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机构地区:[1]同济大学设计创意学院
出 处:《创意与设计》2024年第2期54-67,共14页Creation and Design
基 金:国家社科基金重大项目“中华工匠文化体系及其传承创新研究”(16ZDA105)。
摘 要:麦克卢汉的“机器新娘”——性与技术的结合预言了今日御宅族文化。御宅族与二次元是一种技术加速的“人机之恋”,二次元既是“机器新娘”按摩尔定律发展的媒介环境,又是御宅族心中高速迭代的后人类情结。二次元负外部性的根源在于技术过速导致的人与技术之间扭曲的单向度关系。御宅族只有成为技术宅,与“机器新娘”建立互相建构、协同进化的双向度关系,才能破解技术垄断。米哈游在“爱驱动创新”的技术宅模式上加入了权力和资本的模块,让二次元媒介的技术发展得到大幅度加速。他们把二次元的技术垄断当做技术加速的燃料,令二次元的负外部性转换为正外部性。米哈游模式证明了技术宅或许能成为技术加速主义的补丁,因为他们天生就装备了超越资本主义的政治纲领——用爱并为爱生产和创造。回归数字工匠的御宅族能在“拯救世界”的过程中“拯救自身”,自行完成御宅族的治理。The"mechanical bride"by McLuhan prophesied the fusion of sex and technology,foreshadowing today's otaku culture.The otaku and the nijigen(two-dimensional realm)represent a technologically accelerated"man-machine love",where the nijigen serves as the medium for the development of the"mechanical bride"following Moore's Law,as well as the rapidly iterating post-human fantasies within the otaku community.The negative externalities of nijigen stem from the distorted one-dimensional relationship between humans and technology,a consequence of the rapid pace of technological advancement.To break free from technological monopolies,otaku must embrace the role of tech-otaku and establish mutually constructive,co-evolving two-dimensional relationships with their"mechanical bride".MiHoYo,in their"love-dirven innovation"tech otaku model,incorporates modules of power and capital,significantly accelerating the technological development of the nijigen medium.They view the technopoly of nijigen medium as fuel for technological acceleration,transforming the negative externalities of nijigen into positive ones.The MiHoYo model demonstrates that tech otaku may serve as patches for technological accelerationism,as they inherently possess a political agenda that surpasses capitalism—producing and creating out of love,for love.By returning to the role of digital craftsmen,the otaku community can"save themselves"while in the process of"saving the world",achieving self-governance by otaku themselves.
关 键 词:技术宅 米哈游 设计治理 工匠文化 中国当代设计理论体系
分 类 号:TB47[一般工业技术—工业设计]
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