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| July 2012 |
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21 |
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| 專輯論文Special Issue Articles |
| 城市屏幕、網絡化文化 與參與式公共空間 |
| Urban Screens, Networked Cultures, and Participatory Public Space |
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(3453)
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| 作者 |
Scott MCQUIRE |
| Author |
Scott MCQUIRE |
| 關鍵詞 |
城市屏幕、公共空間、媒體理論、地緣媒體、 參與 |
| Keywords |
urban screens, public space, media theory, geomedia, participation |
| 摘要 |
現代城市媒體密度日增，使我們重新審視對動態公共空間的理解。以密佈網路與實情資訊為特點，大眾媒體正向地緣媒體轉型，這意味城市空間正受到新權力體系影響產生新媒介形式。大型公共屏幕是其中最明顯而有助分析轉型的標誌之一。城市屏幕雖通常啟發非主流電影場景，如《銀翼殺手》（港譯《2020》）(1982) 中異位城市，然無論是旁觀形式還是社會現實都與普通電影差異顯著。此外，在數位網路文化方面，城市屏幕已具超越「環境電視」的潛力並推動公共空間新集體互動。通過此方法和城市間屏幕調研，本文將審視城市屏幕在促進網路文化公共空間新參與模式中的潛力。 |
| Abstract |
As contemporary cities become environments supporting increasing media density, it is important to reexamine our understanding of the dynamics of public space. The transformation of media into geo-media, characterized by ubiquitous networks coupled to context-sensitive information, means that urban space is now subject to new geometries of power and opened to new forms of agency. Large-scale public screens are both one of the most visible signs of this trajectory, and a strategic site for its analysis. While the urban screenscape has often inspired futuristic cinematic scenarios, such as the dystopic city of Blade Runner (1982), the forms of spectatorship and social practice incubated by urban screens in fact differ significantly from those associated with cinema. Moreover, in a digital networked culture, urban screens have gained the potential to move beyond “ambient television” to play a more proactive role in initiating new collective interactions in public space. Drawing on the approaches and projects developed around several different sites for urban screens, this paper will examine the potential for urban screens to facilitate new modes of participation in the public spaces of networked cultures.
本文引用格式
McQuire, S. (2012)。〈城市屏幕、網絡化文化與參與式公共空間〉。《傳播與社會學刊》，第21 期，頁105–128。
Citation of this article:
McQuire, S. (2012). Urban screens, networked cultures, and participatory public space. Communication & Society, 21, 105–128.
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