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B News – Strong earnings from Amazon and a boost to the company#39;s stock have made its founder, Jeff Bezos, the world#39;s third richest person, according to Forbes. Mr Bezos owns 18% of Amazon#39;s shares, which rose 2% in trading on Thursday. Forbes estimated his fortune to be .3bn.B新闻 – 强劲的盈利增长和公司股价的提升使亚马逊创始人杰夫.贝索斯成了世界第三大富豪,福布斯的数据显示。贝索斯拥有亚马逊18%的股份,亚马逊股价周二交易中上涨2%。福布斯估计贝索斯的身价在653亿美元。Amazon#39;s revenue beat analysts#39; expectations, climbing 31% from last year to .4bn in the second quarter. Profit for the e-commerce giant was 7m, compared with m in 2015.亚马逊的收入超出分析师的预期, 比去年攀升31%至今年第二季度的304亿美元。这家电子商务巨头赢利8.57亿美元,而2015年的赢利才9200万美元。According to Forbes estimates, Mr Bezos#39;s fortune is only surpassed by Microsoft founder Bill Gates, worth bn, and the .1bn fortune of Zara founder Amancio Ortega.根据福布斯估算,贝索斯的财富仅次于身价780亿美元的微软创始人比尔盖茨,以及Zara创始人阿曼西奥.奥尔特加731亿美元的财富。Amazon had developed a reputation for announcing little or no profit each quarter, but appeared to hit a turning point last year and has seen improving earnings since. Amazon shares have spiked 50% since February.亚马逊一向有每季度宣布利润微薄或无赢利的名声,但去年似乎迎来了转折点,自那以后收益得到了改善。亚马逊股价自二月份以来飙升50%。Amazon#39;s Prime membership, which offers extra services including free shipping for an annual fee, saw impressive international growth. In June, Amazon launched Prime in India to take advantage of the country#39;s large consumer market.提供包括缴年费免运费等额外务的亚马逊金牌会员计划在全球取得惊人增长。6月份,亚马逊在印度推出金牌会员计划,以利用该国广大的消费市场。Amazon has boosted Prime membership by improving its streaming offerings, an area in which it competes with Netflix.亚马逊通过改进其流媒体视频务促进了金牌会员计划。流媒体视频务是亚马逊与网飞公司竞争的领域。Prime Day, Amazon#39;s annual promotional shopping festival earlier this month, was the company#39;s largest ever sales day.本月初亚马逊的年度购物促销节“黄金日”是公司有史以来销量最大的一天。Earlier this month, it announced a partnership with US bank Wells Fargo to offer discounts on student loans for members of its Prime Student services.本月初,亚马逊宣布与美国富国合作,为其金牌学生务的会员提供学生贷款折扣。 /201608/457609Ta-Nehisi Coates won the National Book Award for nonfiction Wednesday night for “Between the World and Me,” a visceral, blunt exploration of his experience of being a black man in America, which was published this summer in the middle of a national dialogue about race relations and inequality.星期三晚上,塔-奈西希·科特斯(Ta-Nehisi Coates)的《在世界与我之间》(Between the World and Me)获得国家图书奖非虚构类大奖,这是一部真诚直率的作品,探索作者身为黑人在美国的经历。今年夏天它出版之时,正值整个国家都在讨论种族关系与种族不平等话题的时机。“Every day you turn on the TV and see some kind of violence being directed at black people,” Mr. Coates said in an emotional acceptance speech. “Over and over and over again. And it keeps happening.”“每一天打开电视,都能看到针对黑人的暴力,”科特斯在动人的获奖致辞中说,“一次又一次,这种事还在持续发生。”The fiction award went to Adam Johnson for “Fortune Smiles,” a collection of surreal and comic short stories that deal with natural disasters, technology and politics, and take place in settings ranging from Palo Alto, Calif., and New Orleans to North Korea. The judges called Mr. Johnson “one of the most talented writers of his generation” and called his stories by turns “surprising, wondrous, comic and devastating.” Mr. Johnson won the Pulitzer Prize for his 2012 novel “The Orphan Master’s Son.”今年的虚构类奖项由亚当·约翰逊(Adam Johnson)的《幸运在微笑》(Fortune Smile)获得,这部短篇小说集中充满超现实与滑稽的故事,内容包括天灾、技术与政治,有的发生在加利福尼亚的帕罗奥图,有的发生在新奥尔良,还有的发生在朝鲜。评委说约翰逊是“同代人中最有才华的一位作者”,并说他的小说“时而惊人、时而奇妙、时而滑稽,时而可怕”。2012年,约翰逊曾凭着小说《孤儿大师之子》(The Orphan Master’s Son)获得普利策奖。“Between the World and Me,” which was published by Spiegel amp; Grau, was one of the most celebrated and widely discussed books of the year, and won comparisons to the work of James Baldwin.《在世界与我之间》与詹姆斯·鲍德温(James Baldwin)的著作角逐该奖项并最终胜出,它由Spiegel amp; Grau出版社出版,是今年最著名,也是最受广泛讨论的一本书。Mr. Coates, a correspondent for The Atlantic, wrote the book in the form of a letter to his son. He dedicated the award to his college friend, Prince Jones, who was shot to death by a police officer who mistook him for a criminal. “I’m a black man in America. I can’t punish that officer; ‘Between the World and Me’ comes out of that place,” Mr. Coates said. “I can’t secure the safety of my son. I just don’t have that power. But what I do have the power to do is say, ‘You won’t enroll me in this lie. You won’t make me part of it.’ “科特斯是《大西洋月刊》(The Atlantic)的记者,这本书以他给儿子的信的形式写成。他把这个奖献给自己大学时期的友人普林斯·琼斯(Prince Jones),琼斯被警察误认为犯罪分子,遭到射杀。“我是个生活在美国的黑人。我不能惩罚那个警察;《在世界与我之间》就是这样开始构思的,”科特斯说,“我不能保我儿子的安全。我没有那个力量。但我有力量说出,‘你不能让我加入这个谎言,你不能把我算在内。’”The National Book Award, which was established in 1950, has gone to some of the country’s most celebrated authors, including William Faulkner, Saul Bellow and Flannery O’Connor. Presented by the National Book Foundation, the award was open to American authors who published books from Dec. 1, 2014, to Nov. 30, 2015. The prizes were presented at a black-tie dinner in Manhattan at Cipriani Wall Street, with more than 700 guests.国家图书奖于1950年创立,曾经颁发给这个国家最著名的作家,包括威廉·福克纳(William Faulkner)、索尔·贝娄(Saul Bellow)和弗兰纳里·奥康纳( Flannery O’Connor)。该奖项由国家图书基金会主办,评奖范围包括任何美国作家从2014年12月1日至2015年11月30日出版的图书。颁奖仪式是在曼哈顿的西普利亚尼华尔街饭店举办的正装晚宴,有700多名宾客出席。Along with “Fortune Smiles,” finalists in the fiction category included Hanya Yanagihara’s “A Little Life,” which follows four ambitious young college friends in New York as one of them grapples with his dark past; Lauren Groff’s novel “Fates and Furies,” which tells the story of a marriage from the husband and wife’s perspectives, revealing the secrets they kept; Karen E. Bender’s short-story collection “Refund;” and Angela Flournoy’s debut novel, “The Turner House,” about multiple generations of a Detroit family.除了《幸运在微笑》,入围虚构类决选名单的还包括柳原樱(Hanya Yanagihara)的《小人生》(A Little Life),它讲述纽约四个年轻有志的大学生朋友们的故事,其中一人要与自己的黑暗过去作斗争;劳伦·格罗夫(Lauren Groff)的小说《命运与愤怒》(Fate and Furies),分别从丈夫和妻子的角度讲述一段婚姻的故事,揭示出她们各自的秘密;此外还有卡伦·E·班达(Karen E. Bender)的短篇小说集《返款》(Refund)和安吉拉·弗洛诺伊(Angela Flournoy)的处女小说《特纳之家》(The Turner House),讲述一个底特律家族几代人的故事。The award for Young People’s Literature was given to Neal Shusterman’s “Challenger Deep,” a novel about a mentally ill teenager who has dark fantasies about traveling to the deepest point on earth, which was inspired by Mr. Shusterman’s son.青年文学奖(Young People’s Literature)被授予尼尔·舒斯特曼(Neal Shusterman)的《挑战者之深》(Challenger Deep),这部小说讲述一个患有精神疾病的少年怀着阴郁的幻想,想象自己在地心最深处旅行。舒斯特曼创作的灵感来自他的儿子。The poet Robin Coste Lewis won for her collection, “Voyage of the Sable Venus,” a meditation on cultural and artistic depictions of the black female figure that juxtaposes autobiographical verses with reflections on cultural stereotypes and art.诗人罗宾·科斯特·刘易斯(Robin Coste Lewis)凭诗集《黑色维纳斯的旅行》(Voyage of the Sable Venus)获得诗歌奖。这部充满沉思的诗集既是对一个黑人女性角色的文化与艺术的描绘,也是一部自传性的诗歌,反思文化刻板形象与艺术。The best-selling novelist James Patterson received the Literarian Award, for outstanding service to the literary community, in recognition of his philanthropic efforts to support independent bookstores and promote literacy in public schools. Mr. Patterson, who has sold more than 300 million copies of his books, has donated .75 million to school libraries and bookstores.畅销小说家詹姆斯·帕特森(James Patterson)凭他对文学界的卓越务获得文学贡献奖(Literarian Award),以表彰他持独立书店,在公立学校扫盲的慈善努力。帕特森的书卖出了三亿册,他曾向各学校图书馆与书店捐献过275万美元。In his acceptance speech, Mr. Patterson joked about his outsider status as a commercial author in elite literary company, calling himself the “Big Mac at Cipriani.” He issued a call for publishers to “innovate more.”作为商业作家,帕特森在精英文学圈中算是局外人,在获奖致辞中,他拿这个开起了玩笑,说自己是“西普利亚尼的巨无霸汉堡”。他还号召出版社“多做革新”。“Let’s all be literarians, whatever the hell that means,” he said. “Let’s try to make sure there’s another generation of ers.”“让我们大家都成为文学家,不管这个词到底是什么意思,”他说,“我们要努力让下一代人还读书。”The novelist Don DeLillo, whose eerily prescient works explore technology, surveillance and terrorism, was given the Medal for Distinguished Contribution to American Letters for his “diverse body of work that examines the mores of contemporary modern American culture.”小说家唐·德里罗(Don DeLillo)的作品如同古怪的预言,探索技术、监视与恐怖主义,他因其“多样的作品,审视了现当代美国文化中的风俗”而被授予杰出贡献勋章(Medal for Distinguished Contribution to American Letters)。Mr. DeLillo, who won a National Book Award for his novel “White Noise” in 1985, is famously reticent and rarely grants interviews or discusses his work. He will release a new novel, “Zero K,” about a billionaire whose wife has a terminal illness, next May.德里罗曾于1985年因小说《白噪音》(White Noise)获得国家图书奖,他以寡言少语闻名,极少接受采访或谈起自己的作品。明年五月他将出版新的小说《零K》(Zero K),讲述一个妻子病入膏肓的亿万富翁的故事。He was typically understated in his acceptance speech, and at his request, his remarks were not streamed on cast. Rather than talking about his work or his evolution as a writer, he spoke reverently about a room where he keeps his collection of old paperbacks, and what those books mean to him.他在获奖致辞中显得一如既往的低调,在他的要求之下,他的致辞没有在网络广播中播放。他没有谈起自己的作品或写作的演化,而是虔诚地谈起自己用来收藏老旧平装书的屋子,以及那些书籍对于他的意义。“When I visit the room, I’m not the writer,” he said. “That’s the guy who lives down the hall. Here I’m not the writer at all, I’m the grateful er.”“每当走进那间屋子,我就不是作家,”他说。“那个住在大厅里的家伙才是作家。在这件屋子里,我根本就不是什么作家,只是一个心怀感恩的读者。” /201511/411644On Sunday artist Jianguo Xiongdi sent the dust he spent 100 days collecting from the Beijing air to a factory in Tangshan, Hebei Province. Now all he had to do was wait three days for the factory to send him back the dust - in brick form. This is part of what he is calling the Dust Project.周日,艺术者“坚果兄弟”将100天来收集的北京雾霾送往河北唐山的一家制砖厂,只等3天后工厂给他寄回一块板砖。这是他“尘埃计划”的一部分。;The first part of the project was collecting the dust from the air for 100 days. The second part was sending it to the brick factory. For the third part I plan to mix the brick in with ordinary bricks at a construction site. The final step will be watching it disappear into a sea of bricks,; Jianguo Xiongdi told the Global Times. Smiling, he said that he was considering choosing a skyscraper construction site in Beijing#39;s Central Business District.“尘埃计划的第一步是收集100天空气中的灰尘,第二步是把收集到的灰尘送到制砖厂,第三步我打算将这块砖用作建筑工地的材料,和其他砖块一样,最后一步就是看着它融入茫茫砖海。”坚果兄弟笑着向环球时报说到,他还在考虑把这块砖用于北京中央商务区某天大厦中。He first began preparing for this project in 2013, when the strong smog in Beijing started raising public concern. However, the project was postponed for two years, leading to the artist picking it up again this year in order to call more attention to air pollution.他的这个“尘埃计划“始于2013年,当时北京的雾霾天气引起了公众的高度关注。但这一计划推迟了两年,空气污染问题让他在今年重拾该计划,希望以此引起人们对空气污染的更多关注。;Our city has become a jar of cars, a place surrounded by chemical factories and a giant construction sites. The more we chase things, the more resources we need and the more dust we produce. When all the resources on Earth are exhausted someday, we will become the real dust,; Jianguo Xiongdi writes in the introduction to the Dust Project.“我们的城市现在成了一个汽车堵城,一个化工围城,一个建筑工城。我们追求的越多,对资源索取的越多,制造的尘埃也就越多。当地球上的资源消耗殆尽之时,我们就成了真正的微尘”,坚果兄弟在”尘埃计划“的介绍中这样写道。He started collecting the dust on July 24 using an industrial vacuum cleaner with a 0.2 micrometer filter and walking the streets for four hours a day. He said he went out almost every day except for when it rained or snowed. He recorded the entire process on his Sina Weibo account.从7月24日开始,他就开始用过滤精度为0.2微米的工业真空吸尘器吸尘,每天走在街头4小时,每天坚持出去吸尘,除非是下雨下雪天,他把整个吸尘过程发布在微上。;Actually, I only collected about 100 grams of dust. This wasn#39;t enough to make a brick, so I asked the factory to add some clay,; he told the Global Times.“事实上,我收集到的100克尘埃是不够制作板砖的,所以我就让工厂加了些制砖的黏土”,他向环球时报说道。Occasionally working as an advertiser and having held several exhibitions in Shenzhen and Beijing, Jianguo Xiongdi said that while some call him an artist, he thinks of himself as just an unemployed guy who cares about society.坚果兄弟已在深圳和北京举办多次展览,有时也是广告宣传者,坚果兄弟说虽然一些人称他为艺术家,但他觉得自己只是个关心社会的无业者。His first performance art project, A Bookstore Closed Up in 30 Days, was widely reported on by local media in 2011. Later he established a company called Meaningless, which hired people to do meaningless things such as taking selfies while on the toilet or to ride public transportation and prove to other passengers that they were not psychotic.他的第一个艺术项目,2011年的“30天就倒闭书店”项目在当地报导很多,之后他成立了一个叫“无意义”的公司,公司雇佣人们做些毫无意义的事,比如在马桶上自拍、在公交或地铁上向乘客明他们不是神经病等等。The Shenzhen-based artist has come to Beijing quite frequently in recent years. During his 100-days in Beijing this time, he began 11 art projects, including an exhibition called Beijing Heihua which was held at the Arc Space from September 16 to October 25. The exhibition consisted of a room whose walls were covered in white paper. On the paper the artist has written the cell-phone numbers of 1,000 intermediately agents that he had collected online.这位深圳艺术者近些年来往北京较为频繁,这次在北京的100天时间里,他开启了11个艺术项目,其中包括一个名“黑化”的展览,9月16日-25日在北京Arc Space(北京唯一一家深入到大学校园社区中的替代性空间,隐藏在老居民楼里的艺术实验场)举办,展示了一个房间,房间四周墙上贴着白纸,纸上写着他在网上联系过的1000个中介的手机号码。;Many people have been cheated by intermediary agents. So I decided to collect their cell-phone numbers to create an exhibition,; he told the Global Times.“因为很多人都被中介坑过,所以我决定收集他们的手机号办一场展览”,他这样向环球时报说道。 /201512/413605It was a slow and gentle plunge: The world’s largest aircraft, the Airlander 10, crashed in southern England on Wednesday during its second test flight.那是一个缓慢而柔和的俯冲:周三,世界上最大的飞行器“天空登陆者10号”(Airlander 10)在第二次试飞期间坠落在英格兰南部。In a posted on YouTube, spectators could be heard saying, “Oh my God, he just crashed it,” as the nose of the aircraft made contact with the ground after an agonizingly slow descent at Cardington Airfield, about 40 miles north of London, before coming to rest.在发布于YouTube的一段视频中可以看到,在飞行器的前端触到地面时,观众在喊,“天哪,他落地了。”此前,它在伦敦以北40英里处的卡丁顿机场(Cardington Airfield)上空经历了极其缓慢的降落过程,最终停了下来。Hybrid Air Vehicles — the British developer of the 302-foot, 44,100-pound, helium-filled aircraft, which has a top cruising speed of about 90 miles an hour — said on Twitter that the crew members were “safe and well.”这架氦气飞行器的英国制造商混合动力飞行器公司(Hybrid Air Vehicles)在Twitter上表示,飞行人员“安全无恙”。这架飞行器长302英尺(约合92米),重4.41万磅(约合2万公斤),最高巡航速度约为90英里/每小时。“Airlander sustained damage on landing during today’s flight,” the company added, though “no damage was sustained midair.”“在今天的飞行中,天空登陆者在落地时遭到损坏,”公司还表示,但它“在半空中没有受损”。The first test flight of the Airlander 10 was postponed on Aug. 14 after Stephen McGlennan, the chief executive of Hybrid Air Vehicles, said the airship had “a slight technical issue.” It completed its initial test flight three days later.混合动力飞行器首席执行官史蒂芬#8226;麦克格伦南(Stephen McGlennan)在8月14日推迟了“天空登陆者10号”第一次试飞的时间,表示这艘飞艇有个“小技术问题”需要解决。三天后,它完成了首次试飞。On Wednesday morning, however, spectators watched as the ship slowly nose-dived and made an unplanned landing on its cockpit. The company did not provide an explanation as to why the aircraft had come down.然而,周三早上,观众却看到这艘飞艇在缓慢地俯身下落,意外地以底部的驾驶舱触地着陆。公司没有解释飞行器为何会掉下来。“It was going so well,” said Angela Hatwell, who posted several photographs of the aircraft on Facebook and described the airship’s flight as an “absolutely amazing sight.”“它正飞得好好的,”安杰拉#8226;哈特韦尔(Angela Hatwell)说。她在Facebook上发布了好几张飞行器的图片,还把它的飞行描述为“极其令人惊叹的景象”。“It was awful to watch,” she wrote of the crash.“看起来挺可怕,”她在描述飞行器的意外着陆时写道。One of Ms. Hartwell’s photographs showed the pilots in what appeared to be a damaged cockpit. “It just appeared to crumple up,” she wrote. “Luckily they appeared to walk away uninjured.”从哈特韦尔发布的其中一张照片看,飞行员所在的驾驶舱似乎有损伤。“它就好像被压瘪了,”她写道。“幸运的是,他们好像没有受伤。”The Airlander 10 was initially a project developed for the ed States military, and Hybrid Air Vehicles has said the airship could stay airborne for up to five days at a time with someone on board and for two weeks when flown remotely.“天空登陆者10号”最初是为美国军方研发的一个项目。混合动力飞行器公司曾表示,在载人的情况下,这艘飞艇一次可以在空中停留五天,遥控飞行则可以持续两周。 /201608/462871

Unsuspecting visitors to the French Riviera this week might have been surprised to discover that the advertising industry, which gathers here every year for the Cannes Lions festival, is facing a big upheaval.上个月来到法国里维耶拉的毫不知情的参观者可能会吃惊地发现,广告业正面临巨大变革。广告业人士每年齐聚于此参加戛纳国际创意节(Cannes Lions)。The rosé was flowing, the music at industry beach parties was thumping and A-List talent that included Channing Tatum, Gwyneth Paltrow and Will Smith were on hand, dispensing wisdom on stage to the thousands of executives who came from all over the world to this celebration of advertising creativity.玫瑰红葡萄酒斟满酒杯,海滩聚会的音乐声低沉而有力,查宁#8226;塔图姆(Channing Tatum)、格温妮丝#8226;帕特洛(Gwyneth Paltrow)和威尔#8226;史密斯(Will Smith)等重要嘉宾闪亮登场,他们在台上与来自世界各地、参加此次广告创意表彰大会的数千名高管分享智慧。But away from the parties and awards, advertising agencies, media buyers and the holding companies that own them are slowly waking up to a future that has been upended and reshaped by two technology companies.然而,除了聚会和颁奖,广告代理商、媒体广告买家和这些公司的持股公司慢慢意识到,广告的未来已被两家科技公司颠覆和重塑。The bulk of spending by brands on digital advertising is going to Google and Facebook: combined, they accounted for 75 per cent of all new online ad spending in 2015, according to the Internet Trends report published this month by Mary Meeker of Kleiner Perkins Caufield amp; Byers, the US venture capital fund. In the US, 85 cents of every new dollar spent on digital went to the two companies in the first quarter of 2016.各个品牌在数字广告上的大部分出流向了谷歌(Google)和Facebook:根据美国风投基金凯鹏华盈(Kleiner Perkins Caufield amp; Byers)的玛丽#8226;米克(Mary Meeker) 6月发布的《互联网趋势》(Internet Trends)报告,两家公司合计占2015年互联网广告新出总额的75%。2016年第一季度,美国新数字广告出的85%流向了这两家公司。This matters because digital is fast becoming advertising’s biggest source of revenue. It will eclipse television in the US next year for the first time, according to eMarketer, the research firm, with the lion’s share likely to go to the digital duopoly of Facebook and Google. Executives in Cannes this week put a brave face on what this might mean for their industry but the consequences of two companies becoming the gatekeepers for most digital advertising are becoming profound.这至关重要,因为数字广告正迅速成为广告业最大收入来源。研究机构eMarketer称,明年它将在美国首次超过电视广告,最大的份额可能将流向数字领域的双寡头Facebook和谷歌。对于这可能对广告行业意味着什么,参加上月戛纳国际创意节的公司高管们一副满不在乎的样子,但两家公司成为多数数字广告的守门人的影响正变得深远起来。Google and Facebook compete in some areas such as digital advertising but are present “across every part of the food chain”, according to one senior ad executive. Google has its search business and YouTube while Facebook has its news feed, Instagram and other services. This seismic shift to a digital and mobile ad landscape effectively controlled by two companies has wide repercussions for agencies, media buyers, publishers and the brands that want to sell more products.据一位广告业高管称,谷歌和Facebook在数字视频广告等一些领域存在竞争,但二者占据了“这个食物链的每一环”。谷歌拥有搜索业务和YouTube,而Facebook拥有新闻推送、Instagram和其他务。广告向由这两家公司有效控制的数字和移动广告版图的重大转移,对于广告代理商、媒体广告买家、出版商和希望销售更多产品的品牌有着广泛影响。Advertisers like the targeting they get with Facebook and the trove of data it has on its 1.6bn users, just as they like the efficiency of Google search. But they are worried about a concentration of market power in two companies that not only own the playing field but are increasingly able to set the rules of the game as well.广告商喜欢Facebook提供的针对性广告及其有关16亿用户的海量数据,他们也喜欢高效的谷歌搜索。但他们对于市场力量集中在这两家公司感到担忧,它们不仅拥有竞技场,而且还越来越有能力设定游戏规则。Facebook and Google “are hegemons” that could soon be taking campaigns away from television, says Brian Wieser, analyst with Pivotal Research. Paul Frampton, chief executive of Havas Media Group UK, says they are “black boxes” that have too much power. “They don’t give agencies or the brands access to their algorithms and the data being mined are for Google and Facebook — and not for the brand.”Pivotal Research分析师布莱恩#8226;威泽(Brian Wieser)表示,Facebook和谷歌是“霸王”,它们可能很快会将广告从电视手中夺走。Havas Media Group UK首席执行官保罗#8226;弗兰普顿(Paul Frampton)表示,它们是权力过大的“暗箱”。“他们不让广告代理商或者品牌接触他们的算法,他们的数据挖掘是为了谷歌和Facebook自己,而非品牌。”“They are hegemons,” says Mr Wieser. “Right now they are not competing with television but they are competing with Yahoo and AOL. It’s plausible that with every passing year [Facebook and Google] and television advertising will become part of the same market.”“他们是霸王,”威泽表示,“目前,它们没有与电视竞争,但它们正与雅虎(Yahoo)和美国在线(AOL)竞争。假以时日,(Facebook和谷歌)可能和电视广告同属一个市场。”The two companies have unwittingly had an impact on print advertising revenues, which have tumbled in the UK and the US in the past six months. The Financial Times reported this week that UK newspaper executives have had discussions about pooling resources to form a single ad sales operation, partly because so much print spending has shifted to Facebook and Google.这两家公司无意中对平面广告收入也产生了影响,过去6个月,英国和美国的平面广告收入大幅下滑。英国《金融时报》上月报道,英国报业高管讨论了集中资源组建单一广告销售业务,这在一定程度上是因为很多平面广告出转而流向了Facebook和谷歌。There have been similar discussions in Cannes with the aim of creating a “third block” of television advertising inventory to rival the might of Facebook and Google. Talks are at a very early stage but have centred on owners of television networks pooling inventory, according to people who have been briefed on the discussions.戛纳也出现了类似的讨论,目的是创建电视广告库存的“第三区”,以抗衡Facebook和谷歌的实力。据知情人士称,讨论处于非常初期的阶段,主要围绕电视网络所有者集中广告库存。Sir Martin Sorrell, chief executive of WPP, the world’s largest marketing and communications group, says one possible third block of inventory could be formed by the acquisition of Yahoo by AOL, the dial-up pioneer owned by Verizon. An alternative, he says, would be the proposed alliance between traditional media owners such as 21st Century Fox, News Corp, Comcast, which owns NUniversal, and other groups. The idea had come from Group M, the media buying agency that is part of WPP. “It’s a thought,” he adds.全球最大营销和传播集团WPP首席执行官苏铭天爵士(Sir Martin Sorrell)表示,Verizon旗下拨号上网先驱美国在线并购雅虎将可能创建广告库存第三区。他表示,另一种选择是21世纪福克斯(21st Century Fox)、新闻集团(News Corp)、康卡斯特(Comcast,是N环球(N Universal)的所有者)等传统媒体集团和其他集团之间拟议的联盟。这个想法来自WPP旗下媒介投资管理机构群邑(Group M)。他补充称:“这是一种想法。”Dialogue with consumers与消费者对话Advertising executives used to have a simpler life. They won a client’s business, created a campaign and bought media time on television or space in print magazines and newspapers.广告业高管曾经的生活较为简单。他们赢得一笔客户生意,做出一个广告创意,在电视上购买媒体时间或在纸质杂志和报纸上购买版面。“People didn’t know how good the old days were until they were over,” says one agency chief executive. “You could go away for two and a half months to ponder what the campaign should be and then go to some exotic place to shoot the commercial.”“在这种日子结束之前,人们不知道过去的日子有多美好,”一家广告代理商的首席执行官表示,“你可以用两个半月的时间构思广告,然后去一些风情奇异的地方拍摄广告片。”Before the internet brands could “bark at the audience”, he adds: the “conversations with consumers” that brand managers talk about were decidedly one-way. Agencies now talk about brands connecting directly with consumers, creating what Keith Weed, chief marketing officer of Unilever, calls a “path to purchase”.在互联网出现之前,品牌可以“对着观众大叫”,他补充称:品牌经理所说的“与消费者对话”无疑是单向的。广告代理商现在讨论的是品牌直接与消费者对接、打造联合利华(Unilever)首席营销官基思#8226;威德(Keith Weed)所称的“采购之路”。On Facebook, this might be an ad in its news feed for a car that involves the viewer entering personal details or booking a test drive — anything that moves the viewer closer to a purchasing decision.在Facebook上,这可能是新闻推送中的一则汽车广告,邀请阅览者填写个人信息或者预定试驾,竭力让阅览者更接近作出购买决定。Unilever is the world’s second-largest advertiser, spending several billion pounds a year and owning brands that range from Dove and PG Tips to Marmite and Persil. “We used to show a great ad on a Thursday on television and when you were walking down the aisle at Tesco on a Saturday morning you would see Persil and put it in your shopping trolley,” he says.联合利华是全球第二大广告主,每年耗资几十亿英镑,拥有多芬(Dove)、PG Tips、Marmite和宝丝(Persil)等众多品牌。他表示:“我们过去会在周四在电视上播出精的广告,然后当你在周六早晨漫步在乐购(Tesco)超市的过道上时,会看到宝丝,然后把它放到你的购物车里。”The company and its peers are trying to use data to target their campaigns better, aware that, in an age of digital recorders and on-demand viewing, fewer people tune in to watch live television at a set time. It recently ran a “programmatic creative” campaign in Brazil for Axe, the men’s deodorant known as Lynx in the UK, which automatically drew from 100,000 vignettes to create a short commercial individually tailored to the viewers watching. The ads ran on desktops and mobiles and were compiled automatically using data stored on each user’s device.该公司及其同行现在正尝试利用数据提高广告的针对性,他们意识到,在这个数字视频录像机和视频点播的时代,在固定时间观看电视直播的观众变少了。该公司最近在巴西为男士香水Axe(在英国的名字是凌仕(Lynx))推出了“程序化创意”广告,它会自动从10万个画面中选取画面,为观看者制作个性化的广告短片。这些广告在台式机和移动设备上播放,利用存储在每位用户设备中的数据自动编制。“Technology gives you the ability to be much more specific to an individual,” says Mr Weed.威德表示:“科技让你能够更具体地针对个人。”Facebook holds a trove of data on its users, including their interests, location and other variables, which partly explains why so many advertisers are flocking to the platform. “Facebook believes the most important thing is identity in ensuring ad effectiveness,” says Ben Winkler, chief digital officer of OMD, a media agency that is part of Omnicom. “That is key to performance because that’s their strength#8201;.#8201;.#8201;.#8201;they know who you are and so much about you.”Facebook拥有大量用户数据,包括用户的兴趣、地理位置和其他细节,这部分解释了为何有这么多广告主涌向该平台。“Facebook认为,对于确保广告有效性,最重要的是用户身份,”宏盟集团(Omnicom)旗下媒体机构OMD的首席数字官本#8226;温克勒(Ben Winkler)表示,“这是效果的关键,因为这是他们的优势……他们知道你是谁,了解你的很多事情。”Google’s proposition is different, he adds, with most of its business coming from online search, which it dominates around the world. “Google believes identity is secondary to intent. What’s important is what you want right now because advertising products and services fulfils a want or need.” They are different approaches but complementary, Mr Winkler says. “The reality is they are both right, which is why we use both.”他补充称,谷歌的观点不同,谷歌主宰着全球的在线搜索业务,其多数业务来自在线搜索。“谷歌认为,身份次于意图。重要的是你现在想要什么,因为做广告的产品和务是用来满足愿望或需求的。”温克勒表示,这是两种不同但互补的方式。“事实是这两种方式都是正确的,这就是为什么我们两者都用。”There are other consequences to the advertising industry’s move towards more data-driven targeted ads — namely that the creative aspect requires more work. “The creative process in advertising is being blown up,” says Jim Stengel, the former global marketing officer of Procter amp; Gamble, the world’s biggest advertiser.广告业转向更由数据驱动的针对性广告还有其他影响——创意部分需要投入更多工作。全球最大广告主宝洁(Procter amp; Gamble)前全球营销官吉姆#8226;斯滕格尔(Jim Stengel)表示:“广告中的创意过程正在扩大。”“It’s definitely more work than it used to be,” says Mr Weed. “But we have always targeted. The reason why we have a portfolio of ice-creams is because we have targeted different groups of people. We’ve always done it and now we have a greater ability to do it.”“现在的工作肯定多于过去,”威德表示,“但我们一直是有针对性的。我们之所以有一系列冰淇淋是因为我们瞄准不同的人群。我们一直在这样做,现在我们有更大的能力这样做。”Even with automated processes, assembling the component pieces of a campaign aimed at multiple different demographics is going to be more complex than a single television commercial or print ad.即便有自动化程序,与单一的电视广告或平面广告相比,把针对多个不同用户群的广告的各个部分组合在一起将更为复杂。“If we are going to go beyond the mass market of yesterday to mass customisation, that’s going to be a challenge in content creation,” says Mr Weed. However, he has little doubt that mass customisation is the better approach. “It has to be better for the future of brands.”威德表示:“如果我们要超越过去的大众市场,转向大规模定制,内容创作将面临挑战。”然而,他毫不怀疑大规模定制是更好的方式。“这一定会更有利于品牌的未来。”Breaking the chain挣脱枷锁Opinion is divided over whether the data-driven services offered by Facebook and Google will hit the agencies that used to provide that information to their clients. They own their platforms, they can set the price and, increasingly, they can offer other useful services.关于Facebook和谷歌提供的数据务是否将冲击过去向客户提供这种信息的机构,人们的意见不一。它们拥有平台,它们可以制定价格,而且它们越来越有能力提供其他有用的务。“The agencies are the ones who are going to be cut out of the equation the most,” says one senior ad executive. “If buying [a campaign] is as easy as going to Facebook and Google and you can target a particular demographic, then why do I need a media buying agency?”“广告代理机构是最有可能被淘汰的,”一位资深广告高管表示,“如果购买(广告)像访问Facebook和谷歌那样容易,而且你可以瞄准特定人群的话,我们为什么还需要媒体广告代理机构呢?”Media buyers argue that even with Facebook and Google’s dominant position the advertising landscape is complex so brands need all the help they can get,” says one. “Marketing managers are leaning on their agencies more than ever,” says one agency executive.媒体广告买家指出,即便Facebook和谷歌占据主导地位,广告业的版图仍非常复杂,因此品牌需要借助一切可能获得的帮助。一位广告代理机构的高管表示:“营销经理比任何时候都更依赖广告代理机构了。”There are other digital options beyond Facebook and Google. Snapchat, the messaging app, is becoming an alternative option for advertisers and had a big presence in Cannes this week.除了Facebook和谷歌,还有其他数字选择。短信应用Snapchat正成为广告主的另一种选择,上月Snapchat在戛纳曾大展身手。“It’s beginning to challenge Facebook and Google, particularly in the US,” says Mr Frampton. Having more distribution options is better for clients and it leads to better creative work, he says. “Freedom of choice to work with multiple partners leads to smarter thinking and better ideas.”弗兰普顿表示:“它正开始挑战Facebook和谷歌,特别是在美国。”他表示,拥有更多的广告选择更有利于客户,而且它会带来更出色的创意。“能够自由选择与多个合作伙伴合作,会带来更明智的思考和更出色的创意。”Despite their size and scale, both Facebook and Google have limitations, he adds. “A lot of the content on YouTube isn’t where brands want to be. Facebook is a social environment which may not necessarily be the best place to give a brand bottom line impact.”他补充称,尽管Facebook和谷歌规模庞大,但它们也有其局限性。“YouTube上的很多内容都是品牌不想在上面做广告的。Facebook的社交环境不一定是提升品牌收入的最佳广告场所。”While the industry grapples with how to handle the digital duopoly there are other technology companies that could have an even bigger impact on their marketing and sale of consumer goods.在广告业思考如何应对数字双头垄断的同时,还有其他科技公司可能会对消费品的营销和销售产生更大影响。Amazon is reportedly planning to produce its own brand of consumer goods products, such as snacks and washing powder. It has worked with consultants to create brands that it will sell on its online store alongside items from established consumer goods companies, such as Unilever.据报道,亚马逊(Amazon)计划推出自有消费品品牌,例如小吃和洗衣粉。亚马逊已咨询顾问,欲推出自有品牌,与联合利华等老牌消费品公司的产品一起在其在线商店销售。It is also stepping up its push to be part of the “internet of things” by teaming up with manufacturers to offer its Prime customers automatic reordering via so-called “Dash Buttons”. For example, a consumer places a laundry detergent button next to their washing machine and can press the button to order a fresh supply when they are running out.此外,亚马逊还在加快步伐成为“物联网”的一部分,与制造商合作向其Prime用户提供用“一键按钮”(Dash Buttons)自动再次下单的务。例如,一位消费者可以在洗衣机旁放一个洗衣液按钮,在洗衣液快用完时,可以按下这个按钮,再次下单订购。Ad campaigns help brands stand out from the competition in stores or online. At Unilever, advertising has helped drive online sales of its brands. “Our share in Tesco.com is higher than in Tesco’s brick and mortar stores,” says Mr Weed.The prospect of Amazon, the world’s biggest online store, selling its own goods and circumventing the traditional purchasing process has sparked plenty of reflection and anxiety.广告帮助品牌在门店或在线竞争中脱颖而出。在联合利华,广告帮助推动了其品牌的在线销售。威德表示:“我们在乐购网站的销售份额高于在乐购的实体店。”全球最大在线商店亚马逊销售自有产品并绕过传统的购物程序的前景,引发了大量思考和担忧。“Clients are terrified,” says one senior ad executive, pointing to Amazon’s scale, market power and ability to sell and deliver its own products quickly and efficiently. How will brands and the companies responsible for marketing and selling them possibly compete?一位广告高管表示:“客户很害怕,”他指的是亚马逊的规模、市场实力以及快速高效地销售和递送自有产品的能力。品牌和负责营销及销售的公司如何与之竞争?The answer is not immediately obvious but those concerns and other worries about Facebook and Google did not stop the industry partying in Cannes this week as if its life depended on it. Which, perhaps, it does. “It doesn’t feel like an industry that is under serious threat, but it is,” says Mr Frampton. “The agency model is being heavily disrupted.”现在没有明确现成的,但这些担忧以及其他有关Facebook和谷歌的担忧,并没有妨碍上个月的广告业戛纳聚会,好像该行业对之产生了依赖一样。或许确实如此。“并没有该行业正面临严重威胁的感觉,但它确实面临威胁,”弗兰普顿表示,“广告代理模式正被严重颠覆。”Google and Facebook are the new advertising kingpins and Amazon is waiting in the wings. Ad men and women know how to tell stories but it is unclear how their own will end.谷歌和Facebook是新的广告天王,亚马逊正蓄势待发。广告业的男男女女们都知道如何讲故事,但现在还不清楚他们自己的故事将如何结尾。 /201607/457221

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