little as a decade. But is this the sort of shopping experience that customers really want? Scores of leading retailers and fashion brands increasingly say no. And in an ever-more-volatile and unpredictable shopping environment, where long-term survival is dictated by anticipating and catering to consumers’ desires (often before they themselves even know what they want), the race to find out how and where people will do their spending has started to heat up. 這些新事物聽來不真實,卻都不是空想,全部都已存在,正在試驗階段,最快可能在10年內問世。不過,這種購物經驗真的是消費者要的嗎? 許多居領導地位的零售商和時尚品牌日益發現,不是的。在變動越來越快且無法預測的購物大環境中,能否預見並迎合顧客的欲望(通常甚至是在顧客自己知道想要什麼之前),決定了誰能長存,找出人們如何、在哪裡花錢的競賽開始變得激烈了。 Last month, for example, Farfetch — the global online marketplace for independent luxury boutiques — held a daylong event at the Design Museum in London. There, in front of 200 fashion industry insiders and partners, Jose Neves, the founder of Farfetch, unveiled “The Store of the Future,” a suite of new technologies developed by his company to help brands and boutiques bridge the worlds of online and offline. Nevertheless, in a telephone call the week before the event, Neves said: “I am a huge believer in physical stores. They are not going to vanish and will stay at the center of the seismic retail revolution that is only just getting started.” 且舉一例,就在上個月,獨立奢華精品店的全球線上購物平台Farfetch在倫敦「設計博物館」辦了一整天的活動。在活動中,Farfetch創辦人內維斯在200位時尚產業圈內人和合作夥伴面前發表了「未來的商店」,這是Farfetch研發的一套新科技,協助品牌和精品店結合線上與線下世界。 不過,在活動舉辦之前那一周,內維斯在電話中說:「我是實體商店徹頭徹尾的信徒。實體商店不會消失,會在這場才剛開始的零售業劇烈變革中,保持在中心位置。」 A corresponding report newly released by Bain & Co. suggests that he might be right; although 70 percent of high-end purchases are influenced by online interactions, the consultancy maintains that stores will continue to play a critical role, with 75 percent of sales still occurring in a physical location by 2025. What may change, however, is a store’s primary purpose. Forget e-commerce, or bricks and mortar, or even omnichannel sales; according to Neves, the new retail era is one anchored in “augmented retail,” a blend of the digital and physical allowing a shopper to shift seamlessly between the two realms. 貝恩諮詢公司最近發布一份與此呼應的報告,顯示內維斯可能是對的:雖然70%的高檔消費受網路互動影響,但貝恩斷言,實體商店仍將扮演重要角色,到2025年,75%的銷售額仍將發生在實體通路。 不過,可能改變的是實體商店的主要目的。忘掉電子商務、實體商店、甚至是全通路銷售吧,內維斯說,新的零售時代緊緊植根於「擴增零售」,這種零售融合數位與實體,讓消費者在兩種領域之間來去自如。 說文解字看新聞 文/李京倫 brick 是「磚」,mortar 是「(砌磚的)砂漿」,bricks and mortar表示建築物,通常是房屋,注意brick是可數名詞須加s代表複數。brick-and-mortar是形容詞,表示「實體的(商店)」,如the brick-and-mortar bookstore(實體書店)。 全通路(omnichannel)銷售是指消費者無論透過線上(online)的品牌網站、品牌 Apps、臉書、YouTube、Instagram等社群媒體(social media),Snapchat、臉書Messenger、簡訊等通訊平台,或線下(offline)的街邊店、百貨專櫃、活動現場,都能得到一致的品牌體驗。這個通路體系在消費者購物後,能根據他的個性、興趣和購買習慣,提供當下最適合消費者的資訊和服務。例如,全通路的購物車(shopping cart)就是全通路銷售的基本功能。消費者很可能用零碎時間,從手機、桌上型電腦或平板登入這些通路,如果沒有統一的購物車,那麼每次都得從零開始,完成消費意願與機率就會大減。

Japan’s Sand Museum,a Home to Ephemeral Treasures鳥取只有沙 拚觀光全靠它
文/Motoko Rich
譯/陳韻涵 Tottori, a remote outpost on the west coast of Japan, is frequently defined by what it lacks. It has the lowest population of any prefecture in the country. No bullet train stops here. It ranks 39th out of the nation’s 47 prefectures in attracting tourists. But what Tottori does have, in abundance, is sand: Undulating golden dunes stretch for about 10 miles along the coast here, so majestic they have been turned into a national park. 鳥取,日本西海岸的一個偏遙遠縣分,經常被人們定義為缺少資源的地方。 鳥取縣的人口數是全國最少的。沒有子彈列車停靠。鳥取在全國47個縣的吸引觀光客排行榜上,排在第39。 但鳥取有,而且很多的,是沙:如波浪般起伏的金黃色沙丘沿著海岸綿延約10英里(16公里),壯闊到被劃為國家公園。 For the past decade, sand sculpture artists have gathered here every year for two weeks at the world’s only indoor sand museum to mount an exhibit of improbably intricate tableaus, all crafted from about 3,000 tons of sand. This year, 19 artists from countries including Canada, China, Italy, the Netherlands and Russia traveled to Tottori to sculpt scenes on the theme of the United States. Previous themes have included Africa, Russia and South America. 過去十年來,沙雕藝術家每年在這個全球唯一的室內沙雕博物館會師兩周,展出繁複精細、栩栩如生的作品,全都以大約3000噸的沙雕塑而成。 今年,19位藝術家從加拿大、中國大陸、義大利、荷蘭和俄羅斯等國來到鳥取,打造以美國為主題的雕塑場景。過去的主題包括非洲、俄國和南美。 Working nine hours a day, the artists — five of whom are from the United States — built, among other things, Mount Rushmore, the New York skyline (yes, Trump Tower makes an appearance), oversize busts of Ella Fitzgerald and Louis Armstrong, scenes from the gold rush and the signing of the Declaration of Independence. With Japan’s population declining, Tottori officials are mounting a campaign to attract more foreign tourists to the region, and the sand museum and dunes are central to the effort. 藝術家們(其中5人來自美國)每天工作9小時,雕塑的作品包括拉什莫爾山、紐約天際線(是的,川普大樓在其中),艾拉.費茲潔拉與路易阿姆斯壯的大尺寸半身像,淘金熱的場景和獨立宣言的簽署。 隨著日本人口不斷減少,鳥取官員已展開致力吸引更多外國觀光客前來的行動,而砂之美術館和沙丘正是成敗的關鍵。 Japan in general is seeking to lure more tourists. Last year, 24 million foreign visitors traveled to Japan, a record high. The national tourism bureau wants to increase that number to 40 million by 2020, the year Tokyo will host the Summer Olympics. Foreign visitors typically stick to what tourism officials describe as the “golden route” of well-known destinations in Tokyo, Mount Fuji, Kyoto and Osaka. 日本整體來說都在設法吸引更多觀光客。日本去年外來觀光客達2400萬人次,創下新高。國家旅遊局希望讓這個數字在2020年增至4000萬人次,日本將在這一年舉辦東京夏季奧運。 外國遊客往往造訪觀光局官員所謂的「黃金路線」,由東京、富士山、京都和大阪等地的知名景點串成。 In an attempt to expand that range, particularly among tourists who may be returning for a second or third visit to the country, the government’s Japan Tourism Agency has allocated 1.64 billion yen (close to $15 million) to help develop and market suggested routes through 11 regions, including around Tottori. Fewer than 500,000 people visit the Tottori sand museum every year. The number has declined slightly in recent years, and it does not come close to the 2 million people who visit the much better known snow festival in Sapporo, Hokkaido, every year. Local tourism officials acknowledged that Tottori’s distant location remained a challenge but said they had suggested that visitors be allowed to watch the artists at work, or even help knock down the structures at the end of each exhibition. 為了擴大旅遊範圍,尤其針對那些可能第二、第三度來訪的回頭客,日本國家旅遊局已撥出16.4億日圓(約合台幣4.6億元)專款,協助發展並行銷鳥取等11個地區的旅遊路線。 鳥取沙之美術館每年參訪者不到50萬人次,而且近年略有減少,遠不及每年到北海道札幌市參加雪祭的200萬人次。 當地觀光官員坦承,鳥取位處偏遠仍是一大挑戰,但表示他們已建議允許遊客欣賞藝術家工作,甚至協助工作人員在閉展後推倒這些沙雕。

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