Comment

Comment by 文創 庫 on September 16, 2022 at 3:29pm

In terms of imports, Malaysia has imported creative goods amounting to RM367 million in 2019. The goods include printed materials such as leaflets, printed book brochures, paintings, pastels and drawings.

Meanwhile, speaking in a live address during the forum, Communications and Multimedia Minister Datuk Saifuddin Abdullah said the threat of Covid-19 continues to loom over the creative industry, as the country races to find a solution to end this pandemic.

He added that until then, the creative industry needs maximum support to pivot, adapt and evolve.

 

“The silver lining to our current predicament is that it has also presented an opportunity for the industry to take the necessary steps to become more resilient and robust to face future challenges.

“We needed to find ways beyond financial subsidies and tie-over measures, to enable artists and creative enterprises to become self-sustaining and realise their potential of becoming significant income-generators for Malaysia’s economy,” he noted. 

The Creative Economy 2021 Forum, jointly hosted by MyCreative Ventures Sdn Bhd, Cultural Economy Development Agency (Cendana) and Riuh, was held virtually via Zoom Webinar yesterday.

 

The forum brought together the arts, donors and businesses, for discussions and conversations on priorities, as well as opportunities to create a vibrant, ambitious and sustainable creative economy for Malaysia.

MyCreative, which also includes Cendana, was given the mandate to implement and carry out the short-term National Economic Recovery Plan (Penjana) for the creative industries, through a variety of schemes and initiatives such as live event grants, digital marketing grants, matching investments schemes, fast track and low-interest soft loans, as well as the digital velocity programmes comprising digital marketing and promotion training, connectivity assistance and advisory services.

 

A total of 1,745 applications worth RM73 million for various measures from the stimulus package are currently being reviewed by MyCreative.

In the meantime, Cendana has approved 234 applications worth about RM3.5 million.

A further 114 applications amounting to RM9.6 million were also approved for distribution to successful applicants under the Penjana for the creative industries.

（Wednesday, October 21st, 2020，Source: (https://themalaysianreserve.com）

Comment by 文創 庫 on September 15, 2022 at 8:17pm

Murut’s 1930 New York journey going global

KOTA KINABALU: The story of Saudin bin Labutau from Kg Ambual in Keningau who became the first Malaysian – and for that matter from this part of the world – to visit New York in the 1930s and return to Sabah to tell his adventure will be known to the world soon.

Peninsula-based RYE Productions Sdn Bhd, noted for producing television dramas and concerts, has made a documentary on the exploits of the partially blind Murut. It would be shown on History Channel after the official launch in Sabah on Oct. 28 at UMS by Chief Minister Datuk Seri Panglima Hajiji Noor.

The documentary combines actual footages, dramatised re-enactments of Saudin’s life, including interviews with family members about their grandfather, who is well documented in the 1939 international classic by Agnes Keith, “Land Below The Wind”.

                   James briefing Hajiji about Saudin while Noreini (left) and Noorhayati look on

Comment by 文創 庫 on September 15, 2022 at 8:17pm

Agnes devoted an entire chapter in her book to Saudin, also dubbed “the Murut Marco Polo” after his return from New York. It was she who recommended him to pioneer Hollywood silent era wildlife documentary makers Martin and Osa Johnson, when they completed shooting the movie “Borneo” after spending one and a half years on the Kinabatangan in 1935.The Johnsons wanted someone who could look after Abai, one of the largest orang utans ever captured alive in Kg Abai, during the ship’s journey to New York Zoo, along with few more orang utans, gibbons and proboscis monkeys.

The ship left Sandakan for the month-long journey calling at Singapore, Port Klang, Mumbai, Colombo, Capetown, Morocco, and several other ports along the way, before crossing the Atlantic to New York.

Saudin pointing to skyscrapers coming up in New York in 1938. during a talk organised by Martin to New York’s elite, Saudin remarked in Malay that he was surprised to see New Yorkers lived in concrete cages while in the Borneo rainforest, only wild animals lived in cages. – Pic courtesy of the Saudin household.

It was noticed that only Saudin had the special ability to calm Abai, which won him the ticket to travel to the Big Apple at a time when New York ala Wall Street was the “happening capital” of the world. This is what lends the documentary the title “Saudin: The Orang Utan Whisperer”.The documentary is a powerful story of not just the bond that developed between man and animal but also of Saudin’s internal conflicts and observations, especially of adjusting to the shock of being suddenly plucked out of the Borneo rainforest and transplanted into the concrete jungle of New York.

Among the establishments that supported the documentary is the Safari Museum in Kansas, USA, where the iconic work of the Johnsons is stored and Finas.The documentary also received the support of the State Government and Hajiji praised the producers for their extensive research and resolve to put Sabah on the world map through the documentary.

Abai the largest orang utan ever captured alive, who died in New York’s Central Zoo.

Those who were present at the briefing for the Chief Minister at the State Administration Building on Wednesday included producers Noreini Abdul Rahman, Noorhayati Abdul Rahman, Director Muhd Zaili Sulan, Norsina James Julius, a granddaughter of Saudin and James Sarda, Chief Editor of the Daily Express, who has done research on Saudin, Agnes Keith and the Johnsons. — EDITOR（Source: https://sabahbarunews.com）

Comment by 文創 庫 on September 14, 2022 at 2:38pm

联合国大会8 November 2019 发布的文件（官方编号：A/C.2/74/L.16/Rev.1）
第七十四届会议第二委员会议程项目 17《宏观经济政策问题》

澳大利亚、不丹、加拿大、中非共和国、哥伦比亚、厄瓜多尔、斯威士兰、几内亚、几内亚比绍、海地、印度、印度尼西亚、约旦、莱索托、毛里求斯、蒙古、摩洛哥、尼泊尔、巴布亚新几内亚、菲律宾、塞舌尔、斯里兰卡、苏里南、泰国、土耳其和乌克兰：订正决议草案

2021 国际创意经济促进可持续发展年

大会，

重申《联合国宪章》，包括其中所载的宗旨和原则，以及联合国系统特别在促进经济、社会、文化、教育和卫生领域国际合作方面的职能和权限，又重申其 2015 年 9 月 25 日题为“变革我们的世界：2030 年可持续发展议程”的第 70/1 号决议，其中大会通过了一套全面、意义深远和以人为中心的具有普遍性和变革性的可持续发展目标和具体目标，承诺做出不懈努力，使这一议程在 2030 年前得到全面执行，认识到消除一切形式和表现的贫困，包括消除极端贫困，是世界的最大挑战，对实现可持续发展必不可少，并决心采用统筹兼顾的方式，从经济、社会和环境这三个方面实现可持续发展，在巩固实施千年发展目标成果的基础上，争取完成它们尚未完成的事业，确认需要推动持久的包容性经济增长，促进创新，为所有人创造机会、提供福利、增强权能并尊重所有人权，回顾其关于宣布国际年的 1998 年 12 月 15 日第 53/199 号和 2006 年 12 月 20日第 61/185 号决议，以及经济及社会理事会关于国际年和周年纪念的 1980 年 7月 25 日第 1980/67 号决议，特别是该决议附件中关于宣布国际年商定标准的第 1至 10 段，以及规定在为国际日或国际年的组织工作和经费筹措作出基本安排之前不应宣布国际日或国际年的第 13 和 14 段，

认识到在一些国家称为“橙色经济”的创意经济主要涉及以知识为基础的经济活动以及人类创造力与想法、知识和技术之间的相互作用，此外还有文化价值观或艺术、文化遗产和个人或集体的其他创造性表现形式，回顾《联合国教育、科学及文化组织组织法》，其中规定该组织宗旨与职能的一部分是维护、增进及传播知识，为此鼓励国家间在文化活动各个部门进行合作，并注意到联合国教育、科学及文化组织关于文化与可持续发展的报告，1 其中指出文化和创意产业应是经济增长战略的组成部分，

认识到当前需要在包括创意产业在内的可持续增长新领域支持发展中国家和经济转型国家实现生产和出口多样化，承诺支持发展中国家经济体通过高增值部门逐渐转向高生产力并使之持续，为此要促进多样化、技术升级、研究和创新，包括创造优质和体面的生产性工作岗位，途径包括促进文化和创意产业、可持续旅游业、表演艺术和遗产保护等活动，

认识到国际社会应支持发展中国家的国家努力，使这些国家进一步参与有活力的部门并从中受益，促进、保护和宣传其创意产业，包括制定战略适当保护和落实知识产权，肯定创意产业可有助于促进积极的外部因素，同时保护和弘扬文化遗产和多样性，并有助于推动发展中国家投身于世界贸易新的、充满活力的增长机会，并从中受益，欢迎联合国贸易和发展会议、联合国教育、科学及文化组织、联合国开发计划署、国际劳工组织、联合国南南合作办公室、世界知识产权组织、联合国粮食及农业组织和联合国系统其他实体努力倡导创意经济促进可持续发展，赞赏地注意到各种国际和区域会议努力促进创意经济，包括 2018 年 11 月 6日至 8 日在印度尼西亚巴厘首次举行世界创意经济大会，2019 年 9 月 9 日和 10日在哥伦比亚麦德林举行橙色经济全球峰会，期待于 2020 年在阿拉伯联合酋长国召开第二次世界创意经济大会，同时注意到成果文件“创意经济巴厘议程”，确认创意经济在支持落实可持续发展目标方面的作用，指出保护和强制遵守知识产权可支持和强化创意经济，

肯定创新对于发挥每个国家的经济潜力至关重要，并确认各国支持大众创业、万众创新的重要性，这将为经济增长和创造就业凝聚新的动力，为包括妇女和青年在内所有人创造新机遇，确认创意经济在创造充分和生产性就业、创造体面工作、发扬创业精神、激发创造力和创新、鼓励中小微企业的正规化和成长、刺激创新、增强民众权能、促进社会包容和减少贫困方面的作用，重点指出创意经济鼓励在实现包容、公平和可持续增长和发展的过程中进行创造和创新，同时便利生活转折过渡，支持妇女、青年、移民和老人，并增强弱势群体的权能，

强调指出国家为促进文化表现形式多样化制定适当政策和激发创造力促进可持续发展的重要性，

强调创意产业方面的国际贸易包括创意产品和服务贸易增长强劲，对全球经济作出了贡献，肯定创意经济的经济和文化价值，

重申应让所有员工都有终身学习的机会，所有学员都应掌握可持续发展所需的知识和技能，具体做法包括教育促进可持续发展、可持续生活方式、人权、性别平等以及增强妇女和女童权能，弘扬和平和非暴力文化，提升全球公民意识，肯定文化多样性和文化对可持续发展的贡献，

认识到需要创造促进创意经济的有利环境，如开发数字技术，发展创新经济、数字经济和电子商务，建立相关数字基础设施和连通支持可持续发展，增加公共和私营部门对创意产业的投资，制定相关法律框架，从而优化创意经济产生的经济、社会和文化惠益，强调创意经济能促进经济增长和创新，消除贫困，创造充分的生产性就业和人人获得体面工作，提高生活质量，增强妇女和青年人的权能，减少国家内部和国家之间的不平等，因而能促进可持续发展的三个方面并实现《2030 年议程》，强调指出统计创意经济对实现可持续发展目标贡献的定期、可靠和可比数据具有重要意义，

1. 决定宣布 2021 年为国际创意经济促进可持续发展年；
2. 鼓励所有会员国、联合国系统各组织、其他国际和区域组织以及民间社会、私营部门、非政府组织、学术界和个人以适当方式并按照国家优先事项庆祝国际年，以提高认识，促进合作和建立联系，鼓励交流最佳做法和经验，提高人力资源能力，促进各级的有利环境，并应对创意经济的挑战；
3. 邀请联合国系统和所有相关利益攸关方为国际年捐款并提供支持；
4. 邀请秘书长提请所有会员国、联合国系统组织、其他国际和区域组织以及包括非政府组织、个人和私营部门在内的民间社会注意本决议，并鼓励秘书长邀请联合国实体同心协力，协同增效地支持国际创意经济年的落实工作；
5. 强调指出执行本决议可能产生的所有活动费用应由自愿捐款支付；
6. 请联合国贸易和发展会议秘书处并与联合国教育、科学及文化组织和联合国系统有关实体协商，在《创意经济展望》的专门章节中，向大会第七十七届会议说明本决议的执行情况，特别阐述本决议如何与《2030 年议程》保持一致并推进《2030 年议程》，并就帮助会员国和联合国系统加快努力实施《2030 年议程》的具体行动提出建议。

Comment by 文創 庫 on September 13, 2022 at 12:30pm

Tengku Zafrul: Creative industry could make vital contributions to high-growth sectors

With the right approach, Malaysia’s creative industry could make vital contributions to the high-growth sectors and industries such as education, science and innovation, said Finance Minister Tengku Datuk Seri Zafrul Aziz today.

He said the creative, arts and cultural industry players should no longer see themselves in isolation as this is the time when disciplines and the value of businesses are being integrated into digital and other technological means.

“Consider this for a moment… how influential global tech giants like Google, Apple and Amazon would be if they do not have this creative economy content on their platforms?

The year 2020 presented a slew of hurdles for most of those in the agriculture and farming industry. They faced the ultimate conundrum: On the one hand, they needed to continue producing fresh produce for the many households that had started cooking again because of the Movement Control Order (MCO).

“The creative economy has in fact become the competitive edge and growth of so many high-growth companies around the world,” he said in his keynote address at the Creative Economy 2021 Forum, in conjunction with Budget 2021.

Tengku Zafrul said the Covid-19 pandemic had an adverse impact on the creative industry, resulting in cash flow constraints due to income losses or deferred projects, and the industry needs rapid support in rebooting creative activities.

The Malaysian creative industry accounted for 1.9% of gross domestic product in 2015, and has an enormous potential to grow and contribute significantly to Malaysia’s economy in the long term, the minister said.

“The challenge for all parties concerned, including the government, is how we can capitalise on this foundation, and the measures that we must put in place so that the creative economy can become a substantial and sustainable contributor to the nation,” he said.

For starters, Tengku Zafrul said there is a need to dispel the illusion that the various economic sectors exist separately, and to point to the fact that the creative economy has a synergistic relationship with the wider Malaysian economy.

“A clear example of such a relationship can be seen in South Korea where the success of its film and music industries helped boost the global sales of its beauty and electronic products, and promoted their tourism industry to the world,” he noted.

To ensure the industry’s immediate survival during the Covid-19 pandemic, the government had allocated RM225 million for the arts, culture, entertainment and event industries under PENJANA (Short-term Economic Recovery Plan), he said.

Comment by 文創 庫 on September 13, 2022 at 12:30pm

This includes RM100 million in soft loans and RM30 million in grants for the creative, events and exhibitions industries under MyCreative Ventures, as well as RM10 million under CENDANA (Cultural Economy Development Agency).

Tengku Zafrul noted that there has been a shift in countries such as Indonesia, Thailand and South Korea which have successfully grown and promoted their creative economies.

“The creative economy is also an opportunity for us to promote our Malaysian arts, culture and heritage on the world stage.

“This time, we add our own success story by creating a sustainable, resilient and thriving creative economy that will help to promote Malaysia internationally,” he added, while stressing the need to do more to empower talents across the entire creative economy.

The one-day Creative Economy 2021 Forum was organised by MyCreative Ventures Sdn Bhd.

The forum was part one of a two-part event that has been designed as a forward-looking platform that encourages sharing and canvassing of ideas and brings together all stakeholders, relevant ministries, the private sector, as well as, creative, arts and cultural activists and practitioners.

Source: Bernama Posted on : 06 October 2020

馬来西亞文創

Dasar Industri Kreatif Negara

Creative Industries Policy in Malaysia

愛墾文創 地方創生： 達人交流 最新動態

跨界·絲路：文創青年關懷濱雪一帶一路

低成長年代的人生提案：推動內容營銷，打造2019年榮景

愛墾慕課·文創篇

愛墾慕課·在地篇

《我的加雅街杜順公主》生活&旅遊札記

愛墾慕課·影像篇

Comment by 文創 庫 on September 13, 2022 at 11:17am

Malaysia’s creative industry contribution to GDP remains low

by S BIRRUNTHA / pic by BERNAMA

MALAYSIA’S creative industry contribution towards the GDP stands at 2% for the last five years, according to the Department of Statistics Malaysia (DoSM).

Chief statistician Datuk Seri Dr Mohd Uzir Mahidin (picture) said at the moment, the industry contributes approximately 2% towards the GDP and employs around one million people.
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He added that while the industry’s exports maintained its contribution at 0.2%, the contribution of employment decreased to 5.7% in 2019.

“Looking at the statistics, we notice all the main indicators show a very small contribution of the creative industry towards the Malaysian economy.

“However, we do believe there is some room for improvement to increase the industry’s overall contribution towards the country’s GDP,” he said in a virtual presentation titled “Overview of the Arts and Culture Sector of Malaysia and its Future Outlook” at the Creative Economy Forum 2021.

Mohd Uzir noted that while the creative industry is significantly impacted by the Covid-19 pandemic, it is showing signs of recovery in the third quarter of 2020 (3Q20) with a growth percentage of 31.7%.

He said to further boost the industry, support from all parties including government agencies and the private sector is needed to contribute to its development.

He also said a satellite account for the country’s creative industry is now being compiled by the DoSM to further monitor its growth.

According to Mohd Uzir, the main contributions of the creative industry towards the economy are the multimedia industry with 50.7%, followed by the culture and art industry (49.2%).

Over the past years, the creative economy has made a significant contribution to world trade as world exports of creative goods increased to US$509 billion (RM2.11 trillion) in 2015 from US$208 billion in 2002. (Con't  Below)

Comment by 文創 庫 on September 13, 2022 at 11:17am

In 2019, the country’s exports of creative goods were at RM220 million, comprising items such as printed book brochures, printed materials, pictures and photographs. Mohd Uzir said among the countries involved in the exports of creative goods are India, China, Singapore, Hong Kong, Thailand, Taiwan, Turkey and Poland.

In terms of imports, Malaysia has imported creative goods amounting to RM367 million in 2019. The goods include printed materials such as leaflets, printed book brochures, paintings, pastels and drawings.

Meanwhile, speaking in a live address during the forum, Communications and Multimedia Minister Datuk Saifuddin Abdullah said the threat of Covid-19 continues to loom over the creative industry, as the country races to find a solution to end this pandemic.

He added that until then, the creative industry needs maximum support to pivot, adapt and evolve.

“The silver lining to our current predicament is that it has also presented an opportunity for the industry to take the necessary steps to become more resilient and robust to face future challenges.

“We needed to find ways beyond financial subsidies and tie-over measures, to enable artists and creative enterprises to become self-sustaining and realise their potential of becoming significant income-generators for Malaysia’s economy,” he noted.

The Creative Economy 2021 Forum, jointly hosted by MyCreative Ventures Sdn Bhd, Cultural Economy Development Agency (Cendana) and Riuh, was held virtually via Zoom Webinar yesterday.

The forum brought together the arts, donors and businesses, for discussions and conversations on priorities, as well as opportunities to create a vibrant, ambitious and sustainable creative economy for Malaysia.

MyCreative, which also includes Cendana, was given the mandate to implement and carry out the short-term National Economic Recovery Plan (Penjana) for the creative industries, through a variety of schemes and initiatives such as live event grants, digital marketing grants, matching investments schemes, fast track and low-interest soft loans, as well as the digital velocity programmes comprising digital marketing and promotion training, connectivity assistance and advisory services.

A total of 1,745 applications worth RM73 million for various measures from the stimulus package are currently being reviewed by MyCreative.

In the meantime, Cendana has approved 234 applications worth about RM3.5 million.

A further 114 applications amounting to RM9.6 million were also approved for distribution to successful applicants under the Penjana for the creative industries.
Wednesday, October 21st, 2020

(https://themalaysianreserve.com)

Comment by 文創 庫 on June 13, 2022 at 9:57pm

愛墾評：從工商經濟到文創經濟
早期因貿易關系移居菲律賓的閩南人 , 多數是些商人和手工業者 , 他們傳播到菲律賓的中華文化主要是生活和經濟方面 , 而較少涉及到文學和藝術方面。 菲律賓史學家阿利珀 ( Eufro nio M. Alip) 在 《菲律賓政治文化史》 一書中就寫道: 「遺憾的是 , 在與中國交往的巨大財富中 , 菲律賓對中國的哲學、 文學和藝術懂得很少 , 原因是和我們接觸的主要是廈門人 , 他們的主要興趣是經濟。」42 蔡德博士 ( Grego rio F. Zaide) 在評論華人對早期菲律賓文化的貢獻時也說道: 「華人對古代菲律賓文化的影響 , 在本質上是經濟多於知識或社會。」43 這種現象說明 , 中華文化在菲律賓的傳播是閩南人長期移居菲律賓的結果。

閩南人在移居的過程中 , 很自然地把家鄉的風俗習慣、 勞動技能帶到菲律賓 , 通過自己堅韌不拔的辛勤勞動 , 為早期菲律賓的開發與繁榮作出了貢獻。 一位當時的目擊者胡安· 科博神父 ( Father Jua n Co bo ) 曾公正地說過: 「來這裏貿易的是商人、 海員、 漁民 , 他們大多數是勞動者 , 如果這個島上沒有華人 , 馬尼拉將很悲慘 , 因為華人為我們的利益工作 , 他們用石頭為我們建造房子 , 他們勤勞、 堅強 , 在我們之中建起了最高的樓房。」44 一些在西班牙統治的最初200年裏訪問過菲律賓的外國人 , 也證實了這種情況。 1765年 , 一位名叫利· 金特爾 ( Le Gentil) 的法國人評論說: 「這些島嶼面臨著這種情況 , 如果沒有華人就不能生存。」 另一位法國人馬拉特 ( Mallat) 亦說道: 「許多人相信 , 華人對馬尼拉是必不可少的 ,如果沒有華人 , 馬尼拉將一事無成。」45 (李金明·閩南人與中華文化在菲律賓的傳播，本文作者系廈門大學南洋研究院副教授)

42 Politi cal and Cultural Hist ory of th e Philippin es, p. 52.

43 Gregorio F. Zaide: Early Philippine History and Cu lture, Manil a, Far East ern University, 1937, p. 14.

44 Father Juan Cob o 's Account, in Th e Chinese in the Philippines, p. 137.

45 Th e Chinese Col ony in Manila, Chines e in th e Ph ilippines, vol. Ⅰ , p. 62.

Comment by 文創 庫 on May 25, 2022 at 9:52pm

詹宏志·感性消費時代——洋白菜娃娃(CabbageBaby)，是一種眉頭深鎖，衣著襤褸的布娃娃。這種娃娃，你不可以「買」，必須「領養」，先交錢，填卡，辦理領養手續，保證盡生今世永遠愛它，絕不虐待它，然後，你才能抱一個愁眉苦臉的娃娃回家。

洋白菜娃娃前幾年才上市(噢，不，應該說「征求領養」)，不多時，蔚為美國的市場狂潮，家長們為了小孩子的娃娃大排長龍，欲求認養而不可得。生產洋白菜娃娃的制造商，幾乎被訂單逼瘋了，當他們把訂單轉到臺灣，香港時，此地的商人則老實不客氣仿冒一通，氣的洋商人跑來臺灣大吵大鬧（你可能還記得那些新聞)。

洋白菜娃娃的熱浪，很快地也波及歐洲和日本，日本人更為洋白娃娃撰寫專書，拍攝專集，開服裝展示會。

寵物石(Pet Rock)，其實就是一塊石頭，裝在漂亮的盒子里，附上石頭的「血統證明書」(說明它的成分，來源)。推廣「寵物石」的商人說，養狗貓為寵物，不如養「石頭」。石頭不哭不鬧，不跑不跳，不打破瓷器，不到處大小便，它啊娜多姿，氣質高貴，溫順可愛，好的石頭血統純正，系出名「谷」，身價不凡。

結果，寵物石像一陣風似的席卷了美國人的心，推出的第一年，賣了五百萬美金－－點石成金，斯之謂也。

洋白菜娃娃和寵物石，給我們什麽啟示？

呃，那是說，感性消費時代來了!

 

從量的滿足到感性的滿足

感性消費，指的是你買它為的是「一種情感上的渴求，或是一種心靈上的認同」。

洋白菜娃娃不讓你「買」，不讓你有「花錢就是」的感覺。它要你真心真意，付出愛心，才「過繼」給你。

寵物石要你用一個全新的眼光來看腳下的石頭，要你學習和一個陌生的對象「建立馴養的關系」。

洋白菜娃娃和寵物石，滿足的是一種抽象的需求，而它的創造與生產，是從概念上來下手的。

研究社會消費的日本學者，把戰後日本社會的消費需求分成三個階段。依照他們的說法：

第一個階段是「量的滿足的時代」。戰後社會物資缺乏，老百姓吃不得飽，穿難蔽體，整個社會追求的是「量的滿足」－－也就是豐衣足食的意思。在日本戰後崛起的大企業家松下幸之助曾說：「產業人的使命就是消滅貧窮。」反映的就是這個階段的思想。

第二階段是「質的滿足的時代」。當社會衣豐而食之後，量不在是問題了，冬令救濟不再捐久衣服，因為窮人也有夠多的衣服了。這個時候，社會群體追求的是「質的滿足」。衣服要試樣好看，剪裁合宜，飲食要衛生可靠，精制可口，人人追求「生活品質」的提高。經濟學家高希均教授說：「一書櫃代替酒櫃。」有櫃子不稀奇，裝什麽才重要，反映的就是這個階段的思想。

第三個階段就是所謂的「感性滿足的時代」。消費行為進入一種特殊狀態，產品與消費者有著一種不可替代的認同關係。同樣是品質相當的衣服，縫上一個鱷魚標誌，就與某些消費者有不同的意義。所有的消費者都有「時尚化」「風格化」，甚至「個人化」的傾向。在這個階段里，生產者要滿足消費者心理底層的需求，要往消費者還沒有說出：「我要..........。」之前，就說：「是的，我知道您要的就是這個。」

我為人人的時代

感性消費時代，因為消費者是me-generation(人人為我的世代)，所以生產必須是you-generation(我為人人的時代)。

因為產品的「品質」不再是太大的問題，問題是產品與消費者的「關係」。

這種關係像愛情一樣，非她不可，不為什麽，因為她是她。

感性消費時代先從高感應(hightouch)的產業滲進來，像軟體業(雜誌，出版，電視，電影，以及最具特質的錄影帶)，像女性貼身工業(香水，化妝品，內衣，或是衛生棉)，像環境情調產業(咖啡店，觀光，飯店，旅遊業，或是比較壞的例子：賓館)。

感性消費時代已經一腳跨進來了，你可能必須對「別人的需求」夠敏感，你才能在這個時代里工作，生存，成功。

在感性消費時代里，面對一切人或事，都應該注意最細微之反應，好象捧著明代瓷器一樣，請小心輕放。

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