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.

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》

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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。

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）

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

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）

Malaysia’s creative industry contribution to GDP remains low

by S BIRRUNTHA

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 said at the moment, the industry contributes approximately 2% towards the GDP and employs around one million people.

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.

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.

Creative Industries Policy in Malaysia 2009

Malaysia’s DIKN document issued in 2009 is to date the only policy document that defines and
articulates a creative industries policy for Malaysia. When it was launched the DIKN was touted to
“empower the creative industries as a whole based on creativity and innovation, thus contributing to a high income economy and to uphold the nation's cultural heritage” (Yatim, 2011). DIKN divides the creative industries into three categories: Creative Multimedia, Creative Cultural Arts, and Creative Cultural Heritage (see Table 1 below). Whereas the DCMS model does not differentiate between different sectors, the DIKN acknowledges that there are technological, creative, and platform differences between the three. It also makes explicit the emphasis given to digital media which has become a focus of government agencies, and the only creative industries sector targeted explicitly in the 2015 Budget (“Bajet 2015,” 2014).


The twin emphasis in the DIKN is on the economic contribution of the creative industries and on
mainstreaming intellectual property. Expanding employment opportunities is emphasised as is the need to find markets overseas and export cultural products. According to the DIKN document, Malaysia’s creative industries contributed only 1.27% to national income, less than half of what comparable countries record (DIKN quotes figures of 3%-5%). Clearly Malaysia finds itself in a position of relative disadvantage in terms of the size, contribution, status, strength, and visibility of the creative industries in comparative terms. (Creative Industries Policy in Malaysia, 2015)

Boosting The Exports of Malaysia's Creative Content Through Partnership

MONDAY, JANUARY 23, 2017, KUALA LUMPUR: Malaysia External Trade Development Corporation (MATRADE) and China Intercontinental Communication Co.,Ltd (CICC) marked a momentous occasion today by signing a Memorandum of Understanding (MoU) to promote trade of creative contents between Malaysia and China. The MoU signing was witnessed by Minister II of International Trade and Industry (MITI) YB Dato' Seri Ong Ka Chuan.

MATRADE was represented by its Chief Executive Officer Dato' Dzulkifli Mahmud and CICC by its Vice President Mr. Jing Shuiqing.

The MoU aims to strengthen communication and cooperation between media organisations in China and Malaysia by leveraging on China's One Belt, One Road (OBOR) initiative. The MoU will see MATRADE and CICC working together to link industry players from both countries to embark on exchange of creative content (such as films, documentaries and television shows, among others) and business matching (through MATRADE's International Sourcing Programme) for the purpose of driving trade of creative contents for both nations. The collaboration will strengthen the existing professional ties between both countries and could also initiate the sharing of experience, knowledge and best practices with China.

According to Dato' Dzulkifli, the MoU is an important step forward for both parties to promote cultural exchange through each other's media channels. "This partnership will facilitate and coordinate the communications between media players of both countries. With this partnership, Malaysian media can rest assured that they have a partner in China to assist them in areas such as co-productions," he said.

The Malaysian government has identified creative content as one of the Entry Point Projects (EPP) under the Economic Transformation Programme to enhance capacity, capability and competency of the industry in producing world-class content and additionally making Malaysia a regional hub for digital content.

In the EPP, the creative content industry is expected to contribute RM3.04 billion to Gross National Income (GNI) and produce more than 10,000 jobs by year 2020. The industry is also targeted to have an annual growth rate of 20 percent.

In the latest figures recorded in 2015, creative content contributed RM9.55 billion and represents 6.4 percent of the total Gross Domestic Product (GDP). To date, Malaysia has exported RM6.8 billion worth of creative contents.

With China as one of Malaysia's biggest trading partners, the MoU sets to further strengthen China's and Malaysia's relationship by leveraging on the OBOR Initiative, which is a development strategy and framework of China's government to boost connectivity and cooperation between China and the rest of the world.

MATRADE as Malaysia's export promotion agency provides various export facilitation such as market intelligence, trade advisory, export promotion and capacity building programme for Malaysian companies. The agency, under MITI, has trade offices in Beijing (beijing@matrade.gov.my), Shanghai (shanghai@matrade.gov.my), Guangzhou (guangzhou@matrade.gov.my) and Chengdu (chengdu@matrade.gov.my) that functioned to help Malaysian companies penetrate into the China market. (Source: https://www.matrade.gov.my)

What about the Oscars? 

CJ Entertainment is in charge of overseas sales and the marketing of The Garden of The Evening Mists, touted as Malaysia’s most well-funded film to date (said to be RM20 million), jointly produced by Astro Shaw and HBO Asia. Asked about Malaysia’s chances of securing an Oscar nomination with The Garden of The Evening Mists, Astro Malaysia Bhd group CEO Henry Tan would only say what is important is that the group continues to strive for excellence in content production. The movie received nine nominations (including for best film, best director and best screenplay, and best actress for Malaysian actress Angelica Lee) at the 56th Golden Horse Film Festival and won the award for Best Makeup and Costume Design.

Tan noted, though, that Taiwanese-American Oscar-winning film director and screenwriter Ang Lee said he “hopes to see more films like this” after watching the film in Taipei.

“Both the book and the film are high-quality works with a strong positive message. I do believe both the book and film will stand the test of time and leave a mark on both Malaysian literature and Malaysian cinema,” says Taiwanese Tom Lin Shu-Yu, who directed the film based on a screenplay by British screenwriter Richard Smith, adapted from Malaysian novelist Tan Twan Eng’s book.

Twan Eng reckons that the film is already a landmark for Malaysia “just based on the scale of the production alone”. “The cast and crew are highly talented and diverse, coming from all regions of the world. The production values are world-class. The film looks lush and gorgeous. It focuses on a turbulent period of our history, and Tom Lin has created a sensitive, nuanced, restrained film,” he tells The Edge. 

Why should policymakers pay attention to the rise in the Asian narrative on the global stage and how can they help people in the creative arts? 

“Artists need time to master their craft, and it’s important that policymakers protect the seedlings of creativity from global capitalism and consumerism. For example, Korea has policies protecting Korean Cinema by ordering that movie theatres play at least 50% local films in their theatres. If it was all up to the theatres, they would only play what sells most, but culturally and artistically, it may become hard for that nation to improve,” Lin tells The Edge, noting that education is also key in ensuring that youths are on the same page in terms of the value that the creative arts bring to the nation and society.

 “If we are to catch the attention of the West, we will need support from the entire country, and at the same time, the country itself needs to promote all the goods — whether it’s literature, cinema, food, music — that are local to the international scene. Like Parasite again, it’s getting the attention it has because it’s a good film, but also, because of how Koreans have risen their image in the hearts of minds of the West, and this takes an entire nation to achieve,” adds Lin. 

While one can argue that Parasite “may not be Boon Joon Ho’s strongest film”, Lin notes that “it has gotten him furthest into the mainstream in the west”. 

“If Parasite was made 10 to 15 years ago, it might not reach where it is now… this wouldn’t have been possible if not for the whole K-Pop culture getting into the West first,” Lin says. （The Edge Malaysia，November 10, 2020）

爲「漢麗寶公主」勤背書　林美芬轉戰舞台

幾乎每個舞台劇演員都有一個登上國家文化宮（Istana Budaya）的夢，去年，連國語都不太會説的林美芬卻演了5場《Takhta 3 Ratu》舞台劇中漢麗寶公主（Hang Li Poh）的角色。今年，她擠下蘇盈之主演2月13至21日演出的馬來舞台劇《Zombie La La La》，正式成爲本地華人圈第二人入主馬來舞台劇。

• 2007年參加《我要做Model》入行後，你是如何接觸到舞台劇呢？

比賽之後，我參與了ntv7電視劇，如《時光電台》、《懼場》及《分身乏術》等作品的演出，可是當新人倍出，我的邀約就少了。這期間我試過轉到幕後，Astro的福建戲劇《家緣》就是我冩我公公的故事，也試過回家幫忙做了3年生意，但蘇盈之的一通電話，讓我再度回到了娛樂圈。

去年原是蘇盈之主演《Takhta 3 Ratu》舞台劇中漢麗寶公主的角色，但因爲檔期關係，她有5場戲沒辦法出演，所以推薦了我去面試。我的國語其實很差，面試的時候都説英語，導演都快看不 下去，但我真的很想得到這個角色，所以從下午拿到劇本開始一直背書，到晚上才面試，導演聽了，決定給我機會，我很感恩。

整個科系只有我一個華人，還是最老的一個，哈哈！不過其他同學都對我這個「kakak」很好。一開始，別人用一小時做好的功課，我要花4小時，一字 一字地翻譯和整理語法，但同學們都知道我的程度較差，平日也會借我重點筆記。我印象最深刻的是有一次考試，那一段類似古文的台詞我背了很久，在考試的時候還是忘了後半段！同學們幫我向老師求情，讓我有第二次重考的機會，可是我又在台詞的部分「卡住」，當時同學們在台下比手劃腳地給我貼士，真的讓我很感動！

籌備《Zombie La La La》時有何趣事？《Takhta 3 Ratu》開會時有五六十人，説話的速度又快，有時候我會聽不懂。可是時間很緊迫，不可能停下來解釋給我聽，幸好之後其他演員會解釋給我聽。這一次雖然我 的國語比之前好，但偶爾還是會跟不上。我記得有一次導演開玩笑説我是「sengkuang」，我以爲他是在吃沙爹要配料沙葛，引來哄堂大笑！後來他們告訴 我，是笑我糊裡糊塗、萌呆的意思。

• 接下來的計劃？

在馬來舞台劇這一行漸漸被關注的初期，我的心情有點微妙，感覺像是被中文娛樂圈拋棄了，但蘇盈之跟我説「馬來領域其實是一塊寶地」，讓我改觀不少。 我中學畢業後曾想過專攻舞台劇，但父母認爲沒前途，所以不讓我繼續，之後我就只有在教會的舞台劇上演出，就此累積了一些小基礎。其實我沒想過接下來的發展 會是怎樣，我才剛入行舞台劇，有很多部分需要加強進修。現在因爲唸書住在學院的宿捨，所以拍戲的檔期很難安排，所以就順其自然吧！

• 在馬來舞台劇的野心是什麼？

不能説野心，但我期望有一天我能冩、演另一版本的「漢麗寶公主」。在《Takhta 3 Ratu》中的漢麗寶公主，是一名從國外來到馬六甲，爲了獲得蘇丹的心而努力獻慇勤的人。而再更之前2004年左右，國家文化宮也有過一出漢麗寶公主的舞台劇，但那段冩的卻是漢麗寶公主對蘇丹不忠，出軌的故事。漢麗寶公主是故事裡華人的縮影，我爲這個角色做考究的時候，發現漢麗寶公主不過是個離鄉背井來到 大馬後，愛上蘇丹也愛上這片土地的女人，所以我希望有機會能改編這段歷史故事，去詮釋我心中的漢麗寶公主。

林美芬小檔案

生日日期：6月29日

身高∕體重：169公分/56公斤

出道：第一屆《我要做Model》

演出經歷：

2007-08年 電視遊戲節目《一擲千金》

2013年 《時光電台》

2014年 《懼場》、《分身乏術》

（2016年2月14日 詩華日報）

愛墾網：馬素麗故事

浪礁嶼的馬蘇麗是馬來西亞的潘金蓮？ 

There’s certainly ample room to grow the industry’s contribution to Malaysia’s economic growth. As it is, the creative industry contributes around 2% of Malaysia GDP, makes up 0.2% of exports and employs about one million people, chief statistician Datuk Seri Mohd Uzir Mahidin told participants at the Creative Economy 2021 Forum. 

Noting that the promotion of the creative industry and entrepreneurs was mentioned in the 11th Malaysia Plan (2016 to 2020), Saifuddin said efforts to leverage the country’s rich cultural heritage in promoting sustainable development would continue to feature in the 12th Malaysia Plan to be tabled in January 2021. “We’re committed to building a better ecosystem … the models can be borrowed from countries like South Korea, the ideas are there ... it is about working together and getting things done, putting everyone on the same platform.”

It remains to be seen if the creative economy will feature prominently in Budget 2021, which is set to be tabled in parliament this Friday (Nov 6). To help the industry amid the Covid-19 pandemic, the government allocated RM225 million for the arts, culture, entertainment and events industry under the RM35 billion Penjana (Short-term Economic Recovery Plan) announced on June 5. That includes RM100 million in soft loans and RM30 million in grants under MyCreative Ventures and RM10 million under the Cultural Economy Development Agency (Cendana). 

In March, Singapore — which in 2002 introduced a Media 2021 blueprint to increase the sector’s GDP contribution and transform itself into a global media city — allocated another S$55 million in aid for the arts and culture sector in its supplementary budget to counter Covid-19. 

In July, South Korea pledged KRW156.9 billion (US$131 million) to support its arts sector, including KRW23.2 billion in grants for financially strapped artists and KRW31.9 billion in wage support for people in the performing arts such as theatre, musicals and classical concerts. South Korea’s Ministry of Culture, Sports and Tourism received KRW6.48 trillion (US$4.9 billion) in Budget 2019, with KRW1.1 trillion to be invested in the virtual reality content sector and KRW40 billion on a new VR content exhibition space in Seoul. Some KRW113 billion was allocated to content creators while KRW32.3 billion was earmarked to support local filmmakers, cartoonists and fashion designers looking to expand overseas, according to Korean news reports.

According to the Hyundai Research Institute (HRI), the annual economic impact from South Korean popular global idol group BTS alone was about US$5.6 billion as at June 2020 and is set to reach KRW56 trillion (US$49.8 billion) over 10 years from 2014 to 2023. BTS alone had helped sell over US$9 billion worth of clothing, cosmetics and food currently, says HRI, which in 2018 estimated that the boy band contributed some US$1.1 billion or 1.7% of total Korean consumer goods exports in 2017. Prior to the pandemic, local news reports had indicated around 1% boost each to the GDP for the cities of Seoul and Busan from just one BTS concert, owing to its army of global fans that are kept constantly engaged by a team of online professionals in different time zones. 

To be sure, the creative industries have not only become an increasingly important contributor to GDP growth but have proved to be transformative in terms of generating income, jobs and exports, United Nations resident coordinator Stefan Priesner said at the online forum, noting the tangible benefits of integrating the 2030 Agenda and Sustainable Development Goals related to the cultural and creative industries in national development plans and budgets.

Continue @ https://iconada.tv/photo/iconmoocs003

Cindy Yeap·Harnessing the economic benefits of the creative content industry

MALAYSIA will be stepping up the promotion of its creative content industry as “one of the hard areas of economic growth”, Communications and Multimedia Minister Datuk Saifuddin Abdullah told participants at an online forum on Oct 26 to mark the country’s adoption of the United Nations International Year of Creative Economy for Sustainable Development 2021.

He revealed that he and Tourism, Arts and Culture Minister Datuk Seri Nancy Shukri had just co-chaired the National Creative Economy Council a fortnight ago and discussed funding issues for the creative industry and even having something like “a road [map] to the Oscars”. 

Presumably, he was using the Oscars merely as a symbol of the government’s desire to support the creation of more great Malaysian content for a global audience. After all, insiders familiar with awards politics say winning an Oscar has more to do with [the potentially very expensive affair of] selling the movie well to Academy voters in Hollywood rather than making an outstanding movie or supporting the idealistic souls in the creative arts.

Malaysian companies forging sustainability-driven practices 

For companies with sizeable environmental footprint, could financial incentives be offered in exchange for less emissions, consumption and waste?

It is also in line with the renewed hope of Asian content and narrative garnering greater acceptance among a global audience, after South Korean director Bong Joon-ho’s Parasite made history in February as the first non-English language film to win the Oscar for Best Picture. Parasite was also the first South Korean film to receive the Palme d’Or at the 2019 Cannes Film Festival.

Optimism aside, industry insiders say the win was decades in the making. Behind Parasite’s big win is 61-year-old Miky Lee Mie-kyung, vice-chair of Korean conglomerate CJ Group, who is seen as the “godmother” of South Korea’s film industry and credited with playing a crucial role in promoting the Hallyu (Korean cultural) wave. A regular consumer of South Korean exports may recognise the CJ brand of consumer goods as well as CJ E&M Co’s TV channels TVN, TVN Movies and OCN, and the annual Korean wave convention (KCON) that it has organised in Los Angeles and multiple locations across the globe since 2012. CJ’s bakery franchise Tous Les Jours shuttered its Malaysian outlets in 2017 and recently sold its 50% stake in home shopping venture CJ Wow Shop, to make it wholly-owned by Media Prima Bhd.

A granddaughter of Samsung Group founder Lee Byung-chul (Miky is cousin to Samsung Electronics heir apparent Lee Jae-yong), Miky was an early investor in DreamWorks SKG (whose founders include Steven Spielberg) in 1995. The US$300 million deal reportedly gave CJ the film studio’s Asian distribution rights as well as access for her Korean filmmakers to study under DreamWorks.

Industry stimulus 

In his opening address at the Creative Economy 2021 Forum held in early October in conjunction with Budget 2021, Finance Minister Tengku Zafrul Tengku Abdul Aziz cited the success of South Korea’s film and music industry in boosting tourism as well as the country’s exports of consumer goods and services. He said players in the creative arts scene “should not see themselves in isolation” but position themselves to become “substantial and sustainable contributors” to the nation’s economy and high-growth sectors like science and innovation. After all, part of what makes Apple or Samsung phones a worldwide success is their design. 

“丝绸之路”文化智库
/ 主席陳明發博士的话

“丝绸之路”文化智库是一家研究与推广单位，以南海文化運營為核心。配合“一带一路”10週年与大马立国60载一甲子的历史契机，集合有关特色社区文史与創生的探索、交流、分享与学习等功能，计划採取策略伙伴、网络平台、書刊出版、在線講座、線下分享与业者運營大會等形式，协助经营者、推动者在各自岗位/社区引入新理念与新技能，面向疫後重建的建设需求发挥影响力。（21.9.2022）

陈明发博士2016年受邀到中亚哈萨克斯坦阿拉木图，为该哈国文化首都一大学所举办的“一带一路”国际纪念会议开幕式作专题分享。三日会议后，个人在城里自由行了一天。其中一个景点便是“二十八烈士纪念公园”，纪念的英雄是在莫斯科抵抗纳粹德军壮烈牺牲的二十八名阿拉木图军人。这二十八名烈士的牺牲，关键地保存了莫斯科的安全。纪念碑上精致的浮雕让人感受战争的壮烈。 

公园林荫中有一座全世界第二高的木制建筑，兴建过程中奇迹地没使用一根钉子，它就是东正教升天主教座堂（Co-Cathedral of the Ascension of the Lord in Almaty）。哈萨克斯坦脱离苏联独立后重新开放为教堂，得到联合国教科文组织的古迹保护奖。教堂旁边是哈萨克民俗乐器博物馆。

文創産業智慧產權機制

1 施沛琳，2008，〈生活美學産業〉見夏學理《文化創意産業概論》台灣五南圖書，317-356頁

企業舵手新召喚

（續上）今天，許多企業主都為人力資源問題苦惱，面對一個奇怪的現象：這廂是，大量的工作找不到適當的人做；那廂則有大量的失業人士，主要是大專生，找不到適當的工作。這不是一個新問題。返回管理學案例，早在四分之一個世紀前，管理學大師杜拉克就提出了警告，當經濟生產對知識的需求越來越高時，職位空缺和失業者也將越來越對不上口。換句話說，居於能力、期望與價值觀問題，失業人士可沒條件填補既有的空職。

舉個例子，電腦化、智能化的結果，使到資訊與文書處理，不再需要那麼多的中層行政人員，許多經理人因此丟了工作。另一方面，電腦化、智能化，又對經理人提出了新的職務：擁有足夠的技術文化素養，去帶領相關的技術員工。而那些失去原有工作的經理人，往往並沒法子滿足這新要求。

有了越來越精明能幹的電腦，再加上後來的互聯網工藝，企業湧現了種種的新可能，例如以最平價而有效的方式，投進電子商貿、企業資源規劃或再造工程。「想像力有多大，天空就有多高」的新景況，對企業同人產生了壓力：「創新，要不就死啦！」

有創造力的男女，成了這一波的寵兒。永遠先知先覺的杜拉克建議，想給企業找到適當人才，得將上門問工的人，看成是「顧客」，設法在工作內容上滿足他們； 「職業如同商品一樣，必須為特定的買主而設計，然後向他們宣傳和銷售。」

這是給公司僱員創造體驗的另一種說法。新的經濟演變階段，需要對口的技術文化素養。透過故事為公司注進喜悅、智慧；幫助同人實現自我，挖掘傳統的工作美德，轉換組織的命運，這是創新紀元對企業舵手的召喚。（2010年5月19日 南洋商报經濟版專欄）


福建惠安美女文創

朱千華《中國美女地圖》

張曉梅《中國美：中國首部美女標準粉皮書》

康 德·美和崇高

艾蓮·穿在身上的文化 融進圖文裏的傳統

彼得·梅爾《品味》往哪邊穿

怡保西装叙事·穿西裝漫步怡街頭

[德] 格羅塞《藝術的起源》

蘇芒·時尚江湖路

黃厚銘：風格、名牌、與符號消費

陳明發博士談纺織與時尚文創《寬鬆上衣緊身褲》

有一陣子，我和大兒子住在南肯辛頓。對面就是維多利亞愛伯特（V&A）博物館（下圖）、自然歷史博物館和科學博物館毗鄰。

三家博物館都聞名遐爾，我卻情有獨鐘，沒事只泡V§A；對文化創意有興趣，走進世上最大的時尚與設計珍藏處，一天是看不完的。人家經營了百多年，來自五湖四海、上下三千載的文物，待在一百四十五個展覽廳裏。一個雕花門框、一個瓷甕，細細欣賞，原來都是心醇的故事。

藝術建在學術上

在此，碰得上薇安魏斯伍德（Vivienne Westwood 下圖）。我的意思是，她的創作和身世。一位小學老師，怎麼在時裝界蛻身一轉，變成挑釁傳統的叛逆聖母，深深影響了1970年代的龐克搖滾（Punk Rock）大潮？

四十年的原創動能，花樣百出，她面不改色氣不喘。可對一般人來說，她玩的是驚世駭俗，處心積慮想嚇死人。譬如，讓女生穿上男性襯衫，寬鬆得似乎大了一二號；配的卻是肉色的緊身褲。讓人錯覺，這位姑娘怎麼光著兩條腿就走出來了；就像穿了男朋友的上衣走出浴室。

看清楚，褲檔倒是縫上了無花果圖形。使人想起，阿當和夏娃偷吃了禁果，就快被趕出伊甸園。有學問吧？薇安的藝術，可是建立在學術上，就像她本身說的：「回顧過去很重要，因為人們有品味，有卓越的理想。除非我們看一看往昔，否則這些事物不會出現。」

故事豐富工作體驗

薇安從被控傷風敗俗的邊緣人，成為二十世紀三大重要的女設計家之一。作品不僅張揚於伸展臺與精品屋，風靡全球，更被奉為藝術進駐到大英博物館等聖殿。她只上過一個學期的美術課，居然也當上一些大學的教授。

成功的奧秘？不妨從她本身的註解去想像：「我的激勵總是學院式的。」她對現狀的抗爭與不妥協，是從傳統中找到力量的。返回文化遺產，願意鐵棒磨成針，總能挖掘到動人的東西。例如格子呢、粗花呢與皇室服飾等，都是英國人所引以為榮的特色。換一個面貌，進入現代人的眼光，往往牽引了人們微妙的情感。欲望，以及說故事的趣味。

薇安魏斯伍德的商品傳奇，就像任何其他有力也有利的企業敘事，帶給我們娛樂、學習、圓夢、美感與轉化的珍貴體驗。革新力、轉變力、影響力、溝通力、說服力……，對領導人種種能耐的期望，歸根究底，都是敘事力；有能力創造並說好故事，豐富、蘇醒工作夥伴和消費者的感性。（下續）

女裝品牌太平鳥與敦煌博物館合作、COCOON與V&A博物館合作，配飾品牌She's與大英博物館聯名……服飾品牌與博物館的IP跨界聯名合作可謂風生水起，大量跨圈文創產品成為爆款。

文創+文化場景：萬物皆可 IP

博物館之外，遊戲動漫、影視、劇院文創的市場也在迅速擴大。沈迷遊戲、動漫、看劇的年輕人們，對相關周邊產品、衍生品的需求直線上漲。

得益於遊戲與電視劇《你是我的榮耀》的聯動，《王者榮耀》與禮服品牌WECOUTURE推出聯名款婚紗；《三生三世十里桃花》的商品授權更是覆蓋十大行業、超60個品牌，相關衍生品在電商平臺交易超過3億元，一些服飾品牌已經借助此番超高流量實現銷售轉化。

法語音樂劇《搖滾莫紮特》火熱現場

無獨有偶，這兩年，熱門演出多了，也帶火了劇目周邊文創衍生品。《劇院魅影》、《德齡與慈禧》、《葉普蓋尼·奧涅金》、《三姐妹·等待戈多》、《巴黎聖母院》、《搖滾莫扎特》、《羅密歐與朱麗葉》等熱門劇目吸引了大批年輕人走入劇場，他們具有文化消費力，願意為自己喜歡的劇目和演員去消費，這是整個市場的轉變，也給市場提供了更多創意、設計和發展的空間。印有臺詞、劇目logo、主演卡通頭像的帆布包、T恤衫、衛衣成了劇迷們看劇必備，更有許多劇迷專門通過彼此的裝備來尋找同好，劇院內外常常上演大型「認親」現場。

影視、劇院場景外，中國探月、知名城市/景點、故事傳說等有著文化認同、粉絲積澱的事物都正在成為文創IP，老乾媽的衛衣、李寧的「長安少年」系列……多重風格、多重風貌的年輕一代，追逐個性化文創帶來的獨特體驗式消費的同時，也在加速著文創的多元內核裂變。萬物皆可IP、一切皆可授權的時代已然到來。

但文創並非出品即熱銷，精雕細琢、拿捏「萌點與文化」的高質量、創意文創才能將消費者轉化為話題熱度的「自來水」。與紡織服裝相關的文創產品的創新、創意開發，急需品牌方與設計師的文化創意重構與時代個性表達，也更有待作為創意設計基石的面料企業打開腦洞、盡情「做夢」，從材料、色彩、花型、風格、品類等多重維度予以建議與引導。接下來的intertextile展，會有更多有想法的「破圈」買家攜需求而來，如何暢通交流、達成合作？也許這期的內容能給大家一些思考。（原刊/原題 2022 intertextile 春夏 | 破圈記：文創+紡織，比想象中更無界 2021-12-30）(圖片和部分素材來源於網絡）

纺織時尚文創～文創+紡織，比想象中更無界

隨著民族自信、文化自信的不斷提升，以華夏5000年厚重歷史與文化為支撐的中國文創產業，也愈發快速地增長。2020年國家統計局數據顯示，過去5年我國文創產業增加值高達66.09%，未來幾年，潛在文創產業市場規模將達到10萬億元。

文創與衣、食、住、行、娛等產業的跨界、滲透、增強、融合，加速推動著各產業的轉型升級，而文創與紡織，更憑借著天然優勢的關聯性與普及性，成為文創走進千家萬戶的關鍵。當我們把目光聚焦在文創產品與服飾品牌、文創IP的跨界聯合時，我們會發現這種跨界，遠比想象中更無界。

文創+博物館：

意料之中與意料之外的紡織元素

2013年起，靠著會賣萌的乾隆系列產品，故宮博物院成功出圈，開啟了博物館文創的新篇章。有著豐富歷史文化IP的博物館，順勢成為文創產業中最醒目的標簽。除了故宮外，中國國家博物館、陜西歷史博物館、三星堆博物館、敦煌博物館等也通過自營、聯合開發、IP授權等一系列的方式，不斷引爆博物館文創IP熱度。

打開電商平臺，搜索博物館旗艦店的產品，可以發現諸多紡織元素，服裝、帽子、圍巾、絲巾、領帶、圍裙、手套、真絲眼罩/口罩、帆布包/收納袋、襪子、抱枕套……不同材質的紡織元素在文創產品中的應用可以說是五花八門。

中國文化産業分類與成長

為適應當前中國文化新業態不斷湧現的新形勢，更好滿足文化體制改革和文化發展規劃的需要，新修訂的分類類別共設置9個大類，分別是——

1、新聞信息服務；2、內容創作生產；3、創意設計服務；4、文化傳播渠道；5、文化投資運營；6、文化娛樂休閑服務；7、文化輔助生產和中介服務；8、文化裝備生產；9、文化消費終端生產。根據活動相似性，在每個大類下設置若干中類、共計43個中類，在每個中類下設置了若干具體的活動類別、共計146個小類。

殷國俊介紹，為確保新分類的文化特征，本次修訂對新增分類內容繼續堅持如下處理原則：凡屬於農業、采礦、建築施工、行政管理、體育、國民教育、餐飲等活動均不納入分類，如茶葉種植、國民教育系列中的藝術院校、咖啡館和酒吧等服務；對於雖有部分活動與文化有關但已形成自身完整體系的生產活動不予納入，如旅遊、快遞服務、互聯網批發、綜合零售等。


近些年來，中國文化產業經濟總量持續快速增長，占GDP比重穩步提升。根據《2017年國民經濟和社會發展統計公報》，2016年中國文化及相關產業增加值30785億元，比上年增長13%，高出GDP增速6.3個百分點，成為經濟增長中的新亮點；其占GDP的比重為4.14%，比上年提高0.19個百分點，達到歷史新高，在推動經濟發展、優化產業結構中發揮著越來越重要的作用。

在文化產業增長迅猛的同時，文化產品和服務的生產、傳播、消費的數字化、網絡化進程加快，基於互聯網和移動互聯網的新型文化業態成為文化產業發展的新動能和新增長點，「互聯網文化」優勢明顯，文化創意和設計服務業蓬勃發展。以「互聯網 」為主要形式的文化信息傳輸服務業，2015年實現增加值2858億元，比2013年增加1055億元，年均增速為25.9%；文化創意和設計服務業，2015年實現增加值4953億元，比2013年增加1237億元，年均增速為15.4%。（陸婭楠·文化家底理得更清 Posted by Host Workshop ）

陳明發《印刷文創》

短短一句話，臺灣文教基金會創建人朱學恒真的提醒老編一些事。

把“基金會”換成“社團”，在馬來西亞的情況也是一樣。要把社團辦好，需要一定的歷練，累積一定的社會資源，然後把創造力聚焦于社團的既定目標。

老編昨晚和一群商團領導吃晚飯，在吉隆坡Pavilion六樓的皇宮酒家。傍晚在安邦路隆雪中華總商會開了會，乘一位從事印刷業的董事的轎車前去用餐地點。

車上，老編職業病發作，沿途問這位朋友，大馬從商環境轉變中，印刷行業可有對策？老編從事企業創新研究，當然要累積各方面的創新故事。

面對數碼出版的沖擊，傳統印刷業是否會消失？

這位兄長說，印刷已經是一門很難賺錢的行業，許多印刷商當然要動腦筋做出蛻轉，已經有的對策是：

從印刷前的美工、設計、編版以及制版去設法賺錢；

投進書籍的出版，但也要考慮語文問題，馬來西亞文的漫畫曾高峰沖到一個月20萬本的記錄。現在走紅的馬來漫畫大概有12萬本,銷路掉了一半。反觀中文出版市場則小得多；

投進小量印刷，就算是一本也可能做到。

投進一些商品如日記、日歷的設計與印刷。

社團組織要與會員共前進，需要更深入了解他們的處境與愿望。這也是一種歷練與資源累積。

老編之前在報上讀過一條新聞，說全國約有五、六千間印刷廠，但加入馬來西亞印刷商公會的，僅有約600名或10%加入成為會員，反應非常冷淡。

面對電費與其他成本高漲，印刷商的競爭能力日益受到考驗。

總商會怎樣和各商團一道前進，是一個很合時宜的行動。

Budget 2023: Promoting language and cultural diplomacy on global stage

KUANTAN: The allocation of RM5mil to the Foreign Ministry under Budget 2023 for language and culture diplomacy programmes is a new element akin to start-up funding to promote the Malaysian language and culture on the international stage, says Datuk Seri Saifuddin Abdullah.

The Foreign Minister said the allocation would enable language and cultural diplomacy to be carried out holistically and comprehensively and to share the Malaysian experience with the outside world.

The ministry received a bigger allocation of RM920mil next year, compared to RM868mil allocated under Budget 2022.

Saifuddin referred to the first Special Programme to Promote Language and Cultural Diplomacy in Berlin and Frankfurt, Germany from Sept 28 to Oct 1, organised by the Sarawak state government.

"Language and cultural diplomacy does not only include performing arts, but also philosophy, thinking, cultural arts and creativity. Like in Germany, we had round-table lectures and conferences, in addition to food festivals and cultural performances.

"After that we will start it (language and cultural diplomacy programmes) through Bahasa Malaysia courses more systematically, which can be held in our diplomatic mission offices, universities or other suitable locations.

"This will also include a series of lectures by national academics, round tables and art demonstrations, such as dance, music, food demonstrations, textile exhibitions, clothing and film screenings," he said at a press conference here on Saturday (Oct 8).

New look to reflect a new era of learning

Saifuddin said the ministry had set up a Language and Cultural Diplomacy Advisory Committee chaired by Dewan Bahasa dan Pustaka Board of Governors chairman Prof Datuk Seri Dr Awang Sariyan.

The committee includes representatives from the Ministry of Tourism, Arts and Culture, Ministry of Communications and Multimedia, Education Ministry and Higher Education Ministry, as well as arts and culture personalities and some Malaysian representatives abroad.

Saifuddin singled out the efforts of Awang in starting a Bahasa Malaysia class in China which saw 15 Chinese universities now teaching the language and Rosita Rahman-Heilek’s instrumental role in organising the food festival in Frankfurt, Germany. - Bernama (The Star Sunday, Saturday, 08 Oct 2022)

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愛墾慕課·文創篇

用審美思維構建文化旅遊產業，就是通過創意設計和場景營造，讓消費者在消費和體驗具體的文化和旅遊產品時，發生移情效應，在大腦中生成一種「完整的、充滿意蘊的感性世界」，達到消費者觸景所生之「情」與身體所接之「景」產生情景交融的效果。

由於技術創新，在數字化時代通過審美思維構建文化和旅遊產業成為可能。數字化時代，我們可以對消費者和顧客進行精準的畫像，從而可以把每一個消費者作為一個具有獨立思想、心靈和精神的個體，然後可以有針對性地進行創意、設計、生產和營銷相應的文化和旅遊產品，使消費者與文化和旅遊產品產生共鳴。

用審美思維構建文化和旅遊產業，必須做到三個統一：

首先是意象世界與生活世界的統一。用審美思維構建文化和旅遊產業，就是要讓消費者在消費、體驗文化和旅遊產品時產生出美的意象，這個意象要與消費者期望的或者經歷過的生活世界產生統一或者共情的時，價值才能發生。

其次是超越與回歸的統一。一方面要超越構建者自我認知，回歸商業的本質——人性。另一方面要超越過分關注產業的實用功利，回歸理性價值，與目標用戶產生精神共鳴。

最後是真、善、美的統一。我們需要把對規律理解的「真」與激發消費者快適的「美」和在精神領域提升人生境界的「善」統一起來，這樣就能實現把社會效益放在首位、社會效益和經濟效益相統一的目標。

由此，通過對自然、社會、藝術、科學、技術等方面美的解構與創造，傳達出優美與崇高、悲劇與戲劇、醜與荒誕、沈郁與飄逸、空靈與無言等等不同的審美意象。

在數字技術快速發展背景下，一體化思維成為文創4.0時代文化和旅遊產業發展可以也必須做好的底層邏輯。

首先是資源、創意、生產、營銷、銷售、投資、服務等一體化策劃。文化和旅遊產業發展的前期一定要做好一體化的頂層設計，要把運營前置到策劃階段，避免走彎路。

其次是城市、行業、類別、企業等文化資源一體化運營。文化和旅遊產業的發展，要做城市文化的代表、行業文化的代表、時尚文化的代表，在運營前期就必須把能整合的文化資源進行全面整合，實現多贏的局面。

最後是目標客戶、供應商、投資者、競合企業、標桿企業等相關利益者的一體化戰略。一方面要全面調動產業鏈各相關利益者參與產業生態互動的意願來構建一體化戰略，另一方面把這些利益相關者作為價值創造的生命共同體進行整合，使之成為創意者、營銷者、銷售者等多重身份合一的價值夥伴。

做好這三個一體化，才能統籌策劃與運營、兼顧自身與行業、協調內部與外部，使產業按照數字化時代要求進行發展。（來源：中國經濟網 2022-01-06）

文創4.0：一個核心要素和兩個底層思維

中國文化和旅遊產業正在跑步進入文創4.0時代，這是技術、政策、新冠肺炎疫情、社會等多重因素疊加的結果。

隨著語音識別、圖像識別、自然語言理解等技術的提高，人工智能（Artificial intelligence）在智能寫作、設計、音樂、遊戲、展陳、講解、老照片修復等領域的應用逐漸得以提升。在區塊鏈(Blockchain)方面，用區塊鏈進行版權保護、流通和內容創意等方面都有所突破。在雲計算(Cloud computing)方面，各種文化雲、媒體雲如雨後春筍般湧現，雲計算在文化和旅遊產業、公共文化服務、文化場館服務等方面得以全面應用。在大數據 (big Data)和社會化計算(Social computing) 方面，一批文化大數據公司和社會化計算公司的出現，有效地推動了文化和旅遊產業的發展。以ABCD‘S為代表的新技術的進步加速了重塑傳統文化和旅遊產業數字化的進程。

一系列推動數字文化和旅遊產業發展的政策出臺，極大地推動了相關產業的發展。2018年11月25日，《文化和旅遊部關於提升假日及高峰期旅遊供給品質的指導意見》發佈，指出，要提升智慧旅遊管理水平；2019年4月16日，文化和旅遊部辦公廳印發《公共數字文化工程融合創新發展實施方案》指出，要創新驅動，突出效能。加強雲計算、大數據、人工智能等現代科技應用，創新公共數字文化服務業態，促進工程轉型升級和服務效能提升。2019年8月23日，《國務院辦公廳關於進一步激發文化和旅遊消費潛力的意見》發佈，並指出要促進文化、旅遊與現代技術相互融合，發展基於5G、超高清、增強現實、虛擬現實、人工智能等技術的新一代沈浸式體驗型文化和旅遊消費內容。2021年4月29日文化和旅遊部發佈《「十四五」文化產業發展規劃》，指出推動新一代信息技術在文化創作、生產、傳播、消費等各環節的應用，推進「上雲用數賦智」，加強創新鏈和產業鏈對接。

2020年開始的全球新冠肺炎疫情加速了中國文化和旅遊產業的數字化發展。2020年10月15日第128屆廣交會首次采用互聯網形式在線上舉辦，雲會展達到了很多原來意想不到的效果，推動了數字會展產業的發展。

據國家統計局數據顯示，2020年上半年，全國5.9萬家規模以上文化及相關產業企業實現營業收入為40196億元，按可比口徑計算，比2019年同期下降6.2%。但是文化新業態特征較為明顯的數字出版，動漫、遊戲數字內容服務，互聯網遊戲服務，多媒體等16個行業小類實現營業收入12939億元，比上年同期增長18.2%，這表明雖然從總體數據上來看，上半年文化產業營業額是下降的，但以文化科技為特征的文化產業新業態卻是逆勢上揚的。這主要是因為疫情改變了人們的文化消費模式，尤其是線上消費成為新常態，雲會議、雲展覽、雲音樂、雲旅遊、雲觀影、在線教育等蓬勃發展，從而加快了文化產業與新技術的融合發展，推進了文化產業轉型升級。

從社會來看，以95、00後為代表的移動互聯網原住民的消費崛起，推動了數字文化和旅遊產業的創新。這些被稱為Z世代的消費群體，按照互聯網方式思維生產、傳播和消費文化產品，願意接受新鮮事物，重視文化產品的社交化、潮流性和個性化。

正是以新一代信息技術、產業政策、新冠肺炎疫情、社會變遷等為主要因素的疊加影響，極大地推動了文化和旅遊產業新業態的快速發展，形成了文化和旅遊產業發展的新特征，讓文化和旅遊產業跑步進文創4.0時代。

文創4.0時代包括一個核心要素和兩大底層思維。

核心要素是全面數字化。至少包括三個方面。首先是全產業門類數字化。不管是新聞、藝術、設計，還是音樂、文化園區、景區等，所有的文化和旅遊產業業態都要考慮與數字化的融合。其次是全產業鏈數字化。從文化和旅遊資源、文化和旅遊創意、文化和旅遊產品生產、文化和旅遊營銷、文化和旅遊消費到文化和旅遊服務，都要考慮與數字化融合，建立新的業態。第三是全產業要素數字化。從版權、人才、市場、技術、資金，甚至機制都要考慮與數字化相適應。

當然，數字化不是簡單的把傳統資源變為數字資源，或者簡單做個數字營銷、數字產品等，而是要按照數字經濟快速發展催生出的全新數字生活空間的要求，建立數字社會的運營思維進系統謀劃。

兩大底層思維分別是審美思維和一體化思維。

文化和旅遊產業本質是審美的產業，要以審美的思維來構建數字經濟時代的文化和旅遊產業。

中國年輕人文化圈層全景圖

物以類聚人以群分，不用想著全能選手，能掌握一兩項技能就很好了。

近年來，圈層的概念被頻繁拋出,「圈層營銷」一時間成為營銷業界的熱詞。代際更疊變化，把更多的話語權交到了 95 後、00 後的手中，在「品牌年輕化」被奉為未來戰略的當下，品牌迫切想要找到一個切口，融入新生代。聚集 TA 們的「圈層」成為品牌讀懂年輕人，和 TA 們「玩在一起」的主要途徑。

關於圈層的理解和劃分標準眾說紛紜，青年誌作為領先的年輕人營銷咨詢機構，綜合多年來對年輕人和圈層文化的系統性研究，在《青年誌圈層營銷方法論 2021》白皮書中，繪製出最新文化圈層全景圖，並且從圈層定義、適用性、選擇邏輯的維度，建立起新的圈層營銷邏輯框架。SocialBeta 獲得授權，對該報告及青年誌圈層營銷系列文章內容進行梳理整合，以期為營銷從業者帶來更多的視角和靈感。（　2021-08-20 青年誌）

纺织时尚文创：桃金娘叙事

桃金娘是一种常绿灌木，粤、闽山野很多，叶对生，夏天开淡红色的花，很好看的，花后结圆形像石榴的紫色果实。有一个别名广东土话叫做“冈拈子”，夏秋之间结子像小石榴，色碧绎，汁紫，味甘，牧童常摘来吃，市上却很少见，还有常见的蒲桃，及连雾，也是桃金娘科的植物。

一个人没有了母亲是多么可悲呢！我们常看见幼年的孤儿所遇到的不幸，心里就会觉得在母亲的庇荫底下是很大的一份福气。我现在要讲从前一个孤女怎样应付她的命运的故事。

在福建南部，古时都是所谓“洞蛮”住著的。他们的村落是依著山洞建筑起来，最著名的有十八个洞。酋长就住在洞里，称为洞主。其馀的人们搭茅屋围著洞口，俨然是聚族而居的小民族。十八洞之外有一个叫做仙桃洞，出的好蜜桃，民众都以种桃为业，拿桃实和别洞的人们交易，生活倒是很顺利的。洞民中间有一家，男子都不在了，只剩下一个姑母一个小女儿金娘。她生下来不到二个月，父母在桃林里被雷劈死了。迷信的洞民以为这是他们二人犯了什么天条，连他们的遗孤也被看为不祥的人。所以金娘在社会里是没人敢与她来往的。虽然她长得绝世的美丽，村里的大歌舞会她总不敢参加，怕人家嫌恶她。

她有她自己的生活，她也不怨恨人家，每天帮著姑母做些纺织之外，有工夫就到山上去找好看的昆虫和花草。有时人看见她戴得满头花，便笑她是个疯女子，但她也不在意。她把花草和昆虫带回茅寮里，并不是为玩，乃是要辨认各样的形状和颜色，好照样在布匹上织上花纹。她是一个多么聪明的女子呢！姑母本来也是很厌恶她的，从小就骂她、打她，说不晓得她是什么妖精下凡，把父母的命都送掉。但自金娘长大之后，会到山上去采取织纹的样本，使她家的出品受洞人们的喜欢，大家拿很贵重的东西来互相交易，她对侄女的态度变好了些，不过打骂还是不时会有的。

因为金娘家所织的布花样都是日新月异的，许多人不知不觉地就忘了她是他们认为不祥的女儿，在山上常听见男子的歌声，唱出底下的词句：

你去爱银姑，

我却爱金娘。

银姑歌舞虽漂亮，

不如金娘衣服好花样。

歌舞有时歇，

花样永在衣裳上。

你去爱银姑，

我来爱金娘，

我要金娘给我做的好衣裳。

（见原籍台中的五四时期文学家许地山的小说《桃金娘》）

纺织文创：传统很美丽～蓝染工艺

纺织时尚文创～文创+纺织，比想象中更无界

陈明发博士谈纺织与时尚文创《宽鬆上衣紧身裤》

福建惠安美女文创

越南卢族的手织经典“昼夜包”

文化创意产业中情境创意研究 及其在江苏的实践

彼得·梅尔《品味》往哪边穿

台灣文創分類

1）視覺藝術產業：
藝術評論
藝術作品修復
字畫裱背
藝術品鑑定、鑑價
藝術品物流及倉儲
藝術保險
出版產業
展覽籌辦

2）表演藝術產業 &
3)  流行音樂及文化內容產業：
服裝指導、表演造型設計
燈光、舞臺設計服務
未分類其他藝術表演輔助服務
舞臺燈光音響設備出租
工作平臺架設工程
觀光旅遊

4）工藝產業：
原材料提供及研發
展覽籌辦
觀光旅遊

5）出版產業：
版權經紀
印刷業
展覽籌辦

6）廣告產業、設計品牌時尚產業：
市場研究
民意調查
行銷開發

7）產品設計產業：
市場研究
模具製造

8）文化資產應用及展演設施產業：
藝術經紀及顧問、藝術策展

9）電影產業 &
10)  廣播電視產業：
其他藝人及模特兒等經紀
電影及電視節目拍攝器材設備出租

11）創意生活產業：
觀光旅遊

Program Adiguru CENDANA

bertujuan untuk menunjang perkembangan dan memastikan kesinambungan bentuk-bentuk kesenian tradisional Malaysia, serta melahirkan kesedaran dan menggalakkan pemindahan pengetahuan dan kerja-kerja pendokumentasian.

NILAI GERAN

Program Adiguru CENDANA menyediakan pembiayaan sehingga RM30,000 bagi setiap permohonan untuk tempoh masa sehingga dua belas (12) bulan untuk membangunkan program-program atau menambahbaik infrastruktur berkaitan dengan bentuk kesenian masing-masing.

KRITERIA PROGRAM

Program Adiguru CENDANA merupakan sebuah program kesenian masyarakat yang bermatlamat untuk:

Menghargai individu atau kumpulan atas kepakaran (amalan-amalan dan ungkapan-ungkapan yang diwarisi dari generasi ke generasi, serta pengetahuan, kemahiran dan nilai berkaitan yang dianggap oleh masyarakat tempatan sebagai sebahagian daripada bentuk-bentuk kesenian tradisional mereka) dan pencapaian seumur hidup dalam memupuk kecemerlangan, daya tahan dan perkembangan kesenian tradisional Malaysia dalam masyarakat mereka;

Mengutamakan sokongan para adiguru atau pengamal kesenian tradisional yang berpengalaman dalam mengajar seni mereka kepada golongan muda setempat;

Memperkuat usaha-usaha para adiguru atau pengamal kesenian tradisional yang berpengalaman dalam memastikan kelestarian amalan seni mereka dalam masyarakat;

Meningkatkan penonjolan diri para adiguru atau pengamal kesenian tradisional yang berpengalaman melalui proses dokumentasi yang akan dilaksanakan oleh CENDANA dengan rakan program PUSAKA bagi menggalakkan lagi penghargaan dan pemahaman;

Membolehkan para adiguru atau pengamal berpengalaman untuk menyelenggara/ menambahbaik infrastruktur (contoh: panggung awam) atau menambahbaik kelengkapan lain (contoh: kostum tradisional, alat muzik) bagi kesenian tradisional dalam masyarakat setempat;

Memudahkan jalinan dan perkongsian antara para adiguru atau pengamal berpengalaman, masyarakat mereka, dan pembangunan koridor ekonomi wilayah, mempromosikan bentuk-bentuk kesenian mereka kepada masyarakat yang lebih luas dan menyumbang kepada kelestarian dan daya maju amalan kesenian mereka. Ini termasuk penyertaan dalam program jangkauan yang berkaitan seperti program perantisan yang dianjurkan oleh CENDANA dengan rakan program PUSAKA.

Kesemua permohonan yang diterima akan melalui satu proses penilaian yang kompetitif oleh Jawatankuasa Penilaian CENDANA dan/atau Panel Penasihat Industri dan diluluskan oleh Pihak Pengurusan tertakluk kepada kriteria-kriteria yang telah ditetapkan, kekuatan permohonan dan dokumen-dokumen sokongan yang disertakan semasa permohonan. Sila merujuk kepada Terma Rujukan untuk maklumat lanjut.

Sekiranya terdapat sebarang persoalan atau ingin mengetahui berkenaan program ini dengan lebih lanjut, boleh hantarkan emel kepada grants@cendana.com.my

臺灣文創產業發展現況與趨勢｜文創產業發展總論｜

在聯合國2015年9月通過的永續發展目標（SDGs）架構內，國際發展議程首次提及文化。聯合國教科文組織認為保護和促進文化本身就是目的，同時直接為許多永續發展目標做出貢獻—安全和永續的城市、工作和經濟成長、減少不平等、環境、促進性別平等以及和平與包容社會。永續發展係在思考經濟發展與成長之外的概念轉變，若是將經濟、社會和環境目標作為永續發展的三大支柱，聯合國教科文組織認為文化和創意對這些支柱中的每一面向都有橫向貢獻。永續發展的經濟、社會和環境層面反過來又有助於保護文化遺產和培養創意。(見pdf《 2021 臺灣文化創意產業發展年報》)

書中將故宮文化與中國古典文化進行趣味結合，包含了較簡單的禮樂度量、時令節氣、棋譜書畫、五行八卦等知識，拓寬了博物館文化的外延。故宮出版社社長王亞民認為，是「與科技創新、多媒體進行融合」的跨界文創，「讓故宮的文化更好地走向社會、走向大眾、走向青少年的心中」。

《謎宮·如意琳瑯圖籍》

還有蘇州博物館的「融」模式，也是4.0版文創擴展博物館外延的優秀案例。據蘇州博物館副館長謝曉婷介紹，「融」的對象包括不同行業的合作夥伴、不同領域的專家、不同需求的群體，包括媒體、旅遊、金融、科技等六個板塊。謝曉婷指出，這樣的深度合作，可以「助力博物館走進大眾」。

博物館文創的4.0版是目前博物館文創跨界合作的高級階段。此時的產品已不再是1.0版的文具、包包，而是深挖了博物館的文化潛能，跨界合作更系統、科學、擁有著較為成熟的運作體系。例如，敦煌研究院將自家文創中心分為「如是敦煌」「念念敦煌」「星空下人類的敦煌」三個子品牌，分別來挖掘闡釋敦煌藝術、對外品牌合作和組織舉辦公眾活動；將反彈琵琶、飛天、駱駝、藻井、九色鹿、菩薩等特色元素融入文創中；跨界合作啟動「數字絲路」計劃，推出敦煌動畫劇、「敦煌詩巾」小程序等數字產品，形成了網絡時代文創產品開發新模式，用大眾喜聞樂見的方式，生動解讀了跨越千年的壁畫故事。

總體來看，4.0版的博物館文創產品，更加注重提高博物館文化對於社會的影響力，極具創新意識和大局觀。它們能夠無限拉近博物館與公眾的距離，貼切生活，走近千家萬戶。正如河南博物院副院長李琴所說，「用古今對話抓住觀眾的心」，通過對傳統文化的創新表達，令公眾感悟中華文化的堅實內核，提升文化自信，也助推文旅融合發展。

從1.0版到4.0版

博物館文創的發展趨勢

文創產品內涵和形式越來越豐富多樣。目前，許多博物館立足本館的文化內涵，以創新為中心，把有自身文化特色的元素融入新研發的文創產品之中。比如，敦煌研究院研發的金屬書簽，就選擇了敦煌壁畫中最具代表的九色鹿、飛天、寶相花、三耳兔等元素，體現了敦煌壁畫圖案紋樣豐富、色彩絢麗等特點，並通過隨書簽所贈送的精美產品信息卡，對產品背後的壁畫原型進行了生動精簡的雙語介紹。

另一方面，博物館逐漸開始根據時尚潮流創新產品形式。比如結合近年來興起的「盲盒文化」，河南博物院推出了考古盲盒，受到眾多年輕人的喜愛，每次上新都供不應求。考古盲盒並不是簡單地復製盲盒這種形式，而是加上「考古」這一元素。將仿製的「寶物」包裹起來，贈送「考古神器」洛陽鏟供消費者「挖寶」，整個過程新穎有趣。

各大博物館逐步開始線上線下相結合的創意營銷。博物館借助互聯網提高文創產業和本館的傳播度和關注度，以相對輕松的方式講好文創故事，並通過線下展覽和演出與線上演播和推廣相結合的方式，開展文創產業的創意營銷。中國絲綢博物館從2019年開始，舉辦的「國絲漢服節」都規定了明確的主題，從「明之華章」到「宋之雅韻」再到「唐之雍容」，圍繞每年的主題，在線下開展專業導覽、專家講座、文物鑒賞、漢服之夜等一系列活動。同時利用微博、b站、抖音等平臺，吸引漢服文化愛好者深入參與，激發年輕人對漢服文化的熱情。絲綢博物館利用這一活動，在宣傳傳統文化的同時，也推動相關文創產品的營銷推廣，比如漢服走秀活動，創造了許多「漢服爆款」，博物館也適時推出了本館的聯名漢服。

此外，除了博物館自身發力，網絡的力量也不可或缺。去年，三星堆出土新文物的消息引起眾多人關注。三星堆博物館把握這一熱點，趁著這股「東風」，推出了「青銅面具」雪糕。

三星堆 「青銅味」雪糕

文創產業逐漸走出文博機構，聯合各方力量，構建新的產業形態。在文創產品的推廣銷售方面，文博機構緊跟風口的同時，與當下流行的推廣銷售方式結合。例如2020年、2021年「雙11」前，故宮淘寶、上海博物館旗艦店等文創網店也開始嘗試直播帶貨，參與到購物節營銷之中。

此外，博物館的IP授權、跨界聯名正在成為新的發展趨勢。在IP授權方面，2019年國家文物局發布的《博物館館藏資源著作權、商標權和品牌授權操作指引（試行）》，對博物館資源授權內容做出了比較清晰的界定，在政策上實現了博物館館藏資源授權的「松綁」。同時跨界聯名也發展得風生水起，大量文創產品以博物館之名滲透到多個消費領域，多個「跨圈文創產品」成為爆款。敦煌博物館旗艦店與運動品牌李寧的聯名，將敦煌元素與運動服飾相結合，很好地趕上了當前流行的「國風」浪潮。

博物館文創產業開始嘗試走出國門。目前，中國博物館文創產業主要還是聚焦於國內市場，盡管發展迅速，但與國內外發展均比較成熟的大英博物館文創產業相比，還有很大的距離。現如今，中國博物館文創產品走出國門還是以參加大型國際展覽為主。如2017年首次在海外集中展示中國的文博文創產品，2018年在德國法蘭克福國際文具及辦公用品展上開展了「中國文博創意」主題展示活動，2019年在泰國曼谷舉行了「今日中國」中國博物館文化創意產品展銷等。

總體來說，博物館文創產業發展迅速，在相關政策的支持下，博物館聯合多方力量，不斷促進文創產業的提質升級。博物館的文創產品開發隊伍在不斷地擴大，各類新文創產品相繼面世，引領國潮消費新時尚。目前中國數千家博物館推出了難以計數的文創產品，有的尚處於1.0版的「小白」階段，有的已率先進化到4.0版。當然，在博物館文創發展中仍然存在許多問題，比如文創產品同質化仍然比較嚴重、部分產品質量需要完善、跨界聯名形式還比較單一、成熟完整的文創產業鏈還未形成、文創產業走出去戰略還處於起步階段等，還需要重點關注。(2022-03-21 搜狐）

2.0版

提取文物元素，創意生活

2018年，博物館文創進入一個特殊的轉折點。當《關於進一步加強文物工作的指導意見》發布後，92家博物館成為首批全國博物館文化創意產品的開發試點單位。這意味著，文化創意產業在政策和實踐層面正式成為博物館的「標配」，博物館文創從1.0版進入2.0版。

比如北京故宮博物院推出的朝珠耳機，就巧妙利用了朝珠和耳機外形的相似性。有人戲言戴上耳機仿佛瞬間「老佛爺附體」；再比如上海博物館的「天下一人」帆布包，提取了宋徽宗在《柳鴉蘆雁圖》中的簽名畫押進行設計，做成的帆布包極具個性。文創少了「冰冷」，多了「鮮活」。

2.0版的博物館文創，產品使用場景逐漸生活化，一個個既有顏值又有實用性的文創陸續走紅。膠帶、鎮尺、手機座、帆布袋、雨傘……這些產品頗具個性和時尚感，既符合了現代人的審美需求，又滿足了人們「穿越時空」的愉悅感，成功吸引了公眾對博物館文化的關注。

正如中國文物學會會長、原故宮博物院院長單霽翔所說，「把文化資源提煉出來，和人們的生活對接，人們才會喜歡。」這個版本的博物館文創，除了文具、日用品外，也開始有了電子產品、食品、護膚等種類新的嘗試。從摸得到的實物到看得見的創意，從功能性定位到文化品位，從有趣的表現形式到豐富的文化內涵，文創產品不斷「上新」的背後是博物館對傳遞歷史文化的「上心」。越來越多的文創產品已經走出博物館大門，「活」進了老百姓的日常生活中。

對於2.0版文創，博物館一方面嚴格把控文創產品的質量，一方面在文創產品價格上有意識地進行分層設置，以滿足不同群體的消費需求。同時，銷售渠道也從單一的館內櫃臺，拓展到網絡營銷。

博物館文創從1.0到4.0，實現「野蠻生長」到「絕妙創意」的跨越

從簡單的「貼圖」生產旅遊紀念品，發展到利用館內豐富的文創資源和平臺轉化為文創產品的階段，博物館文創實現了從1.0版逐步發展到4.0版的質變。

從一路「野蠻生長」，到絕妙的創意大受歡迎，博物館文創到底經歷了怎樣的蛻變？

1.0版

復印文物印象，簡單疊加

這是博物館文創「亮相」的初級階段，它們充當了博物館旅遊紀念品的角色。比較常見的是文物仿製品，還有馬克杯、T恤、便利貼、書簽、筆記本、冰箱貼等小件生活日用品或文具。

1.0版的博物館文創，通常是將文物按一定比例仿製，或者是將文物的形象、博物館建築圖案、logo的元素直接印製到產品上面。其中，仿製品只有純觀賞性功能、缺乏實用價值，且定價較高，常有觀眾高呼「買不起」。而印製圖案類的文創設計普遍比較簡單，只是直接、機械地復印圖案，缺乏創新點。這樣一來，文創價格往往兩極分化，無法分層照顧不同群體的消費需求。另外，這個版本的文創品種有限，同質化嚴重，銷售也主要是在博物館里售賣。

總體來說，1.0版的文創，跨界幅度比較小，產品帶給公眾的吸引力不足。很長一段時間內，這是博物館文創的主要呈現方式。事實上，時至今日，仍有相當一部分中小博物館的文創還停留在1.0版。

陳明發博士〈華團文創〉

在馬來西亞現實中，有三股力量在形塑著華人社會：政治、經濟與文化；分別由華基政黨、中華商會與華團挑大梁。這是為了討論方便而作的表層分工，在實際操作上，彼此相互影響則在所難免。近年來，在「超越政治、關心政治」的趨勢下，彼此涉入也似乎無需避諱。還有一個相互涉入的現象就是，部分華團在其傳統文教活動之外，也開始組織與本身血緣或地緣有關的總商會以投入經濟计划。這種既不忘傳統角色而又嘗試影響其他領域的動向，在日益開放的社會更是無可避免，其形塑社會整體的程度因而日益擴散挺深。在這麽一個時代背景下，適宜引進一個新興動力，以整合華社目前在傳統政治、經濟與文教領域的各項努力，成為這個國家在立國一甲子後，既能超越疫後振興的艱辛挑戰，又可掀開新的建國議程。我稱之為“文創動力”；其優先行動是立足華社，協助華團進入國家的主流文創發展，與各族并肩與時俱進。（28.11.2022）

文創領域粗略概念

多媒體文創（影視與廣播、廣告、設計、動漫及數字内容）

藝術文創（音樂藝術、視覺藝術、表演藝術、工藝、創意寫作、纺織及時尚）

文华遺產文創（博物館、檔案局、修復、維護）[馬来西亞2009年國家創意産業政策]

每個領域有其次分類，如相關的研發、規化、傳播、諮詢等支援活動。

陳明發博士〈路線圖〉

隨著全球掀起文創產業大潮，作為民族文教事業基地的華團，隱藏著深厚文史底蘊與眾多文教人才。一旦這些人才掌握了文創的動能，文史資源也就可能提煉、轉化成本土文創的文化資產。一種比現有會所產業、銀行定存等有形資產更可貴的財富。

什麼財富呢？首先是結合上時代的脈搏，促使組織在國族振興上扮演更高層次的要角；有助於創富、精神更新、重塑社會風氣，並為新一代製造更多更穩靠的就業、創業機會。

我們並不是從頭做一件完全新的事，而是世界諸多國家早已推動、實驗，並一再從實踐中改進的一項生產活動。

從東盟各邦及中國、日本與韓國等戰略夥伴，到歐美澳紐等先進國，無一例外地都把文創產業作為支柱產業，放到整個國家競爭力發展戰略的高度而加以規劃。

什麼是文創産業？它是立基於創意與文化的社會經濟生產活動。透過個人或集體的創作、創造與創新等智力劳作，投入新創觀念、技能與資訊等知識，生產出文化內容與創意成果等核心價值，具有知識產權或消費市場為交易保證，為公眾提供有異于前的文化體驗，也就是具有內在感情、認同等抽象聯系的行業集群。具體領域包括文化產物貯藏單位如檔案局、圖書館、文物館、博物館、美術館；古跡、非物質文化遺產；電影廣播電視、數字內容、廣告、動漫、視覺藝術、表演藝術、音樂、新聞出版、設計、廣告、節慶、會展、工藝品、藝術品、文物古董、時尚消費、旅遊休閑娛樂，及相關的研發、咨詢、策劃、承辦等輔助服務等大門類。目前最迫切的行動，是整理好加快社團投入這創意產業發展大計的路線圖。（9.11.2022）

陳明發《創新求勝》

讀過一本份量很重的書《創新求勝》；它的論點很特別，人人說“知識是力量”，它卻說“企業的力量在于它創造知識的能力。

現在，學校、企業'城鎮與社會都知道，知識是競爭力的重大元素。

但很少人在研究，知識是怎樣創造出來的。就像人人現在都懂得上網去”挖掘資訊“，可是你可能挖掘到的資訊，人人〔包括你的對手）也一樣能挖掘到，那來”不一樣的競爭力“？

《創新求勝》一書引述日本的例子，說明他們意識到，能夠形諸于文字的知識（或稱“外顯知識”）只是真正知識的冰山一角；而“內隱式的”（tacit）知識，却不易看得見也不易表達。

內隱式的知識極為個人化且難以形式化，因此不易溝通或與他人分享。主觀的洞察力、直覺和預感均屬于這一類。再者，內隱式的知識深植于人的行動與經驗當中，同時也深植于個人的理想、價值和情感之上。

對于推廣本地旅游、美食與房地產等產品，也要找出這地方的“內隱的”、“獨特”的知識，這需要不一樣的知識工作者與傳播者。

文創美食應從味蕾深入心靈

國家博物館的「如意糕」「四羊方尊」巧克力，頤和園的「頤和一盒」月餅禮盒，圓明園荷花雪糕，玉淵潭櫻花雪糕，四川的「青銅面具餅乾」，上海的「董其昌下午茶」，廣東的「粵光寶盒」……在近年來不斷升溫的「文創熱」中，文創美食是最引人注目的內容之一。

俗話說，民以食為天。飲食在人們生活中具有不言而喻的重要地位，而且形成了歷史悠久的文化傳統。與其他文創產品相比，文創美食更接地氣，受眾更加廣泛，也因此而成為讓傳統文化「活起來」「火起來」的又一創新手段。

縱觀當前比較受歡迎的文創美食，大體可分為兩類。一類偏重於「形」，也就是把文物的獨特器型復製為美食的外觀。比如「如意糕」以「乾隆禦題如意」的端首為主體造型，表面淺浮雕兩條水中跳躍的鯰魚；「四羊方尊」巧克力的造型則來自於商朝晚期青銅禮器。

另一類偏重「意」，即結合文化活動研製的別具特色的食品。比如「董其昌下午茶」，就是配合上海博物館「董其昌書畫藝術大展」推出的根據董其昌畫風拉花的咖啡，以及特製茶點。而不論哪一種類型，都充滿文化氣息，帶給人獨特的感受。不過，毋庸諱言，當下也有一些文創美食「中看不中吃」，外觀雖然精巧，但是口味一般，或者含糖含脂量過高，不符合現代人健康飲食習慣甚至食品衛生基本指標；另有一些則「中吃不中看」，打著文創的名頭，卻製作粗陋，或者跟風抄襲、缺乏創意，喪失應有的文化內涵。

文創美食，顧名思義，必須是文創和美食的結合體。其中，文化是靈魂，美食是載體，二者缺一不可。那麼，如何把二者更好地統一起來呢？筆者以為，首先應明確並堅守食品安全的底線。文創食品是名副其實的「進口」貨，事關人們的生命健康，尤其少年兒童往往更容易被文創美食吸引，食品安全不可不慎，必須嚴格遵守衛生標準，並在包裝上標明原料、生產日期、保質期等，讓人們看得舒心、吃得安心。

同時，還應堅持文化的標準，加強創意開發，提升食品的文化附加值，做到物有所值、物超所值。在這方面，應特別突出文物或文化活動中最閃亮的特征。不管是一個蛋糕、一塊巧克力，還是一枝雪糕、一根棒棒糖，它所能承載和表現的文化因素都受到材質和體量的限制，既不可能像文物原型那樣細致入微，也不可能像影像資料那樣周到全面，那麼，就必須抓住文物中最精華的局部或元素，結合現代人的審美心理，進行放大、組合甚至誇張變形。

此外，文創美食的「在地性」和「敘事性」的也不容易忽視。比如，僅從製造工藝而言，荷花造型的冰激淩並不難做。然而，當我們漫步在圓明園的荷花池畔，一邊欣賞綻放的古蓮，一邊品嚐這款冰激淩時，與在家裏的沙發上邊看電視邊吃，獲得的感受是完全不同的。這是因為，圓明園的歷史以及如園遺址古蓮子的傳奇故事，營造了一種不同尋常的文化情境，讓品嚐美食的行為變成了對歷史文化的獨特身體感知。我們知道，文化的傳承既需要知識化的理性認知，更需要情景式的身體體驗。

從這個意義上說，文創美食只有超越器型的簡單復製或對文化概念、意象的「貼牌式」生產，結合特定的場所和情境，自覺融入文化敘事，變成一款有故事的食物，才能從捕獲味蕾到走入心靈，更充分地彰顯文化基因的魅力，產生更強大和持久的吸引力。(搜狐 2020-11-05）

大專文創生是種什麽新人類？

創意、設計、製作、銷售等商品化階段，均有其知識與技能之專業性 ，具一定之進入門檻，惟文化產業商品需經由各階段團隊合作 ，方能創造市場價值，故需經由跨領域學習 ，協助各階段人才具備跨領域知識 ，建構溝通能力、建立對話平台。

文化創意產業定義

文化（culture）：是人類活動的模式、產物、工具、典章制度、痕跡、符號化結構、心智歷程等。例如音樂、文學、繪畫、雕塑、戲劇、電影等。

創意（originality）：是一種創新與突破能力的舉動。

產業（property）：產出價值之物、權。

英國創意產業特別工作小組1998年首次定義「創意產業」「源自個人創意、技巧及才華，通過智慧財產權的開發和運用，具有創造財富和就業潛力的產業」。英國據此將廣告、建築、藝術和文物交易、工藝品、設計、時裝設計、電影、互動休閒軟體、音樂、表演藝術、出版、軟體、電視廣播等13行業確認為創意產業。

聯合國教科文組織（UNESCO）創意產業(creative industries)定義——

「結合創作、生產與商業的內容，同時這內容的本質，具有文化資產與文化概念的特性，並獲得智慧財產權的保護，而以產品或服務的型式呈現；從內容上來看，文化產業可以被視為是創意產業，包含書報雜誌、音樂、影片、多媒體、觀光，及其他靠創意生產的產業。」

創意產業是指以無形、文化為本質的內容，經過創造、生產與商品化結合，並獲得智慧財產權的保障，採用產品或者服務形式來表現的產業。

UNESCO認為文化產業包括：印刷、出版、多媒體、聽覺與視覺、攝影與電影生產，亦等同於工藝與設計。這個概念對某些國家也包括建築、視覺與表演藝術、運動、音樂器具的製造、廣告與文化觀光。

UNESCO將文化創意產業分成文化產品、服務與智慧財產權三項。文化產品指書本、雜誌、多媒體產品、軟體、唱片、電影、錄影帶、聲光娛樂、工藝與時尚設計。文化服務包括表演服務(戲院、歌劇院及馬戲團)、出版、出版品、新聞報紙、傳播及建築服務。也包括視聽服務(電影分銷、電視/收音機節目及家庭錄影帶; 生產的所有層面例如複製與影印;電影展覽，有線、衛星、與廣播設施或電影院的所有權與運作等)，圖書館服務、檔案、博物館與其他服務。

2002年台灣政府的定義「源自創意與文化積累，透過財產的形成與運用，具有創造財富與就業機會潛力，並促進整體生活環境提昇的行業」。

2002年行政院文化創意產業計畫，期使台灣從第二類產業的製造生產組織型態，改造成以知識經濟、高附加價值、創意設計為核心的生產及服務組織型態。

總結文化創意產業精簡定義：以累積的文化，經由創意發展與智財權作業，創造出新生活價值的產業。（黃穎捷，2008年）

兩百多尊風獅爺亮相同安

8 月 8 日上午，2018 傳統文化藝術巡展「海絲丹青風獅爺文化藝術展」在同安文化館 1 樓展廳開幕，吸引了眾多市民及藝術領域專家前往參觀。該展覽也是閩南地區最大的風獅爺展。展期將持續至 15 日。

風獅爺見證絲綢之路

風獅爺亦是古絲綢之路與海上絲綢之路文化交流的見證。資料顯示，絲綢之路開通後，獅子與其它奇珍動物一起來到了中原。

同安文史專家顏立水在《金門與同安的辟邪物》一文中寫道，每到秋季，閩臺地區飛沙鎮壓，坊間有「八月十五，關門閂戶」的說法。為了預防風沙的侵害，民眾便在動物中找到了有著「拉虎、吞貔、裂犀、分象」威力的獅子作為保境安民的守護神。又因「風獅」與風神「風師」閩南話諧音，所以百姓認為風獅有著獅子的威武，又有風師的神威，具有製風沙、鎮路沖、扼水箭、破犯沖、防蟻害的功能。

此後，風獅爺文化又隨著閩臺出海的漁民，沿著海上絲綢之路傳播到馬來西亞、印度、新加坡、伊朗等地。時至今日，在這些國家仍然可以見到風獅爺的身影。（摘自 ：劉承烺 , 余雪燕 . 兩百多尊風獅爺亮相同安 [N]. 海 峽 導報, 2018-08-09 (03).）

Proposals should provide for developing and validating an economically sustainable model, or a portfolio of approaches, that address this challenge. A suitable set of CCI sector(s) or/and cross-sectoral issues should be selected to focus on, which allow significant impacts to be achieved.

The approach(es) developed should address the adoption of new sustainable business models, including the use of new technologies and possibly the development or adaption of new technological solutions, as well as gaps in skills and capacities. The proposed models should be valid across different Member States/Associated Countries (where appropriate including regions), and address the needs of small, micro as well as larger companies. Different Member States/Associated Countries should therefore be involved, as well as a wide set of stakeholders including concerned policymakers, in order to ensure that solutions developed are effective and realistic.

Solutions may involve the use of platforms or networks to facilitate sharing investments, facilities or competencies among several companies or across sectors. In such cases, established platforms, networks or clusters for CCIs should be taken into account, to avoid duplication of efforts.
Remarks

Projects should contribute to all of the following expected outcomes:

• Enhanced and updated understanding of the challenges and opportunities for the cultural and creative industries (CCIs) in relation to a sustainable climate transition.

• Research and knowledge-based approach(es) on how innovative business models, including use of new technology, can make Europe’s CCIs true drivers of a sustainable climate transition.

• Significant contributions to help European CCIs become better prepared to adapt to and contribute to the climate transition in line with the 2030 goals spelled out under a European Green Deal. (https://ec.europa.eu)

Note:

Proposals should build on existing knowledge, activities and networks, notably the ones funded by the European Union. Furthermore, links should be established and synergies sought with closely related actions, such as relevant R&I actions funded by Horizon Europe or Horizon 2020. In particular, when appropriate cooperation with projects funded under the topic ‘Cultural and creative industries for a sustainable climate transition’ of the Horizon Europe Cluster 2 2024 calls should be sought. (source: https://www.timemachine.eu)

The ten pillars of sustainable digital transformation, as presented in the World Economic Forum playbook

HORIZON-CL2-2023-HERITAGE-01-02:
Cultural and creative industries for a sustainable climate transition

Action type: Research and Innovation Actions
Opening date: 14 December 2022
Closing time: 14 March 2023 17:00 (Europe/Brussels)
Budget per project: € 4 000 000 of total € 12 000 000
Estimated number of projects funded: 3

Scope

The cultural and creative industries (CCIs) are an important source of growth and job creation in the European economy. Moreover, the CCIs play a key role in shaping culture, values and perceptions across the European Union and beyond. Thus, the role of the CCIs in achieving the European Union’s climate transition objectives is crucial.

At the same time, the CCIs are characterised by a large and diverse number of chiefly small and micro enterprises, as well as by hefty differences across geographical and sectorial divides. Large parts of the CCIs, thus, lack the capacity to take the necessary measures to adapt to and thrive under the climate transition, not to speak of driving this transition.

Specific approaches are therefore needed to enable Europe’s CCIs to develop their full potential to support a sustainable climate transition.

愛墾評釋：文創體驗的哲學基礎

本文通過重構胡塞爾與狄爾泰、米施的對話，凸顯了本質還原與超越論還原在什麽意義上構成一個方法論的整體，由此展示胡塞爾超越論現象學的核心立場。在自然態度下，描述心理學把心靈當作研究主題，往往以默認其所屬的現成世界為前提。胡塞爾認為，這一前提不是空的背景，而是一種默許的自然主義形而上學。即使千方百計為精神自立性進行辯護的狄爾泰也沒能免於這一前提。這一前提也對本質直觀起著限制作用，本質心理學對作為事實的心靈進行想象力變換，獲得的只能是這一已被預先給予的「全自然」中的可能心靈及其不變的本質。因此，經過超越論還原之後意識對自身的本質研究，並不等同於唯獨進行了本質還原的意識研究。

超越論還原的核心在於意識生命的體驗本身。無論心理現象還是物理現象，無論心理物理之間的連續性抑或因果性，所有的存在現象都就其被體驗著而獲得規定。我們當然會問，難道被體驗的不是心靈體驗？超越論還原豈非仍然把心靈作為第一實體？在自然態度下，體驗已經被體驗為屬於心靈的、被默許為屬於或者關聯於心理物理領域的東西，而所有經驗心理學都忽視了這一環節，進而把體驗理所應當地作為自然世界中的事件，而不去追問這一理所應當中包含了何種關乎體驗自身的機制。這也妨礙了經驗心理學徹底贏得自身理解。而現象學的超越論還原主張，哲學反思唯獨並且首先從純粹體驗本身理解意識生命。

正是在這一意義上，現象學還原是一種訓練，它引導意識生命以體驗本身為切入點，回到先於心物二元的自身與世界經驗之中。對意識生命來說，這一「還原」是前所未有的嘗試。在超越論還原中意識生命將心靈從心物平行論中解放出來，變成了一種向著本質變換（想象力）開放的領域。恰好通過本質變換，超越論自我作為一種純粹的非設定的反思，經驗到了它自身的可能性邊界。反過來說，超越論自我是在本質直觀中就意識事實對其本質的操作，不依賴也不追求任何理念派的先天，而是在動態經驗中試圖開啟事關可能性的本質領域。

胡塞爾通過兩種還原的配合，使意識生命向自身敞開了純粹體驗，或者說實現了一般的主體性概念向超越論主體性概念的躍升。因此，盡管胡塞爾和狄爾泰一樣，把意識生命作為科學奠基的基地，但是他們對意識生命的揭示路徑與旨趣實則不同。狄爾泰默許的心理物理學仍然受制於笛卡爾傳統中的心物二元論，並且包含著模糊的自然主義前提。超越論現象學跳出了這一哲學圖景，構成了意識生命自身理解的一種新嘗試。（摘自：王嘉新：意識生命的本質與還原：從狄爾泰到胡塞爾 [結論] ，愛思想 2022-12-07）

李琳·文化創意產品的敘事設計研究與實踐

中國創意經濟的持續上升與創意產業的逐漸形成, 使得作為文化創意產業重要組成部分的文化創意產品也得到了迅速發展。然而, 對國內的文化創意產品市場深入研究可發現, 其設計總體上雖然達到了以文化作為核心, 但是在文化元素的具體運用方面, 更多的是偏重於紋飾圖案的轉貼或外觀造型的模仿, 而忽略了文化內涵, 精神品質等深層次的表達。目前, 中國經濟發展水平穩步提高, 居民的消費觀 念從節約型與實用型逐步轉變為個性型與象征型, 人們在追求物質消費的同時, 更加注重文化消費、精神消費。「文化」屬性作為文化創意產品最具標誌性的內涵, 能夠在某種程度上引起消費者情感上的認同與歸屬, 從而滿足其對精神消費的需求。然而, 如何使得文化轉化及運用於產品設計, 文化創意加值設計, 以滿足了人們對於物質和精神的雙重追求, 這需要設計師對文化創意產品的設計做進一步的研究。敘事設計作為一種「講故事」的設計思維, 符合文化創意產品的設計訴求。本文以敘事設計理論以及其在相關領域的研究成果為基礎, 通過分析文化創意產品的設計需求, 結合案例闡述敘事設計理論對文化創意產品設計的啟示, 找到文化創意產品設計與敘事設計的結合點; 在此基礎上, 詳細闡述文化創意產品敘事的基本內容, 並從敘事設計要素、敘事設計方法、敘事設計原則等方面構建文化創意產品的敘事設計體系; 最後以秦淮文化為背景, 通過具體的設計實踐對此設計方法進行驗證。本文研究得出的文化創意產品敘事設計要素, 以及敘事理論指導下的文化創意產品設計方法和相關原則,有效地拓展了文化創意產品的設計思路, 同時, 也為敘事設計在其他領域的應用研究提供了借鑒的方向。[機　構:南京理工大學 / 領　域:工業通用技術及設備；關鍵詞:文化創意產品；敘事設計；文化；敘事（https://wap.cnki.net）]

文創研究新趨向

歷史事件的時間軸、文化與經濟的空間和社會所欲建構的體系，這三者的相對關係形塑了文創產業研究的概貌。由於研究材料特性使然：一則是政策領先研究，隨後才有專門科系的建立；二是研究材料的分類與變纂呈現的複雜性，研究的取徑來自跨學科領域，造成解讀重心的殊異。這些特性導致在探討文創產業時，經常在商品、行銷、文化研究或產業結構等細節處產生傾斜的障礙。本文第二節分析文獻所歸納之議題，其爭議之出現也經常源自於此。

文創產業與新自由主義一樣，都帶有混沌不清的政策性文化意識形態，肇因於政黨路線及競爭力的展現。81其本質上為國家施行政策的修辭與策略，是為一種意識型態，動機為英國急欲找尋經濟轉型的新手段，結果鞏固國家地位，進行文化輸出。82文創產業政策的合法性，基本建構於政府的政策基礎上，動機初始就是以經濟領導文化為開端。在英國之前的聯合國，就以減輕資本主義帶來的負面效果來看待文化，英國則是轉而積極以文化作為經濟轉型的利基點。在政策的發動者中，經濟是為優先考量，隨後發展的相關研究，研究者的背景多是文化、藝術與媒體出身，在檢視「文化意含」、「創意如何被特別提出」、以及「英國對產業的經濟期待」這三點上，立場一開始就有了顯著的不同。

在表象上，文創產業涉及「文化」變遷至「創意」產業的歷史意義、資本主義全球化的文化商品販賣、新自由主義下政府採行的文化政策，國家或區域的行銷。實際上這些表象所闡明的是理論主流與意識型態的改變，文化、經濟和社會不斷調整相對關係的過程，如同 1980 及 1990 年代的文化、媒體、物質的轉向。文化創意產業的議題則又是 2000 年開始的另一波社會科學整合轉向的結果，結果也適當的調節了藝術與社會的關係，使藝術的重心從高雅文化、大眾文化移轉為日常生活皆可碰觸的物質與商品。

研究材料的特性與文創產業的分類一樣散碎，全視角的了解涵括的取徑，再重新選擇是一項解決方式。1980 年代為分水嶺的文化產業研究，形成兩支路線，一偏向文化中的文本與符號研究；另一方則與商業中的產製靠攏，與其後的文創產業中「文化」與「創意」的不同研究內容大約相應。將不同產業集合而成的「文創產業」雖是政經策略，研究上卻無法任意排除已合法的分類子項，導致材料編輯零散，微妙的呈現後現代主義特色—片段與模糊性。分類問題不只出現在子項目產業的架構中，也在社會科學研究中呈現「跨領域」特性。經濟與商業模型難以和社會與文化鑲嵌，量化與質化之爭，目前的發展也無法令人都滿意。

研究取徑在分析材料後，主要包含政治經濟學、文化研究、文化與經濟地理學和媒
體研究等。文化經濟學雖然無法闡述國家架構下的權力及場域議題，但智慧財產權及模型計算仍須倚賴它。地理學的應用在文創產業研究中，呈現區域的質性或實證研究，但是在理論意識上經常被忽略。將漢斯蒙豪對取徑的歷史系譜研究上增添地理學概念，使文創產業的研究在時間、空間和結構上可變得更加立體，有利於了解文化、社會和經濟之間的各種關係，更容易理解產業所帶來的區域性問題。

在研究文創產業的眾多材料後，筆者深感若要深化文創產業的理論層次，除了大量蒐集相關文獻之外，對於廣大的社會科學都必須有所涉獵，除了時間問題，分析的邏輯難免有價值觀的輕重之分。在研究層次中，商管領域的理論經常與文化社會理論互斥，涇渭分明為常態，為了解決此問題，文化商品或是符號社會等議題成為焦點，前者至少產生物質的實踐；後者則多少建構社會。理論分析的結構則過於零散，脈絡化的複雜程度超越想像。

近幾年英國文創產業研究稍有停滯的現象，取而代之的是解構全球化的地域性研究，歐亞都有各自的發展路線，形成一個文創議題下，多樣地區案例的特殊研究結構與趨勢。（節錄自：張硯涵，2014，〈文化創意產業溯源—研究取徑與概貌〉，《南藝學報》9：77-108 ）

81 「文化產業」或「創意產業」（creative industries）政策提出的目的是，藉由政治性的宣示達成經濟財貨的累積。（李天鐸，〈文化創意產業的媒體經濟觀〉，《文化創意產業讀本》（臺北：遠流，2011 年），頁 82。）

82 新自由主義（小政府、刪減福利開支、私有化、解除管制、開放自由貿易與競爭、公私合夥、使用者付費……）基本上是檯面上的政策修辭和策略， 但整個社會結構的核心趨勢，還是促進資本積累、經濟發展、強化本國統治階級力量，壓制社會反對力量。（王志弘，〈新文化治理體制與國家–社會關係：剝皮寮的襲產化〉，《世新人文社會學報》13（2012 年），頁 55。）

Genovasi University College gets green light

By Azura Abas - July 19, 2017

Prime Minister Datuk Seri Najib Razak today announced that Genovasi Malaysia has received approval from the Higher Education Ministry to establish Genovasi University College (GUC).

Najib said GUC would be a design-thinking dedicated university focusing on the ‘fourth Industrial Revolution’.

“This will enable Genovasi Malaysia to reach out to a wider audience and position Malaysia as a hub to promote design thinking.

“This aligns with other initiatives such as the Design Thinking Association of Malaysia which, among others, looks to expand Genovasi and design thinking into the Asean region,” he said at the ‘Cultivating a Thinking Culture’ showcase today.

Also present were Education Minister Datuk Seri Mahdzir Khalid, Minister in the Prime Minister's Department Datuk Seri Nancy Shukri, Agensi Inovasi Malaysia chief executive officer Datuk Mark Rozario and Genovasi Malaysia Sdn Bhd chief executive officer Datuk Lee Yew Meng.

The prime minister also announced that nine out of 10 pilot schools from the International Baccalaureate-registered (IB) Middle Years Programme (IBMYP) had received the IB World School accreditation.

“The remaining school is expected to receive verification later this year. Our nine schools now join a select cadre of 1,424 IBMYP schools worldwide.”

The nine schools are Sekolah Menengah Kebangsaan (SMK) Sungai Tapang, Samarahan, Sarawak; Malay College Kuala Kangsar, Perak; SMK Sultanah Bahiyah, Alor Setar, Kedah; SMK Putrajaya Presint 9(2), Putrajaya; SMK Pantai, Federal Territory Labuan; and Kolej Tunku Kurshiah, Bandar ENSTEK, Negri Sembilan.

Others were SMK Seri Tualang, Temerloh, Pahang; SM Sains Tengku Muhammad Faris Petra, Kota Bahru, Kelantan; and Sekolah Menengah Kebangsaan Agama (SMKA) Sheikh Abdul Malek, Kuala Terengganu, Terengganu.

The IBMYP was established soon after the i-Think programme and Design Thinking programme, both implemented in 2012.

“The i-Think programme was introduced to foster higher order thinking skills in classrooms and thus ensure our next generations develop critical thinking skills.

“Today, four years on, I am proud to share that more than 156,000 teachers have been trained in the i-Think methodologies,” said Najib. （Source: NST）

In its long list of recommendations, the AI ‘client’ suggested first taking the cost and logistics of the project into account and considering how the initiative can fit into a larger integrated launch campaign. It's also useful for copy writing.

Maybe you need a series of social posts for a brand event. AI-generated suggestions for posts can help you get to the final product more quickly, subject to your (human) changes, re-writes and modifications. I’ve found ChatGPT’s ability to enhance how we communicate and collaborate together the most useful aspect of the technology, and it extends far beyond the work environment.

Together with my three-year-old daughter, Zoe, I recently got ChatGPT to generate a bedtime story for her that had Zoe as the protagonist and featured a unicorn cat. For all the possibilities this technology presents, the dystopian implications cannot be dismissed.

At We Are Social, we recently investigated the current discourse around AI in art, with artists now questioning their relevance and continued existence. For our investigation, we used AI to generate artworks inspired by its understanding of the biggest news headlines for any given day. We named our research Social Diffusion, a reference to Stable Diffusion, the text-to-image algorithm that provides its visualization functionality.

We were blown away by the AI’s ability to create something that was contextualised to a news story using just the headline and to select a style of art that related to the story. For example, for the news headline: “Hurricane Ian continues to batter Central Florida as residents cope with record flooding”, the AI came up with the following prompt and generated an accompanying expressionistic image: “The image is of a large body of water with trees and houses partially submerged. There is debris floating in the water and people are standing on the shore looking at the damage.

The image is in the style of Abstract Expressionism, utilizing expressive brushstrokes to convey the feeling of chaos and destruction caused by the hurricane. The image is large and chaotic, with bold colours and lines representing the destructive force of the storm.”

This was achieved through a chain of data exchanges between multiple layers of AI that are optimized to process a facet of the artwork creation. But as fascinating as this process was, it also showed us how integral human intervention is to it.

In this installation, the creation of art was the subject of exploration. But even in this case, you still need a human mind to put things into motion and chain these machine learning models together. While this technology raises serious ethical questions, it is possible to figure out a way to proceed that ensures human creative output is protected.

Napster was hailed as the death knell for the music industry when it first emerged, but, instead of destroying it, it forced the industry to develop streaming technology, revolutionising it in the process.

At We Are Social, we will always work with human creatives, illustrators, designers, artists, writers, craftspeople. Human creativity is critical to us and to the creative industries. But right now every creative technologist out there is experimenting with these tools.

Will there be AI-generated creative agencies in the future? Perhaps, but we won’t be one of them. We believe AI has the power to supercharge, not kill off, our creativity.

Manolis Perrakis is drector of innovation at We Are Social Singapore.

ChatGPT is already impacting our client work—here’s how

Manolis Perrakis Feb 1, 2023

From ideation to creating assets, advisement to copy writing, ChatGPT is fast becoming an indispensable enabler for creative teams.

Few technologies have sparked as much interest and controversy as GPT, as the world grapples with the implications of generative AI across everything from art to education. The creative industry has greeted this new era of machine learning with equal parts excitement and horror, thanks to the technology’s eerie ability to mimic aspects of creativity.

But AI shouldn’t be thought of as a substitute for human creativity. I view it as an intelligent tool that can extend my abilities in the creative field. Unlike regular software like Photoshop, working with AI-generative algorithms is like having an intelligent support system that can vastly speed up the process of generating and executing ideas.

For example, when looking for a very specific image online, it can take hours to find the right one. With AI-assisted image generation tools, you describe what you need and the process is instant. If you don’t like what it comes up with, you fine-tune your request to get a better response.

This boosts creatives’ ability to communicate their ideas with clients and creative collaborators, such as illustrators and designers. At We Are Social, we’re experimenting with ChatGPT which is a conversational version of GPT3, GPT3 being a language transformer model created by OpenAI that’s trained on billions of written text samples in a variety of styles. We’ve worked with it in the ideation process, copy writing and creating assets.

AI can enhance the creative process by offering a different point of view or a variety of angles on a brief. When brainstorming ideas, you can also embark on creative role-playing where the AI takes the role of the client.

For example, I asked ChatGPT to pretend it was a consumer electronics client reviewing an idea for a campaign that projects characteristics of a phone, like the camera shape, onto buildings in New York and London.

Genovasi formulates new education programme to address worker issues raised by MEF

By JERRY CHOONG
Wednesday, 14 Apr 2021

KUALA LUMPUR, April 14 — Genovasi University College has created a special business programme aimed at addressing all the practical aspects of the business workplace, in response to the problems raised by the Malaysian Employers Federation (MEF)

Genovasi said the programme was designed to remedy employee shortcomings over the past two decades that the MEF highlighted.

“These weaknesses are chronic and mostly focus on issues such as poor working attitude amongst new graduates, poor command of the English language and weakness in applying IT skills,” it said in a statement.

Genovasi added that these problems seriously hamper national productivity and negatively impact the earnings of the employees.

“They will address these shortcomings through knowledge enhancement using technology and incorporating design thinking approaches to enable their students to take control of their career through continuous self-directed lifelong learning.

“They are betting big on a flexible e-learning approach to accounting and financial studies,” it said.

Asides from teaching regular subjects like accounting, economics and business management, Genovasi has evolved a course in design thinking tailored to specially give their students a competitive edge and advantage over their peers.

“The professional degrees not only include accounting, financial and corporate subjects but also subjects like employability and entrepreneurship.

“These topics together with the design thinking module helps the student to be more management or employer-centric. With these innovative subjects, students are expected to greatly enhance their employability, facilitate promotion opportunities and self-actualization upon graduation,” Genovasi said.

Its Department of Accounting and Financial Studies, which created and will spearhead the programme, will train the students in their chosen field especially in accounting, financial intelligence and corporate management, ready for practice upon completion of their business courses.

“However they seek out ideas using technology to focus on helping students, especially for those students who for whatever reasons missed out on opportunities to further their education.

“Genovasi’s courses help to improve their learning attitude and to secure the necessary skills to advance their career. They will then contribute better to the economy and increase productivity within the context of becoming lifelong learners,” it said.

Genovasi’s unique package offering includes online learning, flexi-hours and flexi-location learning, a unique financial intelligence syllabus, and learning outcomes addressing professional exposure.

The department is currently headed by Adjunct Professor Dr. Christopher Heng Kee Chai and assisted by Adjunct Associate Professor Dr. Chan Khin Thiam.

Lady Bird has been A24’s greatest financial success to date, grossing over $75 million on a $10-million production budget, and the company has recently expanded into the growing television-content business. While A24 has had its share of financial misses as well, it has succeeded beyond compare at building a deep connection to filmgoers and consumers of entertainment programming. And it’s done this by establishing a direct relationship with its audience and telling meaningful, beautiful stories.

Let me say a bit more about this relationship to audiences. Imagine if Steven Spielberg had a personal email list and multiple social media channels personally connecting him with all the filmgoers who have seen his movies during the last forty or so years. While Spielberg does have an immense brand, the main way he communicates with his audience is through mass media and expensive, metric-resistant platforms such as billboards and television commercials. By contrast, A24 has a direct relationship with a young, active audience and personal relationships with filmmakers who themselves enjoy close connections to their audiences. Both A24 and their collaborators can reach their audience directly at little or no cost to the parent company and the project they’re promoting. These one- or two-degree separations between brand and consumer give A24 reliable and growing influence in the entertainment industry. The studio not only has created an ideal platform for genuine creative storytellers, they have a machine in place to directly share with their customers and the expertise to collaboratively amplify their messages.

But none of this would have been possible without them first building trust. [https://theageofideas.com]

mission of A24

A24 was founded in 2012 with a mission to shake up the production industry and create films and TV shows with a distinct point of view.

A24 is a fully integrated, global entertainment company with a cult following, creating films and TV shows that are both unique and distinctive in style and story

A24 was founded in 2012 with a mission to shake up the production industry and create films and TV shows with a distinct point of view. Over the last 10 years, A24 has cultivated relationships with talented storytellers and creatives to deliver high-quality, original content through a unique lens.

A24 has built a premium library of films and TV shows that have been met with exceptional commercial and critical success. The team has continued to build upon the success of films such as ‘Moonlight’, ‘Uncut Gems’ and ‘Lady Bird’ with more than 100 other films and numerous successful TV releases, including ‘Euphoria’.

In building a relationship with the A24 team for many years, we have been amazed by the impact of their iconic storytelling globally. A24 is synonymous with incredible content, and their commitment to supporting creative talent is unmatched. In 2022, Stripes was chosen to lead A24’s first institutional financing since inception because of our experience in scaling global brands. We are excited to partner with the A24 team as they continue to expand the breadth and reach of their storytelling capabilities globally.

The information noted above is representative as of the time noted/March 2022 and has not been updated.[https://www.stripes.co]

In 2012, Daniel Katz, David Fenkel, and John Hodges left their jobs at Guggenheim Partners, Oscilloscope, and Big Beach, respectively, to start a new, independent film company aimed at redefining the way indie movies were made and marketed. As Katz explained, “I always had dreams of [starting a company]. And on some level, honestly, I was afraid to go out on my own and try to make it work. And I was with a bunch of friends [driving] into Rome and I kind of had this moment of clarity. And it was on the A24 [motorway]. And in that moment I was like: Now it’s time to go do this.”

Katz and his fellow founders had been great admirers of 1990s independent cinema and felt there was now a void when it came to films with that kind of boldness and artistic quality. They decided to start a New York-based company focused on “the films and filmmakers, not us.” This meant they would give the creatives—the directors and the writers—control of their work. As Harmony Korine, director of Spring Breakers, puts it, “Hollywood is run by accountants at this point. And so anytime you speak with someone who’s not a pure accountant, is not a pencil pusher, it’s exciting. They had heart to them.”

And that heart has made all the difference with filmmakers. While this approach is not new or novel, it’s rare. Entrepreneurs and business leaders who are open-minded and intelligent enough to enable creatives while providing them support and expertise to realize a truly differentiated vision are few and far between, but the ones who do it well are able to leave their mark on culture and exponentially improve their returns.

Viewed through the lens of the Age of Ideas, A24 represents a prime example of the Creator’s Formula in action. The studio enables gifted filmmakers—experienced creatives—to tell distinct, emotionally generous stories from a personal perspective. And it has developed marketing expertise and credibility after repeated, flawless execution. The way A24 supports its filmmakers’ creative expression while also doing everything right when it comes to the strategic sharing of its movies with the world has created a brand has few peers in the world of entertainment.

Four years after its inception, the company’s first original production, Moonlight, won the Academy Award for Best Picture. As of 2018, A24 has received a total of twenty-four Academy Award nominations, including a Best Picture nomination for Lady Bird, plus a Golden Globe nomination (Best Motion Picture–Musical or Comedy) for The Disaster Artist.

A24’s marketing is innovative, even brilliant. Out of necessity early on, they turned to lower-cost digital platforms and creative guerrilla marketing tactics to build buzz around their films. And while these tactics cost less, such platforms, as we’ve been exploring, are also notably effective in the modern market, especially with the under-forty demographic.

Their film Ex Machina premiered at the 2015 SXSW Festival, and A24 used the dating app Tinder to market to unwitting festival visitors. When Tinder users clicked on an attractive woman named Ava, she would engage and eventually invite them to check out her Instagram. When potential daters visited her Insta page, it featured only a trailer for Ex Machina. This was not only an incredibly creative and engaging marketing tactic to target socially active festivalgoers, it reinforced the film’s premise of artificial intelligence and in itself was buzzworthy. The film ended up being received very positively at the festival and went on to become a hit at the box office, grossing $35 million on a $15-million production budget.