葡萄酒评价问题
There’s a great scene in Diamonds are Forever, a 1971 James Bond movie, where the villain’s henchmen are posing as waiters. One pours Bond a glass of Mouton Rothschild; Bond remarks he’s surprised they didn’t serve a claret. The villain apologizes for not having more clarets in the cellar, revealing his ignorance about wine. As any cultured sophisticate (and gentleman spy) knows, Mouton Rothschild is, in fact, a claret (duh). The henchman’s ignorance is exposed, and Bond can thus dispatch him.
1971年詹姆斯·邦德(James Bond)的电影《 永远的钻石》(Diamonds Forever)中有一个很棒的场景，恶棍的帮派冒充服务生。 一个人倒邦德一杯木桐罗斯柴尔德酒。 邦德说，他很惊讶他们没有送上红葡萄酒。 小人道歉，因为酒窖里没有更多的红葡萄酒，这表明他对葡萄酒一无所知。 正如任何一位有经验的老手(和绅士间谍)所知，木桐罗斯柴尔德实际上是紫红色( duh )。 he夫的无知暴露在外，邦德因此可以派遣他。
Today, quibbling too much about châteaux classifications could be a giveaway that you’re actually a spy — or at least someone not to be trusted or liked. But the bigger issue in the wine world is how much knowledge drinkers are expected to know in order to get a bottle they can enjoy. It’ s no surprise that a recent tweet about the obscurity of wine lists, from food writer Helen Rosner, caused a minor, but heated, debate online:
如今，对城堡的分类过多地争论可能会成为您实际上是间谍的礼物，或者至少是一个不值得信任或喜欢的人。 但是，在葡萄酒界，更大的问题是，人们希望喝酒的人知道多少知识才能得到一瓶他们可以享用的酒。 毫不奇怪，食品作家海伦·罗斯纳(Helen Rosner)最近发表的有关酒单模糊的推文在网上引起了轻微但激烈的辩论：
I wholeheartedly agree with Helen’s sentiment. I can make an educated guess of what these wines might taste like, based on the region and what I’ve previously tried from these areas. Or maybe I can recall something I’ve read about a particular vintage being good or bad for these regions. But the producer names, the specifity of the vineyards, and other designations don’t mean very much to me. It’s a jumble of words without much context. How would anyone be able to pick a bottle from this list without consulting the web for a significant amount of time? Sure, you can always ask the sommelier for advice and guidance, but many people are afraid to ask. In any case, it’s difficult to assess what you would like based on a sommelier’s preferences if you don’t know your own.
我完全同意海伦的观点。 根据该地区以及我之前在这些地区尝试过的葡萄酒，我可以对这些葡萄酒的口味做出有根据的猜测。 或者，也许我可以回想起我读到的关于某个特定年份对这些地区有利或不利的内容。 但是生产者的名字，葡萄园的特色以及其他名称对我来说意义不大。 这是一堆没有太多上下文的单词。 在没有花费大量时间咨询网络的情况下，任何人如何能够从此列表中挑选瓶子？ 当然，您总是可以向侍酒师寻求建议和指导，但是很多人都不敢问。 无论如何，如果您不了解自己的侍酒师，则很难根据侍酒师的偏好来评估您的需求。
The tweet led to a lot of back and forth between the wine cognoscenti on whether wine lists should be obscure or simple. No doubt, it would be impossible to please everyone with a wine list; complex wine lists can intimidate beginners while overly simple lists could come off as patronizing to those more in the know. But how could a restaurant better inform diners about the wines it has to offer?
导致了很多的鸣叫背部和来回的酒单是否应该模糊或简单的葡萄酒行家之间。 毫无疑问，用酒单来取悦所有人是不可能的。 复杂的酒单可能会使初学者感到恐慌，而过于简单的酒单可能会受到光顾的人的欢迎。 但是，餐厅如何更好地向食客告知其所提供的葡萄酒呢？
The issue at heart is one of design. There’s lots of information about wine that people want or need to know before they will make a purchase, but not all of it needs to be displayed all at once.
核心问题是设计之一。 人们在购买之前有很多关于葡萄酒的信息，人们希望或需要知道这些信息，但并非所有信息都需要一次全部显示。
A similar challenge affected early London Underground Tube maps. There was a variety of distances between stops, different companies operating independently, and some stations that allowed transfers while others didn’t. Putting all the information together proved difficult. Early versions superimposed their subway routes on surface maps, in relation to street roads and other location identifiers. But this made the maps difficult to read. Also, some stations were way out to the suburbs, while others were bunched up in the heart of the city. When you combined all these elements, the early maps weren’t very useful for quick assessments by commuters.
类似的挑战影响了早期的伦敦地下地铁地图 。 站点之间的距离各不相同，不同的公司独立运营，有些站点允许换乘，而另一些站点则不允许。 将所有信息放在一起很难。 早期版本将其地铁路线与街道和其他位置标识相关，叠加在地面地图上。 但这使地图难以阅读。 另外，有些车站通往郊区，而另一些车站则聚集在市中心。 当您将所有这些元素组合在一起时，早期的地图对于通勤者的快速评估并不是很有用。
Harry Beck solved this problem in 1931 with his famous version of a stylized map of the Tube system. His insight was that commuters didn’t need to know the actual geographic distance between stops or where they were located on an accurate map of the surface. They just needed a clear, easy-to-read representation of the stops. His diagram was such a revolution that it was adopted for subway systems around the world. Today, the use of this design is ubiquitous. (For an excellent description of the evolution of the Tube map, read this post by The Londonist.)
哈里·贝克(Harry Beck)在1931年用他的著名版本的Tube System风格化地图解决了这个问题。 他的见解是，通勤者不需要知道站点之间的确切地理距离，也不必知道他们在准确的地面地图上的位置。 他们只需要一个清晰，易于阅读的停靠点代表即可。 他的图表是一场革命，以至于被全世界的地铁系统采用。 今天，这种设计的使用无处不在。 (有关“地铁图”演变的出色描述，请阅读《伦敦人》的这篇文章 。)
So how does this relate to consumers making purchase decisions in wine shops and restaurants? Like London’s Tube map, the issue is one of design and data visualization: How do you give consumers a quick way to assess a lot of information to make an informed choice. For London Tube riders, knowing how to connect between stations was more important than knowing what geography lay above those stations, so the surface map indicators could be ditched. But being able to swiftly determine the transfer stations was also vital to getting around.
那么，这与消费者在葡萄酒商店和饭店做出购买决定有什么关系？ 像伦敦地铁地图一样，问题是设计和数据可视化之一：如何为消费者提供一种快速评估大量信息以做出明智选择的方法。 对于伦敦地铁的车手来说，了解车站之间的连接方式比了解这些车站上方的地理位置更为重要，因此可以放弃地表指示器。 但是，能够Swift确定中转站对周游至关重要。
His insight was that commuters didn’t need to know the actual geographic distance between stops or where they were located on an accurate map of the surface, they just needed a clear, easy-to-read representation of the stops.
他的见解是，通勤者不需要知道站点之间的实际地理距离，也不需要知道他们在准确的地面地图上的位置，他们只需要站点的清晰易读的表示即可。
So what is the essential information someone needs to know before committing to buy a wine? Labels can potentially list the region, vintage, grape variety, producer, alcohol level, certifications (organic, biodynamic, kosher, vegan), whether it was aged in stainless steel or in barrels (and what type: new or used, French or American), if the wine was fined and filtered, what food to pair it with…the list goes on and on. Maybe I’m curious about vinification or aging in concrete eggs. Or total days of skin contact for an orange wine. Or if the wine was made using carbonic maceration. Maybe I’ve tried wines from a particular region, like Sicily’s Mount Etna, or read good things about Canary Island wines.
那么，在购买葡萄酒之前，人们需要了解哪些基本信息？ 标签可能会列出该地区，年份，葡萄品种，生产商，酒精含量，认证(有机，生物动力学，犹太洁食，素食主义者)，无论它是在不锈钢桶中还是在桶中陈年(以及哪种类型：新的或二手的，法国还是美国) )，如果对葡萄酒进行了精制和过滤，则要搭配什么样的食物……清单将不胜枚举。 也许我对混凝土鸡蛋的酿造或老化感到好奇。 或与皮肤接触的总天数为橙色葡萄酒。 或者，如果葡萄酒是用碳浸渍法酿造的。 也许我曾经尝试过西西里岛的埃特纳火山(Mount Etna)等特定地区的葡萄酒，或者读过有关加那利岛(Canary Island)葡萄酒的好东西。
Still, ultimately, I just want to know how the wine tastes. Sometimes I want a racy, bracingly acidic wine. Other times I want to slosh a dense, fruity sip around in my mouth. Taste is, of course, subjective, but there are ways to break it down for a general audience. Instead of listing vineyards, producers, winemakers, villages, and vintages, how about the relative levels of acidity, sweetness, and tannins? How about simple icons of fruits to correspond to the main tasting profiles? Why not emoji-like images of raspberries, vanilla beans, spices, or blackberry jam? The wine’s texture might be a good place to start. Is it light, tart and tannic, or rich, sweet and smooth? Is a grape variety’s typical flavor profile bold or earthy? Straightforward infographics like the one pictured here for merlot (from VinePair) could be helpful.
最终，我还是只想知道葡萄酒的味道。 有时我想要一种活泼，带有酸性的葡萄酒。 其他时候，我想在嘴里晃动一团浓密的水果味。 口味当然是主观的，但是有一些方法可以将其分解为普通观众。 与其列出葡萄园，生产者，酿酒师，村庄和年份，不如列出酸度，甜度和单宁的相对水平？ 水果的简单图标对应于主要品尝概况怎么样？ 为什么不像树莓，香草豆，香料或黑莓果酱那样用表情符号表示图像？ 葡萄酒的质地可能是个不错的起点。 淡淡，酸甜，单宁还是浓郁，甜美而柔滑？ 葡萄品种的典型风味是粗体还是土质？ 简单易用的信息图表(如此处为Merlot的图片 )(来自VinePair )可能会有所帮助。
Wine Folly also does an excellent job of exploring new and interesting ways of graphically depicting wine. I use Madeline Puckette’s book all the time to debate with my mom what a wine should taste like versus the example in front of us.
Wine Folly在探索新颖有趣的以图形方式描绘葡萄酒的方式方面也做得非常出色。 我一直都用Madeline Puckette的书来和妈妈辩论葡萄酒的味道，而不是我们面前的例子。
Another idea might be to add elements similar to movie reviews. Think about how people decide to see a movie — or not — by gauging the Rotten Tomatoes score of critics compared to average viewers. I do the same for wine. I like seeing the average of professional wine critics’ scores, then comparing those to community ratings on Cellartracker, Vivino and Delectable. What if a wine list featured both the average critics’ score, compared with the average consumer score?
另一个想法可能是添加类似于电影评论的元素。 通过衡量评论家相对于普通观众的烂番茄得分，思考人们如何决定看电影或不看电影。 我对葡萄酒也一样。 我喜欢查看专业葡萄酒评论家的平均分数，然后将其与Cellartracker，Vivino和Delectable的社区评分进行比较。 如果酒单上既有评论家的平均分数，又有消费者的平均分数，那该怎么办？
Solving this problem is not just a fun debate for wine geeks like me, but potentially vital for the future of the industry. According to the latest Silicon Valley Bank 2020 Wine Report, “Baby boomers are moving into retirement and declining in both their numbers and per capita consumption, while millennials aren’t yet embracing wine consumption, choosing to stick with spirits or abstain altogether…The lack of engagement by the youngest consumer is both the greatest concern and greatest opportunity.”
对于像我这样的葡萄酒爱好者来说，解决这个问题不仅是一场有趣的辩论，而且对于行业的未来至关重要。 根据最新的《硅谷银行2020年葡萄酒报告》 ，“婴儿潮一代正在退休，其数量和人均消费都在下降，而千禧一代还没有接受葡萄酒消费，选择坚持喝酒还是完全弃权……缺乏最年轻的消费者的参与既是最大的关注，也是最大的机会。”
People who sell wine — whether in a tasting room, restaurant, retail store or online — need to change their approach to communicating about their products if they want to attract new customers. Better design can help.
无论是在品酒室，餐厅，零售店还是在线销售酒的人，如果想吸引新顾客，都需要改变其产品交流的方式。 更好的设计可以提供帮助。
翻译自: https://medium.com/planet-of-the-grapes/wine-has-a-design-problem-d44de1b7768e
葡萄酒评价问题