UC#33 | COVER + TOC + UC Prolgue

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盎录[Contents]

⹎㔿㯚

⟪ăŽ?

ä‡ƒâş›

â­Łâş›

➎�

âž?âąœăŽ?

ă‹Źă””㌜

ăŒžâĄ’ă‹Ź 㲚㕆䄢

㠜㕆ä„?㏓⭺ â¤?㎜䄢㎎ â¤?ゴ㎜㯚㲚 㧙⡒㎜â¤?

ⳉ⺛

âĄ•âąœăš°

âż”㲚㠜ăŽ”âą˜ăŻš

㚋㯚ă°&#x;

⥒�㔸㧑㋏

ă—Ąâş›

ă …âžŁă??ä ¨

㗽⥊� ㎎㯚�ゴ㯚

ä…ƒâŤ”ă?œ

䄢ⰺ䎓

㯚㋧㠜ă?? ⥊㾹㎎

ăš˜â&#x; ä Ą

䇂Ⰺ

㕆�啗

ä ¨ă?›ăŠžâŤ” 㞣⭣ă??

㞞㯚Ⱊ

âą˜ă§œăšŞâŤ?

ăšŒăš˜âˇˆ MEXICO

âĄ’ăˆŠ

➃â¤?âŤ?⥊

㗪㲚㎸

㌜âĄ&#x;

ä?ąâş›

âş„ä?žä?ąăśœă’›㲝㋧ă‚?âłƒä?šä‡ąăťżâšŒăŻ&#x;

âş„ä?ž

㛂㌜㜀

㋏㎸ă°&#x;㔿 ă‹ŹăŽŽă‹Źâł§âąœâ­¤ C.de ăšŒăš˜âˇˆ

➓⭺⤉㔿

âŞŒăĄ‡

㕎㛂㎎ ㋇ă°&#x;

ゴ㎎ゴ㯚

ăŹ–ă‚Ťă¸œä?¤Ä?ŕ°˘ŕˇ?ྎಾÄ?

ăśƒâ&#x;?â´&#x;ăš’ă°–ăž•

ă­‚â&#x;?䊺䄓

㋏㎸ă°&#x;㔿

& & ェ㰄〛✉䑛㪉ェ�ェ㰄〛✉䑛��

る㔂㠣

P14

' ' ăŞ‰ă‚§äˆŒâłƒä?š 5 9 亡ăŚ&#x;䈌㏴㉖âż? 01 âš˝ă?Ž *'3 â­šă?Žă­žăˆžâއă?Ž (1* âš…⧭ '(7 㝙ㅝ㪉ェ

âź„â­¸âşƒăŽŁăť–ăľ” ⍔㚝â&#x;?⟎ăśƒâ&#x;?â´&#x;ăš’ă°šä??⺛㚝㪛⼛䓽ä?–⭼➺ⳡ⥊

"#$%&'( —— *&+,-./01234

㎎➎㯚 âş&#x;⤊㔿㚝

ä‘˜ä„‹ăśƒâ&#x;?â´&#x;ăš’

ä‘˜ä„‹ăśƒâ&#x;?â´&#x;ăš’

㊭ăš’â´&#x;ăš’

ェ㰄〛⟎㞌ăťƒâ´&#x;ăš’

ä‘˜ä„‹ăśƒâ&#x;?â´&#x;ăš’ ㊭ăš’â´&#x;ăš’

㯿㚎㏹

㋧㔸㠣

㕔⭣㑡

âş›ă‚łâŤ›ă•Œáˇ›âšŒăŻ&#x; â´&#x;ăš’

ĺŒĄć™“ć˜Ž+ĺ§œç?ş

ä‘˜ä„‹ăśƒâ&#x;?â´&#x;ăš’ ェ㰄〛⟎㞌ăťƒâ´&#x;ăš’

Prologue: Created in China

㏆⳧ ⡗ä”?⍔⭼䇖䇹㊭㚒〓䎀ェ㰄〛⟎㞌ăťƒă’?äˆ“â­Ľăśƒâ&#x;?⟎ ăšťâ&#x;?â´&#x;㚒⺛コ

ă‹§âąœâą ăś€

â¤?ä„Źă?–㯚âž?ă?œăŻš ă—Şâ­¤ă¸?â­Ľä ¨

⤯ă‹?

Bottleneck and Breakthrough of a Great Country in Industrial Transition KUANG Xiaoming and JIANG Jun

P22 8

33

ćľ?č§ˆč?ˇĺ…°ĺˆ›ć„?片掾ďźš ä¸–ç•Œć˜Żĺšłçš„ďźŒä˝ ĺ?ŻäťĽé€‰ć‹Šä¸?ä¸€ć ˇ

'5+,67

Creative Industries Timeline

ä˝ ć‰“é€ ĺž—ĺ‡şĺˆ›ć„?集瞤ĺ?—ďź&#x;

AB%C(

Can You Manufacture a Creative Cluster?

HAN Yan

34 36

丝é˘˜ UC33ćœ&#x;ă€Šĺˆ›ć„?中ĺ›˝ă€‹ĺˆ›ć„?ç˝‘çťœ

37

UC#33 Creative China Network

24

#$%&'( Ned ROSSITER

ĺ&#x;Žĺ¸‚ĺ†…çš„ĺ…ąč°‹ĺ’Œ碰ć’ž

4

28

38

ĺˆ›ć„?ĺžƒĺœžçš„ç˝‘çŠśç”&#x;ć€ Network Ecologies of Creative Waste

./%012 Soenke ZEHLE

42

34$%56'789:;%<= Richard MAXWELL and Toby MILLER

ç˝‘çťœç”&#x;ć€ çłťçť&#x;ďźš莰录ć?&#x;耗〠过庌ć›?ĺ…‰

32 33

äżĄć Żĺž‹ĺœ°ç?†ĺˆ†ĺ¸ƒä¸Žĺˆ›ć„?集瞤

45

劳动力〠秝ć°‘ă€ ĺˆ›ć„?产业与风陊

ST(%B8U

Labour, Migration, Creative Industries, Risk

外ć?Ľć°‘塼〠ĺ?ˆä˝œç ”犜与犺间压力 ć–‡ĺŒ–ç ”犜孌者ĺ­&#x;ć‚ŚčŽżč°ˆ Migrant Workers, Collaborative Research and Spatial Pressures:An Interview with MENG Yue

>?@ NI Weifeng

48

Carla NAYTON/CHP

ćž„坺中国当䝣č‰şćœŻçš„çœ&#x;现犜与ä¸?动产 ĺ&#x;şäşŽ2004嚴寚798çš„ć€?č€ƒ g?@ Constructing The Real (E)state of Chinese Contemporary Art: Thomas J. BERGHUIS Reflections on 798, in 2004

56

坺筑与ĺ&#x;Žĺ¸‚莞莥中çš„čż›ĺ?Łć–‡ĺŒ–/出ĺ?Łĺˆ›ć–° h$i

Import Cultures/Export Innovations in Architecture and Urban Design Bert de MUYNCK

56 58

ST(%B8U

Interview/Ned ROSSITER

#$%&'( Ned ROSSITER

清晨与旜旼

54

ĺŒ—亏çš„ć–‡ĺŒ–é —产ĺœ°ĺ›ž \]2X^_J`abcdef Cultural Heritage Map of Beijing

ĺ…¨ç?ƒĺťşç­‘与塼程ćœ?ĺŠĄĺ¤–ĺŒ…ćľ é‡?回 jkl%mZn Global Outsourcing Flows of Architectural and Joseph GRIMA Construction Services

äťŽĺ›˝ĺ¤–ĺťşç­‘ĺ¸ˆĺˆ°ĺ›˝é™…ĺťşç­‘ĺ¸ˆçš„čż›ĺŒ–äš‹衯 h$i

外ć?Ľć°‘塼ĺ’Œćœ?劥业者

Migrant Networks and Service Labour Brett NEILSON

VWX#$%&'(

Soenke ZEHLE

Information Geographies vs. Creative Clusters

Every Morning and One Day

Fridaäş”ĺ?ˇĺœ¨ĺŒ—亏与OpenStreetMapçš„ ĺŒ—亏大čˇƒčż›

Brett NEILSON

./%012

Network Ecologies: Documenting Depletion,Exhausting Exposure

KLM

Luka FRELIH

42

ĺˆ›ć„?产ä¸ščż˜ć˜Żĺžƒĺœžäş§ä¸šďź&#x;

网中çź?éš™ďź&#x;国厜ć?ƒĺŠ›çš„尺庌ĺŒ–ä¸Žĺˆ›é€ ć€§çť&#x;沝

Frida V. in Beijing and OpenStreetMap's First Leaps in Beijing

Creative Industries or Wasteful Ones?

30

GH%I2J

53

NO%PQR

)*+%,-

Collusion and Collision of Cities within Cities

Shveta SARDA

28

äşşĺ?Łă€ č§„ĺˆ’ĺ’Œčż?č?Ľć¨Ąĺź?ďźš 中ĺ›˝ç˝‘çťœäź ä¸šć–°ć€?衯

#$%&'( Ned ROSSITER

Holes in the Net? State Rescaling, Creative Control and the Dispersion of Power Xuefei REN

ĺź•č¨€ďźšçť˜ĺˆśĺŒ—亏ĺˆ›ć„?产业的ĺ??ĺ?‘ĺœ°ĺ›ž Introduction:Counter-Mapping Creative Industries in Beijing

26

D6%EF Creative Clusters: Out of Nowhere? Michael KEANE

Demographics, Scale and Business Models for Chinese Piet WALRAVEN Internet Companies

MAIN TOPIC

20

ĺˆ›ć„?集瞤ďźšć— 中ç”&#x;ćœ‰ďź&#x;

䝼ćˆżĺœ°äş§ĺź€ĺ?‘为中ĺżƒçš„ĺˆ›ć„?çť?澎 Centrality of Real-Estate Speculation for Creative Economies

Danny BUTT

!"

Browsing Dutch Creative Segments The World Is Flat, You Have Alternative Choice

52

ĺ??轏ć–‡ĺŒ–ĺœ°ĺ›žďźšĺŒ—亏ĺˆ›ć„?ç”&#x;产çš„ĺ¤–ĺ›´ĺœ°ç?† Y$Z[%ST6*8

Inverting the Cultural Map: Peripheral Geographies of Adrian BLACKWELL Beijing’s Creative Production

How Foreign Architects became International Architects

60 62

Bert de MUYNCK

č°ƒĺ’Œĺťşç­‘

op%Sq David BROWN

An Architecture of Mediation

ĺŒ—亏坺ç­‘ä¸šć€ 解ćž?

rs9tuv

Mapping Architectural Practice in Beijing

Hao DONG and Binke LENHARDT

63 64 65

čżˆĺ?‘ĺˆ›ć„?礞äźš Moving Towards a Creative Society

č‰şćœŻĺŽść?‘č?˝ä¸Žĺ¸‚ĺœşĺˇĽç¨‹ Artist Villages & Market Engineering

wx Shaun CHANG h$i Bert de MUYNCK

é’ĽĺŒ™çš„č‰şćœŻďźšč‰şćœŻć?‘产业的垗与夹 y$Z[%zF';9{|}

The Art of Keys: Profit and Loss in the Art Village Industry

Adrian HORNSBY and Neville MARS

目录[Contents]

P90

89:;<=:>?@AB ——CD:>89EFGH

Underground City: Displacing the Colorful Urban Life -Development of Shanghai Underground Space

P92

“JK”MN OP:>89EFQRGH STU*VCD:>89EFWXGH%YZ[\]^_`

Exploration with “Depth”: Prospect on the Future Development of Underground Space Interview with Professor Shu Yu, Vice director of Shanghai Underground Space Research Center of Tongji University

66

另外的抱负：从艺术家村到艺术区

Alexander PASTERNACK

68

边界线：动态影像2007

城市简报

逛街学

CITY BRIEFING

STREET ROAMING

„…†

Other Kinds of Ambitions: From Artist Villages to Art Districts

‡ˆX‰Š‹Œ•Ž•

城市眼

BORDERLINE: MOVING IMAGES 2007

Beatrice LEANZA /BAO Atelier

70

家作坊系列一号：08奥运会结束了 {•…X‘Ž’

HomeShop Series Number One: Games 2008 Off the Map

CITY EYE

88

n“

Beijing’s Art Districts: From Creative Hubs to Entertainment Centres

Manuela LIETTI

73

北京音乐圈，曲折中前行

”

Detours and Developments in Beijing’s Music Scene

Leo de BOISGISSON

74

当代中国视觉文化的非确定性审美 c&%m2'•

The Uncertain Aesthetics of Contemporary Chinese Visual Culture

Paul GLADSTON

6

75

真的有创意空间吗？

–+%'hRŒ—˜o™

Is there Really Space for Creativity?

Lothar SPREE and Davide QUADRIO

76

创意中国、管理革新与全球品牌： 国际创意经济专家约翰·霍金斯访谈 Creative China, Managerial Innovation, Global Brands: An Interview with Professor John HOWKINS

77

有中国特色的创意产业发展之路： 中国创意产业研究学者张京成访谈 Creative Industries with Chinese Characteristics: An Interview with Professor ZHANG Jingcheng

78

中国创意十二人像：你有何想法？ Creatives of China: What's on Your Minds?

IN CITY

96 98

专栏

青浦 新桥之恋

未来生活进行时

北京的艺术区：从创意中心到娱乐中心

地铁空间之历史漫游 Roving on the History of Subway Space

人民广场地下空间 未来 地下百米立体网络与生态之城 Underground Space of People’s Square Future: Solid Network and Eco-city 100 Meters Under the Ground

100 徐家汇地下空间

徐汇副中心的一把金钥匙

Underground Space of Xujiahui A Golden Key for the Sub Center of Xujiahui

102 五角场地下空间

十里新杨浦 地下又一城

Underground Space of Wujiaochang New Yangpu; New Underground City

104 地下花木

公共空间的多维延伸

Underground Huamu Multidimensional Extension of Public Space

105 世界地下城私游记

Private Travel Notes on the Underground City in the World

南外滩城市视线

The Cool Docks Urban Sight of South Bund

COLUMN

Qingpu: Love on the Bridge

Elaine Wing-ah HO / HomeShop

72

106 十六铺老码头

110 地下幻梦

~•€ XU Zhanxiong

Fantasy of Underground

112 水下社区，风暴美学与虚拟世界再实践

w[•

Underwater Community, Re-practice of Storm Aesthetics and Virtual World

ZHANG Anding

114 搜神

‚ƒ

Anecdotes about Spirits and Immortals

想想城市 CITY THINKER

城市报道 CITY REPORT

黄页 YELLOW PAGE

121 英文版《城市中国》（部分）

English Version of Urban China (Partly)

ZOU Bo

&'xM Created in China ošb›œ•žŸ ¡¢£ Bottleneck and Breakthrough of a Great Country in Industrial Transition

 !"#$%&'()*#+,-. [The Four Great Inventions stamps published in Hong Kong]

14

 19/0123456%789:;<=>?@AB%CD3EF?@GHIJ KL6MNOPQKRSNTUKLVTWXY&'NZ[\&']^_`aE bcdefgN?@\hijklmnop[The etching, created by European artists in the 19th century, shows the chronometer on the ancient observatory of Beijing, which was made by Jesuit cassock and brought to China by missionaries. However, it didn't get much attention from the Chinese emperor, and was dismantled by French and German military forces during the Boxer Incident in 1900]

文化与科技 [Culture & Science]

200878ÛoJ%ˆ?ê@A`B˜CDE©ªFGiMHiRIJKÔLMN« )*#+N»OPû/‹`Q9‘&'ÑGxy*'Rš›þÔ<S>+%`#œEù Éü«BT<þ%U9VWX9N)*#+Ag%B¥Yw)ZZ\/<[f\]^F GÔLMNóû_`NÉMHaÔJKabóû>þèzc™deÔŠe|}N9c™ KþÔfþ|}èÑGghijkTU/‹%`*#+N&'»lmGzcÉpûl' &nop€&n%(qr,stNÉvuvªMHÔJKa%(>w,UûNÉTUZ {FGxyª&/0%zL{|N{LMN}ˆª/‹sƒN»{ú*õ%p€˜éê ˆ~ª©‘þ™š›þ%—‘E)*>+ü>wqr•%n•NR€kTU%>+éê Ôxy•‚Ó˪nþуE „>3v…qN†ü9‘&'*B‡Az£{kˆRñ%xy•‚ɉü^Bˆv Šc%‹4_Œ•%óû>þ%(*B‡xy,NŽBˆbvAc%A4_•$%óû _`%(•'xy,Eü‘`’“™@”`aUóNA4•–v†fµ“_WÔ9‘Œ •>+%—˜èü•'—fᙚ›%ldRœ&NA4[•{lŒ•GžŸ#‡¸ª }%• W™¡¢W£¤N»¼¥¦˜V«§`a”ë™xy#+¨ƒ€€g±•è «ˆR(lž€,%µ•Nˆ©ªxy••ªÊ(«ë_`,û(€ƒ`a,¬‡%®EùÉN™9¯\°G±²xy³´%R„µ¶ ·NAc`¸É[&¹NºPM¤ (»•,¼ó0½€¾+•'g%’¿E™A RN‹4À&OP({>Kþ,%(> w,UêNÊ’ÁÂÃ(qr,_CÄ%_`xëÅÆG´JX¯%ÇÈN{_ÉOs V˜U<Êû(>w,UûË•N{*B‡%>ÌÍwÔÎîn+%ÏÐÑÒ¯Ó˜´ JE‹4¤r˜ÔñªBˆ[wÕÖ%*B‡UêN•×%>wéêZg—ÜV_`Ø ÈÑG(ŽÙ`Ú,ÛÜ˪ÈKÝÞÔßàá€%âãE×Rsj>ä%å`N;æ þnçü&'ê%¹1è•&[féƒèב`êëì€íî%wœNïðªñüA 4µ•&òóB©%µ“&nèÉôõvY€Õ“ö÷ɤ%q~Íšøtiq=Œˆ ùtiqúMhêtNÜ0hûË™)øüÕ ý»1%«þE«ˆR>þ™_`üw ¹•%[Rÿw¹¡ìNB!°þ•¾"ªG#$_`%%&-€/‹%9‘&'NZ ð|¤G_`”'#(˜%()*+A,,E -<./%vN‹4%0•>wNZ-€&'Î1•:2ØÈ34%5q^E«6 (…q,%78B!v9˪(„>,%Å:;œNÊü<=Ã&=%(qr,&>åª (>w,’?EP9%*B‡@‘Ü7go˜mGˆ'%AˆÍ2íîNÉBC€>þ™ _`%DE ÖÔFG‡BNùÉ:H7{(>w,%IJP8ÉKåLþE«R€Â= P€‘`y¤•‚%>þ••iP€‘`µMNO%_`••ü!n(xy••,•%P PQR0SvB¥TUEdµ•Nxy••%ЋVœ"#%8v«ˆ(>qÙš,ê% W_WXèÉüöY&'ÁZ.[n\%w¹¡ìYN= ™—]Y˜^_¸B¥`¢Á ZaCiµ©Ð‹bOÔcd¢Ñ%¢Ñê<NV¤G(&'xM,î¼%e#ͨE

责任编辑+选图/翻译/姜珺 排版/下划线工作室

qrs&'tu7f(&'6M,vwf(x y&',%zQN{|}(~•-~€-6M-•‚sƒ,%B„…†‡ˆ&'‰Š~•%(/‹Œ •,Ž: [The prelude of this issue, Creative China, is Made in China (Vol.07), which unravels the 'world factory' spectacle in the coastline villages of China with first hand materials on 'village-peasant-manufactureproduct-market']

•/080•‘N&''’%“”ˆ•–—˜™š›œ%••žŸ ¡¢NV&' M£¤GB¥š›‚¦%(/‹Œ•,E2006••§Nqrs&'t{q&'6Mt G¨N‡©ª«B¬-®¯P°&±²³R%´J©µ™¶A·¸%••¹ºN»¼G A#½ªq&'xMt%¾¨¿ÀE—ÁÂÃN«B¾¨ÄÅÆÇÈ•NÉÊ(&'6 M,Ë(&'xM,%ÌÍΰN[ÏÐPªÑG*'ÒÓÔÕÖ×ØÙ`;Ú%78 ÛoNÜÝÞß•[à%š›œáâãäÉYåÕÖæçè&'%#‡éêxëÔ•• ¡ìíîNÜïÝÞ&'“”ˆ•ÈðÉñAò_óô%žõɤGö÷AøEùÉN ™ãäï±%Ü|äàN[Ï&'%úûõÕÖüýþ%š›ÕÖÿ!&"#$G%& ˜žû’üN&'‰Š™'˜Ag%ÕÖ()Ô'4**’"%+,NÜVì¤'’• •žŸÔ‰Š••íî%®-./E01ÑG(xëõ'4,%'2i3vÑG>þ4 5%6(NÊ(&'6M,Ë(&'xM,78ü¤G9Ûo&':;<=>%žõE

 20/0§h'WfK_øõƒ%}€bcde %BghJ3Ni5h'™jlj„¹k=lE… üõƒ»m@%nl™o€ü$-Y%Tp_` ózq[¤l [Color lithograph from a French textbook in the beginning of 20th Century showing the French army and allied forces who assaulted Tianjin during the Boxer Incident in which the Qing army and boxers, armed with cold steel, were defeated utterly in front of the more advanced western sci-tech]

责任编辑+选图/翻译/姜珺 排版/下划线工作室

 «rJ6€1987•%(ss¤It,i5ªl d_`üö—&'WuzKv&%wxœ ['Little Treasure Learns to Read', a painting published in 1987, shows the popularization of military sci-tech in the pre-school education of China at the time]  y'Wc)*+ý¸ª9¯{z{I'{% ()*+A,,^9‘&'_`|1{¯Bû&€š/‹N•G _`”'ÔŒ•”'Z:H# ±üy'É[v&'|[Joseph T. M. Needham, the British scholar, raised The Needham Question that was 15 later nominated with his name: since the sci-tech level of ancient China had been leading the world, how come the Sci-Tech Revolution and Industrial Revolution took place in Britain instead of China?]

这种对文化与科技在治理上的不对称结构，一定程度了 解释了为什么科技遥遥领先于世界的古代中国、却没有成为 科技革命发源地的“李约瑟之谜”。 The asymmetric structure of the management on culture and sci-tech, to a certain extent, explains The Needham Question and why ancient China couldn’t become the foundation of Sci-Tech Revolution with so many domestic advances in sci-tech inventions.

计划与市场

[Planned Economy & Market Economy]

&'üÇ‘kTU>+Rœ&%…>†˜N;>þ™_`%0•‡ˆü(j-±,Ô (‰-±,%Š‹Yžû©‘þN«ÜgŒ••ªë&'ü•9%'òŽRÿ!&N•;{ Œ•”'Ô>þ”'%UêY$%•‘E>þ™_`%xy•‚ü’eÍwÔ_“ÕÖ%ž ŸYN\!6G(”,™(•,^R€>þN´J&n“MÔ>”VA«þÍwþÔy¤• ‚þèÉR€_`N–—&'˜€B¥é™'òa•%š›ÿ!A&Nœj•Ô—f%`a ËYÔW_Ô^i*€YÔÈžÔ^—f%Œ•”'ZŸ GzY$%&xëý¡ª./E ¢c7GÂ=%xy••£Yª¤•^”g&'¥¦Ô>”¨…ƤG>”9¸±%B‘^ _§0¨º©À%¯(è{œj(_Wr,Géª%_`'4þstNbGÂ=%xëõ' 4«!ª¬`%W_½¼Ô_`•-E

 1970•‘}N&'¡~ªz(>þ”',»`ëpûª(_`”',%s t['Mobilise all Party members to strive towards the goal of modernising science and technology' - China ended up its 'Culture Revolution' and resumed its way towards 'SciTech Revolution' in the end of 1970s]

 •Š(•€,ñv&':£{%'••vƒ‚‚¦ABNü\12•4‚ ƒA9{(&'xM,•;`ë4R»p„12 [Feiyue (Overfly) used to be the most famous Chinese brand of sportswear, revived as Created-in-China brand after being purchased by European manufacturers and became fashionable in Europe]

ùÉ_“ÕÖÜGÂ=%´J&nsƒÕÖ¤£Yª•6œ®¯E_“ÔsƒRzÕ Ö&•|Þ°ù •%±Sä6^zcº'4«B&²³´±S»’&µ6Nd-¶·¿¸ Ë#¹$%_|º÷N–€¬¤*Óé%`4ŒÑè9cbºú‹ÿ!±S»n»µ6NÕ Ö&•¶·|%¼–¨ÿ!%ÆÀEkˆ•6Rzxy¤½Ü|Þ[g%¾¿ä6^zcO PÀF_“%Á:oÂSé˜ÎÃÄÿÅ%Æ¿N9cbOPsƒwÇ%¾¿NìÁ¬šC Äxy¥•%Ç%ÈÉÔÊËþE_“ÕÖü•ÌÔÍe{xÎéÕÖÎÏЗf2|’& ÐÑ%ÓéM¨èùÉü%&xëUóZmGR(xye,%’&ÒÓNÉÔ6ª¥•%Æ SÀèg—N'4L!%••nŒÕ֪ЋÞSNÁZ×ØÔ6ª•‚Ù¢NÚ*ÍÛ% ••¡ìbܯª™—]Y%ÝRžõN«§7™xy%ÞSœiЋœÔ[Þ!œ ßE ÉŽBUóN–—xy|Þóûÿ!%¨eœNsƒZl¶vxy%¹ºàáE*Án•• ª%&Yâ7mGãŒóûƒäÉ’åª*æ%xy•‚ixy¥Àixy$æixyç ÷Nsƒüèéä6&%Pþên;«§xy*7êëÉìyNÉsƒ%íîä6Z#‹« §xy[Ó˜üï0µðeþ%’ñ•Y$•êþ%(xë,E«ˆxy0SRsƒ%Rœ 2|ò¾ÑƒNùÉsƒ%6aœR€xywÇZ2|(Bó®>i[¸ôõ,%öуE B¥|š¼:%xyV|ÅÆVz÷ä$Ge¤(6þxë,NÉB¥¼ÁVøуY•± %ùú+NR€`¥••ZÅÆì¤yº[Ë%(xyœîû,E _“™sƒüxy•••[ÏvÓéþÔ¥•þAg%üýNÜvxy[ËÔxyP þAg%üýE=½V(xy••,ÊIó•¹¾G(xy,+(••,%ÿN_“™sƒ %!"8ü€(••xyþ,Ô(xy••þ,%k-Eü••’Gxy¥•^_ÞSOs Ô##$gNg—Gxy¥•%‚¦þÔ••þ%&L•ÔÁ:N«BÙû'Œ%•6xë P°V¤G&'xy••(þf%&#ŒÑE

计划与市场在创意产业上不仅是规模化和个体化之间的矛盾，也 是创意不足和创意过剩之间的矛盾。 The contradiction between planning and market is not only that of massive-scalization and individualization, but also that of the deficiency of creativity and sufficiency of creativity.

责任编辑+选图/翻译/姜珺 排版/下划线工作室

16

外向与自主

[Foreign-Oriented & Self-Renovation]

 é)*{'•‚¦(&+,!,%õ-„ä [The cottage mobile phone that imitates the famous Chinese cigarette brand Chunghwa(China)]  [The uprising cottage mobiles are sweeping the market]

üš›••žŸ(w˜xM-Z˜6M,%´•nØ&N&'ÑG(/‹Œ•,%à ¤w5¦‘ŒéêNdµ•6v~7&'ÂS8’õ±•Uê%¬;Eº€±˜%9¸e Ô±•Àü&'%4:¹;&$Ÿ˜™<<É[v_`j-üBÓN«õ=~•±•ü• 0•&Bã>£üÃ`%•Àèé|ó•E(/‹Œ•,&?G@:%}ŒAB:N6[ PvC§ü˜U’•&nÿ!&[*iDE€¸F•À%~€Gü/‹‚¦%±•žâH I7J%ŽBˆ•‚è<G%KLÂSMùG(&'6M,N=ªÉ/0Ù%LOèé ÀN•<GüLP±•&%xyÎéNZ;<Güº(xye,&•%••ª&˜€aC nÐ%\S˜6èÉö••ª%kQüú—N«ˆ\SÜ£¤G`¥&'%\SE &'%´J&nsƒÕÖwÇ£vB'k6iÕÖRSÎ(Íwxë,%•ùNÀ tü_“ÕÖ%žŸY|Tþ˜Y•(xye,N{TsƒÕÖ%%#Ææ¾RLþ%_ “•6EÎéÕÖü“”ˆ•§fUàš›••žŸNdµ•£vV®¯ª•ð•%"‹ VWXðüYZ²[\]^%ú¯äà&N(_`PŠ,ê%x•ØÈBËÆ¿N(%a ±t,¤Gö—%(%&xë,EÊ«¥bþ9¯N“”ˆ•30•üúûõÕÖ&¤[Ó ¯%(&'6M,–—ü•‚wÇ%xë•™cÅdNZü••%ÓéiŸhœÔÝR° þ•;<eófÌN¤G¬-®¯—f%(&'xM,•‚ER€C§gð|BPxyK vih9[Ëxy•‚ij"‹%&ùk•ÉlN=½ÔñB¥%&‚¦%¤w#m«€ é)onƒo¥*‚¦%¤w—N×£JwƘuv9cN»¼Æp{zÏ8Ó%aCn ÐÓb=Ëʱ•iùÞi¥ÀËæq%`¥%#••ª%r:NÊÉV*‚¦%«st LPÔ%Ç«œL·ugv¢¤Ãwsƒ•%x*èéÀEC§ü(/‹Œ•,yâz± Ó¯%w±õ-k•N{(0£c0{,%|}±•Þ/‹‚¦%~±‚••A/B€in D€i•¦€Î••dµ•8v«BR‚—f%'€¦ð™£¤•eXBY%R‚•ùE *Án‘Œõ(&'6M,7[*Ég˜ÔñÓ%ƒ%õ-õ(&'6M,N8vü €<G9˪úûõÕÖ%[Þ!œEÂ=Nš›œ%áâãäÆÕ••„Èb•…4‘ Œk•’•†›NÉõ-k•Z|./$GÝR˜žû¥‡%'’sƒNºPˆ©¸×Ñ G(&'6M,Ë(&'xM,%&g•‚Nü[m%l¯¤ržõG%&‚¦%ÅÆE «§ü(‰ŠÉ‹‹•,%©‘þP°&•Œ±•Ó¯%k•Ôñ%&Copyright%Uê• ùvCopyleftN«•–vR£¤•e6þ%B¥ŽòEüCopyright°`xyi‘`NO%Ž BóNvzR£¤%.žþÔ-Y`a%••þè(&'6M,%‘üxMœNbü€× {Copyleft%(xyu’,Ô(RWRƒ,¬¤ª×üg|%´J±“&0h¬¤%%¼K vèÉR€xy%’ü¹¾NÊvèS&'k•Êúûpû%&%’±ä6E

 B./ñü01à2(&'3r,â%4Q¦['Accelerating the upgrade of industry through the progress of sci-tech', slogan on a billboard by the side of China Shoes City of Wenzhou, Zhejiang Province]

责任编辑+选图/翻译/姜珺 排版/下划线工作室

17

 [Premier WEN Jiabao is going to Guandong for 3 times to examine the self-dependent innovation of Guangdong enterprises]

产业与空间 [Industry & Space]

Ê(&'6M,û(&'xM,%žõP°NÜvÊùð˜w®¯Ë£¤˜w®¯% žeP°èü(&'6M,&®¯%™š›œNVG(&'xM,_"%$Gñ•Ô’± %>þ•|Ô•ý¡ÕÖY•èzcügðèé&(gÉ[Ô,%ÃwxyNVžŸYþ¤ G(ÔÉ[g,%«wxyèÉxyM|%)ZþVœNÜV þzx¡¥œ™LP¢û% %&‚¦E£ùN«Bžõ%SÀ»Ï7¯%(&'6M,%Ç%&SuvEÝÞ¬-®¯ 9f%Aˆ#¦¤w•¤{xÂSÀ¦ð%ý«N(&'6M,Bþ{LOèéÀ¥¦=Y %§aéê8ü¨ŠNžû(&'xM,Ndµ•6vü«ˆÃCýþ%±‰$g&©ª« îiXZB•%B¥$G•ó%ýhE(xyñ',A_{¤G'2N8ü€(&'6M, «BñG&'ÒÓý¡SÀ%&ˬÆÕ-þNÉÊLOèéûLPèé%žõAth=P ÇÈ)®N{Á€}–'45¯E'òxy••T<•{Aˆ•aÔDeG6«Ø%xyx 'ÆùõQ°ñNÉEEÊŒ•û9Œ•Ó¦%&'üxy•••%``!"N$t*ª« B•]žõü±xÿ²%'òxyè`ƒ•%[Þ!œE= üZ¤³«%ÿ!&{(x M,%«stP¨R[Ó´í%(6M,¤wNv&'xy••%ö÷AøE

 [China is marching towards an innovative country]

(KL±˜+KLÂSÀ,ü(ú˜µå+’Ír:,Y•¤%#¦¡ìNv&'P¶ 30•©‘þ%&#SÀNz¤£&#•©G•••%Œ•þÔ$g•%rsþEùÉNö (KL,m¦üžõ&\žŸ·þ9N••#$OP$gžŸ•;.‹(KL,N#$ü¬ |%$g&µ©ÊLOèéûLPèéiʵ˜±SËxy±S%žõE01v••žŸA 9£Y%(9Œ•$g,N3v••íîA9_"%(댕$g,N7v¸¹Þ*溩 $g%rs“MEzcOÐ\“M¤G(xy••þ,%ióû&ùk•%xy••ºSN 9cb\“M¤(••xyþ,%ióû*&õk•%WDõ™xëõk•ºSE«kˆ (xy$g,vB¥(xyrs,%¶»’ñNÉNR×G%rs“MNb¤GöY(9Œ •rs,Ô(댕rs,%&•œrsþUûE xy••¼xŸ$•%Ћ`¢Ôg¦íîN½¾H-(xye,%’eÍ¿¶·| _ÑGèÉ™¾¿œ›Àr:ihÁ6þÿ!úÔÎg¦%(xy$g,Ó“NÜmzS €Í2i6þÎÃœm¦%µ•œÔã:œNwÇܤG‡©(Í¿xy,%e#–ÄE ùÉN_“VøÔî|Ó˜ü&'êrsÓ“&%EœNõ=(xy$g,ü•••\B¥ þGÅÆ%iÆp%$Ç=ÎfNO%±•õoijõ$gNü$g•b\ÈêþG+É[ µ%(É/$g,E«ˆRxy••%ÊþN[ÏÍ{ËËxyo(þ••N•É¤Go§ {xyG{i$µäAµ%ˆ#Ì%Íú$gEdµ•Nº€xy••OP(xy,Ô(• •,`ë!nªÎ:¥<™Ï:•6%}-N¥•%£¤¡ìi´JÇСì™rs$g¡ ì%ÑÒ}-N™{ÓewÔ˜w%$g¡ì(¶|Þwð)ZE R€(xy••þ$g,Nrs%уü€Gxy$g%¥•%&’ñÔUGC/User Generated ContentÕý¡••þ%´J«Öç÷ÔSNS/Social Network ServiceÕNÉ(xy¥ •ä,GA_{Juv×ØåÙNü€<GÚÛOP«ˆUGC%#œ%ÓéM¨Nü%ÇÆ prÜ%$g¤wY••µ©SNS%:*þEUGC’åÝ%¬xœiÓéM¨o+ÀM¨Þ xNSNSûAßà%°þÜ£ÞxNFxy$gRS6LP%ýíÜ£Þ«EB¥rsÅÆ •±%UGCxþiÅ{GUGCý¡$g%ÅûœÔÅrÜœN{x }Ðá%••þ°þN vzÆ╱(xy$g,%Y•EÉÍ¿%ÑGNb¶·ãÞ€Ó“%$g¡ìA•NÞ e€ËYÔ£äxy<ÊiŸì }å•¡ìiý¡:;œ%æçÍ2Ô••r:iìÔ£ ¤WÞê<Ôtxèuç÷ÎUóN»üxy••ýíS6LP%g—NGAý¡•eé êN{ëìUGC\zXSÓ¯%6aœSNS±žxz••%<ÊÞŠE

 ‡”ü¥k&õoÔ•ù•%–—(pëõŒ•þst,xzw˜%&‚¦ [Towards a New Type of Industrialization, slogan with all the logos of local independent innovative brands exhibited on a building's facade in Zhongshan, Guangdong Province]

由于创意产业通过“创意”和“产业”重新定义了微观个人与宏 观体制的关系，个体的知识结构、社会身份结构与城市空间结构的映 射关系，与以往权本和资本的空间结构势必有着本质差异。 As creative industries have redefined the relationship between the micro-scale of individuals and macro-scale of systems through ‘creativity’ and ‘industry’, the mapping between the intellectual structure, social identity structure of individuals and the urban spatial structure must have essential difference with that of a power-oriented and capital-oriented city in the past.

责任编辑+选图/翻译/姜珺 排版/下划线工作室

18

 [Innovation is the soul of a nationality in progress]

R€(••xyþ$g,Nb$Ÿñû€RÆ|SNS%æþNÔñ$Oò%UGCËYó sNÊÉÔñÔé:%&‚¦Eük•UóNz©‘&'ñwô{(õQöU,ÑG£¤• ei{4:÷øoù<{ÅÑG%&‚¦NüB¥`~ÔŒÌ%úû*õ´J&ÔñÓü* %(zxy••,EùÉN«ˆ4:w6%xy••üãÞýQ§þ%Zÿ‹Ti¥!ú¯ xyUóZ|Þ-=%®¯Eoˆ°þ•N«ˆ®¯gh܉ü€¤Qª_“ÕÖYm%' |™9'|k•i{xü(&'6M,&"#$v%4:k•A&E×õ=k•$ŸvüÕ “œ˜•%P¶É[v’&œ˜ˆ#l¯E–—Þ¯ÞŸ%k•ˆ-OPü’Á^ñ'#Á Zû(WD/ˆ#õv(,žeN•ük•gÔñB¥u’œ%)*õSNSN+Yk•$ˆ• É|M˜™,fi_'äìÎúÁUGC˜(RŒN¾¿xëõk•%µ“œ(’&,N-½ è¥k•%xy¤½Nbgh"#Í¿ÁZ¡¢rs$gÓ“%®-.åE Éü••UóNxy%ÝRœÔЋœdµ•G(xy••,ý¡ªBˆ$G¥n% —!E×/0ËAˆg|$•&N¤Gxy~•ixyáâixy˜•ixyKvixy— ¹ixy1.ixy2â33 (šU6xy,«B4;Ný¸ªRЕ•iÐw6%)5 å•%"‹E×Æp‡6`¢A&7%£¤R••Y$8ÓÔ2“N»ý¡NRœ%ŒÑé ê^_Ôxyˆ#ä6E«ˆbgñ9À˜üÓ“§iÔ•§%U:&ÑG$g%st’ñ ¸©NÉl¯bV|ÅÆ;eG¥ñ%<=i>?i2“iâ@Î¥ñÉóû¾¨%å•E =½@Pz%´•nŒ#±ü$•’ÁN«ˆnŒb#±üxMwÇNVЋ%´ÀÂSÊ $•’%´ÀÂS&nظ¯E«V$|a€••Ag%RŒ™`¢N{xRxy¤½%A ¢œBCExywǤG••NoD£vxy••%H-•‚E

qrs&'tu22f(&'Kv,‡©ªKvü&' ©‘þÔ%&xëUó%`#œèu24f(ïðE±, b‡©ªïðRSÑG:†ˆ-(&'6M,%‰Š rs= m6M¤w•¤Éû(&'xM,žõ[Chinese Education(Vol.22) presents the importance of education in Chinese modernization and independent innovation; while Regenerating Shenzhen(Vol.24) shows how Shenzhen the SEZ, as the first coastline city that started Made-in-China, transits to Created-inChina because of the increase in the cost of manufacturing]

NË$gN#$vxyrs|xy%¥•$g™rs%’•$gAg¨F•¤BˆE h%ÑÒ}-|{•W'¢ÑG&•%ù˜FGHê(,f-ºS,$g$Ÿ˜–ƒ€_` ••NIa4•oxyºSΖJœ$g$–ƒ€3yê%>þ••NFKüër¥ƒyâ %LùMÔNÈO6v&Þy¤•‚%Kv$gÉé™~PEùð•2»ª{•_|%$g SõNCù[Ë{¤£B¥Q8%xyrsExywÇ%%•œð‘!×[ÅÆR±üB¥ *!S¤%éê&N6|rs%`•>þ—!R€$Ã`i$2%•gB%xy2|Q8% (þуE>þü«T£”¸·_`$[Åæþ%4UœEB¥xyrsVAz˜€ÕÖ# ‡%âã%>þ`ëèûrsLP%?,NÉxy%%•œÆpV(Þ˜UÞš›,i(Þ P¶Þl¯,%FGhÔŸ¥þ%£¤¡ìNÑÒËB¥$2ŸhœÔVñœ%rs$gA &N»¼•P¯{$2ËËÀÔRÀ%>þ˜wNžþG$Å:;Ô’±œ%ÕÖ˜wE« ˆ{>þG1.%˜wNVsÞüUli$GiRSiÿ¨•NYåWMiXYiZsi´ SÎÃÐ$gN{Vø%‘œþ¾ü©‘þ&ï±%䔜N{xMœ%([±R,\µ] ]0G%(V±R,E©‘rsñ\eÀ™˜w%{aA«_^ÇNÉóû<w%xyV| ÅÆ;A`Ç%ºE

责任编辑+选图/翻译/姜珺 排版/下划线工作室

19

2008•12íN•Š

2008•12íN¥2-ëtî

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