A paper on the risks of digital technology in the protection of folk art
Abstract: Under the guidance of the principles of normative protection, systematic protection, original ecological protection, holistic protection and innovative protection , folk art can be protected using digital technologies such as digital maps, digital photography, digital video, digital audio, digital panorama, digital animation, tactile media, virtual reality and other digital technologies. Through these methods, relevant issues related to the folk art protection process can be effectively avoided. technology, culture, intellectual property and cost risks. Through digital technology, folk art gets rid of the limitations of time and space and can be displayed, utilized and shared to the greatest extent. In other words, the digital protection of folk art has become a new application platform and plays a huge role in public communication. role.
Keywords: digital technology; folk art protection; risk issues
The digital technology protection of folk art is a brand-new topic, and it is also a wide-ranging topic. A wide range of comprehensive projects. Digital technology provides technical means for the protection and dissemination of traditional folk art, and at the same time changes the traditional protection methods of cultural heritage. However, it should be noted that although digital technology can promote communication and exchange between different cultures, it may also be in the protection of cultural heritage. The technical and communication aspects of the heritage process weaken, distort or even obliterate the differences between different cultures. How to prevent the risks in the digitalization of folk art is a new issue in the digital protection of folk art.
1. Technical risks in the process of digital protection
1. Risks implicit in the process of information collection, processing and storage
The digitization of folk art involves information Collection, processing and storage, including the selection of collection equipment, data processing methods, storage formats and database technology. However, as of now, there is no unified national data processing specification or standard. No matter in the folk art census stage or in the directory project application process, there are some problems to varying degrees. The specific manifestations are: the data is well preserved, but the labeling and descriptions are so poor that potential users cannot understand and discover them; information related to folk art is not well linked and bound, resulting in people accessing resources when the resources themselves are not understood or are unreliable ; Often due to the independence of data confirmation and data processing software, the practicality of the data is reduced; the data sets in the database can be retained, but because they use different database technologies, others cannot understand their results and rules, and the data cannot be can be accessed; there are also some data that adopt measures such as password protection, encryption, and security devices, but when they are not applicable, the data will also become unusable. Folk art is distributed in various places. If all places use different methods, specifications and technologies for data processing, it will be difficult to achieve the ultimate goal of folk art - protection, inheritance, integration and sharing of resources.
2. Risks inherent in improper use of database technology
The central management system is the core of folk art digital technology protection, and is usually inseparable from the support of the database. The currently commonly used management system backend software in my country are commercial software. In addition to being high in price, these commercial software will also create a new burden of passive learning for users as new versions are upgraded. Users do not understand the internal structure of the software. Moreover, production software and companies have their own life cycles, which is not worth mentioning for the continuation of our folk art for hundreds or even thousands of years. Once the software and technology we rely on stop being developed or the company goes bankrupt, the system we developed in the early stage can only stop being used, causing waste. and may lead to a dissociation from digital technologies.
2. Cultural risks in the process of digital protection
1. Risks implied by improper grasp of humanities
With the deepening of digital technology, the impact of cultural heritage Protection issues have also come to the fore. Although digital technology is currently the most effective means of protection, its technical shortcomings also inevitably damage cultural inheritance.
It is easy to form a new discourse hegemony. While recording and protecting culture, it may obliterate certain historical and cultural heritage, implant too many modern things into it, and make the protection that should be as original as possible become too adulterated. Many technical and artificial factors have made cultural protection no longer pure, but a so-called "creative" protection, which requires our great attention.
2. Risks hidden in introducing technology from other countries
In recent years, our country has made remarkable achievements in the digital protection of folk art. However, compared with foreign countries, the digitalization of our traditional folk art There are still many shortcomings and shortcomings in the process. At present, because the development of our information resources is still very weak, the input of technical information exceeds the outflow of technical information. Due to the gap in technical levels, we are often at the mercy of others in the protection of folk art. The introduced software technology also has the risk of leaking the core cultural content. Therefore, the risks inherent in the use of digital technology in the protection of folk art must also be strictly controlled. Take precautions.
3. Intellectual property risks in digital protection
Folk art is our precious wealth, the development process and spiritual wealth of our country and nation. With the development of modern social economy, some folk arts are facing the danger of extinction; however, their cultural and commercial values ??are slowly emerging, and issues such as ownership disputes of folk arts are also gradually highlighted. However, our country lags behind in the judicial field of folk art protection, which makes issues such as the legal protection of folk art and how to promote its prosperity and development increasingly important. The process of rational use of folk art digital technology is faced with the collection and concentration of information. This requires the permission of relevant cultural management departments or inheritors before comprehensive and detailed classification of folk art and other craft information. collect. The digital information art formed after collection can be "fairly used" under certain circumstances according to the relevant provisions of my country's Copyright Law, such as museums, art galleries, libraries, archives and other public institutions. Institutions do not need to obtain permission to use copyrighted works in the selection, display, and preservation of traditional art works. Retrieval issues of folk art digital materials. One of the purposes of digital protection of folk art culture is to establish a database of collection resources, which can be protected in various forms, such as museums or other public and social institutions. The purpose of protection is mainly to better protect our Folk art resources can allow more people and our descendants to understand, appreciate and apply them. In order to better facilitate the retrieval of the collection resource database, the huge database information resources must be effectively classified and archived, and a digital retrieval system must be established. This will facilitate people's retrieval and search of the required resources, thereby improving usage efficiency. The development and establishment of database resources requires a large amount of manpower, material and financial resources, and a large amount of money is also required for later maintenance. It should enjoy copyright and be protected by the Copyright Law. Therefore, when we search, review and copy the original data information of folk art, we should obtain the rights holder's permission and pay corresponding remuneration.
IV. Cost Risks of Digital Technology Protection
With the process of digital technology protection of folk art, the financial cost invested will also increase with the updating of equipment software and hardware. , and the image quality requirements increase. Using video mode to expand storage capacity in order to have better visual effects will also lead to higher and higher costs, increased resource consumption, and higher expenses. These are all issues that must be paid attention to in the process of digital technology protection of folk art. At the same time, the later resource maintenance of the digital database also requires investment of human and financial resources. In order to better use the database information to meet people's needs, effective planning and demonstration of the input and output of folk art digital technology protection must be carried out. Control unnecessary waste and investment, and choose the objects and dissemination methods of digital folk art information when funds are limited to avoid excessive costs or accumulation of junk data.
References:
[1] Zhou Quanming, Geng Guohua. Digital protection technology and application of cultural heritage. Beijing: Higher Education Press, 2011.
[ 2] Zhang Geng. Research on Intellectual Property Protection of Folk Literature and Art. Beijing: Law Press, 2007.
[3] Li Xin. Digital Protection: A New Direction for the Protection of Intangible Cultural Heritage. Beijing: Science Publishing Society, 2011.;