1.Creative China must find its ownPath
看电视英语怎么写
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原文：
Creative China must find its own Path
袋鼠英文Justin 0'Connor
古代皇后>肿了怎么快速消肿It is commonly said that China needs to ‘catch-up’ with `the west' or the `developed world'.
鱼与熊掌This phra implies a singular path; there may be short cuts and `late-comer advantages' but the destination一a modern, developed country一is the same. But just when it ems China is within touching distance, the `developed world' changes the definition of what it is to be `developed' and puts more obstacles in the path of tho trying to catch-up. In English we call this `moving the goal-posts'. After manufacturing, rvices and high-technology emed to prent clear goals for China, the cultural creative industries arrive as the new `value-added' product and rvice ctor, posing yet more problems for the country's policy-makers. Many in the West have argued that China will take a long time to catch-up in the areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the abnce of a competitive cultural creative industries ctor is evidence that China is not, and maybe can never be, fully `developed'.
Much of this can be dismisd as another example of the West's superiority complex; however, there can be no doubt that the cultural creative industries prent great possibili
ties but also great challenges for China. The industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media rvices, through to fashion, design and architecture一are highly creative and innovative products and rvices, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective n of meaning and identity. For the reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and experti. In the cond half of the twentieth century this was expanded beyond `the arts，一galleries, muums, opera hous, universities, arts schools, journals etc. 一to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.
The cultural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of rearch, knowledge transfer and, above all, innovation. In the West artists or `cultural producers' have long been associated with dynamic, often unpredictable creative innovation. Now the innovative capacity of the cultural industries is extended to a new range of creative products and rvices and is also en as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultural products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and rvices, finding new audiences, differentiating rather than imitating what already lls. It requires new kinds of `soft skills' that are hard to acquire as they are often`tacit', demanding experience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills. In the last few years the central driving force behind cultural and creative industries policies has been the idea of `cluster'.
Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist in the West, though the terms cover extremely diver developments. There are some good reasons why China would choo this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that em ripe for this kind of development. The model of concentration to facilitate rapid development also fits well with China's history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers becau they are highly visible一successful ones give publicity to them and the city. At the same time they offer clear and concrete steps to support a ctor that is very new and not very well understood. However, there are some real problems to be overcome if the clusters are to deliver what is expected of them.西葫芦水饺
谁发明的电灯
三位一体自荐信
Many clusters emerged organically, with artists looking for cheap workspace; but in China,
as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers rai the profile of a place and this is very quickly translated into rent ris, typically driving out the first occupants. This is a complex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are conomically important we should let the market decide. There is some truth in this; it is very easy to subsidi bad artists and creative producers. However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can rai rents much more rapidly than with other kinds of occupancy, often from a low ba, and can provide good profit. But the rent ris are often too fast for a slowly emerging ctor, which is not just to be en as individual companies but as a complex emerging `creative ecology'. The real estate market measures `good' or `bad' creative by their ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estate success一higher rent yield一but how are we measuring the innovative capacity of the local economy? In general, local governments s
hould not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if government is find a productive balance in this area.
Clusters are often conceived as places for the `industrialization' of cultural products一that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the world's low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected by inter-provincial tariffs. The products might inflate the statistics一according to one report China is third largest exporter of cultural products一but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative ctor.
