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作 者:白晓晴 Bai Xiaoqing
出 处:《南京社会科学》2024年第11期132-140,共9页Nanjing Journal of Social Sciences
基 金:研究阐释党的二十大精神国家社科基金重大项目“以融合传播创新增强中华文明传播力影响力研究”(23ZDA093)的阶段性成果。
摘 要:数字平台具有数据驱动、网络协同和群体组织的特点,形成了一个蕴含虚拟秩序的复合文化空间。在文化拓扑学视角下,数字化的文化生产活动可被看作是生产主体围绕一定价值衡量进行多向度媒介化拓扑的过程。数字平台的文化生产具有“一体两向三维”的拓扑结构,“一体”即融通公共权力与个人权力、文化生产与文化消费的公共域,“两向”即文化聚合与文化流通的拓扑动势,“三维”即平台的文化生产实践对用户体验施以影响的审美之维、认知之维和交往之维。数字平台的文化生产不仅是治理的对象,更是治理的手段。以文化符号、文化消费和文化空间的拓扑化推动治理观念的变革,有助于在数字平台增强审美涵化效果,提升多主体的价值利导意识,并建构大众的正向交往共同体。Digital platforms are characterized by data-driven,network collaboration and group organization,forming a composite cultural space with virtual order.Under the theoretical framework of topology,the cultural production on digital platforms can be regarded as the process of multi-directionaltopological practice of actors under the logic of digital technology.Digital cultural productionhas a topological structure of"one public domain,two forms of connectivity,and three dimensions".The"one public domain"refers to a unified space where public and individual powers,aswell as cultural production and consumption integrate.The"two forms of connectivity"describe thedynamic processes through which culture is aggregated and circulated,creating a topological momentumthat drives the ecosystem.Finally,the"three dimensions"encompass the aesthetic,cognitive,and communicative impacts that platforms'cultural production practices have on users,shaping theirexperiences and interactions within the digital cultural landscape.Cultural production on digital platformsserves a dual role:it is both subject to governance and a tool for governing.By adopting innovativegovernance approaches that leverage the interconnectedness of cultural symbols,consumption,and spaces,we can amplify the aesthetic depth,reinforce value consciousness,and develop a constructiveand interactive community.
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