Archive for January 14th, 2012

Saturday, January 14, 2012

There’s Power in Opposition, too: Tsai Ing-wen’s Concession Speech

Tsai Ing-wen's concession speech, January 14, 2012

You may be sad, but don’t give up. (Click picture for video)

In today’s 2012 presidential elections, we concede, and we want to accept the decision the people of Taiwan have made in these elections, and we offer our deepest apologies. We congratulate president Ma Ying-jeou. We hope that in the coming four years, he will listen to the voice of the people, that he will govern with all his attention, will take care of each of the people, and that he will not disappoint the people’s expectations.


I know how everyone feels now. Today, I believe, many people believed in a victory, but the reality is not as we would have wished. But we need to remain strong. We are the Democratic Progressive Party, and when facing setbacks in the past, we never gave up. We haven’t done that in the past, and we won’t do that today.


Four years ago, we were disappointed, too. We clamped our teeth together, the party stood united, and we moved forward, step by step.


This result is saddening, but there was nothing to our name: we relied on small funding, and we established a new political model. The political position we put forward will play a key role in Taiwan’s future development.


Although there is no way that we will govern, that we would turn our ideals into reality, this doesn’t mean that there is no power in opposition. Taiwan must not be without oppositional voices, and it must not be without checks and balances. I believe that as long as you stand behind us and support us, as long as you continue to give us support and inducement, there will be a future for us. Next time, we will make that final mile.


The DPP’s transformation and reform continues. We will continue to stand on the side of the vulnerable, we adhere to reasonable policies, and to rely on small fundraising, rather than on big business. That’s how we will continue, and one day, we will win the trust of the people’s majority. This road has become longer than we imagined, and we can still do better. The DPP will face today’s results, conscientiously review them, and use them to be watchful.


I bear responsibility for defeat. I resign as the DPP’s chairperson. I believe that the next party leader will keep continuing the DPP’s reform and transformation, and lead everyone further.


Finally, Tsai Ing-wen wants to thank everyone who went along with her. These four years were a really good journey, we fought side by side, and I feel that you haven’t only voted for me, but that you have been my best companions.


Tonight, I believe, we are all very sad. You may cry, but don’t lose heart. You may be sad, but don’t give up. Let’s remain the way we have been for the past four years: brave, and full of hope. Because we must assume our responsibilities bravely, we must continue to work hard for this land of Taiwan. No matter where we stand, this country needs our continued love and care.


Dear people of Taiwan: one day, we will come back. To have supported the DPP and Tsai Ing-wen on this day in 2012, I believe, has beeen a matter of pride. With our heads high, we continue our path with courage. Thank you all. My heart will always be with the people of Taiwan.


Saturday, January 14, 2012

17th Central Committee’s “Culture Document” – 10: Linking the Cultural Industries to the National Economy

This post’s translation starts with the “Culture Document’s” sixth chapter. My previous post, translating the 5th chapter, is here, and for an explanation about the document, click here.

This translation leg’s main link:

6) Accelerating the Culture Industry’s Development, Promote Cultural Industries to Become a Mainstay of the National Economy


The development of the culture industry is an important gateway to meet the variety of the people’s variety of spiritual and cultural demands. The forward direction of advanced socialist culture must be adhered to, social efficiency1) be put first, social and economic efficiency work hand in hand (相统一), sustainable demands be upheld in accordance with comprehensive coordination, development of a straddling kind be promoted and be turned into a new point of economic growth, into a major point in the strategic adjustment of economic structure, to be included into the efforts that need to be exerted on a transformative way of economic development, and on the support for a promotion of scientific development.

发展文化产业是社会主义市场经济条件下满足人民多样化精神文化需求的重要途径。必须坚持社会主义先进文化前进方 向,坚持把社会效益放在首位、社会效益和经济效益相统一,按照全面协调可持续的要求,推动文化产业跨越式发展,使之成为新的经济增长点、经济结构战略性调 整的重要支点、转变经济发展方式的重要着力点,为推动科学发展提供重要支撑。

a) Building a modern cultural industry system. To develop the cultural industries, the building of a modern cultural industrial system is needed, one that is reasonably structured, including all possible categories, high-quality scientific content rich in originality, and of competitive strength. Some big projects must be carried out in key areas, adjustment of cultural industries be carried forward, publishing, film, printing, advertising, performing arts, entertainment, exposition, and other traditional cultural industries as well as cultural creativity, digital publishing, mobile multi-media, animation games and other emerging cultural industries be developed and strengthened. Encourage powerful cultural enterprises to be active across regions, across industries, and across systems and organizations, and cultivate strategic investors in the fields of cultural industries. Optimize the distribution of cultural industries, bring into play the respective strengths of the eastern, central and western regions [of China], strengthen the planning and building of cultural bases, develop clusters of cultural industries, increase the cultural industries’ economies of scale, intensification, and specializational levels. Increase intellectual property rights, unfold the nation’s cultural splendor as a supporting force in [cultural?] production, and create famous brands. Discover the urban cultural resources, develop characteristic cultural industries, and build cities with distinguishing features. Bring the national capital’s role as the model of a  cultural center into play. Design and build [industrial] parks with distinctive original cultural industries, support the development of small and medium-sized cultural enterprises. Promote cultural industries and tourism, sports, information, logistics, construction and other industries’ combined development, increase the cultural content of related industries, extend the cultural industrial chain, increase the added value.


b) Shape a pattern of cultural industries with various forms of ownerships, with public ownership as the main pattern. To accelerate the development of cultural industries, unswerving support for and strengthening of state-owned cultural enterprises or enterprises with the state as the controlling shareholder is essential, and non-publicly owned cultural enterprises’ healthy development must be unswervingly encouraged and guided. A core of highly competitive state-owned enterprises or enterprises or conglomerates must be cultivated, and play a leading role in the development of a prosperous market. To the extent permitted by the state, the guidance of investment of different forms into industrial enterprises, participation in the transformation of state-run businesses into [private] enterprises, participation in the implementation of big cultural industry projects and the building of industrial parks, investment approvement, loans, landuse rights, preferential taxation, market entry and mergers, bond issuance, foreign-trade and special funds etc. should be supported, fair market competition and equal protection by the law in a legal environment be provided. Strengthen the services and management of non-public companies, and guide them to perform their social responsibilities on their own initiative.


c) Promote cultural scientific innovation. Scientific innovation is an important driver of cultural development. Play a facilitating role between culture and technology, deepen and implement the technology-driven strategy, and increase independent innovative abilities. Firmly hold a number of comprehensive, strategic major technological tasks, strengthen core technologies, key technologies, and similar technologies to tackle key problems, sustain cultural equipment, software, systematic research and independent development with advanced technology, attach importance to the definition to relevant standards and utilization of innovation results, improve our country’s publishing, printing, mass media, film, performing arts, internet, animation etc. technological levels, and strengthen the cultural industries’ core competitiveness. Build major cultural-technology projects into related national technological development plans and programs, basing them on national high-technology parks, on national experience in the areas of sustainable development etc., and on the building of combined cultural and technological model bases. Build a culturally and technologically innovative system with enterprises as the main structures, markets as the main guide, and research. Foster the building of a number of cultural and technological companies with distinctive features and strong innovative capabilities, and support strategic research alliances and common service platforms.


d) Expand cultural consumption2). To increase the total quantity of cultural consumption and to increase the level of cultural consumption spells the cultural industry development’s innate power. Commercial patterns must be innovated, the masses’ cultural markets be expanded, characteristic ways of culture consumption be developed, the scope of cultural services be broadened, individualized, demassified cultural products and services be provided, and new points of cultural consumption be cultivated. The level of culture consumption at the grassroots must be increased, entrepreneurial investment be guided into the building of more places of culture consumption which meet the demands of the masses, the publication of books and press products in line with the masses’ purchasing power be encouraged, amd certain quantities of low-price tickets for commercial performing arts and movies be arranged. Cultural operators on the internet must be encouraged to provide more low-cost services, and locations where such conditions apply must provide adequate subsidies to the poor, and to migrant workers. Tourism must be actively promoted, immaterial cultural heritage and tourism be linked to each other, and tourism be brought into play as a promoting factor in culture consumption.




1) Social efficiency is frequently mentioned in educational contexts, outside the context of this document, and internationally. I’m not sure if this is the kind of social efficiency the document’s 社会效益 or shèhuì xiàoyì actually refers to. John Dewey and Chinese thinkers (and doers) probably influenced each other to some extent, especially in the 1920s.

I’ve come across Dewey’s “Democracy and Education” (New York, 1930) online, and I would actually like to read that book, but that would take me too far from my translation task, and my current focus on the CCP’s cultural policies and public diplomacy. A critical engagement with Dewey’s Democracy and Education (“John Dewey and our Educational Prospect”, ecited by David T. Hansen, Albany, 2006, page 75 and following pages) describes Dewey’s idea of social efficiency this way (without notes and footnotes included there):

As he developed the arguments he set out in Democracy and Education, Dewey refused to allow the separation that is so often attributed to him by his critics, namely, that of acquiescing to natural impulses on the one side and / or promoting “social engineering” on the other. The error in honoring such a split, he notes, is “in implying that we must adopt measures of subordination rather than of utilization to secure efficiency”.

In short, education is not a matter of the subordination of natural impulses to absolute values, including those of social engineering (or even the other way around), but rather of socializing natural impulses in ways that reconstruct them as constructive and expansive rather than reductive, and far-ranging and comprehensive, rather than exclusive. And the test, as I have suggested, is whether such socialization encourages the expansion of the learner’s intellectual, emotional, and aesthetic horizons, and if the learner and the group of which he or she is a member become more comprehensive in terms of their connections and interrelations with other socializing forces. This is the type of social efficiency that leads to the type of increasing control of habits and institutions that Dewey termed “social control”.

This kind of social efficiency is something “John Dewey and our Educational Prospect”, describing Dewey’s concept and the American educational present tense as of 2006, would not reject at all. They rather seem to discuss how America might come closer to a goal of social efficiency.

2) a paper published by Statistics Canada’s Culture Statistics Program in December 2000 described the term this way:

Consumption implies the purchase and use of goods and services. But how does one define the consumption of culture? A broad definition of culture consumption includes looking at those Canadians who attend, view, read, listen to, participate in and buy culture products and services. As one can see, consumption has both an economic and time-use component. These components are measured in different ways using different tools. Economic consumption can be measured by monitoring our spending behaviour. Statistics Canada’s Survey of Household Spending (SHS)1 is a key source of information on the demand side of consumption. On the other hand, time use is measured by examining how we spend our time by type of activity. Do we go to culture activities and events, and how often? What kinds of culture activities and events do we attend or participate in? Various questions were added to Statistics Canada’s General Social Survey (GSS) in 1992 and 1998 to find out the answers, making it possible to develop a profile of the c culture consumer. This non-economic view of culture consumption is, in one sense, a more accurate reflection of the importance of culture in people’s lives. That is, not all culture activities require a monetary expenditure such as free outdoor music festivals, free museum admissions or the use of public libraries. As well, the GSS looks at an individual’s cultural choices while the SHS expenditure data relate to a group of individuals living together in a household.

It is quite possible that culture consumption has a context in Marxist or other relevant CCP sources, too, but to find out if that’s the case or not will be up to you. Let me know if you find such links.


» Not so Straight to the Bank, March 11, 2011
» Using the Credit Squeeze, Jan 18, 2010


Continued »

Saturday, January 14, 2012

No, no – not yet, WordPress…

This post was published unintentionally, with a key combination that I haven’t been aware of to date. Wait until I’ve finished.

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