《北大商業評論》/ 201201 ，鄧博弘第壹次就自己對產業的看法進行了系統的公開演講，以創意產業民營企業經營者的實踐經驗，首次拋出了中國文化創意產業發展的工業藝術化和藝術工業化的階段性發展理論；就中國文化創意產業大環境現狀對文化產業的本質屬性進行了客觀歸納。
文化產品首先第壹屬性是商品；第二屬性是工具；第三屬性是具有藝術性，這也是它與其他工業產品的最重要區別。
PekingUniversityBusiness Review / January, 2012
Deng Bohong made a systematic public speaking about his views on the industry for the first time, and brought forward stage development theory about industrial artistry and art industrialization in terms of Chinese cultural creative industry development, as well as gave an object summary about the essential nature of Chinese cultural creative industry.
The first attribute of cultural products is being commodity, and the second attribute is being tool, while the third attribute is being art, which is the most important difference when compared with other industrial products.
《新經濟導刊》/ 201206 ，鄧博弘與陳少峰（北大文化產業研究院副院長）、賈偉（洛可可設計集團創始人）等人就“文化創意辯證法”的主題，從解析中國文化創意產業的“熱與冷”、“小與大”、“善與惡”、“表與本”展開了壹場探討博論。在這次研討中，鄧博弘更進壹步深入的表達了對行業的解讀。
New Economy Weekly June, 2012
Deng Bohong talked with Chen Shaofeng( associate director of Peking University Cultural Industry Institute) and Jia Wei(founder of Rococo Design Group) about the theme of “cultural creativity dialectic”, and had a discussion in terms of the “Hot and Cold”, “Little and Huge”, “Good and Evil”, “Superficial and Essential” things of Chinese cultural creative industry. In the seminar, Deng Bohong made a profound interpretation about the industry.
--- “熱與冷”。市場經濟離不開法治社會和民主政治，解決社會環境的問題，是所有行業包括文化創意產業的發展之道。如果都以GDP為主導，以功利和短期效益為主導，以表象為主導，許多推動文化創意產業發展的方法並不成立。國家的政策導向不能頭痛醫頭，腳痛醫腳，直接撥錢、批地和建產業園，而應該通過政策法律去樹立正確的價值觀，形成良好的產業環境和發展機制。
Hot and Cold: Social market economy can not work without the rule of law and democracy, and to solve social environment problems is the development way for all industries including cultural creative industry. If GDP, utilitarian and short-term benefits or superficial phenomenon dominate everything, various ways to promote the development of cultural creative industry would get nowhere. As for the national policy, just specific and limited measures such as dial fund directly or grant land to build industrial park can just have little effects, thus the most important thing is to establish correct values and form good industrial environment and development mechanism through policies and regulations.
--- “小與大”。毫無疑問，文化創意產業是典型的新經濟，沒有倉儲、運輸，幾乎沒有原材料，但文化創意產品的溢價空間卻很大。巴爾紮克的手稿價值不可估量，可他使用的紙張和墨水才花了多少錢？
文化創意產業不是靠產量和成本取勝的。2009年，全國電影人在歡呼，中國整個電影票房突破了百億元，同年美國有壹部電影叫《阿凡達》，全球票房27億美元。這是多大的差距啊！還有更多的例子，10萬個普通玻璃杯也抵不上壹件汝窯的青花瓷；內容差的書再多也無濟於事，壹本好書經久不衰，好比四大名著。
Little and Big: Undoubtedly, cultural creative industry belongs to typical new economy, with no warehousing, transportation, and almost no raw materials, but the cultural creativity products have great premium space. Balzac manuscripts are invaluable now, but how much the paper and ink he used cost?
Cultural creative industry does not depend on output or cost. In 2009, all film makers inChinacheering since the total value of Chinese film box exceeded 10 billion Yuan, and American movie Avatar made a global box office record of $ 2.7 billion at the same year. How much the gap is! There are many more examples like 100,000 ordinary glasses are not worth blue-and-white porcelain from Ru Yao.
--- “善與惡”。我近乎矯情地對專業的堅持，無形中就會對短期功利的、浮躁的甚至虛假的行業和社會現象進行壹種正面沖擊。我沒有能力讓整個行業發生質變，但如果有許多企業都去努力，量變也會質變。學者、藝術家，越老越值錢，因為這是壹生的積累和沈澱。但我們看看現實中的從業者，有多少人認定這份工作是他的終生職業？”這種社會心態是不正常的，但又不是短時間可以改變的，除了價值觀的扭曲，還有歷史的因素。未來的社會是壹個專業細分的社會，要把專業做到極致才行。但現實卻是忽悠炒作盛行，違法違紀、失去誠信的成本極低，這就導致壹種價值觀的誤導。
Good and Evil: My almost hypocritical insist on profession would often potentially expose a positive impact on short-term utilitarian, impetuous and even false trades and social phenomena. I simply do not have the power to make a qualitative change in the industry, but if many companies join to work hard, I believe that someday quantitative change would develop into qualitative change. The older scholars and artists became the more valuable they are, because they have a lifetime of accumulation and precipitation. But look at the reality, how many people regard the job as their lifelong career?” It is an abnormal social mentality, which can not be changed in a short-term since it stems from both distortion of values and historical factors. The society in the future will be a professional and fine sorted one, so we should make everything in our professional career perfect. However, in reality, speculation and cheat prevail and the cost of law-breaking being low, all of this leads to a misguided value。
--- “表與本”。鄧博弘表示，文化創意產業具備三種屬性，第壹屬性是商品，無論電影還是廣告，都要賣錢；第二屬性是工具，廣告和短片都要給客戶使用，從而創造更大的經濟效益；第三點很關鍵，是通過藝術性來達到商品的最大價值和體現工具的功能，比如最明顯的是建築設計、室內設計等商業美術。從業者就要想辦法把工業產品藝術化，藝術需要靈感，具有隨機性，怎麽辦？這就需要把藝術產品工業化。典型的案例是美國的好萊塢，采用工業化手段生產了大量具有刺激性的風靡全球的影片，這就誕生了壹個名詞“創意機制”，機制也可以理解為土壤。
Superficial and Essential: Deng Bohong said that the cultural and creative industry have three attributes , at first it is a commodity , whether movies or advertising films should make money ; secondly it is a tool, both advertising films and movies are made to serve customers and bring greater economic benefits to them ; the third point is critical, when it aims to achieve the maximum value of commodity and tool functions by way of art , such as architectural design, interior design, commercial art field and so on. Practitioners in the industry should find ways to make industrial products an art, but art is random and needs inspiration, how to do? The answer lies in the industrialization of artistic products. A typical case is the Hollywood inAmerica, which produced a large number of irritating films that swept the world through industrialized ways, thus a new noun “creative mechanisms” emerges, and the mechanism here can also be understood as the soil.
繼而，鄧博弘進壹步指出，中國有個哲學概念“舍得”，有舍才有得。妳要實現壹個產品的商業價值和工具功能，首先要拋棄這兩點，把它藝術化，藝術化以後再尋求前兩者。所以文化創意產業不像其他產業靠投錢就能解決問題，它真正需要的是土壤。這種土壤讓很多藝術家可以吃飽肚子，很多商業領域的人才願意從事這樣的工作，很多生產領域的人才願意把誕生的藝術性東西轉化為工業化生產，這是壹個分工有序的產業鏈條。
Then, Deng Bohong further pointed out thatChinahas a philosophical concept of “She De”, which means you should give at first and then you gain. In order to realize the commercial value and tool function of a product, you should set them aside at first, and process it in artistic ways, finally seek to reach the first goal. Therefore, unlike other industries, solving problems in cultural and creative industries can not rely on investment money, what it truly needs is Soil. Only the Soil can guarantee a decent and rather rich life for artists, business talents would like to take such jobs, and talents in production area would willing to turn artistic items into industrialized products, and this is a part of the orderly industrial chain.
鄧博弘強調，文化創意產業針對的是人們的感性心態——美感和快感。戰亂貧窮時代，大米和白面值錢；和平年代，經濟發展以後，奢侈品、文化藝術品、收藏品開始變得值錢。當社會再進步時，娛樂最值錢，娛樂是人的本性。
Deng Bohong stressed that cultural creative industry aims at the emotional state of mind——sense of beauty and pleasure. At the time of war and poverty, rice and flour worth a lot; at peace time, when the economy develop, luxury and collection became valuable. When the society progresses further, the most valuable thing would be entertainment, since it is part of human nature.
“這並不是主張社會娛樂化，也不是所謂的‘三俗’和八卦，而是人們解決了基本的生存需求和具有了安全感以後，人們會為自己所獲得的愉悅和美感付重金買單。娛樂是壹種泛指的文化創意服務，譬如旅遊、收藏、玩極限運動、唱京劇、看歌劇等。只要人們的興趣得到最大的抒發，滿足了個性和愛好的取向，這就是最大的娛樂。‘黃金周’到哪裏都爆滿，這反映了人們的壹種娛樂取向。”鄧博弘解釋道。
“This is not an advocate of social entertainment , nor is the so-called ‘three vulgar thing’, what I am saying is that people would like to pay a lot for their gained pleasure and enjoyment when satisfying the basic survival needs and have a sense of security. Entertainment generally refers to a kind of cultural creative service, such as travelling, collecting art items, playing extreme sports, singing Peking Opera, watching opera and so on. As long as people enjoy their interests to the fullest, and satisfy their needs of personality and hobbies, that can be described as the best entertainment. Every place crows people in Golden Week, and this also reflects a kind of entertainment orientation.” Deng Bohong explained.
《中國文化報》/ 20100714，鄧博弘針對國內行業的低端化發展提出了類終身職業的感言。
如果壹個行業只能讓從業人員在淺顯、粗糙的體力勞動中日復壹日地消耗職業壽命，而找不到向上的動力，那麽，這個行業也無法發展壯大。“沒有壹顆顆大樹，也就沒有壹片森林。”
Chinese culture reported July 14, 2010
Deng Bohong put forward lifelong-career-like views about the low-end development of the domestic industries.
If people in an industry can only consume career life in simple and rough labor work day after day without any motivation to go up, then the industry can never develop. As the saying goes, “without trees, without forest”.
《南方人物周刊》/ 201302
傳奇往往只是傳播效應的結果，傳奇的創造者都明白壹個簡單明晰的道理：“我的生產能力和精力是有限的，中國人不缺乏創意能力，但是中國的執行太爛了，因為執行是需要付出巨大的精力、時間和代價的，市場給予妳的需求，絕對不是妳成功的信號！”
“烏龜和兔子賽跑，再跑100次，還是烏龜贏。誇誇其談誰都會，但真的沈下心來頂住很多壓力、放棄很多誘惑，不容易。今天我壹點頭，可能就是壹輛奔馳，再壹點頭，就是壹棟豪宅。我可以點頭，我可以給自己100個理由：沒事，咱們最近加加班，把這活兒接了。但妳只要點了這個頭，妳就不再是享受工作，而是工作的奴隸。什麽戛納、奧斯卡，統統扯淡了。烏龜雖然慢，但很踏實，而且走的是直線，不為外物所動，壹個壹個去實現自己的目標。目標不單指金錢和企業的規模，完成人生的蛻變也是目標。要淡定、坦然和充實。”
Southern People Weekly February, 2012
More often than not, legends are just the result of propagation, and all the creators of legend understand a simple and clear truth: My production capacity and energy is limited, and we Chinese people do not lack of creativity, but we are short of executive ability, since execution demands huge effort, time and cost. The demand that market grants you is definitely a sign of your success!”
《環球財經》/ 201205，封面文章“文化振興中國夢”，鄧博弘以創意產業民營公司價值DNA為題，通過對“創意的認識”、“產業審視”以及“氛圍判斷”參與研討。
Global Business & Finance May, 2012
In the cover story of Culture Activate The Dream of China, Deng Bohong talked about the value of private companies in creativity industry, and discussed from three aspects of “knowledge about the creativity”, ”industrial overview”, and “environment judge”.
--- 創意的認識。
《環球財經》：對於文化創意產業，從產業的角度來講您是怎麽認識的？
鄧博弘：他肯定是壹個產業，而且可能是壹個終極產業。當社會變得穩定變得富足之後，人們才會真正尋找自己內心的需求，文化、藝術相應的東西開始之前。從中國的歷史和現代世界的普遍規律看，強大的物質文明崛起之後，壹定伴隨的是強大的精神文明崛起。文化產品需要具有設計感具有藝術價值，在這之後其實就會踏入壹個全民娛樂時代。
The Cultural Creative Industry
Global Business & Finance: Talking about the cultural creative industry, what’s your view from the industrial aspect?
Deng Bohong: First, it is an industry, and may be an ultimate industry. When the society becomes stable and rich, people will truly seeking for their inner needs, and then things related to culture and art would boom. From the history ofChinaand the universal law of the modern world, powerful material civilization would always accompany with powerful spiritual civilization. Cultural products need to have sense of design and artistic values, and the society will actually step into a national entertainment era afterwards.
--- 產業審視。
《環球財經》：當創意遇到產業，所有的想法必須落地，必須把產品做出來才能掙到錢，您覺得中國現在的土壤和機制怎樣？
鄧博弘：中國人並不缺創意，我們靈魂裏並不缺乏創意與文化的優良的種子，但是現在顯得比較貧瘠是因為我們的土壤仍需繼續改良，真正好的土壤需要用比較長的時間去培育。現在中國跟國外的區別絕對不是文化底蘊不同，而是因為經濟發展的成熟度不同，因為文化創意產業和發展的節奏是非常有關系的。需求決定市場，需求是在不斷的進化和演變的，而這種需求和演變又和經濟發展有著很大的關系。再次，從技巧上，也是壹個發展的必然規律。今天的文化創意產業，不再是我們傳承的文化，他是有壹些新的概念。市場化是以前沒有體現，同時沒有工業化就沒有產業。這些元素都和我們以前對文化的理解不同，所以產品和結果也會有區別。
Industry Overview
Global Business & Finance: When the creativity encounter industry, all ideas must act in practice, and you can only make money by producing actual products, so what do you think about the current mechanism and surrounding inChina?
Deng Bohong : Chinese people never lack of creative ideas, and we never short of the good seed of cultural creativity, the problem actually lies in the poor soil . We need to keep improving the soil condition, and fertile soil demands long-term nurturing. Currently, the difference betweenChinaand western countries lies absolutely not only in culture, but also in level of economic development, because the development of cultural creative industry relates closely to the rhythm of market.
Demands determine market, while the demand is in constant change and evolution, and the changing demands strongly link to economic development. In addition, technically it is also an inexorable law of development. Today’s cultural and creative industry is more than cultural heritage, it has some new concepts. In a word, there is no industry without industrialization. And all of these elements are different from our previous understanding about culture, so the products and result would be different.
--- 氛圍判斷。
《環球財經》：目前中國已成為全球第二經濟大國，這是否意味著中國的文化創意產業將獲得崛起的環境呢？
鄧博弘：我們在經濟上用了30年完成了歐洲大概400年歷程，但文化的進步速度肯定不會像經濟那樣快。因此中國富裕群體的文化消費能力已經達到發達國家的水平，但更多地是在消費LOGO，屬於壹種面子消費。全民的價值觀的問題需要幾代人來完成，尤其是文化意識的培養和延伸是需要壹代壹代傳承並發揚光大。
Progress
Global Business & Finance: At present,Chinahas become the world’s second largest economy entity, so does this mean that cultural creative industry inChinawill have an environment for rising?
Deng Bohong: We spent 30 years to complete an economic task that achieved by European countries for about 400 years, but the progress rate of culture certainly can not as fast as the economy . Now, the cultural consumption capacity of rich people inChinahas reached the level of developed countries, but they still prefer to consume LOGO. The problem of universal values demands efforts of different generations, especially the cultivation and extension of cultural awareness need to pass from generation to generation and then flourish.
《財富堂》/ 201007
人們會從關心碗裏有沒有肉，變成去欣賞端在手裏的碗是不是青花瓷、到底是哪個窯燒出來的，這個進度是需要壹個過程。保持淡定、耐心等待，這是壹個鐵定的規律。
FortuneTown July, 2010
People would someday change from a state in which only caring about the meat in the bowl to a situation in which appreciating the bowl itself, but this demands a long process. Keep calm and be patient, it is always a golden rule.