摘要
当前,随着社会环境的变化、数字技术的发展、新媒体受众研究范式的转换,展馆在受众发展领域业已不能循以往的套数运营,亟待一种自我凝视的视角介入,重新审视固有的受众逻辑与价值取向,通过变革与创新以寻求有效的转型路径。基于奇观/展演范式下的受众在媒介展演的自我认同、群体认同和文化认同建构中可划分为4个阶段:“媒介渗透”“日常互动”“展演”与“奇观/自恋”。以深圳市当代艺术与城市规划馆为例,依据4个维度剖析受众结构与受众表现,从媒介生态圈、艺术展演、社群艺术3个视角探讨展馆的价值演绎与受众派生。
At present,with the change of social environment,the development of digital technology and the transformation of new media audience research paradigm,the exhibition hall can not continue to operate in the old ways.It is urgent to re-examine the current audience logic and value orientation,and seek an effective transformation path through reform and innovation.The audience based on spectacle/performance paradigm can be divided into four stages in the construction of self-identity,group identity and cultural identity of media performance:media penetration,daily interaction,performance and spectacle/narcissism.Taking The Museum of Contemporary Art&Planning Exhibition for example,this paper analyzes the audience structure and audience performance from four dimensions,and discusses the value deduction and audience derivation of the museum from three perspectives of media ecosystem,art performance and community art.
作者
车学森
CHE Xuesen(School of Arts,Chinese University of Hong Kong,Hong Kong,999077,China)
出处
《文化创新比较研究》
2021年第28期146-149,共4页
Comparative Study of Cultural Innovation
关键词
深圳
当代艺术与城市规划馆
奇观/展演范式
受众研究
传播媒介
Shenzhen
Museum of Contemporary Art and Urban Planning
Spectacle/Performance paradigm
Audience research
Media
