按：八、九十年代曾在理工設計系任執教多年的田邁修(Matthew Turner)「回港」落腳香港藝術中心藝術學院，隋即便發功「西九」。從港英政府六十年代粉飾聲平的市政建設開始，數到今日特區政府執人二攤的「創意工業」。
However the trouble for Hong Kong, as elsewhere, is not just principled opposition to 'cultural industries' and 'creative cities', but a crumpling of the idea itself.
Consider evidence from the UK, Hong Kong's direct model. First, the Government's two 'Creative Industries Mapping Documents' incorporated a good part of the computing industry into the aggregate statistics to bulk exports and turnover. Happily, the figures were published just before the collapse of the dot coms, telecoms and high-tech, NASDAQ stocks. An identical survey after the millenium might have show ‘creative' sectors in recession. Consider, too, that while these documents claimed some 400 independent fashion businesses engaged in some form of domestic export, a 2002 study by Angela McRobbie failed to find even 40. Does this suggest an ‘evidence gap' may run through the whole concept of creative industries? Consider, finally, the spectacular financial, popular and critical failure of London's Millennium Dome, centrepiece of the nation's creative regeneration.
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