A few days ago, the 22nd meeting of the Central Committee for Comprehensively Deepening Reform deliberated and approved the Implementation Opinions on Making Cultural Relics Live and Expanding the International Influence of Chinese Culture, and put forward that “it is necessary to strengthen the protection and utilization of cultural relics and the protection and inheritance of cultural heritage, improve the level of research, interpretation and display of cultural relics, and make cultural relics really live, so as to better reflect the historical value, cultural value, aesthetic value, scientific and technological value and the value of the times”. It is determined that the integration of digital technology and cultural tourism industry is the innovation direction, which means the adoption of the.
The year 2021 is coming to an end. When taking stock of the key words of the year, a new vocabulary named “NFT” comes into public view. NFT, the abbreviation of non-fungible token, translated as “Non-Homogeneous Pass”, is the only digital identifier to record the ownership of digital assets.
As a Chinese-style NFT, the digital collection is mainly composed of IP content carried by Internet companies. Specifically, it is to publish digital collections on the platform for consumers to trade. Taking the 3D digital collection of “Sword of the King of Yue” issued by ant chain vermicelli as an example, it can be found that the digital collection has a very different path from NFT: First, the digital collection is issued through alliance chain, and there is a clear threshold for issuance and purchase. If it is not presented anonymously, the real-name registration system is implemented for users, and the whole process is completely controllable; Secondly, follow the relatively objective pricing mechanism; Finally, restrict circulation, put an end to speculation and return to collection.
At present, Chinese-style NFT-digital collection is a kind of digital cultural and creative goods, which is anchored in the cultural industry and more operated in the form of genuine content consumption.
No matter whether the cultural relics are permanently preserved or displayed more flexibly, it is necessary to make good use of digital technology. Only digitalization can make them free from the limitation of restoration and preservation ability, time, space and geographical location. If we want traditional culture such as cultural relics to spread more widely and deeply, we also need a better mode-digital mode to promote a virtuous circle of realizing double effects of industry and society.
As Dan Jixiang, the former president of the Palace Museum, said, “No museum can open its doors without innovation.” Wang Xianfu, deputy director of Hubei Provincial Museum, believes that digital collections allow ancient cultural relics to break through the boundaries of time and space and age: “Creating new cultural scenes and promoting traditional culture in a way that young people like will get twice the result with half the effort.” Cultural relics must come alive, and the proper meaning of living is to involve young people. The younger generation is not only the “Depth Charge” embracing digital technology, but also the inheritor of traditional culture. The participation of young people makes it possible for cultural industries, especially traditional culture, to really benefit from new technology.
At present, Internet companies such as Ant, Tencent, ByteDance, JD.COM and bilibili have clearly entered this field. From the perspective of force direction, the ant chain takes the lead in clearly focusing on the traditional cultural IP, and the joint museum makes efforts in the field of traditional culture, which has become the most beneficial exploration of NFT technology at present.
Digital collections use digital technology to promote the possible boundary of cultural (especially traditional) industries to move out, and are the carriers to promote the intrinsic value and commercial value of cultural industries to “live up”. As an emerging format, it empowers the physical industry and stimulates the physical industry to create greater value. The essence of digital collections is the form of cultural innovation, which points out the latest development direction for cultural and creative industries. In a broader sense, digital collection is the latest development of human digital lifestyle in the cultural field. (Weng Yi)