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上表 7 顯示，韓國振興院及台灣文策院在執行和實施 Table 7 above shows that both KOCCA and TAICCA are playing
significant roles in the execution and implementation of creative
創意內容政策上扮演着重要角色。相比其他國家，南
content policies in their respective regions. To a degree not seen in
韓非常早便意識到藝術科技和數字創意內容能夠帶來
many other nations, the South Korean government understood from
就業機會、經濟效益及韓國文化的全球影響力
an early stage that Arts Tech and digital creative content could bring
（Holroyd，2019），並在 2009 年進行政府架構重組
about jobs, revenue, and the global presence of Korean culture
後成立振興院。十年後，台灣明顯也趕上這股趨勢，
(Holroyd, 2019), which motivated a departmental reorganisation that
參考南韓的振興院成立文策院。 led to the establishment of KOCCA in 2009. Ten years later, Taiwan
is catching up. It is seen to have modelled its newly established
時至今日，兩者都屬藝術科技的倡導者，我們看到他
TAICCA after KOCCA.
們的許多政策也支持先前所提及的「數字化」和「產
業化」概念。 Today, both are crowned key champions of Arts Tech, and we see that
many of their policy initiatives also underpin the notions of
反觀香港，自 2020 年推出藝術科技政策和藝術科技 “digitalisation” and “industry-building”, as discussed earlier.
專責小組以來，至今尚未制訂任何藍圖或發展路向。
Returning to Hong Kong—since the rollout of Arts Tech policy and
雖然政府意識到發展此領域的迫切性，但仍需更積極
the Arts Tech Task Force in 2020, no blueprint nor roadmap has been
且具體的策略才能推動更大的效益和創新。
devised. While the Government recognises the urgency to develop
this area, it also needs to proactively enable greater gains and
innovations through concrete strategies to take this further.
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