 history of collaborating with Davos. In 2015, we had the great privilege to become the global growth enterprise in the Davos conference. In 2016 and 2017, we also held IHE sessions during the summer Davos. And we talked about the Chinese culture and its application in industry and commerce and their changes as well. And this year is the same. The theme of this year's session is China's pop culture. First, I want to give you an introduction to the panel speakers. First, the president or managing director of Beijing Poly International Auction Company, Li Da. And then, Sima Mundi's studio, chief creative officer Chen Qiufan, China Development Research Foundation researcher, writer, and the Ugo prize winner, Madden Hao Jingfang, and Shandong University Dean of School of Political Science and Public Policy, Daniel Bell, and founder of Fintech company, Yongfen. Our topic today is Chinese pop culture. So the five panel speakers could introduce their observations on China's pop culture in the globalized world and the characteristics and development and also the creativity, the industrialization and commercialization of Chinese pop culture in this globalized world. You can share with us your insight and input and what will be our vision and what will be our expectation for Chinese pop culture. And you can share with us your different perspectives on this topic. So first, I'll give the floor to Li Da to shed some light. OK, I think it's very appropriate for me to be the first person to speak because today we're talking about the Chinese culture. China has a civilization of 5,000 years. And I'm doing artwork auction. And we do artwork trading. And every year we deal with about 30,000 to 40,000 pieces of artwork. And these pieces dates back to 5,000 years ago. We also have contemporary art project and also Asian-Chinese artwork. So culture in China is very profound and rich. It's a treasure trove. And right now we are talking about pop culture. For modern people, how can we understand the deep meaning of Chinese treasure trove? How do we discover this treasure of Chinese civilization and present this artwork to the future generations? This is a question that we need to think about. But we should be careful about some junk artwork. And we should be careful about introducing some junk art to our kids and to the society. This is not pop culture. And I've been thinking about this question for a long time. Therefore, pop culture is a very pressing issue for us. So you mean that, from your perspective, you've been carrying forward China's traditional culture. You talked about development and innovation. And how do we combine the traditional culture with pop culture so that in our contemporary world, they can be more brilliant so that it can attract the younger generation so that this younger generation can discover this fine art? And this is something we need to think about. And we need to discover the value of this traditional fine art so that they can better educate the public and provide value to society. In my mind, we have 5,000 years of brilliant history. We have Tang Dynasty, Song Dynasty, Qing Dynasty, and different Asian dynasties. And every dynasty is like a jewel. And we need to find a thread that connects the different jewel. So we need to be a sort of matchmaker. We need to bring together the jewels or the crown jewels of different dynasties to present this jewel to the world, to the society. This is something we must do because we are doing the culture industry. We need to, of course, think about the habits and preference of modern people so that we can match the traditional fine art with our modern taste. So they can be more acceptable. And for an artwork professional, I think this is something we must do. I think, for example, a traditional artist, Yang Liuqing, used the traditional methodology of wood carving to do this traditional art. And meanwhile, there are also some other traditional techniques like figurine making and clay figurine making. So this handicraft and this wooden handicraft is very brilliant and it's very interesting. So we should not always think about the stereotyped traditional art handicraft. We should think about the modern look of our handicraft. We need to think about how can we attract the younger generation and the kids with our artwork so that they can be carried forward. I think this artwork really conveys wisdom. It's also very artistic. It's very appealing to the public. In fact, I think there can be different subject for Chinese traditional painting and also for the clay figurine, I think there can also be different subjects. Actually, the technique is very beautiful, very vivid. And the clay figurine can show very vivid human expression. So this is a kind of a non-cangible cultural heritage. But we should not always focus on the popular Chinese traditional stories for this traditional artwork. We should think about some other, we can use modern languages and modern subject to showcase our traditional culture so that they can be maintained and show their vigor and vitality. And I think this is what cultural creativity and industrial creativity is all about. So Mr. Lee approached this subject from a traditional culture point of view. And Mr. Chen Chou Fan actually looks at this issue from a futuristic point of view. He's looking at present from a future perspective. What is your point? Yes, I think Matt and Lee's had very good point. How do we combine traditional art form with a modern look so that the younger generation and the whole world can be attracted? I just visited North and South America. And I also visited the Confucius College there. And the Confucius College is there also invited Chinese writers to share with the students. They can talk about the three bodies problem, the award-winning novel, and also Obama and Zuckerberg. They are also fans of the three bodies problems. Meanwhile, I read one famous America diplomatic magazine. In fact, some of these diplomatic magazines on diplomacy also studies Chinese science books to predict the future political landscape. I think this kind of writing or books discussing the interaction between past and future can really resonate with the audience and readers. And because these books can go beyond the border differences and cultural differences and language differences, we can create a community of shared future. This is some values shared by universally. So no matter where I go to, the Latin America, for example, if I read the science fiction written by, for example, Ms. Hao Jingfang, I can feel something in common, irrespective of the nationality of the authors. So what they write about is a reflection of their life and the tension or the relations between life and technology. So from my perspective, from science fiction's perspective, I think science fiction is the thing, the most important genre in the next 10 to 20 years, including books, science fiction, but on different media, for example, comic books, drama, or videos, or theme parks, or on science fiction. I think this part has a huge potential, especially so, because it helps us to share with overseas people a market of the Chinese values. For example, three bodies has been translated into 12 different foreign languages, and its sales is much bigger than that of the traditional literary novels in the Chinese literature. So this is the very value of the modern science fiction, a very good example of the culture, of Chinese culture going global, being shared in the global arena. So I think this is a very important genre, as I said. It is not limited, the audience is not limited to children. Of course, children is one segment. There are some fictions in which you can learn about science and learn about the attitude of using technology. That's all very well and good, but it's not only limited to children. The meaning is very profound in science fiction. So my prediction is that in the next several years, the production, the creation of science fiction is the very thing that we can bridge ourselves with the overseas market and the population. Very well said. As you said, it's not about the definition and implications of the science fiction in China and beyond China, but this is a matter of the whole supply chain. Yes, and on this regard, Ms. Haoding, well, maybe you'll have a broader perspective because you know very well of science fiction. And also, you're the first Asian that is awarded the Ugo Award, the science fiction achievement. And you're also from the China Development Research Foundation, so would you please share with us? The pop culture will be developed better and better in the future. As we're doing research, we're researching economic transformation or development and economies. The experts will compare different countries and people look at a lot of genres, a lot of industries, including the culture, the sports, and other technology-related education, for example, industry, as a category of other, as part of the whole pie of the economic aggregate. The reason we name these industries as other industries is because in aggregate, the size was very small, but now things have been changing. Its share was negligible, but now it's a very important driving force for China's economy. And I think this is the major trend. And some economic economists have compared culture, sports, education, and all other industries. They are all human capital intensive. They have very high added value. They are not capital intensive. The development is all driven by talented people. So I think for China, if we want to develop our economy, the culture industry, the sports industry, are no longer negligible, marginal, other industries, but they need to be taken very seriously and the outcome of these industries will also be better and better. I am very interested in the Chinese pop culture and how it will be internationalized or be shared in the international world in the future in which ways. And I'm very confident of its future because when we write, when we do our cultural creation, some, for example, geographic locations in China about the revolutionary past in the Chinese history, they are all very different from the products from what people talk about in other markets. All the things I mentioned are very specific to Chinese people's memory and to Chinese people's recognition. Everybody knows that it is important to Chinese history. They understand that. But they, so foreigners feel that these characters, these images are irrelevant with them. But now with the younger generation, the concept of border is blurred. And young people, no matter where they are from, have universal common issues. So when the young people from China, when they are creating, they also, they will not only talk about China's specific things, they will talk about stress living in cities. What do we do with our life choices? And our relations with the last generation, family issues, how do we balance life and work? Issues like this will be the target of the creation when they are creating. So, and this is more universal when we're talking about country, family responsibility. So when we are talking about this for the younger generation in China, they are talking about this in the U.S. for example. They're also talking about this. So there's more common ground between people in China and other countries. So this idea, the sense of connectivity will be built. This is the same thing in the science fiction industry. For example, when we talk about foreignness in our industry, we will talk about common issues like age in society. When we talk about bring this up, foreign friends will say, oh, we have the same problem. Or for another example, we talk about biotechnology, fintech, AI, and if it is a threat to big data, it's impact on our life, so on, so forth. So when the Chinese authors talk with the foreign counterparts, we're basically talking about the same thing. So we have common concerns. And this is a reflection of the tensions in the society. So there's no isolation between China and the rest of the world. We do not only focus on the Chinese specific things. We talk about the common destiny technology. So the universality is more and more obvious. As technology is developing very fast, the stories told by the Chinese people, by the Chinese artists in the pop culture, is easier to be communicated to other parts in the world. And the other parts of the world will be more interested in Chinese, the stories told by the Chinese people. But for the industry, it is still basically in its nascent stages. So when they produce different forms of science fiction, for example, films, it needs a lot of technology. For example, I'm involved in shooting a online TV series based on science fiction. So there, and when I look at it into detail, there are a lot of more complex things. I believe Chinese people are all fast learners or we are confident of the future despite the current issues we have. Thank you very much. I agree very much with what is said because I have first-hand information too. I'm on the communication and sharing of Chinese pop culture. For IG, for example, or the online TV series or the reality shows, we produce proprietary in-house TV series, we produce on our platform. So when we look at the content, what we are going to be talking about in our products, we'll talk about international topics that is of international nature that is irrespective of where they are interested in. So, for example, we talk about rock music, we talk about street dancing. All of these things are a source of attention in China but also beyond China. This is also the benchmark for us to choose the content of our products and those who participate, for example, the actors or the dancers, they will go to North America, for example, to learn from one another. This is a very good example of globalization for the Chinese pop culture products. You see the shift of content from being Chinese, very Chinese, to being international and you see the cooperation of the young people within and beyond our board. Mr. Hao, Ms. Hao talked about this issue with a broad perspective. Professor Bell is a foreigner who has been teaching here for more than a decade. So I want to look at this perspective. Yes, I want to critique, do some critique of this issue. Professor Bell will be speaking English so you might want to use your interpreting device. Pop culture power is relevant to what I... not relevant to what I researched but actually there's some relevant... I know that we've got foreigners here so I still switch back to Chinese English. So I want to talk about the Chinese pop culture and pop power. This is something very interesting. Chinese popular culture in the 1980s when I heard songs from Deng Lijun and also from Cui Jian. And what's very interesting to me is I was with some foreign friends and they love to sing those songs too. Of course you have to speak Chinese but they're very accessible. And so to me this sense, of course Cui Jian's musical band also included foreign musicians. So it sends a very important message to me that really Chinese popular culture is not a matter of being ethnically or racially Chinese. It's more a matter of appreciating the culture. And I think that's a very important point to make. And when you think of all the successful Chinese cultural exports it seems to me that they send a very similar message. Chinese food, obviously you don't have to be ethnically Chinese to appreciate it. Chinese music, you don't have to be Chinese to play it. Kung Fu, calligraphy and so on. Science fiction, you don't have to be ethnically or racially Chinese. So what it really sends a very important message that the kind of successful Chinese popular culture is the one that sends a message that this culture is very accessible and grounded in a history and culture not in race or ethnicity. And I think this idea actually has a very long tradition in China. Before the 19th century, the mainstream idea of what it meant to be Chinese was one that was grounded in culture. You had to be a cultural carrier. You had to speak the language. You have to use and eat Chinese food. You have to practice some Confucian rituals, have a kind of family life and so on. That's what made you Chinese and not because of your race or ethnicity. That all changed because of Western influence. When the Westerners came in the mid to late 19th century, they divided, they cut up Chinese cities, divided them according to race like Qingdao or Hong Kong. The Europeans lived in the best parts and the Chinese in the less good parts and they sent a message that we can and should divide the world according to race. But unfortunately the Chinese learned the worst part of Chinese culture and this has a very long lasting legacy. So the argument I want to make is that we should restore this traditional part of what it means to be Chinese. That it's an idea grounded in culture and it's also one that is very successfully promoted by popular culture today. 现在可以用诸人讨论不好意思 有一点懒. Professor Bell shared with us his perspective. He dated back to the 19th century the Chinese culture, how it evolved and what do we do to make it more international. This is something that we pay close attention to. For me, I like this perspective very much because if you look at it randomly, you'll only see one facade. But if you look at it from another perspective you'll have a very comprehensive understanding of the Chinese culture because we've got different ways of capturing information, we've got more perspectives and we will have more channels, more media for example. In the past we only had mainstream media but now we've got all types of media that sends and receives information and also practitioners, investors, they have their perspectives too. And Yang Fan maybe is the right person to talk about this, your investor but also your self media too. In fact, based on my understanding, a cultural journey requires a lot of time. As for the Chinese pop culture, this is a very broad topic. Over the past several decades, Chinese culture and also the Chinese cultural influence is not really about the pop culture. And sometimes the foreigners may be more impressed by the Chinese tattoos and also some of the Chinese food but this food is not eaten by the Chinese. So that is why sometimes the Chinese culture is regarded as mysterious and so people only think about the Chinese culture as the four traditional classics or Confucianism but this is not all. And we always talk about the invasion of culture from foreign countries, the Hollywood block, blockbusters and also animal animation movies and these are jeopardizing the Chinese young people. This is the statement of some people but I think the Chinese nation is, the Chinese culture is very profound and deep. It absorbs all the foreign culture and elements and also created something new. I want to cite a scientific novel. As we remember in Three Bodies Problem, the author mentioned that the Three Bodies nation, the people living there have very transparent thinking so there was no cultural creation in such a nation. And when the human nation interacted with the Three Bodies nation, they discovered that the human civilization is so brilliant while Three Bodies culture and civilization are too pragmatic and that is why the Three Bodies nations absorbed all the human civilization and cultures and all the art and then they once again exported their culture back to human nation. So this is the author Liu Zixin described in his novel. I think actually this is also very relevant in the world right now. We know that a lot of the Chinese sci-fi writers also absorbed the culture of the foreign countries and then they combined the foreign culture with their own thinking and Chinese thinking and created a lot of popularity across the world. And we can also think about Japanese animation programs which is also very popular in Asia. I mean while hip-hop and street dance were also have their origin in foreign countries and now they are also coming into China and we also have such combination. So meanwhile a lot of the local hip-hop artists in China also has absorbed the foreign elements so this is very interesting. So actually I don't think it's about cultural invasion. We have assimilated this foreign culture. We exported this combination of cultures to the outside world. And in Western countries the countries emphasize the value of money and now with the influence from the Eastern world, from the Oriental world and I think they're more intelligent. I visited Oklahoma, a small town in the United States. I attended the Warren Buffet annual conference and I saw more Chinese faces than American faces in the Warren Buffet annual conference. So you see a lot of Chinese people are crazy about the Warren Buffet and I think a lot of the Chinese attendees are younger generation like me, but in America a lot of the attendees in that conference are older generation. It's so the age group is very different for China and America and I think the Chinese culture is very unique and this also reflects the anxiety of society and we call it knowledge anxiety. We also have the term which is knowledge for fee. For example, one friend may share one statement from Jack Ma and Lei Jun, the internet tycoon and then they can charge fees from their friends. So if I don't, so I will feel very anxious if I do not have access to such wisdom from the internet tycoons. So in Western society it's very popular and natural for people to pay to get knowledge and in China you can be a member of IGE and you can also purchase different contents from WeChat platform. I think it's important for us to pay for knowledge, but the process of payment is also important. When I pay for knowledge, I get comfort, I get satisfied, I feel like I'm not left behind. So when China consume the foreign culture, we are also learning from the other culture but in the same time this also reflects our anxiety because we really want to catch up with foreign countries. So I hope we can help more Chinese people to lower the threshold of knowledge so that it's easier for them to be educated. And from Yang Fan's remarks I can feel that pop culture to a large extent directly reflects the thinking pattern of the society. It also reflects the personal value of a person. On the other hand, the scientific and technology development is very rapid right now and so we have this mass media which popularized the pop culture and also the mass media, the mobile apps and mobile media and some other popular We Media platforms and live streaming and AR technologies enable everyone to gain access to the cultural product. And I wonder nowadays we always talk about the Chinese pop culture and from a globalized point of view we have to combine Chinese traditional culture with pop culture and we can tell Chinese story and describe Chinese story in a global voice, in the global language. And I think the mainstream users of pop culture has become more segmented or fragmented. Different people can get different channels to get their own preferred cultural content. So in this context I really want to understand how do you look at such phenomenon? I think the biggest benefit is you get data and we have this fast data collection and also this information spreading and also one's personal cultural preference could be obtained and satisfied in a very short period of time. So you mean that people can get easier access to their preferred content and with the benefit of AI technology you can see whatever you want to see and you can get a diversity of information and you also have different sources of cultural product and sometimes I will also teach my AI product. I will tell this AI machine, I like certain product and I dislike some certain product. So sometimes I will educate my AI machine so that they can predict my preference but I think AI technology may also cause a problem. What you get might be less diverse because you only get a certain specific source of information by teaching your AI machines. And now we have more different people only focus on their own specific culture and perspectives so that is why there is a lot of subculture that is emerging. So I think this kind of subculture have their own users and a large number of them. So from the modern point of view do you think which direction is better? What should be the path for China's culture in the future? I remember 100 years ago one famous person stated that media is information. So he predicted that in the internet world we might face such a situation. Now we have very fragmented time and meanwhile we also have this virtual space and our attention span is dominated by certain media channels. I think this is the necessity and natural growth of history. In the beginning of 1970s the mainstream media in China is TV and newspapers and magazines. Back then one piece of newspaper and magazine might cover 80 or 90% of the Chinese population because Chinese people have no access to other forms of media. But now we have much more diverse forms of culture for example subculture or underground culture. They are very vertical. In the future they may develop their own values and their own language. So I think different users on different media platforms may have different focus and meanwhile there are a lot of different segmentation in each of these media platform. So for content creators I think this might present a challenge. Right now if you produce certain content it's impossible for you to capture all the audience. A story can be told in different forms and different format. It can be told in the way, in the movies, in the animation films and also in the different media platforms. The stories can be told in different ways. But these content creators need to have the determination and confidence to break free from the past. And sometimes you can also use visual art to tell a story. So you need to switch your mindset, your thinking pattern. So that you can produce good results in different artistic forms. So I believe this is the best of the time and also the worst of the time for content producers. But it's also to do with technology and power. How do you guide the audience, the consumers, the value system, so on and so forth. Qiu Fan talked about the segments. They have different landscape. They have different words. The language system for example. In the hip hop program on IG.com we see two online community having a conflict with one another. This is a perfect example of different segments in the online community talking to each other in different language systems thus creating conflicts. This is a very interesting story that the outsiders are very interested at looking at. So you talked about these different communities being isolated to one another, not able to communicate, understand one another. But I think this is also a good thing because this is evidence of diversity in the 1980s or 1990s. If you read science fiction, he or she couldn't find anyone that had the same hobby. So he would just read the science fiction and didn't talk about that at all. That was the case. A lot of people thought themselves are the loner or the only person that appreciates this fiction for example. But now with the internet it connects all the so-called learners. So they've got their little communities in which they would be able to talk to each other. So this diversity is very good. But there's another issue. Now you've got these mini communities, one and another. They are like silos isolated themselves. It's like islands in the Pacific Ocean. And then one community has their own specific language different from other communities. It's the same thing in the southern part of the mountainous area in China. They've got their own languages. It's very good because it creates diversity. So different communities, different languages, different mountainous areas having their own languages. But if you look at the history, as history develops with prosperous cultures, then there will be certain of convergence of different languages, harmonization of languages. People being able to speak in a common language thus this would give rise to economic booming and so on and so forth. The Roman Empire is a good example. The Qing dynasty in China is also a good example. And also in the UK in its history, exporting the English language into other countries, these are all very good examples of using the same language and thus inspiring ideas converge one and another. Now for me, I'm all for this diversity of different mini communities, different cultures, different forms. But I think if this community creating stops us from talking to one another, stops us from being able to understand each other because we've got different languages, then it might go to another extreme. This is not all good. This will drag us at a primitive level. So I think even if we are now little islands, we still want this connection every now and then among different islands with the same language. This will be good for the prosperous development. Very well said. For the Chinese culture, yes, there are many islands here and there, but when you talk about the Chinese culture in Chinese, this is a history. This is about the history of the 3,000 years in China. And I think this is something that differentiated the Chinese pop culture from Western culture. Now if you talk about Western culture, we don't directly think about the ancient Greek culture, for example. We would think about many different things, but when you Chinese people talk about the Chinese people, you would go directly to Confucianism, for example. But in the West, this is not the case. In the West, when we talk about culture, we don't talk about the ancient Roman empire or the ancient Greece. So these are different pictures. In China, there are different, all of these little islands, but one thing that differentiates China is that it has its 5,000 years of history. On my way here this morning, I read an article on WeChat which says that the statistics show us that the post-90, those who were born after 1990 or 1995, they have a higher level of cultural recognition, which means that they are inherently open to the traditional Chinese culture, which is very interesting, because Yang Fan talked about this ancient China, this element of ancient China is a very big thing in online video games or novels and so on and so forth. So this element of ancient China is a huge point in this market, and it's also related to the creation process, to content producing, and this is very highly recognized and liked by the younger generation, by the younger consumers. My team in the next quarter will create an online TV series, based on the ancient, with the ancient Chinese elements. So some you might think are niche market, but it has a huge power behind it. So I think as you're talking about this, we need all the practitioners, the professionals in our industry. For example, we've got an ancient culture, but if we incorporate that in a movie, that's very good, but if we talk about a fox or ancient names, all these are very Chinese specific cultural images, and you can trace them back to the ancient Chinese literature. Also, in 2009, there was a TV, a film that is based on 18 monks. It is also very typical famous images, Chinese images dating back to the ancient Chinese culture, and the mode of transport of these 18 monks are all animals, imaginary animals, which can also be traced back to ancient Chinese literature. So you'll see the power of creation, the power of invention of the ancient Chinese is beyond imagination. If you look at the bronze container, for example, it reflects the changing weather at the ancient time, the ones we uncover from the earth. You would see the handle made of an image of an animal, for example, and another part of the container was the shape of another animal, and from that, you could actually tell at the ancient time in Henan province whether the climate was very like that of Thailand and Australia nowadays. So you could then analyze that the elephants at that time was in the nowadays Henan province of China, and then they immigrate to Thailand and other countries. So this is some very valuable pieces of information that you can give to experts. So you could then study what's been going on all along in this whole process. There's a lot of things you can discover and uncover, and this is the organic food. I was talking about the valuable things in our culture. You extract that part out, and you feed it to the future generation. So the form and the content is not limited to what we are now already have. We have a lot of more possibilities. That is why I'm not entirely happy with the cultural products we have right now. For example, a lot of TV drama is on the manipulation, on the conflicts, on the guanxi in the ancient Chinese palace. I don't think this is the only interesting part about the ancient Chinese empire. There was, of course, the conflicts of human relations in the empire, but that was not all. As if, at that time and age, people didn't have any real business to mind. They only focused on interpersonal relations. This is not the case for the empire, obviously not. So if this is the only thing that we have in the pop culture, then we need to do some critique or we need to anticipate some change because we can't zoom in to all these minor parts of the Chinese culture. We need to look at other parts, the valuable parts in the Chinese culture. For the audience, what do we feed them with? Is it only the dark parts of the ancient Chinese history or the better parts? Is it junk food or nutritious food we choose to feed our audience with? This is something we need to think about. This can be changed if the content producers or the directors, for example, the practitioners is all thanks to them. What do they decide to do? We do not compromise to the easier way out as long as it is popular, as long as you can make headline or produce whatever the consumers want. I think this is the conscience of the practitioners, the content producers in our industry. I agree with you. We've been talking about creation, but we do not blindly follow whatever it is popular among the audience because culture itself is very important. Whatever we produce, it carries the values we believe in. So for the pop culture, it is the same thing. We reflect the values we believe in, the value that the content creator believes and what he wants to convey through his product to the audience. So is it the creator leads or guides the taste, or does he only follow other people's taste? So this is a choice that the content producer needs to make. This is also a very relevant issue in the culture industry, in whatever form of artistic work we're talking about. So we need to concentrate our resources on creating the better part of the Chinese pop culture. So I agree very much with what you just said. Now, we've got very limited time left, so you've all been talking very well about the pop culture in China, how it was developed, and what is the trend in the future. So I hope that for each one of you can you talk about, in a very simple way, from your perspective. We don't go into detail, but in the next few years, what is the trend, the outlook of the Chinese pop culture? I hope that in the richness of the Chinese culture, we will be able to provide more organic food, more better food out of it. So with development of the pop culture, we'll be able to contribute to the healthy development of our society. This will be to the great delight of me and all the practitioners in our industry. So we'll take the essence of the Chinese culture. I agree very much with the precondition of inclusiveness development. When we talk about corporate culture, maybe it is popular, but it does not have any culture element in it. So this is something we need to tackle. It's more consumer oriented, more about entertainment, more about compromising to the taste of the general public. So the products, they, of course, are stimulating people's deep down emotions or reflections. We need to create more products like this. We need the practitioners, the platform included, to guide the development of a good value system through the content. I hope pop culture can pay more attention to the inner world of humanity, something that can really resonate with our human heart. American movies can really touch upon the biggest issue that really touched the heart of people. But China's pop culture fails to touch the heart of the people. And I think, in fact, we still have a lot to offer and we do have a lot of emotions in China. So I hope our pop culture can really cater to the needs of people's heart. So we can really produce wonderful cultural products that resonate with people. In Shandong province, you know, Shandong province is the hometown of Confucius. So I hope that this classic culture can be the mainstream. We can also study some new issues like AI and we can also explore the relations between Confucianism and AI. And we can also address the challenges presented by AI by using the values of Confucianism. Based on my observation, there are two things. First, so the non-mainstream culture component have become more mainstream. And the subculture, the users of the subculture have become the mainstream of these societies. So that is why they are promoting the mainstream culture nowadays. Now, with the development of the fourth industrial revolution and information technology revolution, people will be closer together and more interactions. So this means that the cultural sphere will be more segmented. And now, I think people now may focus on the same issue but they also focus on the different elements of the issue. So let me have this sphere of culture. And I hope that in the future, these smaller spheres can be connected or hope this isolated island can be better connected. And hopefully with more technology development, people will not feel that lonely. And I think for this short span of time, we had a lot of discussions. And thanks to your concerted efforts and attention, our culture has been more diversified. And this diverse pop culture means that Chinese power will be very strong and this power can be stronger and add more radiance and color to the global culture community. Thank you. That's the end of the debate. Thank you.