POPULARITY
「Galaxy S25」実機/AIの体験スペース、渋谷TSUTAYAにオープン 3月9日まで。 サムスン電子ジャパンは、2月8日から3月9日までの期間限定で、SHIBUYA TSUTAYAにスマートフォン「Galaxy S25」シリーズの体験スペースを設置する。名称は「Galaxy Experience Space@SHIBUYA TSUTAYA」で、入場は無料となっている。
S5 Episode 43 - Tokyo, le quartier de ShimbashiAprès une looooongue pause, nous vous souhaitons à retardement nos bons vœux pour cette nouvelle année ! On a eu des emplois du temps très chargés dernièrement ce qui nous a obligé à espacer les enregistrements et les publications mais nous voilà bien de retour !Dans ce nouvel épisode, on vous invite donc à Tokyo et plus particulièrement dans le quartier de Shimbashi. Laureline, qui vient de passer trois semaines au Japon avec sa mère, nous raconte une partie de son périple. Après une pause shopping à Ginza dans la superbe librairie Tsutaya, les visites commencent avec la découverte du magnifique jardin Hamarikyu, un havre de paix au cœur de la métropole. Beau en toute saison, c'est surtout un spot incontournable pour profiter d'un bon matcha.Direction ensuite la majestueuse Tokyo Tower, petite sœur rouge et blanche de notre tour Eiffel. Le chemin qui permet de la rejoindre est digne des plus grands romans de SF. Coincé entre plusieurs niveaux d'autoroutes, de trains, de monorails et serpentant au milieu de buildings de verre, on se croirait dans une mégalopole dystopique. C'est vraiment l'image rêvée de la ville futuriste comme on peut parfois imaginer Tokyo (manque plus que les voitures volantes !). Et au milieu de ce paysage ultra moderne, Laureline trouvera des sanctuaires confidentiels cachés absolument charmants pour se reconnecter au passé. On vous conseille bien sûr d'y retourner de nuit pour profiter des lumières de la ville ! L'arrivée grandiose sur le temple Zozoji avec la tour de Tokyo terminera ce splendide circuit, avec un dernier sanctuaire caché pour la route bien entendu ^^.On espère que cet épisode vous apportera une nouvelle pièce du puzzle fascinant qu'est Tokyo. Nous on n'en a jamais assez, et vous ?************************************ Chapitrage :00:50 – Bonne année !02:00 – Intro05:50 – La librairie Tsutaya09:49 – Pause déjeuner : des sobas !12:12 – Le sanctuaire Karasumori 15:05 – Le jardin Hamarikyu20:37 – Point de vue sur une Tokyo futuriste !23:50 – Le grand temple de Zozoji et la tour de Tokyo26:30 – Grimpette au sanctuaire Atago29:27 – Seconde grimpette de nuit dans la Tokyo tower33:45 – Le coup de cœur d'Olivier 37:22 – Le coup de cœur de Laureline42:52 – Le mot de la fin************************************ Liens utiles : notre carte pour retrouver toutes les adresses citées dans cet épisode.************************************ Le coup de cœur de Laureline : les livres Tokyo Windows et Tokyo NobodyLe coup de cœur d'Olivier : les figurines en céramique du nouvel an de l'entreprise Yakushigama ************************************* Nous remercions Yannick de La Feuille - production sonore & sound design qui a créé notre générique et nos jingles, et pour son aide précieuse au cours des premiers enregistrements.Suivez-nous en images sur le compte Instagram du podcast : @podcast.tabibitoHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
渋谷TSUTAYAで本手渡し会は熱い【トピックリクエスト送り先】https://forms.gle/T1DoGnv361nS8NLc7
「「カルチュア・コンビニエンス・クラブ」がウェルネス事業を本格展開へ ターゲットは「ジム未経験者」・30代~50代女性 2027年度には200店舗に拡大」 気軽にピラティスなどが楽しめる、心と体を整える新しい提案とは。10月にオープンしたTSUTAYAの店舗に行ってみると、“ピラティス”が行われていました。「TSUTAYA Conditioning PILATES 千歳船橋店」では、本を読むだけでなく、体を動かしたりピラティスのレッスンを受けることができます。「カルチュア・コンビニエンス・クラブ」が運営する「TSUTAYA Conditioning」。28日に開かれた戦略発表会で、現在の10店舗から2027年度には200店舗までに拡大する計画を発表しました。ここでは激しい運動用ではなく、ヨガやピラティスなど“体を整える”ための器具やプログラムが用意され、その合間には読書も楽しめます。人生100年時代。健康寿命の延伸に向けて関心が高まる一方で、人口におけるジム利用者の割合は高くないと見て、30代から50代の女性でジム未経験者をターゲットにしていきたいとしています。カルチュア・コンビニエンス・クラブの高橋誉則社長兼CEO(高は“はしごだか”)は「もしかしたら5年後は、『TSUTAYAに行こう』と言ったら、本とコンディショニングで整えに行くというイメージができている世界かも」と話しました。「TSUTAYA Conditioning」は都市部を中心に出店し、地方や郊外にも展開する方針です。
2024年は風の時代の始まり、 という話をご存知でしょうか? これまで私たちが生きてきた 物質的な豊かさを求めてきた時代から 精神的な豊かさを求める時代に 転換しようとしています。 実はこれって、 もともと私たち日本人が大切にしていた 和をもって尊しとなす 足るを知る といった自然と共生・調和する 生き方のことなんです。 今世界中のさまざまな領域で 精神性を高めていこう、 こういう日本人の文化を広めよう という動きが活発になってきています。 精神性を高めるための中庸思考®も、 この世界の潮流にマッチしています。 この方向性で、さらに加速していくために、 世界と関わっていく第一歩として JDSとしてパラオでの合宿を企画しています。 どうしてパラオなのか どうしてこのタイミングなのか 実は深い意味があるんです。 今回のPodcastでは、 そういった世界の精神性の高まりと 合宿の意味や活動内容をお伝えします。 これまで仕事の常識だった シェアを奪い合う競合他社、 会社での出世競争のライバル、 プライベートで自分を理解してくれない 家族、パートナー、親の存在、 こういった周囲の人との分断や 人間関係で悩んでいる毎日から 感謝の気持ちで"今"を生きる そんな生き方にシフトする きっかけにしてほしい という想いでお話ししています。 リラックスして楽しんでお聞きください^ ^ *8/29代官山TSUTAYAでのイベントの詳細はこちらから https://store.tsite.jp/daikanyama/event/humanities/41972-1703300803.html *さあや学長のコーチングメールご登録(無料メルマガです) 仕事・お金・精神性の領域において新たな視点を提供します。 https://saya-coaching.beehiiv.com/subscribe *JDS17期の体験セッション 下記公式LINEにご登録の上、「体験セッション」とお送りください。 折り返し、体験セッションのご案内をお送りします。 https://line.me/ti/p/%40prp3720y *高衣開発 セルフコーチングジャーナル2024年版 (12,100円を7,506円でお求めいただけます。 (当ジャーナルは、年間戦略冊子と四半期冊子4冊の計5冊がセットになります。 これからお求めいただく方にも、1-6月分を含む5冊セットが届きます。) https://missionmikke.com/service/journal/ *ミッション・ミッケ人生デザイン研究所 公式LINEご登録はこちら⇩ https://line.me/ti/p/%40prp3720y *さあや学長のコーチングメール ご登録はこちら⇩ https://saya-coaching.beehiiv.com/subscribe *「ポートフォリオ・マネジメントで一生お金に困らない人になる!」 https://amzn.asia/d/2ilBJ6n レビューもお待ちしています mikke387.mp3
「SHIBUYA TSUTAYA」はどうなっているのか 生まれ変わって4カ月、見えてきたこと。 2000年1月1日にグランドオープン、およそ四半世紀の時を経て2024年4月25日にリニューアルオープンした「SHIBUYA TSUTAYA」。
Giant Robots On Tour Hosts Sami Birnbaum and Jared Turner introduce Sheng-Hung Lee, a designer, PhD researcher at MIT AgeLab, and board director at the Industrial Designers Society of America. Sheng-Hung shares his journey into design and engineering, emphasizing the importance of interpreting signals in design and the evolving role of designers from problem-solvers to culture shapers. He discusses how designers must now consider broader, systematic issues such as climate change and aging. Sheng-Hung explains that design is a teachable and essential life skill, highlighting the significance of personal experiences and failures in learning design. He elaborates on the concept of signals, explaining that they represent different perspectives and interpretations in design, which are crucial in addressing complex problems. The conversation shifts to practical design applications and Sheng-Hung's work in smart homes for aging populations. He discusses the integration of various smart systems and the importance of designing for different life stages rather than specific age groups. Jared and Sami also engage Sheng-Hung in discussing the worst and best-designed products, where Sheng-Hung mentions his initial skepticism but eventual appreciation for facial recognition technology. MIT AgeLab (https://agelab.mit.edu/) Industrial Designers Society of America (https://www.idsa.org/) Follow Sheng-Hung Lee on LinkedIn (https://www.linkedin.com/in/shenghunglee/). Visit his website: shenghunglee.com (https://www.shenghunglee.com/). Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Transcript: SAMI: Hello again, and this is The Giant Robots Smashing Into Other Giant Robots podcast, the Giant Robots On Tour Series coming to you from Europe, West Asia, and Africa, where we explore the design, development, and business of great products. I'm your host, Sami Birnbaum. JARED: And I'm your other host, Jared Turner. SAMI: If you are wondering, which you might have been for a while now, where are Will or Victoria, well, make sure you find one of our previous podcasts where we introduce the Giant Robots on Tour Series, and you'll understand why you're hearing myself and Jared a little bit more frequently than before. In that podcast, we throw random icebreakers at each other, and we find out that Svenja does not like online banking. And if you haven't listened to our previous podcast with our guest, Ishani, check that out as quick as you can and find out why AI is compared to babies. Joining us today is Sheng-Hung Lee, a Designer and PhD Researcher at MIT AgeLab and Board Director at the Industrial Designers Society of America. Sheng-Hung, I'm going to level with you. I've done my research. I've done my due diligence on the guests that we have on this podcast, and I'm exhausted. SHENG-HUNG: [laughs] SAMI: I've looked through your own website, and I've read as much as I can find about you. And between education, experience, awards, scholarships, there is an incredible amount of things that you're involved in that you get up to. And it really wasn't good for my own self-esteem just to see how much you have going on. SHENG-HUNG: [laughs] SAMI: Jared, a question for you first. Bear in mind, the only thing I've ever been awarded is my own driving license. So, our guest, Sheng-Hung, how many awards do you think he has currently listed on his website? Give a guess. JARED: Oh gosh, I remember looking at the page, and I remember having to scroll. SAMI: [laughs] Yeah, you had to scroll. JARED: Let's pick 33. SAMI: 33. Do you know what? It's not even close. Okay, he's nearly double that. So, he's up at 60 awards that are currently listed. So, we're talking about a guest that you guys do not want to miss. And you want to make sure that you get into this conversation. I always like to go back to the start with my guests. So, everyone has a story. And I'm interested, Sheng-Hung, in your journey and what led you into the world of design and engineering. SHENG-HUNG: My personal definition of design is, like, decoding signals. So, everything in our lives, like, we have different types of signals. How do we interpret the signal? How do we, like, understand, or perceive different types of signals in our lives? And I feel design is more like...not just creation. It is creation, for sure, but also about curation. I feel like, for me, problem-solving or, like, problem-defining is really interesting. And especially you mentioned, like, my very early stage as a designer, the reason I submitted my work to get an award is because I want to show my problem-solving skill. And I realize nowadays, like, the problem is too complicated. It's not just about solving problems, right? I mean, I feel design is more bigger than that, especially now most of the problems are systematic and complex. Climate change, right? Like, you think about aging, and you think about all this, like, sustainable issues. I feel like designers, like, for me, starting from problem solver, as engineer, and now more I've become like a translator, curator, or even, like, a culture shaper. How do you shape the culture you want, right? Especially now, like, AI it's just, like...that really let me rethink about my role as designer, you know, because everyone can have tons of ideas, but the truth is, like, we have so many ideas, but do you know what good taste is about? Do you know what the good qualities of life's about? So, you have to have some personal experiences to really help people to understand or curate the vision in the future. SAMI: That's really interesting. I struggle to dress my kids in the morning from a design perspective, right? I don't get colors, and I don't understand necessarily how they match and how to get things working. In fact, sometimes I'll dress my kids only to find that my wife has redressed the kids. Things are that bad at home. Do you think then design is something which can be taught, or is it something, like, innate? Is it something, in your own experiences, that it's kind of part of your nature? So, you see the world differently to someone like myself or Jared sees the world. Or could that be something which we could pick up on, you know, and learn about? SHENG-HUNG: Yeah, I definitely think design can be teachable. It's skillable. And I feel like, yeah, people talk about this is, like, a hardcore skill. It's a soft skill. No, I think design is a life skill. It's a human skill. So, that includes like, for example, like, yeah, how do you choose the color? How do you choose the clothes for kids? But also about, like, how do you celebrate the quality of lives, right? How do you, like, have better, like, qualities? And I feel like, I don't know, life skill means, like, team building, creative leadership, knows people, listening to people. And, for me, that's part of design because you're decoding different signals. You understand your life. You perceive different types of noises. Or how do you resonate with other people? And that's a life skill, I think. And I also feel most of the design skills I learned is actually not from school. It's from, like, personal life failure [laughs]. SAMI: That's really interesting. I just want to jump in because I don't know if I fully understand what you mean by signals. Can you just elaborate on that a little bit more? And then, I will bring you back up on personal failures. SHENG-HUNG: Signal is like different ways of seeing things, right? So, for example, like, if I go to wait in line for a free bagel, right? You share this with your friends. What I see is it's a free bagel. But what my friends see is like, oh, probably, like, I don't need to wait in line and so many challenges. You know, I have to, like, oh, why should I get this? But I see very clearly I want a free bagel. So, these are different. It's the same thing but different message mixed up, right? And then, for me, I see design, like, it happens every day. It's a life skill. For example, like, I saw the challenges, but what if we think another perspective to rethink about what kind of challenge [inaudible 06:38] or reframe the right questions, right? And all this, like, mixed all together, it feels like it's not just about drawing beautiful sketches or rendering sexy, you know, ideas. It's all about, like, how do you frame these challenges? How do you look at this? Can you see the question from social aspect, from cultural aspect, or you just see this as a solution-driven approach? JARED: In some cases, I feel, there is an element of subjectivity to the designs, but then we also want to measure the success of a design. Do you have any tips for, like, how you go about putting numbers to what defines success for a particular design? SHENG-HUNG: This is such a great question, especially now my research focus is really on services, you know, service design, experience design. Like, how do you quantify this, right? For example, three of us we go to the restaurant, and I feel it's really, really great restaurant. And probably some people feel no, that's not really great. And then, how do we quantify this, right? And then, I feel it's sometimes, like, really by personal preferences. It's hard to measure. Maybe there will be some sort of, like, a principle direction or criteria we can follow, so, for example, service quality metrics or something, like, based on people's life experiences. I feel it's hard to measure, especially now the design challenge the question it's really complicated. Some people talk about demographic. How do you, like, [inaudible 08:09] design? Like, for example, a participant design process, right? Or, like, inclusiveness. People talk about equity, power, power dynamic. And I think it's less of a measure or quantify. It's more about do you show your respect? Can we be more inclusive in this process? Can we really engage or integrate multiple voices in this design process? And I feel like that kind of shows the flexibility, also, the real flexibility of the design, not just that, oh, we look for one single solution. Because, most of the time, we actually want to design for a solution, but, actually, I feel now the shift is from we try to build the condition to let people land on this condition and solve the problem. So, in the end, we'll be like, yeah, we landed here, and we can solve the problem together collectively. So, something I feel a little bit different, but that's a great question. It's open-ended. Yeah. JARED: Yeah. Thank you. There's a lot to think about there. I want to bring it back to failure because this is something I think about a lot in terms of teaching and learning from history versus learning from your own failure. We have, like, thousands of years of history of failure. You think we have made all the mistakes already, and, oh, it should be easy, right? All we need to do is teach all of the young generation about all of this failure, and then they'll remember not to do it. But in reality, it doesn't really work that way. I find the strength of the argument is oftentimes weak compared to failing yourself and really deeply learning that lesson. I'm curious about your thoughts on that. And then, I'm also curious to hear about some of your, let's call them, best failures. SHENG-HUNG: I personally feel like people fail. They fail forward, not backward. So, even if you fail, you move a little bit. It depends on how crazy, right, and how fast you fail. It's an iterative process. The reason I say learning from failure because from traditional Asian family, Asian students, right? Probably in the past, I would say I raised my hand. I want to learn, or I ask senior people. I want to learn. But, actually, more than that, it says, "I want to experience. I want to be part of it," right? So, you're not becoming the manager because you learn to become a...no, you're in that position, and you learn to be a manager. So, I learned that mindset when I worked at IDEO. And one of the senior design directors told me, "No, you should say, 'I want to experience.'" So, that means that you have fully immersed experiences. And one of the best examples for me is that the first two years I worked at IDEO and IDEO Asia, supporting projects in Tokyo, Shanghai, Singapore offices, and sometimes European, like, office work; the first two years, my confidence almost collapsed. I have to collect my confidence. It's so hard because I'm eager to learn so many things. I didn't beat myself. And then, after two years, I met an amazing, like, design mentor. And I started the things I'm good at as product designer, a tangible designer. I start as product-focused and thinking about whole design process. And then, I start to collect my confidence. And I realized every single project at IDEO or in my life it's a vehicle, you know. And then, you always connect the dots when you're looking backwards. And you realize, oh, this is failure. Let me know what do you mean by client management? What do you mean by, like, teamworking? Because everyone is from so diverse background. And everyone says, "I'm a designer," but they have different interpretation. And how do you communicate it, right? And how do you keep the conversation transparent and also effective, and how do you empower people? And I feel because of that connect the dots process, also, all the things I want to learn, I want to experience it really helps me to grow at the third year or second year in IDEO. And that really makes me think about, oh, wow, I didn't know. I failed completely. And that's really healthy, for me, because you become very strong. At some point, I started to realize, oh, what do you mean by...what does it mean by design consultancy business? What we can sell. Where's our capacity, our limitation? You know, other than just, oh, everything's, like, imaginative conceptual. I kind of know what happened, and I know the boundary. And I know how can I empower people and also the client. SAMI: Yeah, embracing failure is a real strength. At thoughtbot, we kind of...if we're developing products and we're, let's say, designing or coding, whether websites or applications, we have this concept of failing fast. So, the faster you can fail, the quicker you can iterate towards the right solution. And that's something which is difficult to embrace because the first time you do it, I want this to be perfect, and I want to build it in the way that it works. But, actually, you'll spend a lot of time trying to get towards that perfection, and it's much better to ship faster, fail faster, and then get towards the solution. I noticed as well that...well, I read that the one thing you've been recently working on is designed for the aging population, so more specifically, smart homes for the aging populations. Shout out to my parents if they're looking for a smart home. Sorry, mom and dad. SHENG-HUNG: [laughs] SAMI: I've always found, especially my generation, so I'm about...I'm not about; I am 32 years [chuckles] old. So yeah, there's always been, like, a big gap between kind of my generation, the way we've engaged with technology products, the way my parents' generation have been able to. And I imagine a future where my kids are running around in VR headsets, and I'm still, you know, using a basic laptop. I would love to know more about your work kind of in this area and designing for a different sector of the population. SHENG-HUNG: My master thesis and my master project is focused on redesigning, like, smart footwear for aging population, and then that's part of the smart home ecosystem. And I was actually impressed and surprised. It's like most of the sponsors or clients we talk about, like, people [inaudible 14:38] to think about just the product level, so smart like [inaudible 14:43], smart like a door, or smart like, you know, like a bed or a smart, like, alarm clock. People start to think about how can we integrate all this system together? Because, like, for example, if you bought Amazon, you know, versus Apple and all these different devices, the platform is really a problem because the products cannot communicate with each other. And we want to make sure all the products can communicate and support you, or, like, they can at least receive your data or information to give the appropriate response. So, the smart home project starts to think about from ideas to become more like platform integration. IKEA is the best example, right? Like, I think two years ago, they talk about, yeah, they launched their first app, right? Everything is, yeah, it seems like, oh, what's the big deal about this, right? No, but you think of this from the intention perspective to actually connect the whole system together because they want to make sure their internal designer, developer they really can think through their own internal system to make sure everything's connected, interconnected, not just, oh, you do a part of this. We sell this to a certain Asian, and it didn't really connect. So, I feel like when we designed it, it's really from the system perspective to talk about a smart home. And then, regarding of, like, design across [inaudible 16:04] generation, that's really important, actually, because especially now I'm focused on design for retirement. And I shifted to design for longevity. And then, the cool thing about this is, like, we think about our life in terms of age, but, actually, now we need to think about our life in terms of different life stages, different lifestyle. The book called "Stage (Not Age)", means, like, now we cannot even describe people above 100 years old or 85 years. So, we call them future hood, right? So, like, different life stages. And I feel like that really impacts, as designers, the way we design products or interfaces, right? And it has to evolve with people. When you say, for example, if we have, like, a smart, like, a robot in our home, they have to know your personal routine. And you kind of grow, right? For example, oh, I get older. I move slower, or my mobility is different, and it changes. How does that mean to our product or our smart services? And I feel like across different generations, it's really thinking about design for different people in different life stages. And that's really important, not just about financial planning or about your future education, family, community, right? Now people are probably thinking about aging in place. My parents just bought a second home. They're thinking about retirement life. And so, these are things that really impact all aspects of life. And I feel like the idea of one solution for all the era is kind of over because we have to think about not just one solution, multiple solution tailor-made for multiple different people in different life stages. MID-ROLL AD: Are you an entrepreneur or start-up founder looking to gain confidence in the way forward for your idea? At thoughtbot, we know you're tight on time and investment, which is why we've created targeted 1-hour remote workshops to help you develop a concrete plan for your product's next steps. Over four interactive sessions, we work with you on research, product design sprint, critical path, and presentation prep so that you and your team are better equipped with the skills and knowledge for success. Find out how we can help you move the needle at: tbot.io/entrepreneurs. JARED: And, Sheng-Hung, in one of your articles that I was reading about design for longevity, you sort of say that design for aging isn't just about designing for older people, but rather, I think one of your colleagues asked this question, which I really liked, which is, how can inclusive methods build elegant design solutions that work for all? And I find that a really aspirational goal. But one of the things, say, at thoughtbot, when they're building a product, so we often talk about targeting a specific niche or a specific user base because then we can really optimize for them. And so, you're designing something that's elegant, and that works for all. It doesn't sound very easy. It sounds like a good challenge. And I'm curious about how do you go about that, and do you have any examples you can you can share? SHENG-HUNG: Design for all elegantly also seamlessly. Optimize everyone's needs or, like, design process. I feel...because my topic is focused on financial planning, right? And I think about everyone's income level is different. Their investable income asset is also different. We have a different situation, right? Our family issue, the healthcare condition is also different. And I feel like that, also, if we look at this question, we should think about, okay, how do we define design for all, right? Is it universal design, or is it inclusive design? I think there are definitely some, like, basic or fundamental, like, foundation or criteria we need to meet. Like, for example, human-centered, right? Or, like, we think about accessibility for certain technology. What's the threshold for a certain way of use the technology or product? That could be, like, a universal or, like, basic. Like I said, people's life stages are so different. And can we really make sure our product or interfaces is always dynamic, always change? Design for transformation, right? And I feel the ideas of changing is kind of scaring for most people. Because you don't want to, like, you woke up, and you realize your iPhone just update the whole interfaces, and you suddenly don't know how to use it [laughs]. It changed too dramatically. What I mean by change is like, it's a gradual integration process. And I feel that's kind of beautiful. Like, for example, the way I use my bicycle, the biking, right? They can ultimately adjust my speed, recharging, or understand my personal preferences. That could be something I think is powerful for future for providing the right solution, yeah. But also, it's a benefit of this, but also, there's downsides. Like, maybe because of that, we all live our own personal bubbles pretty well, right? Like, oh, yeah, yeah, I read a newspaper. No, you read the newspaper that I curated for you. So, somehow, the information started different [laughs]. So, there's a gap, but I don't know. It's very cool. It's very great, great question. I think there's still...I don't have the exact same answer, but I feel that could be potential for now. Yeah. JARED: Yeah, I really like that. So, it's not just a one-size-fits-all-all, but, like, it's a sort of an elegant transformation over the course of someone's life. We've discussed a few different things like design for longevity. You touched on there, as we were speaking, human-centered design. I know you've made a distinction of humanity-centered design as well, and there's also life-centered design. I wonder if you could give us and our listeners a little rapid-fire explainer of each of them. SHENG-HUNG: Like, when we talk about human-centered design, right? Like, it's, like, a buzzword. And everyone talks about HCD, and most people think, oh, if you got a post-it note, you're, like, a HCD designer. No, like, what does that mean, right [laughs]? It's very cliché. And they're like, oh, yeah, all these, like, HCD designers bring the post-it notes with Sharpies and go to facilitate tons of workshops, and they sit and know people. And I feel it's more than that, right? Human-centered is really, like, put yourself, designers, in the shoes of clients, users, customers, and participants to know their needs, their desire and address their pain point. And I think for human-centered design like Don Norman said in his latest book, it's not just about design as a discipline. It also covers, like, politics, covers, like, ethical issue, culture. It's broader. And, for me, the simplest version is, like, you design with care. You design with human temperature. We create technology with human temperature. That means that we're now for this technology to [inaudible 23:13] technology. We know why we need that technology. So, for example, if you provide the, like, the cell phone to the developing countries, you probably don't want to send, like, the latest cell phone. You want to send them, like, the adequate technology. What I mean by that is like, it's very, like, stereotype, but I'm trying to explain the idea is like, oh, Nokia could be a great option at this point, for example. You can communicate. You don't need, like, crazy, like, AR VR function. You at least can communicate. So, it's adequate. I think that kind of lens is, like, you think about the culture, the needs, economic, social status. And then, you can start to move on and upgrade the devices. And I feel like life-centered is even broader. It's like, can you design something to the lens of cats, your pets, your animals? So, it's really like, it's really...it sounds a little bit like a speculative design. But the truth is, like, we can shift our perspective to different kinds of species, cross-species, not just focus on human, because everything we design definitely starts from also for a human being. But now life-centered is like, it's longer, broader. And then, for me, it also means like, we just talk about life-centered. It's like, really think through all different stages of life, not just, like, focus on one single age or a single stage, too specific, too narrow. It's, like, broader. So, when we talk about life-centered design, LCD, we really think about a lot of different systems, framework. What's the model we can follow? You know, so we're also thinking about policy, about power dynamic, government, ethical issues. So, this, I think, like, it's broader, and it's really large. Sometimes it's pretty vague, for sure. We have to use some cases or really think about in different contexts. Context is really important, designed for different contextual knowledges and needs. SAMI: Yeah, I think that is actually a really helpful understanding. Myself I don't know anything about those concepts, so to kind of get that theoretical understanding and explanation from yourself is really helpful. In a more practical sense, I have a question, which is a very selfish question. The reason it's a selfish question is because I want to know what do you think? When you look at the world through your designer lenses, what do you think is the worst-designed product you've ever seen or come across? And I think I know the answer to this. I think there is a right answer. While you have a think, I'll share my answer. I don't know if you have this because you said you're based in Boston at the moment. And I'm showing you because we're on camera, but I will describe it to the listeners as well is what they've done with bottles now is when you open, like, a Coke bottle, for example, all other beverages are available...Coke, if you want to sponsor us [laughter], we're happy just to mention you. When you take the bottle cap off, it's now connected to the top of the bottle. So, someone has decided...now, I understand the reason behind it. They're saying that it's for recycling. So, when you throw your bottle away, make sure the cap goes with the bottle. But someone has sat there, and they've designed the bottles. So, when you take off the cap, it's still connected to the top of the bottle. And countless times, I'm either pouring into a cup or pouring into my mouth. And that cap is getting in the way. So, the liquid kind of goes into that cap, and it spills on me, or it spills on the table. This is an absolute design failure, a catastrophe in my eyes. That's my worst design that I've come across in real life. Do you have anything you can think of that you look at, and you're like, who designed this? SHENG-HUNG: This is such a great example because I did have similar experiences when I went to Milan Design Week last year. All the plastic bottle is, like, connected. The cap connects with the bottle. And I didn't know that it's on purpose at the very beginning. I thought, how come it's, like, connected? I want to take it out because it's easier for me to drink. And I realized it's not just this one; all of them is the same [laughs]. Yeah, that's a great example. I think, for me, design for failure adapter, for example, you know, adapter, like dongle, right? Like, we have so many different...this guy HDMI cable, the cable for iPhone, and the magnet for my Apple MacBook Pro. That's painful because you try to find, like, when you go to, like, a talk or a speech or try to present something, I think, for me, the easiest way is, like, AirPlay, right, Wi-Fi or Bluetooth to connect to the projector. But in reality, you always need this HDMI cable. And this guy connects with my Mac. There's some problem. It depends on...now I always bring my adapter with me. It's just like, we have that [inaudible 28:04] like, you know, it almost, like, very frequently, if we're meeting, you have to show your screen. How can we design less physical but it's user-friendly, right? People use Mac. People use Apple, use, like, Microsoft. How do you design something like a universal adaptable to everyones, just sharing screen? This is what I need. So, I think this could be one bad design, I think, at this moment [laughs]. SAMI: Yeah, that's a great example as well, and so frustrating. And I wonder if it's, like, a money-making scheme, you know, everyone has their own chargers. And that's a way kind of they make some income as well on the side. Jared, what have you seen in the world? What's your pet peeve? What really grinds your gears? JARED: This was easy for me. It came to me straight away. Any door that has a handle that you can wrap your hand around which signifies it should be pulled that is push. It's just, I mean, what is going on there? It drives me bonkers. SHENG-HUNG: [laughs] SAMI: That is brilliant. I think it's only fair if we flip the question, right? And then, we say, what's the best thing you've seen designed, right? There must be something out there where you've gone, "Oh, that is so useful. That makes so much sense. Why haven't we done that until now?" And have you kind of...I guess this is for Sheng-Hung, like, have you got any inspiration from that sort of thing? SHENG-HUNG: I have to be honest. Like, I really feel like in the past, I'm kind of scared about, like, use your face to unlock your phone. But the more I use it, I feel like, oh my God, this is so convenient. You just look at it. I know it's a bit scary because they have all your biometric data information. I know even you protect under the regular law, but still, I feel like, yeah, it's so seamless connected. And I feel maybe the better answer is like, I feel a great design is, like, to reduce the friction between the transition of devices by devices, right? So, for me, I mean, so interface by interface. So, when I share the data on my phone, what does that mean? From phone to my computer or phone to other people, right? All the different interfaces changing. The less friction, the better. I feel seamless connected. So, you know, AirDrop, super convenient, photos, videos with people, Mac users. But what does that mean for, like, Windows users, right? And so, every platform has their own, like, spec, or criteria. And I feel if the user can feel the seamless friction between these interfaces, for me, that could be a great design solution. JARED: I love that answer. And I love that description of reducing friction. It reminds me a little bit of, I think, my favorite book on UX is by Steve Krug, which is "Don't Make Me Think." And it's just all about doing the simplest thing, reducing confusion, overcoming objections, and reducing friction. So, I really love that. I do have an answer for this one as well. It's a little bit selfish or focused on my own life. So, I have a dog. She's a Welsh Terrier called Rosie. She's just turned one. Whenever we used to go out, you've got to take water for her if it's a hot day. I always used to take a bottle, whether you could unscrew the top or not, I'm not sure, Sami, and, like, a little bowl to put that in, or you use your hands. And, invariably, she's not going to drink all of the water, so you've got waste. You throw that out. The bag gets wet, all of that. Someone has designed this really cool bottle where the top is actually the bowl. It's an all-in-one. And you press a button; the water goes into the bowl. She drinks. Whatever's left, you press the button again, turn it upright. And the water just flows back in into the rest of the bottle. It's such a simple thing. But, like you say, it just reduces that friction. Anytime a problem no longer exists, manual to automatic cars, fight me, I'm all for it. Well, that's a problem solved. That's less friction. That's beauty in the world. SAMI: Yeah, I think it's amazing. When you think about these examples, it really brings out how much of an impact design has. So, you can have the best product in the world, but if you don't get that frictionless design, or you don't get that design that's going to really bring that improvement, it's going to be difficult to make that product a success. And I think there's some, like, when I think about leaders and innovators in this kind of space, so I know you already mentioned IKEA and I think of Apple. And I don't know the answer to this, and maybe our listeners also wonder, like, how do these companies...they seem to keep getting it right. No matter what happens, they seem to set the trends, and they get their design spot-on, and they innovate in that space. How are they so successful in their design? SHENG-HUNG: I think a recent example is like, you know, like, Apple just recently launched the Vision Pro, right? The XR, the goggles. And put the demo time 30 minutes to get in-store experiences. You're booking the demo time with them, the 30 minutes. For me, I wrote an article about it. It is less about the goggle itself. It is about the whole experiences. The time you enter the store, right, and then you're waiting there, who guiding you? The Genius Bar people guiding you. You sit down. You have the prescription and your glasses that get measured, scan the QR code, and find the match [inaudible 33:35] pair of goggles that fit your [inaudible 33:37] of your face. And they put it on. They sit on the side, use the iPad to guiding you, and tell personal experiences or stories. These companies are very design-driven, vision-driven company. They really think about the whole experiences of users, right? And, for me, it's too pricey, for me, the product, obviously, right now. But I have very delightful, positive experiences because of that 30-minute demo. So, I kind of plant the seeds in my heart. Oh, if the second generation or something have discount, I would definitely want to get one for myself. Not really because...it's a great design for sure, but also, the impression I have. And I feel that really, really, like, make a difference, right? It's tiny. It's very subtle. They can, "No, we don't have, like, demo experiences." They can just purely sell the product. But I think they sell something bigger than just product. Branding user experiences, delightful experiences. And I can really feel that, and that's really powerful in the end. JARED: Do you think that that sort of level of design is limited to the companies that can afford it like the big names? Like, obviously, there is a cost dedicated to having the time and to putting the resources to that. Is it always just going to be the big players, or are there things we can do to democratize that availability for the startups, for the SMEs? SHENG-HUNG: I actually think it's about a company's culture. So, another example I would love to share is, like, when we did, like, an inspiration trip in Tokyo, and there's a very famous, like, chain bookstore called Tsutaya bookstore or Tsutaya electrics. So, to my surprise, like, yeah, it's a big bookstore, and we probably think bookstore selling books. No, they're actually selling a lifestyle. So, for example, like, if I want to buy the book around how to use a camera, right, the way they curate it, it's like, yeah, we do have the books around camera, but also, we'll put the real camera, like, near the book. So, they curate the whole experiences. You flip the book. Oh, this is so cool. Thanks, I want to try it. You probably, in the end, you got both. So, very interesting and also very human-centered, like, retail experiences. Why did I say culture? Because when I entered the store, I asked for one book I was looking for. The staff came to me, and she bring two books to me. One is the book I want, unpack. And one is the book...it's the same book, but without the plastic cover. It's brand new. And why she brought two books to me because if I want to buy this book, I not only read inside, but also, I can just get the new one with me to check out. And this is so subtle, right? Because they're not just bringing you, like, the sample. They also bring the final product with you. So, I feel that kind of culture is, like, very strong, customer-centered, think about your needs, think about your next step. So, they kind of plan ahead, and this is so strong message to me. Oh my God, this is such a great design culture, or at least a human-centered culture to think about my needs, my decision-making process. So, I feel connected with that, and I feel like, yes, they have money, but also, like, they really cultivate that culture within the...not just...they also send a message to their customers. SAMI: I feel like, Sheng-Hung, we could speak to you for hours. I mean, you are opening my world and my eyes to a different world of design. I've got one final question for you before we wrap up that I wanted to cover. I've seen from your website, like, you've personally designed products. So, out of all the products you've either designed yourself or you've been involved with, what would you say, and could you describe for us your favorite product that you've designed yourself? SHENG-HUNG: I think my favorite product is, like, I help and re-design, like, Shanghai Library Innovation Space that, for me, is OMG. Oh my God. It's crazy. Like, one single team, my side project and collaborate with the full staff, librarian, the leadership team. What is powerful is, like, library for them in Shanghai, it's a local hub to connect the community and also to teach, to learn for the younger generation how to use the space. For sure, most people use that space for, like, self-studying, you know, activity and all this stuff. But, for me, like, it's so impactful because every single change that means a lot of impact because it's a public space. And also, it's really, really powerful. Like, you think about the decision-making process. You have to think about feasibility, viability, and also desirability, all things to connect together. And it's really hard, not easy process. It took me about a year-long project. And I'm really happy because, in the end, it's really from sketches, concept, prototyping models, all the way they rebuild, modify the design, integrated. And now the new library they build on another area of Shanghai is really based on this model and framework. I'm very happy, and I also feel like, yeah, design can make a positive impact. It's not like a concept. It's real. And it's nice. It's painful, but it's really satisfying, yeah [laughs]. SAMI: That's really cool when you get to a point where you've done something, and then you see people using what you've designed and, like, enjoying that space and benefiting from all that hard work that you've put into. I have to thank you so much for joining us and giving us time today on the Giant Robots On Tour Series of the Giant Robots Smashing Into Other Giant Robots podcast. Our listeners don't know, but you've had about two hours of sleep. SHENG-HUNG: [laughs] Yeah. SAMI: So, it's probably time for you to get back into bed yourself. But that is your dedication to us. It's been an incredible episode and an incredible chat. I finally understand why Jared does not like doors. I myself, you will understand if you see me in the street and I'm tearing a bottle cap off of a bottle, you'll understand why. And we need to sort Sheng-Hung out with more adapters with just a single charger for all his devices. If people want to get a hold of you, Sheng-Hung, where's the best place they can reach out after listening to this podcast? SHENG-HUNG: Yeah, definitely, you can reach out through my personal website portfolio. Yeah, shenghunglee.com. And I'm happy to respond and discuss about design-related topic. Thanks for having me on this podcast. It's very exciting, and hope we can create all the great stuff for our society. SAMI: Pleasure. There's always a challenge I give to my listeners at the end, and it normally is just please hit that subscribe button. Jared has promised me that he will do a shoey if we can double our subscribers by the end of the series. If you don't know what a shoey is, my only advice to you is do not Google it because you do not want to know. You can find notes and a complete transcript for this episode at giantrobots.fm. If you have any questions or comments, you can email us at hosts@giantrobots.fm. This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening. See ya. AD: Did you know thoughtbot has a referral program? If you introduce us to someone looking for a design or development partner, we will compensate you if they decide to work with us. More info on our website at: tbot.io/referral. Or you can email us at: referrals@thoughtbot.com with any questions.
episode.55 前編ゲスト▷ アリセキ 薮野睦士さん今回のゲストは湯浅町のイケてるガソリンスタンド株式会社有田石油〈アリセキ〉の薮野睦士さんです。talk topicsめちゃくちゃ泣き虫/本気の草野球/駅伝/御坊のTSUTAYAは良い/ガソスタはプレイとして面白い/予備校での出会い/チェゲバラ/バックパッカーどうぞお聴きください
渋谷サクラステージに「TSUTAYA BOOKSTORE」オープン、特徴は?。 カルチュア・エクスペリエンス(東京都千代田区)とTSUTAYAの加盟企業であるNICリテールズ(東京都文京区)は、「Shibuya Sakura Stage(渋谷サクラステージ)」に書店「TSUTAYA BOOKSTORE 渋谷サクラステージ」とカフェ&ラウンジ「SHARE LOUNGE」を7月25日にオープンした。
ITビジネスメディア「CNET Japan」に掲載された記事について、担当記者に取材の裏話などを聞いていく音声番組「CNET Japanのニュースの裏側」。今回ピックアップした記事はこちら。 ●新生「SHIBUYA TSUTAYA」を写真で紹介--2階にスタバ、シェアラウンジ完備 https://japan.cnet.com/article/35218211/ 【トーク内容】 ・渋谷スクランブル交差点前に位置する「SHIBUYA TSUTAYA」が大規模リニューアル ・「SHARE LOUNGE」では冷凍食品やビールの提供も ・IPエンタメコンテンツを一堂に集めたフロア 【毎週水曜日と金曜日に更新】
カルチュア・コンビニエンス・クラブ(CCC)は旗艦店の「SHIBUYA TSUTAYA」を改装して4月25日に開業しました。CDやDVDのレンタルサービスは取り扱わず、若者や訪日客に人気の高いアニメなどのコンテンツを体験できる施設になっています。 開業前日の24日に佐藤可奈子さんとDJ Nobbyさんが取材してきました。
Shibuya Tsutaya, known as a landmark of the popular area in Tokyo, will reopen Thursday after renovation, with a lounge where people can enjoy trading card games featuring Pocket Monsters, or Pokemon.
スタバ、SHIBUYA TSUTAYA店舗をリニューアル 店舗デザインに2本のリボンを採用。 スターバックス コーヒー ジャパンは4月25日、「スターバックス コーヒー SHIBUYA TSUTAYA 1F店」と「同2F店」をリニューアルオープンする。「STARBUCKS Green Ribbon」をデザインコンセプに、リボンを活用した店舗デザインを採用した。
「TSUTAYAが中国・北京に初出店 シェアラウンジで商談も」 中国の首都・北京市では初となる「TSUTAYA BOOKSTORE」が20日にオープンする。店舗内には、中国大陸で初となるシェアラウンジも併設されている。20日にオープンする「TSUTAYA BOOKSTORE」は中国大陸で8店舗目で、首都・北京市では初めての出店となる。新店舗では約3万2000冊の書籍が販売され、そのうち2割が日本語の本だという。また、日本から輸入した文具雑貨やキャラクターグッズなどがそろうほか、中国大陸で初となるシェアラウンジも併設されている。シェアラウンジでは、1時間約1100円を払えば食べ物や飲み物をとることができ、快適に仕事や商談などができるという。書籍売り場にシェアラウンジを併設した店舗が、地元・北京の若年層にどのように受け入れられるか注目されている。カルチュア・コンビニエンス・クラブ 野村拓也中国法人社長「仕事も私生活も充実したい、北京の若いお客さまに愛される店舗を目指してまいりたい」運営するカルチュア・コンビニエンス・クラブは、北京の新たな文化が生まれる場として、今後、様々なイベントを開催していきたいとしている。
「城西TSUTAYAのレンタル部門がなくなってFIT365鹿児島城西が2024年5月にオープン予定だそうだよ」 どうも、僕です◯┓ 鹿児島市城西3丁目にあるTSUTAYA 城西店。TSUTAYA、ファミマ、電源カフェがあるカフェリエールもあって大変便利な場所です。久々に来たらなにやら工事をしています。「営業中」とでかでかと書かれて […]
Cayden Chang is a Singapore-based Value Investor with over 20 years of experience; he says that he spent a third of it making all the foolish mistakes that anyone has ever made and the other 2/3 building a family investment fund. He is the founder of the Value Investing Academy, where he hosts guest speakers, among them Lauren Templeton and Todd Finkle, both of whom have been earlier guests on Talking Billions. Cayden also built an endowment fund with Singapore Management University (SMU) to give away the returns to students who are financially challenged. He is a Campaign Ambassador With National Cancer Centre of Singapore to help raise $150 million for the next 5 years. Cayden is the author of 4 books: (a) “Do You Have What It Takes to be Boss?” - all sales proceeds were donated to The Straits Times School Pocket Money Fund (b) “The Book of Hope by Cayden Chang” - all royalties were donated to Singapore Cord Blood Bank & National Cancer Centre of Singapore (c) “Beginner's Guide to Investing” (in Japanese); books were launched in the largest bookstore chain in Japan, Tsutaya - all royalties were donated to Children Cancer Association of Japan (d) “Value Investing Simplified,” with a foreword written by Ms. Lauren C. Templeton —- it's a delightful read; we talk about it in our conversation. Been featured in more than 30 different media in total in Singapore
映画文筆家の児玉美月をホストに、テーマに合わせたゲストをお呼びし、きっと誰かのためになるトークを展開する番組。 記念すべき第1回目は映画監督のふくだももこ、首藤凜を迎え「女性が映画監督になるということ」についてトークします。 映画に興味を持ったきっかけは? 映画監督ってどうやってなるの? など根掘り葉掘り掘り下げ。 映画監督になろうと考えたのはTSUTAYAがあってこそ? バイトで貯めたポケットマネーで映画を撮っていた学生時代、女性は美人じゃないと映画監督になれないと思っていた話…などなどさまざまなトピックてんこ盛りでお届けします。 児玉美月(ホスト) X:https://twitter.com/tal0408mi ふくだももこ(ゲスト) HP:http://fukudamomoko.com/ 首藤凜(ゲスト) HP:https://www.tvu.co.jp/contact/shutorin/ 児玉美月×ふくだももこの対談記事 ↓ ツイッターでの批判きっかけに対談が実現 ふくだももこ監督×児玉美月が語る『ずっと独身でいるつもり?』 ふくだももこ監督×児玉美月が語る“日本の映画業界” これまでの当たり前は「実はとんでもなくストレス」
国内最大級の在庫を誇るSHIBUYA TSUTAYAが2023年10月16日をもって、レンタルサービスを終了するという知らせを受けて収録したスペシャル雑談回です。TSUTAYAのレンタルを通じて映画や音楽に親しみ、今では映画ラジオまで録るようになったRadio18sメンバーが、リスナーの皆様のお便りと共にTSUTAYAの思い出を振り返っています。さようなら、今までありがとう。 ・SHIBUYA TSUTAYAの終了という象徴的出来事 ・不便性こそが魅力 ・「所有」と「占有」の違い(cf. TwitterがXへ変更) ・自分でレンタルすることは、ある種の冒険 ・カップリング曲、隠しトラック →Perfume『23:30』、BUMP OF CHICKEN『play sports』 ・借りる作品を自分で選ぶことの意義 ・TSUTAYAを巡ることが最大の自由で娯楽だった ・最後にSHIBUYA TSUTAYAで借りた作品 ・TSUTAYAとFilmarksの関係性 ・「発掘良品」を企画した人はマジで偉人 ・VHSというメディア独特の「禍々しさ」 ・国や区がもっと援助してくれー お便りくれた皆様、本当にありがとうございました!! <ご意見・ご感想はこちらまで!> メールアドレス radio18s.film@gmail.com グーグルアンケートフォーム https://docs.google.com/forms/d/10PyVRC1h_SwXt7igESDOX57srumosshhDSQqQVKlxYU/edit 番組公式Twitter&Instagramアカウント @Radio18s
#planetmullins On today's show hit global artist Matt B speaks about following up on his hit song "Gimme Love" with his new album about his personal journey to Africa "ALKEBULAN." "ALKEBULAN" was three years in the making and you can stream it here:https://orcd.co/alkebulanAlso check out a music video from the album directed by Angela Benson featuring many Uganda based guest artists:https://www.youtube.com/watch?v=PBQUQIUYILkFor media interviews and booking contact Matt's label athttps://mattbworld.com/contactMORE INFOAcademy/GRAMMYs® Voting member ‘Matt B' was born and raised in Chicago, IL. He signed to StarBase Records Japan as of July 2014. Matt released his Japanese debut album “LOVE & WAR” in September 2014, and it went #1 on the iTunes R&B Charts. His hit single “Plain Girl” also went #1 on the iTunes R&B Charts. “LOVE & WAR” became available for physical distribution at over 1,400 TSUTAYA music stores, and sold out in several locations. His sophomore album “DIVE” released in January 2016 and achieved similar success, hitting #1 on the iTunes R&B Charts in less than 24 hours. “DIVE” was also made available in TSUTAYA stores. His two singles ‘Tokyo Girl' and ‘My Dreams' charted at #3 and #8 respectively on the iTunes R&B Charts. After reaching critical acclaim in Japan, Matt's imprint continued to spread overseas. His single ‘Color Blind' went viral in China, accruing over 158 million streams on the NetEase platform.Matt B's website: https://mattbworld.com/bioFor video episodes and more visit Rob's channel at https://youtube.com/planetmullins
優勝賞金100万円!ラップコンテスト「NIKKEI RAP LIVE VOICE」 ラップコンテスト「NIKKEI RAP LIVE VOICE」のエントリーを受け付け中です。日頃感じていること、社会に訴えたいことなど、あなたのVOICEをラップしてください! 詳細はこちらから。https://ps.nikkei.com/nikkei_voice/ ■金曜担当:神下 芽衣(ヤング日経ニュースクイズ部 部長) 大学院1年生。5月(May)生まれで「めい」。英語教員免許取得を目指している。浅草百美人2020初代グランプリ。生島企画室で学生キャスターとして活動している。Twitter:@mei_kami524 お伝えした記事のリンク先が入った最新版は「Voicy「ヤング日経」でSee omnystudio.com/listener for privacy information.
奈良JW萬豪酒店是日本的第一間JW Marriott,這次很榮幸有機會入住。 第一晚的鐵板燒,幫我們掌廚的是七年前在帝國大阪遇到的台灣人王俞文主廚!七年前偶遇後,他跳槽Ritz-Carlton大阪,在2020年JW Marriott奈良開幕時就被延攬過來(同為萬豪集團),奇妙的緣分我們開心重聚!主廚的帽子變高了,技藝也越來越精湛,感謝完美的一餐!JW Marriott預計將在2025年春天於東京的高輪Gatway站前開業,2024年也將插旗台中(王俞文主廚的故鄉),也許我們未來還會見面喔! 早餐非常精緻,日式或是西式的選擇都很多樣! 訂房時你可以選擇可否進行政休息室的方案。但行政休息室目前沒有早餐,一天就是很簡單的零食和飲料,然後在晚上以後有酒品,6~8PM這段時間有晚餐。差不多就是晚餐自助餐規模的豐富餐點@@有烏龍麵,炒麵,散壽司,咖哩飯,炸雞,還有包括酒類的各式飲料。 走路到隔壁就是Tsutaya書店併星巴克,可以享受一下書香和咖啡香。 可以租借腳踏車,我下午在大熱天下騎去平城宮跡,汗如雨下險成人乾。這裡還是建議秋冬來比較好啊!入口處有個遣唐使船的模型,可以上船看看,室內也有影片和說明當年日本派出遣唐使到唐朝的種種歷史。 奈良JW萬豪酒店 (JW Marriott Hotel Nara) 官網 https://reurl.cc/YeNa6X agoda https://reurl.cc/lDAxRA 下午茶也非常推薦! ラウンジ&バー FLYING STAG https://www.flyingstag.jw-marriott-nara.com/ 歡迎追蹤林氏璧孔醫師的發聲管道,了解最新的日本旅遊訊息! 我的電子名片 https://lit.link/linshibi 日本優惠券大平台和近期活動資訊 https://linshibi.com/?p=20443 歡迎贊助04b喝咖啡 https://pay.firstory.me/user/linshibi
〜終わる [意味] 動作の終わりを表す。 [英訳] "finish doing" Indicates the end of an action. [接続] V(ます形)ます + 終わる [JLPT レベル] N4 【例文】 ・今日はもう勉強し終わったので、ゆっくり映画でも見ます。 I've finished studying today, so I'm going to watch a movie. ・作文が書き終わった人から帰ってもいいです。 The person who has finished writing the essay can go home first. ・DVDを見終わったので、TSUTAYAに返しに行きます。 I've finished watching the DVD, so I'm going to return it to TSUTAYA. 【ポイント】 自然現象や生理現象には使うことができない。 自然現象 natural phenomenon 例えば、降る、吹く 生理現象 physiological phenomenon 例えば、泣く、笑う には使えない。 このような場合には「~止む(やむ)」を使います。 例:雨が降り終わる。 × 雨が降り止む。○ 赤ん坊が泣き終わる。× 赤ん坊が泣き止む。○ 【Real Life Japanese】 ・食べ終わったら、ちゃんと洗い物してね。わかった?返事は? ・準備し終わったらさ、ラーメン行こうよ!今日は、家系が食べたい気分だわ。 【単語】 ・映画. Movie ・家系 fatty pork-soy-sauce flavored soup ・洗い物 Do the dishes ※動詞は「する」 洗い物をする。 ・あとで、洗い物をする。 ・食べ終わったら、洗い物をする。 ・たかし〜〜、洗い物して! ・洗い物するの、だるいわ〜。 --- Send in a voice message: https://podcasters.spotify.com/pod/show/kaichijapanese/message Support this podcast: https://podcasters.spotify.com/pod/show/kaichijapanese/support
4月7日に書店回りというやつをしてきました! SHIBUYA TSUTAYAさま 紀伊國屋書店 新宿本店さま くまざわ書店 池袋店さま へ訪問し、サイン色紙&チェキを展示していただきました。いつまでの展示になるかは分かりませんがお近くの方はちらっと見に行ってみてください! ゆとりフリーターのイラストエッセイ本『平成初期生まれは人間関係がしんどい(ワニブックス)』発売中! Amazon: https://amzn.asia/d/g3NnYCT 〈お便り募集〉 応援メッセージや質問、相談お便りはこちらから! 抽選でステッカープレゼントあります。 ▶︎https://form.run/@yutobuzz 〈ゆっ友ファンコミュニティ〉 クリエイター応援サービスpixivFANBOX ▶︎https://www.fanbox.cc/@yutori-radio 会員限定ラジオ1本試し聞き→ https://www.fanbox.cc/@yutori-radio/posts/5186749 〈各種SNSまとめ〉 https://linktr.ee/yutori_radio_ #書店回り #平成初期生まれは人間関係がしんどい #本屋 #TSUTAYA #紀伊國屋 #くまざわ書店
【大前提】映画めっちゃよかったです。マジすごいマジリスペクト!マンガは単行本が出るたびに借りて読んでいて、好きでしたが、映画を見る時点では細かいことは忘れてました。映画を観てからマンガを再読して再び感動している状態です。【テーマ】映画では仙台編がばっさりなくなっていたり、東京に出てからも細かいエピソードがなかったり、少し変えられたりしていましたが、私は全然気にしてません。むしろあれだけの時間にまとめ上げ、素晴らしい作品に仕上げたのはすごいと思ってます。ここでは、映画にはなかったけど好きな話や、変更された部分について、また、大とユキノリの役割交代の理由について話します。【収録環境】7〜10巻をTSUTAYAに返す直前に収録しました。自宅なので特に時間の制約なく話したら、めちゃくちゃ長くなりました。ご容赦ください。 映画観てない方には「ぜひ観てください」。映画よかった方には「ぜひマンガ読んで下さい」。(00:00)1.オープニング(01:39)2.仙台編(06:49)3.ユキノリ(13:19)4.JASS黎明期(21:09)5.平さんの反省(30:43)6.小さな、でもグッと来るエピソードたち(42:17)7.アニメもマンガも素晴らしい!作ってくれた皆さんに感謝!
GRAMMY®-Nominated singer, songwriter, and Recording Academy/GRAMMYs® Voting member ‘Matt B' was born and raised in Chicago, IL. He signed to StarBase Records Japan as of July 2014. Matt released his Japanese debut album “LOVE & WAR” in September 2014, and it went #1 on the iTunes R&B Charts. His hit single “Plain Girl” also went #1 on the iTunes R&B Charts. “LOVE & WAR” became available for physical distribution at over 1,400 TSUTAYA music stores, and sold out in several locations. His sophomore album “DIVE” released in January 2016 and achieved similar success, hitting #1 on the iTunes R&B Charts in less than 24 hours. “DIVE” was also made available in TSUTAYA stores. His two singles ‘Tokyo Girl' and ‘My Dreams' charted at #3 and #8 respectively on the iTunes R&B Charts. After reaching critical acclaim in Japan, Matt's imprint continued to spread overseas. His single ‘Color Blind' went viral in China, accruing over 158 million streams on the NetEase platform.Matt B's website: https://mattbworld.com/bioMatt is joined in this interview by Angela Benson who runs the label https://vitaerecords.comFor more episodes of the Planetmullins Podcast please visit Rob's channel @planetmullins and choose the "creatives" playlist.For video episodes and more visit Rob's channel at https://youtube.com/planetmullins
全国の書店で開催中の「アトロク・ブックフェア」現地本屋さんからレポート。 今夜は「TSUTAYA石井店」店長・ 渋谷洋平さんにお話をお伺いします。 全国の開催店舗は、「アトロク・ブックフェア」公式サイトにリストがありますので、 そちらを参考にどうぞ。こちらは、番組公式サイトのバナーから飛んでください そして、このフェアに参加希望の本屋さんも、まだまだ受け付けています! 特別な費用は一切かかりませんので、気になったお店の方は、 番組のアドレス「utamaru@tbs.co.jp」までメールで問い合わせてみて下さい。
beams tとMWZのイベントが近づいてきました! メールが全然足りません
今もまだ入手難が続いているので、PS5の抽選販売を活用し、入手確率を少しでも上げましょう。
いくつかの抽選販売が順次終了していますが、同時に新たな受付先も登場。今回は、「TSUTAYA」が名乗りを上げました。
私が行った店舗の様子レポです。店舗によって品揃えや環境が違う可能性が大いにあり得ますので悪しからず…! 0:00 利用レポ 8:19 エアドロ事件 〈配信後記〉 そもそもエアドロは誤送信する前に受信設定を連絡先のみorオフにするのが1番良いですね…。って言ってもそれをし忘れちゃうんだけど! お便りはこちらから https://form.run/@yutobuzz 〈ゆとりフリーターSNS〉 Twitter https://twitter.com/yutori_radio_ Instagram https://instagram.com/yutori_radio_ pixivFANBOX https://www.fanbox.cc/@yutori-radio リンクツリー https://linktr.ee/yutori_radio_ #TSUTAYAシェアラウンジ #作業 #レポ #ナッツ
あらB https://twitter.com/ark_B oka https://twitter.com/nowohyeah サイトウナヲキ(コントラバス奏者) https://twitter.com/sai_enlightened ・他人の遅刻は助かる ☆Interaxion https://twitter.com/interaxion ☆あらB.fm https://twitter.com/arkbfm ・同じ日に収録したあらBfmもぜひ聴いてください https://twitter.com/arkbfm/status/1536363232280989696?t=6bR0EguNoYzhyFkuU4aS9g&s=19 ・本を捨てると ・映画の雨 ・映画の話 ・ジム・ジャームッシュ ・ストレンジャー・ザン・パラダイス ・ナイト・オン・ザ・プラネット ・コーヒー・アンド・シガレッツ ・TSUTAYAは遠くなりにけり ・コロンボと古畑 ・メッセージとばかうけ ☆Patreon で月額投げ銭を受け付けています。 ボーナスエピソードが聴けますのでぜひよろしくお願いいたします! https://www.patreon.com/hopeofbirds 番組Twitter https://twitter.com/birds_hope Twitterハッシュタグ #hopeofbirds 番組mail naokibajo@gmail.com
「LOVE=好きの先の幸せ」は、川島蓉子ジャーナリストが毎回「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、ロエベジャパンでマーケティング&コミュニケーションディレクターを務める澤井愛佳さん。米国のKDDIからプロダクションファームを経てファッション業界に飛び込んだ経緯や想い、憧れのオノ・ヨーコに通じるという衣装家、北村道子との仕事について伺いました。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている
話したこと 3人揃うの久しぶり 寿司を食べに行って、ちゃんとした服を買おうと思った ユニクロの感動ジャケット シン・ウルトラマンを観てきた 『シン・ウルトラマン』にカラータイマーがない理由は?「成田亨氏の目指した本来の姿を描く」と庵野秀明さん さようなら全てのエヴァンゲリオン ~庵野秀明の1214日~を観る TSUBURAYA IMAGINATION ウルトラサブスク 動画見放題 メガネが値上がりした。なんでも高くなっていく 軽くて壊れにくい Zoff SMART Regular マーク家のイチゴ狩り フレッシュネスバーガー、オニオンフライの販売停止 オニポテ(フレンチフライポテト&オニオンフライ) タマネギ価格が約3倍 産地に異変 今年は「値上げの夏」に 食品主要105社、7月までに3千品目を追加値上げ、今年累計は8千品目超える 第239話 コロナ禍で続く巣ごもり消費 カップ麺・袋麺が高い人 楽天モバイル、0円廃止 蔦屋書店・TSUTAYA 74店展開のトップカルチャー、レンタル事業撤退へ ジブリは国内ではサブスクで観れない NETFLIXがジブリ21作品を世界約190カ国で配信 ただし日本・アメリカ・カナダを除いて(神田敏晶) Yarukinai.fmをサポートする 話してる人 マーク(tetuo41) 36歳男性。既婚。二児の父です。 駿河(snowlong) 在宅社長 須貝(sugaishun) 会社員
◆Nogitz-R[ノギツ-R]第397回(46分:mp3ファイル) ・小魚アーモンドとカシューナッツを食べまくる男・管理栄養士は「交渉人」ばりに同調してくれる・TSUTAYAに抗原検査キットが売っていました・冷えピタシ... The post ノギツ-R 第397回/管理栄養士か?交渉人か? first appeared on ノギツ-R.
久しぶりの更新です! 3月19日(土)に開催される吉祥寺ZINEフェスティバル(キチジン)にGMCとして出ます! 時間 10:00〜16:30 場所 吉祥寺パルコ屋上 入場料 100円 ・Good Movie Zine既刊 vol.1~3 ・おかのり新刊『花と手と水』 ・ひとりっ子の窓新刊(出るかも?) ・tanec など出します!よかったらきてね! ----------- 通ってるTSUTAYAが閉店になるという知らせを受け、毎日仕事の後に映画を観ているおーはる、初めて試写会に行ったふじた、 ハリー・ポッターシリーズ THE BATMAN 親密さ WEST SIDE STORY シチリアを征服したクマ王国の物語 スパイダーマン ノー・ウェイ・ホーム フレンチ・ディスパッチ などなど… 最近観た映画についてなど話しています。 ご意見・ご感想は、gdmovieclub@gmail.com までお気軽にどうぞ! ●話す人:おかのり、おーはる、りん ●収録日:2022.2.27 ●収録場所:それぞれの場所
「LOVE=好きの先の幸せ」は、川島蓉子ジャーナリストが毎回「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、「アットコスメ」を創業した山田メユミ取締役。幼い頃から変わらない化粧品への想いと、化粧品の開発から「アットコスメ」、そしてシングルマザーを支援する「コスメバンクプロジェクト」と姿を変え続ける、コスメへの愛の表現方法を聞いています。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている
《Top of Japan》是蓝莓评测旗下一档专注日本文化和消费的播客。第 12 期,关于茑屋书店。去过日本的朋友,即使没有逛过茑屋书店,估计也对大街上随处可见的「TSUTAYA」招牌不陌生。茑屋书店创立于 1983 年,成立之初便就是DVD、CD和书本一起贩卖,其母公司 CCC 现在是日本最大的企划公司,目标是「为顾客做生活提案」。本期播客,三位主播从茑屋书店的消费体验到经营理念,书籍选品到陈列设计,可以说聊的五花八门(疯狂跑题),来听听看:[ 04:19 ] 茑屋书店(和CCC)非正式介绍[ 13:37 ] 日本人的买书和阅读习惯[ 19:56 ] 茑屋相比其他书店的特色[ 34:33 ] 主播们的茑屋体验[ 38:41 ] 茑屋的氛围营造和选品逻辑[ 46:09 ] 国内和日本茑屋书店的体验差异[ 57:17 ] 国内的消费理念,真的在改变吗?为什么要聊日本?几位主创都对日本文化非常感兴趣,对日本的旅行和生活也各自都有一些经验可以分享,各自也有很多观点想拿出来碰撞;而且日本的生活方式太有趣了,美食、温泉、美妆药妆、设计、宗教、医美、花火大会、东京奥运、情色、音乐、移民、ACG、潮流、火车、买手店……这些都是主播和特邀嘉宾们擅长的话题,我们更希望在这档播客中带给你一些生活方式的灵感。至于为什么选择用播客而不是图文,一方面因为很多信息用播客的效率反而更高,而且可以让你在开车、健身、做家务时收听;另外有些内容播客可以比文章探讨得更深入,有更多碰撞,也更独家和“私密”,惊喜听过就懂。蓝莓评测已经上线 4 档播客节目,分别是《GYM TEST》《HOTEL TEST》《Top of Japan》《蓝莓侦探》,你可以在苹果 Podcast、小宇宙、喜马拉雅、Spotify 中搜索“蓝莓评测”订阅收听,每期播客节目也会在蓝莓评测微信公众号中推送。
◆絶対に笑う本の紹介 間違っても、電車やバスの中で読まないように(笑) 怪しまれるので! ▼100均フリーダム ペーパーバック 内海 慶一 (著) https://amzn.to/3JrFao4 100円ショップの商品に一言コメントをしている 写真と文章だけで笑わせるというのはすごい! 日常のなんとないものを 違う視点で見るのは大事 お笑い芸人とかはそんな視点でいつも見ていると思う 武雄市のTSUTAYA図書館で発見 定期的に図書館、本屋へ足を運ぶ Amazonだと似たような本しか読まなくなるから ▼0メートルの旅 日常を引き剥がす16の物語 岡田悠 (著) https://amzn.to/3EEufno 会社員&ライター 旅行が趣味で、その旅行であった出来事を綴った本 会計ソフト会社で働いている! 僕も使っていて、担当者に裏はとった(笑) noteの記事も面白い https://note.com/hyosasa/ ◆文章を書く こうやって自分が感じたことを文章で残すことは大変良い 「アウトプット」というとビジネスよりだが、 「出す」という行為が僕は良いと感じる だから誰もがブログ書くと良いと思う(^o^) 僕自身がブログを書き出したのは20代後半から 何度が挫折したが、2008年6月4日からスタートしている http://hisayukiyamashita.com/ 税理士試験の勉強記録を書いていた アメブロで書いていた 今はそれをWordPressに引っ越し ◆音声もオススメ 今なら音声コンテンツでも良いだろう 文章を書くのは大変だが、話すのは誰でもできるので 人に見られたくない人は、 日記、スマホのアプリ(非公開で)とかに記録するも良い --- Send in a voice message: https://anchor.fm/orquesta/message
ゲストにdessan氏とyamaken氏を迎え、2021年に観た・読んだおすすめコンテンツについて語ってもらいました。Show notes 文学少女対数学少女 アクト・オブ・キリング ジョシュア・オッペンハイマー アクト・オブ・ボディ … yamaken氏の小説!みんな買って読んでください! “「健康な身体がほしけりゃ、人に借りればいいのに……」人の身体をレンタルして寝ているあいだも働けるようになった世界で、30代管理職の聡美は24時間働いていた。ある日、身体の交換に失敗する事故に巻き込まれた聡美は、そこで昔蒸発した彼氏に再会する。本作品は「24時間働けるようになった世界で人はより幸せになれたのか?自分の身体を脱ぐことで私たちは何をアクトしているか気づくのか?それともアクトし続けるのか?」を描いた30代男女入れ替わりSFである。” MCU ファルコン&ウィンターソルジャー ロマ音楽 ユーゴスラビア アンダーグラウンド アンダーグラウンドのサウンドトラックCD … ノリノリのジプシー音楽が楽しめます。 DMM英会話 エミール・クストリッツァ ジプシーのとき オン・ザ・ミルキー・ロード サラエボの花 ゆはる ユーゴスラビア-大国の誕生と滅亡の歴史 Chapter1 … ゆはる氏の世界史解説Youtubeチャンネル コードギアス 亡国のアキト TSUTAYA宅配レンタル 台風クラブ 相米慎二 魚影の群れ ラブホテル スクリプトドクターのサクゲキRADIO … “脚本家・映画監督・スクリプトドクターの三宅隆太が「サクゲキ=作劇」にまつわるアレコレを語る番組です。” キャリー・フィッシャー 三幕構成 隷属への道 青い花 … 志村貴子先生の漫画。女の子と女の子が仲良くするお話 田舎 … 子供は見てはいけません。 本の雑誌社 絶景本棚 … 様々な作家の本棚の写真を集めた本。背表紙読書を楽しもう! scrapbox 千葉雅也 ひとこわ … 本当に怖いのは人間 平山夢明 Editorial notes いま2021コンテンツ ベスト25を考えています(dessan) みなさま、表紙だけでもいいんで小説アクト・オブ・ボディを買ってください。あと、遊戯○形式のコンテンツ紹介楽しかったです。(yamaken) panpanya先生回の次に出そうと思っていたのですが色々と遅れてしまってすいません。2022年もよろしくお願いします。そしてデュエリスト募集中です。(tadasu)
「LOVE=好きの先の幸せ」は、川島蓉子ジャーナリストが毎回「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、大丸松坂屋百貨店の澤田太郎社長。最初に配属された大丸神戸店での機転、阪神・淡路大震災を経ての再オープンで感じた百貨店の矜持、そんな想いを踏まえて考える大丸松坂屋の未来などを聞いています。「これから百貨店が生き残っていくためには、トライ&エラーを重ねてもいいと思っている。若い人には失敗を恐れずチャレンジして欲しい。判断したからには腹をくくる用意はあります」という頼もしい言葉からも、百貨店への愛が溢れています。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている 澤田太郎:1983年、滋賀大学を卒業し、大丸(当時)に入社して神戸店に配属される。2011年、同店店長に就任。その後は、大丸大阪・心斎橋店長事務管掌、経営企画室長兼経営企画部長兼未来定番研究所所長事務管掌などを歴任。J.フロントリテイリング発足後は、執行役常務などを務めた。20年、大丸松坂屋百貨店の社長に就任。J.フロントの取締役兼執行役専務も務めている
「LOVE=好きの先の幸せ」は、川島蓉子ジャーナリストが毎回「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、テキスタイルデザイナーの梶原加奈子カジハラデザインスタジオ代表。両親に大反対された大学受験、教室で寝泊まりしていた(!?)日本での大学生活と、それとは全く違ったイギリスへの留学、そして、テキスタイルの魅力と、オンワードとの新しいプロジェクトまで。「フワフワな触感が好き」と軽やかな生地を生み出し続ける梶原さんの、エピソード盛りだくさんの半生とアツい想いを聞きました。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている
〈もくじ〉 0:17 10代のうちにやっておけば良かったと思う事はありますか? 3:00 一番「実になった」と思うこと 7:05 今後の活動のご予定は? 11/12(金) 23:00〜調布FM ご出演 11/17(水) TSUTAYA田町駅前店にてトークイベント →https://onl.tw/gAHvSZB 11/19(金) TSUTAYA 渋谷スクランブルスクエア →https://onl.tw/fhB3fhV 【企画概要】 スペシャルゲスト『書評・文筆家 スケザネさん』登場!YouTube動画をきっかけに有名作家さんとのコラボやブックフェア、トークイベントなど大活躍中のスケザネさん! 同じゆとり世代として&発信者として、その背中を追うべくスケザネさんの魅力に迫ります!! ※アプリの仕様上、1時間尺を5分割でお届けしております 【スケザネさんプロフィール】 1992年生まれ。東京都出身。東京のゲーム会社でシナリオライターとして働く傍ら、文筆家、書評家、書評系YouTuberとして活動。ラジオなどの各種メディア出演、トークイベント、書店でのブックフェアなども手掛ける。 ご活動一覧: https://note.com/sukezane33/n/n87668250cbe8 スケザネさんTwitter: https://twitter.com/yumawata33 文学系チャンネル「スケザネ図書館」: https://www.youtube.com/channel/UCLqjn__t2ORA0Yehvs1WzjA ━━━━━━━━━━━━━━━━━━━ 【質問・相談・提案募集!】 お便りはこちらから https://form.run/@yutobuzz
「蓉子の部屋」改め「LOVE=好きの先の幸せ」は、伊藤忠ファッションシステムを辞めて心機一転の川島蓉子ジャーナリストが毎回ゲストを招き、「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、自身のビューティブランド「アンミックス(UNMIX)」を立ち上げた吉川康雄ビューティクリエイター。修行時代からニューヨークで掴んだ千載一遇のチャンス、そして現在に至るまでの半生を伺いました。さらにカネボウ化粧品とタッグを組んだ「キッカ(CHICCA)」時代から変わらない「美しさ」に対する想いと、そんな想いから生まれた製品がなかなか理解されなかった当時の葛藤までを吐露しています。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている
「LOVE=好きの先の幸せ」は、伊藤忠ファッションシステムを辞めて心機一転の川島蓉子ジャーナリストが毎回ゲストを招き、「LOVE=好き」がある人との対談を通して幸せを伝える音声番組です。 今回のゲストは、「ビームス」のサーフ&スケートバイヤーも務める加藤忠幸「SSZ」ディレクターです。「SSZ」と言えば、長年発行し続けるZINE。加藤ディレクターが語る、ZINEに込める思い、モデルとして登場した息子さんとの撮影秘話、さらには設楽洋社長の愛らしい応援エピソードは、立ち会った広報まで大笑いするほど。笑い過ぎにはご用心ください。 川島蓉子:1961年新潟市生まれ。早稲田大学商学部卒業、文化服装学院マーチャンダイジング科修了。伊藤忠ファッションシステム株式会社取締役。ifs未来研究所所長。ジャーナリスト。日経ビジネスオンラインや読売新聞で連載を持つ。著書に『TSUTAYAの謎』『社長、そのデザインでは売れません!』(日経BP社)、『ビームス戦略』(PHP研究所)、『伊勢丹な人々』(日本経済新聞社)、『すいません、ほぼ日の経営。』などがある。1年365日、毎朝、午前3時起床で原稿を書く暮らしを20年来続けている
「この世界から何かを消す。 その代わりにあなたは一日だけ命を得る」 (我會讓某個東西從這世界消失, 然後你就可以多活一天。) . 如果你發現罹患腦癌末期, 還來不及感覺悲傷和遺憾, 就遇上了惡魔提出這樣的交易—— 你,願意接受這個提議嗎? . 本週「日文情境小劇場」帶來一部節奏悠緩、 帶有哲學色彩的作品《如果這世界貓消失了》, 透過對假設性問題的思辨,與你一同探索生命的本質。 . 《如果這世界貓消失了》 (世界から猫が消えたなら) . 【本集節目重要單字】 -取引(とりひき):交易。 -悪魔(あくま):惡魔。 -パセリ:洋香菜、荷蘭芹,來自英文parsley,片中翻譯為香菜。 -キャベツ:高麗菜。 -脳腫瘍(のうしゅよう):腦瘤。 -返却(へんきゃく):歸還。 -猫アレルギー(ねこアレルギー):對貓過敏。 -レタス:萵苣。 -アルゼンチン:阿根廷。 -生きてやる(いきてやる):(我要)好好活著。 . 【本片主要角色】 -僕/悪魔(ぼく/あくま):本片男主角,由佐藤健 分飾兩角,一個是30歲的郵差「我」,另一個是「惡魔」。 -彼女(かのじょ):宮崎葵 飾,「我」的前女友。 -タツヤ(達也):濱田岳 飾,「我」的好朋友,「我」總是刻意唸成「ツタヤ(TSUTAYA)」。 -トムさん(湯姆先生):奧野瑛太 飾,「我」和「女友」在阿根廷旅行時認識的日本旅人。 -父(ちち):奧田瑛二 飾,「我」的父親。 -母(はは):原田美枝子 飾,「我」的母親。 . 【本集節目提及的精選經典台詞】 . 僕:「もし世界から猫が消えたなら、この世界はどう変わるのだろうか。世界から僕が消えたなら、いったい誰が悲しんでくれるのだろうか。」 (如果貓從世界上消失了,這個世界會變得怎麼樣?如果我從世界上消失了,究竟有誰會為我感到悲傷呢?) . -もし:如果。 -世界(せかい):世界。 -~から:從~。 -消えた(きえた):消失了。消えた是「消える(消失)」的た形。 -~なら:如果~,表假定條件。 -どう変わる(どうかわる):將會如何改變。 -僕(ぼく):我,男性用語。 -いったい:到底、究竟。 -誰(だれ):誰。 -悲しんでくれる(かなしんでくれる):為我感到悲傷。「悲しんで(悲傷)+くれる(給我)」是一種授受動詞用法,表示「將某動作的恩惠送給我」,直譯意思是「將『悲傷』的恩惠送給我」,即「為我感到悲傷」之意,這句話懷有感謝之意。 . 彼女:「さっきの例え話だけど、世界から電話が消えて欲しくないな。電話がなければ私達も出会わなかったわけだし。」 (剛剛你說的那個比方,我希望電話不要從這個世界消失。因為如果沒有電話,我們也就不會相遇了。) . -さっき:剛才。 -例え話(たとえばなし):比喻、比方。 -世界(せかい):世界。 -~から:從~。 -電話(でんわ):電話。 -消えてほしくない(きえてほしくない):不希望消失。消えて是「消える(消失)」的て形,「動詞て形+ほしくない」表不希望他人做某動作。 -~がなければ:如果沒有~的話。 -私達(わたしたち):我們。 -出会わなかった(であわなかった):(過去)沒能相遇。出会わなかった是「出会わない(不會相遇)」的過去式。 -~わけだ:照理來說、因此才〜,用以解釋理由。 . タツヤ:「映画は無限にある。だからこのやり取りも永遠に続く。」 (電影的數量是無限的,所以我們的關係也會永遠持續下去。) . -映画(えいが):電影。 -無限にある(むげんにある):(數量)無限。 -だから:所以~。置於句首。 -やり取り(やりとり):往來、關係。 -永遠に続く(えいえんにつづく):永遠持續。 . タツヤ:「最後の一本なんて存在しない。最後なんてあり得ない。こうやって永遠に続くんだろ俺たちと映画の関係は!」 僕:「⋯⋯そのつもりだった。」 (最後一部片根本就不存在。不可能會有盡頭的。我們和電影的關係會這樣持續到永遠的不是嗎!) (⋯⋯我原本也是這麼想的。) . -最後の一本(さいごのいっぽん):最後一部(電影)。 -なんて:~什麼的、~這種東西。用於舉例,說話者懷有意外、輕視、懷疑的情緒。 -存在しない(そんざいしない):不存在。存在しない是「存在する(存在)」的ない形。 -あり得ない(ありえない):不可能、無法置信。 -こうやって:這樣地~。 -永遠に続く(えいえんつづく):永遠持續。 -だろ:表推測,是「だろう」的口語說法,中文常譯為「〜吧?」 -俺たち(おれたち):我們。男性用語。 -映画(えいが):電影。 -関係(かんけい):關係。 -そのつもりだった:我原本有那個打算、我原本也是那樣想的。「その~」指達也剛說過的那句話,也就是「我們和電影的關係會永遠持續下去」。 . 悪魔:「大切な人との関係が消えていくのは辛い?でも、自分の命が一番大事。そうだよね?何かを得るためには、何かを失わなければならない。」 (跟重要的人的關係就這樣崩解,很難受嗎?但自己的生命還是最重要的吧?想要得到什麼,你就必須失去些什麼。) . -大切な人(たいせつなひと):重要的人。 -関係が消えていく(かんけいがきえていく):關係崩解。「動詞て形+いく」表動作持續到未來,中文常譯為「~下去」。如「これからもここで生きていく(從今而後也在這裡存活下去)」。 -辛い(つらい):難受的、痛苦的。 -でも:但是、可是。 -自分の命(じぶんのいのち):自己的生命。 -一番大事(いちばんだいじ):最重要的。 -そうだよね?:是這樣吧?沒錯吧? -何かを得る(なにかをえる):獲得某事物。 -~ためには:為了~。前置辞書形動詞。 -失わなければならない(うしなわなければならない):必須失去、一定得失去。 . 僕:「ありがとう。」 悪魔:「ありがとうって?」 僕:「あなたのおかげで、この世界がかけがえのないものでできているって知ることができたから。だから、猫は消さない。」 (謝謝你。) (謝我什麼?) (多虧有你,我才知道這個世界是由許多無可取代的小事物組合而成的。所以,我不會讓貓咪消失。) . -ありがとう:謝謝。 -って?:-って有很多情境用法,在此為引用對方說的話,意思是「(你說)~?」。 -~:のおかげで:多虧了~、幸好有~、感謝因為~。 -この世界(このせかい):這個世界。 -かけがえのない:無可取代的。 -もの:物品、事物。 -~でできている:由~組成。 -知ることができた(しることができた):得以知道。「〜ことができた」前接辞書形,できた是「できる(能夠、可以)」的た形。 -~から:因為~。置於句尾。 -だから:所以~。置於句首。 -猫(ねこ):貓咪。 -消さない(けさない):不會抹去~、不會使~消失。消さない是「消す(使消失)」的ない形。 . チャーリー・チャップリン:「人生は近くで見ると悲劇だけど、遠くから見ると喜劇だ。」 (查理.卓别林:人生近看是悲劇,遠看卻是喜劇。) . -人生(じんせい):人生。 -近くで見ると(ちかくでみると):在近處看時。 -悲劇(ひげき):悲劇。 -遠くから見ると(とおくでみると):在遠處看時。 -喜劇(きげき):喜劇。 -~と:表假定條件,當前句的假設條件發生時,必然會產生後句的結果。中文常翻譯為「一~就~」。 . 「何かいい物語があって、それを語る相手がいる。それだけで人生は捨てたものじゃない。」——『海の上のピアニスト』の名言 (有好的故事、有傾訴的對象,光是如此人生就值得了。——電影《海上鋼琴師》) . -何かいい物語(なにかいいものがたり):某個好故事。 -~があって:有~(無生命的物品或植物)。あって是「ある」的て形。 -語る(かたる):述說、傾訴、表達。 -相手(あいて):對象。 -~がいる:有~(有生命且會自主移動的生物)。 -それだけで:光是如此、只是這樣(,就~)。 -人生(じんせい):人生。 -捨てたものじゃない(すてたものじゃない):並非一無是處、仍有可取之處。 . 【延伸欣賞】 -(Youtube)【如果這世界貓消失了】HD高畫質中文電影預告 -(Youtube)場場爆滿,年度奇葩片【台北物語】HD完整版中文電影預告 -夫妻純聊天Ep078:【世界停止運轉,人類才會啟動】日文情境小劇場08-看《生存家族》才知道「活下去」易如反掌,卻也難如登天 -(Youtube)種樹的男人 L'homme qui plantait des arbres . 「夫妻純聊天❤️podcast❤️官方社群」 reurl.cc/4aWXd3 . 「夫妻純聊天官方line@帳號」 lin.ee/F1ziWxt
声日記2!35日目!調べらたらクライマーズ・ハイ、今はTSUTAYAでしかないようで…ちょっとどうにかして観たいと思います(´;ω;`)ブワッ
また1ヶ月半ほど空いてしまいました。今回はちゃんと途中で切れずにお送りできているはずです。MC210805-2139.MP3
公開収録の第3回目を開催します! 今回の公開収録は、リアルイベントと同時に生配信も行います。 都合が良い方はぜひ会場へ、会場に来れないけど配信でなら!という方はモニタ越しにお会いできたら嬉しいです。