“声音乌托邦”是否可能?播客的可听性与公共声音空间的建构  

Is a“Sound Utopia”Possible?The Audibility of Podcasts and the Construction of Public Sound Spaces

作　　者：黄雅兰[1] Huang Yalan(School of Journalism and Communications,Jinan University)

机构地区：[1]暨南大学新闻与传播学院,广东广州510632

出　　处：《新闻界》2025年第2期18-28,共11页

基　　金：中央高校基本科研业务费专项资金资助(23JNQMX54)。

摘　　要：2020年以来,中文播客快速发展,呈现出精英而复古的特征。依循媒介考古学的路径,本文梳理了2020年之前播客发展的三个阶段和类型:极客电台、商业化数字音频内容和媒体人播客;继而指出,建构高质量的公共声音空间,是2020年后播客区别于其他媒介以及此前数字音频产品的重要方面。播客这一数字声音媒介的内容可供性和互动可供性分别使多元深度的内容和有机互动的氛围得以可能,重建了在当下数字生态中被边缘化的公共性信息和对话传统,这成为中文语境下播客复古性的重要来源。最后,本文尝试拓展“可听性”概念的文化维度,并提出,本真的和审美的声音为复兴公共生活和人本主义媒介传统提供了可能的路径。Since 2020,Chinese podcasts have experienced rapid development,characterized by an elite and classical orientation.This article traces three stages and types of podcasts before 2020:geek radio,commercialized digital audio content,and podcasts produced by(former)journalists.It then argues that the construction of public sound spaces has become a defining feature of post-2020 podcasts,distinguishing them from other media and earlier forms of digital audio.Podcast’s content affordance and interactive affordance enable both in-depth content and active interaction.This,in turn,reconstructs the tradition of professional public information and dialogue that has been marginalized in the current digital ecosystem,becoming an important source of the podcast’s nostalgic quality in the Chinese-language context.Finally,this paper summarizes the unique affordances of podcasts through the concept of“audibility”and suggests that authentic and aesthetical sound offers a possible approach to revitalizing public life and the humanistic media tradition.

关 键 词：播客 可听性 可供性 公共声音空间 媒介尚古主义 

分 类 号：G206[文化科学—传播学]