Brand Shift, the evolution of brands and creativity in the age of AI --- 品牌轉變，人工智能時代的品牌和創意演變 Brand Shift: The Evolution of Brands & Creativity in the Age of AI 品牌轉變：人工智能時代的品牌和創意的演變

Four paradigm shifts brands need to embrace to stay relevant
品牌需要接受的四種範式轉變以保持相關性

Rei Inamoto

Jun 1, 20232023年6月1日

In her early thirties with two kids, Ayako Tanaka is a Japanese Instagrammer with a focus on fashion and motherhood. She has 168k followers on Instagram, a respectable but modest following compared to numerous influencers with many more followers these days.
田中綾子三十出頭,有兩個孩子,是一個專注於時尚和母性的日本Instagram用戶。她在Instagram上有16.8萬名粉絲,與如今擁有更多粉絲的眾多影響者相比,她的粉絲數量可觀但不多。

Not too long ago, she curated a two-day pop-up shopping event during which she supposedly generated as much revenue as a flagship store of a major international apparel brand would on its opening day.
不久前,她策劃了一個為期兩天的彈出式購物活動,據說在此期間,她的收入相當於一家大型國際服裝品牌旗艦店在開業當天的收入。

A decade ago, an individual with adequate reach selling as much as a major brand with an ample amount of awareness was inconceivable. What happened over the last decade that makes this possible now?
十年前,一個有足夠影響力的個人,其銷量與一個有足夠知名度的大品牌一樣,是不可想像的。在過去的十年裡,發生了什麼,使得現在有了這種可能?

Back in 2013, I wrote an article called “The End of Advertising as We Know It—and What to Do Now” in which I observed several paradigm shifts marketers and brand builders needed to embrace in order to prepare for the impact we would see in the near future. In the subsequent years, those shifts drove a structural change in how we perceived brands.
早在2013年,我就寫過一篇文章,名為《我們所知道的廣告的終結--現在該怎麼做》,其中我觀察到營銷人員和品牌建設者需要接受幾個範式的轉變,以便為我們在不久的將來看到的影響做好準備。在隨後的幾年裡,這些轉變推動了我們對品牌認知的結構性變化。

Now in 2023, when individuals can outsell institutions, it may be the end of brands as we know them.
現在,在2023年,當個人可以超過機構時,這可能是我們所知道的品牌的末日。

With the arrival of generative AI, we find ourselves in the midst of another structural change. Put another way, it’s as if the operating system of human civilization is going through an upgrade right before our eyes.
隨著生成性人工智能的到來,我們發現自己正處於另一個結構性變化之中。換句話說,就好像人類文明的操作系統正在我們眼前經歷一次升級。

Upgrades to Our Cognitive OS對我們的認知操作系統進行升級

Japanese historian and podcaster Ryunosuke Fukai argues that “the Cognitive OS of human society” goes through an upgrade when there is an advancement in information communications technology:
日本歷史學家和播音員深井龍之介認為,當信息通信技術進步時,"人類社會的認知操作系統 "會經歷一次升級:

• The printing press in the 15th century
  15世紀的印刷術
• Radio and telephones in the late 19th century
  19世紀末的無線電和電話
• Film and television in the early and middle parts of the 20th century
  20世紀早期和中期的電影和電視
• The Internet from the late 20th century to the first decade of the 21st century
  從20世紀末到21世紀頭十年的互聯網
• The proliferation of mobile devices in the second decade of the 21st century.
  在21世紀的第二個十年,移動設備的擴散。

These technologies have formed, influenced, and even distorted the way we perceived the world, upgrading our Cognitive OS.
這些技術形成、影響、甚至扭曲了我們感知世界的方式,升級了我們的認知操作系統。

In recent years, we saw the rise of several newish technologies that seemed like upgrades to our OS. One was NFTs, another was the metaverse. To many, these held enough potential that billions were invested, new businesses were formed, and some companies were even rebranded (ok, maybe one company). Perhaps these were frenzies and blips caused by a bug in the system: the coronavirus. Time will only tell whether these were mere malfunctions or just too early for our society to adapt. For now, they were and are not the upgrades that some thought they were.
近年來,我們看到一些新技術的興起,似乎是對我們操作系統的升級。一個是NFTs,另一個是metaverse。對許多人來說,這些技術具有足夠的潛力,以至於投資了數十億,形成了新的業務,一些公司甚至被重新命名(好吧,也許是一家公司)。也許這些都是由系統中的一個錯誤引起的狂熱和突發事件:冠狀病毒。時間只會告訴我們,這些是否只是故障,或者只是太早讓我們的社會無法適應。就目前而言,它們過去和現在都不是一些人認為的升級。

Instead, what seems to be triggering the real upgrade to our civilization is AI, specifically, generative AI.
相反,似乎引發我們文明真正升級的是人工智能,具體而言,是生成性人工智能。

To keep up with the next upgrade to our Cognitive OS of human society, here are four paradigm shifts that can guide us from the Connected Age to the Intelligent Age.
為了跟上我們人類社會認知操作系統的下一次升級,這裡有四個範式的轉變,可以引導我們從互聯時代進入智能時代。

1. From Organizational Scale to Functional Speed
1.從組織規模到功能速度

NYU Stern School of Business professor Scott Galloway writes in his book and on his blog Post Corona that “[American Football] Hall of Fame wide receiver Jerry Rice wasn’t that fast, but he had ‘functional speed,’ the instincts to accelerate or decelerate when it mattered most.”
紐約大學斯特恩商學院教授斯科特-加洛韋在他的書和他的博客Post Corona上寫道:"[美式足球]名人堂外接手傑里-賴斯並不那麼快,但他有'功能性速度',在最關鍵的時候加速或減速的本能"。

Companies, particularly in the tech sector, have been praised for mainly one thing: growth. However, AI will allow companies of all sizes and individuals to scale and speed themselves in ways that weren’t possible before, rendering Organizational Scale less praiseworthy than previously.
公司,尤其是科技領域的公司,主要因一件事而受到稱讚:增長。然而,人工智能將使各種規模的公司和個人都能以以前不可能的方式擴大和加快自己的規模,使組織規模變得不像以前那樣值得稱讚了。

Take OpenAI and Google for example. OpenAI had been around for several years, but it was not a household name by any stretch of means. The release of ChatGPT in late 2022 changed that overnight and all of a sudden, the behemoth that is Google got caught on its back foot.
以OpenAI和谷歌為例。 OpenAI已經存在了幾年,但無論如何它都不是一個家喻戶曉的名字。 2022年底,ChatGPT的發布一夜之間改變了這一狀況,突然間,谷歌這個龐然大物被抓了個正著。

Or so it seemed. 或者看起來是這樣。

Within less than six months, Google announced a slew of AI products and developments, taking back control of the AI narrative. Google realized it needed to accelerate immediately.
在不到六個月的時間裡,谷歌宣布了一系列的人工智能產品和發展,奪回了對人工智能敘述的控制權。谷歌意識到它需要立即加速。

Another example is Adobe. Adobe may not have dominated the headlines as much as GAFAM have but it has quietly and steadily evolved over the years to stay relevant. Just as generative AI tools such as DALL·E, Midjourney, and Stable Diffusion were making waves, Adobe countered with Firefly. While most generative AI tools are only text-based features, Adobe, an old and possibly stale software giant, is now quickly integrating those features into existing image-based software such as Photoshop seamlessly, accelerating its relevance effort in real-time.
另一個例子是Adobe。 Adobe可能沒有像GAFAM那樣佔據頭條,但它多年來一直在悄悄地穩步發展,以保持相關性。就在DALL-E、Midjourney和Stable Diffusion等生成式人工智能工具掀起波瀾時,Adobe以Firefly作為反擊。雖然大多數生成性人工智能工具只是基於文本的功能,但Adobe這個古老的、可能是陳舊的軟件巨頭,現在正迅速將這些功能與現有的基於圖像的軟件如Photoshop無縫整合,實時加速其相關性的努力。

It is important to note, however, that Functional Speed doesn’t belong just to tech giants like Google and Adobe.
然而,重要的是要注意到,Functional Speed並不只屬於谷歌和Adobe這樣的科技巨頭。

During the COVID-19 pandemic, one of the businesses that got hit particularly hard is restaurants, forcing even the most well-regarded establishments to shut down. One of the restaurants that survived the pandemic by turning on its Functional Speed is Narisawa, a Michelin-star restaurant in Tokyo that’s ranked in the highly coveted World’s 50 Best Restaurants list consistently. The restaurant was known for the originality and theater of its presentation at the restaurant, which obviously wasn’t of much use when restaurants were legally forced to close.
在COVID-19大流行期間,受到特別嚴重打擊的企業之一是餐館,即使是最有聲望的機構也被迫停業。通過打開其 "功能速度 "在大流行中倖存下來的餐廳之一是Narisawa,這是一家位於東京的米其林星級餐廳,在令人垂涎的世界50家最佳餐廳名單中一直排名靠前。該餐廳以其在餐廳的原創性和戲劇性而聞名,當餐廳被依法強制關閉時,這顯然沒有什麼用。

Chef Narisawa quickly redirected his staff to turn their elaborate culinary creations into omakase bento boxes that were delivery-friendly yet highly exclusive: he priced these boxes at more than $100 per person, a premium price that could potentially detract many customers. He reasoned that even during the pandemic when people couldn’t go out, they still had occasions to celebrate and deserved to experience high-end meals at home. While staying true to his philosophy, Chef Narisawa accelerated the speed of his business when it mattered most.
廚師Narisawa迅速調整了他的員工,將他們精心製作的烹飪作品轉化為方便外賣但又非常獨特的OMAKASE便當:他將這些便當定價為每人100美元以上,這一高價可能會使許多顧客流失。他的理由是,即使在大流行病期間,當人們不能外出時,他們仍然有慶祝的場合,值得在家裡體驗高端膳食。在堅持自己的理念的同時,成澤廚師在最重要的時候加快了業務速度。

2. From Transaction to Conversation
2.從交易到對話

Since the arrival of e-commerce in the 1990s, the basic mode of online shopping has stayed largely unchanged. This mode has centered around three actions: searching, filtering, and selecting, making the nature of e-commerce between a business and a customer transactional. Chatbots, originally called chatterbots, have been around since 1994 but their viability has been dubious and frustratingly inadequate.
自從20世紀90年代電子商務出現以來,網上購物的基本模式基本上沒有改變。這種模式以三個動作為中心:搜索、過濾和選擇,使企業和客戶之間的電子商務的本質是交易性的。聊天機器人,最初被稱為喋喋不休的機器人,自1994年以來一直存在,但它們的可行性一直是可疑的,令人沮喪的不足。

Last fall, ChatGPT surprised the world by showing that natural conversations between humans and machines could be convincingly realistic. It’s suddenly become easy for anyone to imagine that services such as online customer support and chats can now be replaced by AI. What used to be purely transactional can be more conversational, possibly strengthening the connection between the business and the customer.
去年秋天,ChatGPT讓世界大吃一驚,展示了人類和機器之間的自然對話可以令人信服地逼真。突然間,任何人都很容易想像,在線客戶支持和聊天等服務現在可以被人工智能取代。過去純粹的交易可以更多的對話,可能加強企業和客戶之間的聯繫。

It turns out that the shift from Transaction to Conversation had been happening for a while. Social networks and messaging services have both been growing steadily for the better part of this century. Since 2013, however, the growth of messaging started to gain momentum. In 2015, the number of active users of Big Four messaging apps (WhatsApp, Messenger, WeChat, Viber) surpassed that of Big Four social networking apps (Facebook, Twitter, Instagram, Twitter).
事實證明,從交易到對話的轉變已經有一段時間了。在本世紀的大部分時間裡,社交網絡和信息服務都在穩步增長。然而,自2013年以來,信息服務的增長開始獲得動力。 2015年,四大信息應用(WhatsApp、Messenger、WeChat、Viber)的活躍用戶數超過了四大社交網絡應用(Facebook、Twitter、Instagram、Twitter)。

When asked what people value most in their customer experience and will pay more for, “efficiency,” “convenience,” and “easy payment” rank high. At the same time, “friendly service” and “knowledgeable service” score equally high, indicating that it’s not just the transactional aspects of commerce that people value.
當被問及人們在客戶體驗中最看重什麼並會為此付出更多時,"效率"、"方便 "和 "容易支付 "排名靠前。同時,"友好的服務 "和 "知識淵博的服務 "得分同樣高,這表明人們重視的不僅僅是商業的交易方面。

It’s already possible for us to have fairly natural conversations with AI on just about anything. In the next few years, it will be entirely possible for machines to provide friendly and knowledgeable services that are as good as, if not better than, those provided by humans in the form of conversations.
我們已經可以就任何事情與人工智能進行相當自然的對話了。在未來幾年,機器完全有可能以對話的形式提供友好和知識豐富的服務,即使不比人類提供的服務更好,也是一樣的。

Aim for effectiveness, not just efficiency, in every transaction with your customer.
在與客戶進行的每一次交易中,都要追求有效性,而不僅僅是效率。

3. From USP to POV 3.從USP到POV

By definition, a Unique Selling Proposition (USP) is “the feature or the perceived benefit of a good which makes it unique from the rest of the competing brands.”
根據定義,獨特的銷售主張(USP)是 "一種商品的特點或可感知的利益,使其有別於其他競爭品牌"。

It was coined by Rosser Reeves, a pioneer in the American advertising industry in the 1940s. For more than half a century, it has been one of the golden rules among American marketing professionals.
它是由美國廣告業的先驅羅瑟-里夫斯在20世紀40年代提出的。半個多世紀以來,它一直是美國營銷專業人士的黃金法則之一。

In the case of Chef Narisawa, he has been using techniques that allow you to enjoy Japanese food culture in authentic yet imaginative ways for many years. His cooking technique is his USP.
就Narisawa廚師而言,他多年來一直在使用各種技術,讓你以真實而富有想像力的方式享受日本飲食文化。他的烹飪技術是他的USP。

However, as we move from the Connected Age into the Intelligent Age, it is increasingly becoming easier to mimic and copy others blatantly. With generative AI, not only can one simply copy prompts and get similar outputs instantly, but also they could ask AI to reverse engineer how things are made.
然而,隨著我們從互聯時代進入智能時代,模仿和明目張膽地複制他人變得越來越容易。有了生成性人工智能,人們不僅可以簡單地複制提示並立即得到類似的輸出,而且還可以要求人工智能對事物的製造過程進行反向工程。

It was important for Chef Narisawa to have superb techniques as a chef, but before that, he always had a clear Point of View (POV) for his cuisine. It was on the idea of ​​conserving nature, which he called Satoyama Cuisine.
作為一名廚師,擁有高超的技術對Narisawa大廚來說非常重要,但在此之前,他一直有一個明確的觀點(POV)來做他的菜餚。那就是保護自然的理念,他稱之為里山料理。

One of his signature dishes is called “The Soil Soup.” In order for ingredients to be truly sustainable, the environment in which they are grown, say soil, needs to be so pure and so clean that we should be able to eat it, he reasoned. This soup is made from burdocks and a mix of soil in which they are grown, and it looks like how it sounds. This is how Chef Narisawa expresses his POV through his culinary creations.
他的一道招牌菜被稱為 "土壤湯"。他認為,為了使食材真正實現可持續發展,它們的生長環境,比如說土壤,需要如此純淨,如此乾淨,以至於我們應該能夠吃到它。這道湯是由牛蒡和它們生長的混合土壤製成的,它看起來就像它的聲音一樣。這就是廚師Narisawa通過他的烹飪作品表達他的觀點的方式。

High-end gastronomy is not suitable for takeout or delivery. However, Chef Narisawa’s POV, which captured gastronomy and environmental issues in the same context, remains unchanged for many years and even during a pandemic. Chef Narisawa, with his conviction in Satoyama Cuisine, designed not only a menu fit for high-class takeout and delivery, but also a series of original packaged ingredients that could be sold online. This led to the creation of a new line of business for Restaurant Narisawa.
高端美食不適合外賣或送貨。然而,Narisawa廚師的POV,在同一背景下捕捉到了美食和環境問題,多年來甚至在大流行期間都沒有改變。成澤主廚懷著對里山料理的信念,不僅設計了適合高級外賣和送餐的菜單,而且還設計了一系列可以在網上銷售的原創包裝食材。這導致了成澤餐廳新的業務線的建立。

Another case in point is Ayako Tanaka, the aforementioned fashion Instagrammer in Japan. Major apparel brands have far more reach and awareness in the mass market, therefore, setting themselves up to sell way more than an individual Instagrammer. Hypothetically.
另一個例子是前面提到的日本時尚Instagram用戶田中綾子。大型服裝品牌在大眾市場上有更大的影響力和知名度,因此,他們的銷售量遠遠超過個人Instagram用戶。假設一下。

But the fact that she is able to generate the kind of revenue that was only possible for major brands less than ten years ago shows the structural change we are witnessing. The power dynamic is shifting from institutions to individuals. Her followers/fans buy into her POV, thus they buy products because they are endorsed by her.
但是,她能夠產生不到十年前只有大品牌才有的收入,這一事實表明了我們正在見證的結構性變化。權力動態正在從機構轉移到個人。她的追隨者/粉絲購買她的觀點,因此他們購買產品,因為這些產品得到了她的認可。

4. From Generative AI to Creative AI
4.從生成性人工智能到創造性人工智能

The good news with generative AI is that “the space between your idea and execution has been collapsed to a second,” as Nick Law, the former CCO of R/GA, and an old colleague of mine, puts it. People no longer need years of training to create technically advanced imagery and that has now raised the quality of what we previously perceived as average. The bad news? “It’s clear mediocrity is now free. People that have no discernible artistic talent can create something that’s actually pretty good.” Or maybe that is the good news. It. Doesn’t. Matter.
生成式人工智能的好消息是,"你的想法和執行之間的空間已被壓縮到一秒鐘",正如R/GA的前首席執行官、我的一位老同事尼克-勞所說的那樣。人們不再需要多年的培訓來創造技術上先進的圖像,而這現在已經提高了我們以前認為是平均水平的東西的質量。壞消息是什麼? "很明顯,平庸現在是免費的。沒有明顯的藝術天賦的人可以創造出實際上相當不錯的東西"。或者說,這才是好消息。它。並不重要。重要。

Many people talk about the creativity, imagination, and life experiences of humans that AI can’t replicate. Just look at the picket signs of the writers’ strike going on. But resistance is futile, so how specifically should we partner with AI to make the impossible possible?
很多人都在談論人類的創造力、想像力和生活經驗,這些都是人工智能無法複製的。看看正在進行的作家罷工的糾察牌就知道了。但抵抗是徒勞的,那麼具體來說,我們應該如何與人工智能合作,使不可能成為可能?

I call this “R.E.M. of AI-Assisted Creativity: Reach, Efficiency, Magic.”
我把這稱為 "人工智能輔助創造的R.E.M.:Reach, Efficiency, Magic"。

First, reach.

Hybe, the Korean entertainment juggernaut behind enormously successful BTS and other K-pop groups, recently announced the first single “Masquerade” from MIDNATT, a new artist that the label is backing (it turned out that MIDNATT is an alter ego of Lee Hyun, a longtime staple of Korea’s music scene who has been with Hybe since 2005). What was new and special about this debut song is that it was produced in six different languages: Korean, English, Japanese, Chinese, Vietnamese, and Spanish.
Hybe,這個在BTS和其他K-pop團體中取得巨大成功的韓國娛樂巨頭,最近宣布了MIDNATT的第一首單曲 "Masquerade",這是該公司支持的新藝術家(事實證明,MIDNATT是李賢的另一個名字,他是韓國音樂界的長期主力,自2005年以來一直在Hybe工作)。這首首發歌曲的新意和特別之處在於,它是用六種不同的語言製作的:韓語、英語、日語、中文、越南語和西班牙語。

You can read the details of how Hybe and MIDNATT produced this in this Fast Company article but it’s a great example of partnership between humans and machines. By releasing the song in multiple languages, Hybe is enabling the kind of reach for its artists that wasn’t possible a few years ago.
你可以在Fast Company的這篇文章中閱讀Hybe和MIDNATT如何製作的細節,但這是人類和機器之間合作的一個偉大的例子。通過以多種語言發布這首歌,Hybe為其藝術家提供了幾年前不可能實現的影響力。

Second, efficiency.第二,效率。

When I asked my friend Pum Lefebure, the co-founder/CCO of Design Army, about her recent campaign work “Adventures in A-Eye” for Georgetown Optician, what struck me most was how the creative process can change and speed up dramatically.
當我問我的朋友Pum Lefebure,Design Army的聯合創始人/CCO,關於她最近為喬治敦眼鏡店所做的 "A-Eye的冒險 "活動時,讓我印象最深的是創意過程是如何發生巨大的變化和加速的。

For “Adventures in A-Eye,” it took a week of Pum—and Pum only—to type in a bunch of prompts into Midjourney to generate the initial idea. In a week or so, the campaign was more or less fully visualized and she was able to present almost finished work. The following two to three weeks, she worked with her team to finesse how the glasses and typography would be represented in the final imagery, taking merely four weeks for the whole process.
對於 "A-Eye歷險記",普姆花了一個星期的時間,而且只是普姆,在Midjourney中輸入了一堆提示,以產生最初的想法。在一個星期左右的時間裡,這個活動或多或少地被完全可視化,她能夠提出幾乎已經完成的工作。在接下來的兩到三周里,她與她的團隊合作,對眼鏡和排版在最終圖像中的表現方式進行微調,整個過程只用了四個星期。

Typically, the process to develop a campaign of this caliber and quality from idea to execution takes several months, many people, and quite possibly half a million dollars.
通常情況下,開展一個如此高水準和高質量的活動,從想法到執行需要幾個月的時間,許多人,而且很可能需要50萬美元。

Pum didn’t tell me how much the client paid for this campaign (I asked) but she did say “Clients need to pay. What they will be paying for is my eye, taste, and talent based on several decades of experience. When I gave the same brief to younger designers, the outputs weren’t as good.”
普姆沒有告訴我客戶為這次活動支付了多少錢(我問了),但她確實說:"客戶需要付費。他們要支付的是我基於幾十年經驗的眼光、品味和才能。當我把同樣的簡報交給年輕的設計師時,產出並沒有那麼好。"

This is possibly good news for middle-aged creatives (and Writers’ Guild of America): Instead of fighting against this tidal wave of generative AI, learn how to surf and gain the kind of creative edge you didn’t have before.
這對中年創意者(和美國作家協會)來說可能是個好消息:與其對抗這股生成性人工智能的浪潮,不如學習如何衝浪,獲得你以前沒有的那種創意優勢。

Third, magic.

This is the most important aspect of Creative AI and probably the most elusive. But what’s behind magic is logic. Magic is about using logic to create an illusion and wow people. AI is quickly taking away from humans the work of generating and even crafting something. So the job that’s left for humans is to imagine what magic to create.
這是創意人工智能最重要的方面,也可能是最難以捉摸的。但是,魔術背後的東西是邏輯。魔術是關於使用邏輯來創造一個幻覺,讓人驚嘆。人工智能正在迅速地從人類手中奪走生成甚至是製作東西的工作。所以留給人類的工作就是想像要創造什麼魔法。

“McEnroe vs. McEnroe” is one recent example of that. On one side of the court is the real, 64-year-old McEnroe, and on the other side, we see a younger but hologram version of himself. This younger McEnroe is generated based on his performance data over the years that AI software gathered and learned. This then is fed to a robot (imagine a batting cage robot) on the darker side of the court. This robot reacts in real-time to the ball that the real McEnroe hits and throws back, as if the younger hologram McEnroe is hitting back, creating the illusion of the real and older McEnroe vs. the virtual and younger McEnroe.
"麥肯羅VS麥肯羅 "就是最近的一個例子。在球場的一邊是真實的64歲的麥肯羅,而在另一邊,我們看到的是一個年輕但全息的自己。這個年輕的麥肯羅是根據他多年來的表現數據生成的,是人工智能軟件收集和學習的結果。然後,這些數據被輸送到球場另一側的一個機器人(想像一下擊球籠機器人)。這個機器人對真正的麥肯羅打出的球作出實時反應,就像年輕的全息圖麥肯羅打出的球一樣,創造出真實和年長的麥肯羅與虛擬和年輕的麥肯羅的幻覺。

While Generative AI is about the machine mimicking what humans do and doing them faster and better, Creative AI is about humans imagining the magic and using the machine to generate it.
生成式人工智能是關於機器模仿人類所做的事情,並更快更好地完成它們,而創意式人工智能是關於人類想像魔法,並使用機器來生成它。

In sum, as the cognitive operating system of our civilization is going through an upgrade, brands need to embrace these four paradigm shifts in order to stay relevant:
總之,由於我們文明的認知操作系統正在經歷升級,品牌需要擁抱這四個範式的轉變,以保持其相關性:

1. From Organizational Scale to Functional Speed
   從組織規模到功能速度
2. From Transaction to Conversation從交易到對話
3. From USP to POV從USP到POV
4. From Generative AI to Creative AI
   從生成性人工智能到創造性人工智能

Accelerate when it matters most. Treat every transaction as an opportunity to help your customer effectively, not just efficiently. Know your conviction with a clear POV. Combine and recombine things to create magic.
在最重要的時候加快步伐。把每一筆交易當作一個機會,有效地幫助你的客戶,而不僅僅是高效地幫助他們。了解你的信念,有一個明確的觀點。結合併重新組合事物以創造奇蹟。

Not only has the space between your idea and execution collapsed, but so has the space between institutions and individuals. Building a brand has now become accessible to anyone and everyone. And that is why it also has gotten that much more competitive. Fiercely so.
不僅你的想法和執行之間的空間已經崩潰,而且機構和個人之間的空間也已經崩潰。現在,建立一個品牌已經成為任何人和每個人都可以做到的事情。這就是為什麼它的競爭也變得更加激烈。競爭非常激烈。

Say hello to the Intelligent Age.
向智能時代問好。