ABSTRACT

Where are we in the story of British democracy? Was the 2016 EU Referendum a rehearsal for a new political system of direct democracy that ultimately benefits the far right? Or will the Internet replace the conventional machinery of government with a radical new form of network power where people discursively experiment with new political realities through aesthetic modes of social relations? This article proffers the term ‘networked participation’ to describe a conceptual model of citizenry centred on structuring meaning through the dialogic exchange of information in aesthetic environments. The political ideals of network politics inform my analysis of the complex web of connections that participants scaffold in the performances Operation Black Antler(Blast Theory and Hydrocracker 2017) and One Day, Maybe (dreamthinkspeak 2017) between identitarian ideology in Britain and competing narratives of democracy’s meaning in South Korea, respectively. This model of audience participation is proffered to develop a theory of social relations produced through a theatrical experience of digital interconnectivity.

摘要

我们在英国民主的故事中处于什么位置？2016 年的欧盟公投是对最终有利于极右翼的直接民主新政治制度的预演吗？或者，互联网是否会以一种全新的网络权力形式取代传统的政府机构，在这种形式下，人们可以通过审美的社会关系模式来随意地尝试新的政治现实？本文提出了“网络参与”一词来描述一种公民概念模型，该模型以通过审美环境中的对话信息交换来构建意义为中心。网络政治的政治理想让我分析了参与者在黑鹿角行动（Blast Theory and Hydrocracker 2017）和有一天，也许（dreamthinkspeak 2017）分别在英国的身份主义意识形态和韩国的民主意义的竞争叙事之间。这种观众参与模式旨在发展一种通过数字互连的戏剧体验产生的社会关系理论。