[Xue Ke Long Jing Yi] New Challenges and New Countermeasures of Digital Communication of Intangible Cultural Heritage in China

Abstract: Faced with the changes brought by digitalization to all walks of life, the digital dissemination of China's intangible cultural heritage has become one of the core tasks of its inheritance and protection.

Therefore, how to leverage the advantages of digital communication based on the integration of digital technology and media, and formulate intelligent and innovative digital communication strategies for China's intangible cultural heritage is of profound significance.

Based on domestic and foreign literature analysis and research, in-depth interviews with experts and audience questionnaire surveys, this paper summarizes the new characteristics presented by the digital communication of China's intangible cultural heritage, analyzes and judges the new challenges it faces, and then combines digital communication with the characteristics of China's intangible cultural heritage, and proposes countermeasures for the digital communication of China's intangible cultural heritage.

Keywords: Intangible cultural heritage; digital communication; new challenges; communication strategies

introduction

Since the implementation of the "Intangible Cultural Heritage Law of the People's Republic of China" on June 1, 2011, the protection and inheritance of China's intangible cultural heritage (hereinafter referred to as "intangible cultural heritage") has become increasingly intense from the central to local governments.

151 comprehensive intangible cultural heritage teaching centers and 287 teaching points have been established, and local regulations on the protection and inheritance of intangible cultural heritage have also been introduced one after another.

General Secretary Xi Jinping clearly pointed out in the 12th collective study speech of the Political Bureau of the 18th CPC Central Committee that it is necessary to adapt the most basic cultural genes of the Chinese nation to contemporary culture and coordinate with modern society, and promote it in a way that people like to hear and have broad participation.

The report of the 19th National Congress of the Communist Party of China also clearly pointed out that we must attach great importance to the construction and innovation of communication means.

Therefore, the digital dissemination of intangible cultural heritage in China will be an important issue in the innovation process of digital inheritance and protection of intangible cultural heritage.

The so-called digital communication is a new form of communication that uses computers as the main body and multimedia as the assistance.

It integrates multiple exchange functions of language, text, audio-visual and other information, and combines and interacts various data, text, illustrations, animations, music, language, images, movies and video information through the Internet.

The spread of China's intangible cultural heritage in the digital era is not a simple copy and reorganization of traditional communication, but is based on the characteristics and current situation of intangible cultural heritage content, combined with breakthrough technological innovations in the digital era, and carries out new communication content for different target audiences.

Reengineering of communication processes, communication strategies, etc.

So, with the advent of 5G, how should we face the new situation, organically integrate technology and content, so as to carry out effective digital communication, change the current dilemma of China's intangible cultural heritage, and create the glory of China's culture?

In order to find answers to the above questions, this article conducted literature analysis and research on a large number of intangible cultural heritage case data at home and abroad in the early stage, and conducted cooperative research with intangible cultural heritage related units.

During the period from October to December 2017, in Shanghai, Beijing, Lanzhou, Luoyang, 15 cities including Guangzhou and Suzhou, a survey on the digital communication effect of intangible cultural heritage with a sample size of 12873 and a valid questionnaire of 11952 were conducted.

After analyzing and sorting out the in-depth interviews of 45 intangible cultural heritage researchers, communication experts, computer science experts and personnel of intangible cultural heritage management agencies, the new characteristics, new challenges and proposed countermeasures of digital communication of intangible cultural heritage in China are summarized.

New characteristics of digital communication of intangible cultural heritage in China

With the advent of the era of digital communication, the characteristics of the Internet such as interactivity, speed, convenience, openness and comprehensiveness have profoundly affected the way of digital communication of intangible cultural heritage.

Therefore, the communication characteristics of China's intangible cultural heritage in the digital ecological environment have also taken place.

Great changes have been made and the following five new characteristics have been presented: plasticity, rheology, unbounded, sharing and interactivity.

1) Plasticity: showing an activation display trend

Intangible cultural heritage is a living culture of innovation and development, and it is extremely malleable in itself.

Intangible cultural heritage in the traditional media era tends to be fixed and rigid in patterns and forms in the oral and psychological teaching of skills.

At the same time, the professional threshold of traditional art is often prohibitive.

However, the rising Douyin APP in the new media era is based on the principle of "breaking things into whole", inviting Peking Opera actor Wang Peiyu to use Short Video to demonstrate different types of laughter such as the "sinister laughter" and "sneer" of old students in Peking Opera.

This not only received 2.61 billion clicks and views.

It also allows the general public to experience the rich connotation of the quintessence of national art.

In today's "Internet +" era, digital technology can not only activate endangered art forms and preserve their "original" spiritual culture, but also inject the fresh vitality of the new era into the solidified art form and innovate the expression of traditional intangible cultural heritage.

Form, shaping the diverse characteristics of China's intangible cultural heritage.

Therefore, digital technology stimulates the vitality potential of intangible cultural heritage itself, makes it reach an activated state, and also greatly enhances the plasticity of intangible cultural heritage.

2) Rheology: from invisible bearing to polymorphic rheology

The so-called evolution of intangible cultural heritage means that on the basis of maintaining its true connotation, intangible cultural heritage projects use different tools, objects, cultural venues, etc.

to inherit and spread according to local conditions, and at the same time, they also change and flow with the art forms generated by the external environment.

At the 7th Chengdu International Intangible Cultural Heritage Festival in 2019, the work "Night Peacock" exhibited by the "New Mountains and Seas Classic" exhibition was made by Feng Guiying, a China Sichuan embroidery master, embroidering pieces of peacock feathers on a circular pattern formed by French craftsmen using jewelry.

This work not only perfectly combines China Sichuan embroidery with French embroidery techniques, but also is a new form of "mixed-blood" created by the collision of Eastern and Western intangible cultural heritage.

It can be seen that when the social environment changes, the spread form of intangible cultural heritage will also adapt to changes in the environment and change accordingly.

Nowadays, with the help of Internet and digital technology, China's intangible cultural heritage can conduct cross-regional and transnational technical exchanges, learning and information promotion.

While being learned, accepted and even imitated by other countries, nations and regions, it also absorbs new elements.

On the basis of fidelity intangible cultural heritage skills, it has formed a new expression content and form space, providing a broader space for the manifestation of the rheological nature of intangible cultural heritage.

3) Unbounded: From local cognition to wide-area communication

According to data from the "44th Statistical Report on Internet Development in China in 2019"(hereinafter referred to as the "44th Report"), the number of mobile Internet users in China has reached 847 million, and the proportion of Internet users using mobile phones to access the Internet reaches 99.1%.

The increasingly high-speed and convenient Internet environment makes wireless Mobile device an important way for the public to obtain information.

Intangible cultural heritage also uses digital technology and new media communication methods to break through many limitations of static presentation such as regional communication, immobility, and difficulty in restoring.

In 2018, Anhui Huangmei Opera became the most popular China local opera on Douyin App, with content on related topics being played 210 million times.

Traditional operas such as Henan Henan Opera, Shanxi Qin Opera, Hunan Huagu Opera and Zhejiang Kunqu Opera were also widely disseminated on Douyin, and these local operas have returned to public view with new media platforms.

In the future, with the widespread application and popularization of 5G technology, portable wireless Mobile device will make digital information more readily available.

At the same time, it will help China's intangible cultural heritage break through national borders and enter the world.

4) Sharing: Sharing and integration across regional boundaries

In a national survey on audience recognition rates of intangible cultural heritage projects, it was found that the recognition rate of Sichuan Shu embroidery in Harbin, Heilongjiang is only 3%, and the recognition rate of Shanghai He's Lantern in Luoyang, Henan is only 5%.

It can be seen that China's intangible cultural heritage has significant regional characteristics.

In the era of traditional communication, due to the limitations of time and space such as media and transportation, precious art is confined to local areas, forming a separation phenomenon of intangible cultural heritage.

However, the spread of intangible cultural heritage in the digital context has expanded the audience of intangible cultural heritage across the country through the Internet.

According to iResearch's "2019 Intangible Cultural Heritage New Economic Consumption Report", online shopping platforms, search engines and social media have become important channels for consumers to understand the country's intangible cultural heritage products.

The communication in the digital era has completely broken the deadlock in dividing intangible cultural heritage culture.

The timeliness of information has quickly expanded the cognitive group outside the intangible cultural heritage region itself, and has also strengthened the depth of intangible cultural heritage communication, forming a situation of sharing and integration of information across regional boundaries.

5) Interaction: Multi-directional interaction and "circle formation"

From the survey on audience participation in the early stage of intangible cultural heritage communication, it can be seen that the audience hardly participated in interaction in the traditional intangible cultural heritage communication process, and was basically in the role of passively receiving intangible cultural heritage information.

With the advent of the digital era, the trend of new media integration accompanying the rapid development of various high-tech technologies has begun to break the one-way communication of intangible cultural heritage in traditional media, allowing audiences to communicate with inheritors or other audiences through multiple digital input and output methods, such as virtual reality Visual Reality, hereinafter referred to as "VR"), digital visualization, artificial intelligence Artificial Intelligence (hereinafter referred to as "AI"), simulation machinery and other technologies, realizing multi-directional information interaction in intangible cultural heritage digital communication.

At the same time, under the influence of the fragmented spread of the Internet, intangible cultural heritage groups have gradually formed a circle differentiation.

This "circle" feature also allows audiences to interact in multiple directions, generate artistic resonance and conduct technical exchanges, which will also drive The widespread dissemination of intangible cultural heritage art has played a role in fueling the inheritance of intangible cultural heritage.

New challenges facing digital communication of intangible cultural heritage in China

According to the results of the national census of local opera operas released by the Ministry of Culture in 2017, the 60 operas collected in the "Annals of China Opera" compiled in the 1980s and 1990s were not included in the census list.

Some of these operas have disappeared, and some are on the verge of extinction.

Other intangible cultural heritage projects in China are also facing the dilemma of having no successors.

Intangible cultural heritage is a kind of "human culture" that is passed down by words, and the high human attachment of intangible cultural heritage in China also determines that it will face many problems and huge challenges in the process of digital communication.

1) The true connotation of intangible cultural heritage culture is gradually lost

Intangible cultural heritage is a kind of cultural heritage.

It is the life experience, historical tradition, collective memory and social practice of a specific group of people.

Therefore, the inheritance and dissemination of intangible cultural heritage means the preservation and continuation of cultural connotation.

However, in preliminary investigations, it was found that the authenticity of China's intangible cultural heritage was seriously lost during the inheritance process.

Taking Su embroidery as an example, the 10-yuan Su embroidery products currently visible on Su Embroidery Street in Zhenhu Town are not the works of the inheritors of China embroidery.

Their stitches are far from traditional Su embroidery stitches, which not only loses the authenticity of Su embroidery art, but also reduces the audience's recognition of the value of Su embroidery art and greatly interferes with the reflection of the connotation of China's intangible cultural heritage.

From conversations with inheritors and audiences, we can see that there are two reasons for this: first, many intangible cultural heritage art is lost due to the difficulty of finding inheritors; second, works by non-authentic inheritors are questioned by audiences about quality issues, resulting in the authenticity of art.

It is also challenged.

Therefore, in the face of the two major problems that plague intangible cultural heritage, whether we can find answers through digital communication is worth thinking deeply.

2) Low attention and weak participation in intangible cultural heritage social communities

It is difficult to complete the digital dissemination of intangible cultural heritage in China independently by relying on the inheritors as the core subject.

Zou Yingzi and Yao Huifen, national intangible cultural heritage inheritors of Su embroidery, said in interviews: "Although we believe that digital communication plays an important role in the inheritance of Su embroidery, we cannot complete the digital communication of Su embroidery alone." This coincides with the thoughts of many intangible cultural heritage inheritors interviewed.

Although the folk inheritors have excellent skills and excellent professionalism, their overall cultural level is generally not high.

They have little contact with digital technology, limited understanding, and little time to study.

Some inheritors may even resist, and finding suitable inheritors is more important than the popularity of intangible cultural heritage.

In addition, although China government departments have begun to pay attention to the digital dissemination of intangible cultural heritage, such as the establishment of digital communication by the Intangible Cultural Heritage Department of the Ministry of Culture, and the "China Intangible Cultural Heritage Research Center" of the China Academy of Art has begun to formulate relevant industry standards.

However, previous surveys showed that social groups such as digital technology companies and university computer research centers directly participated in the digital dissemination of intangible cultural heritage, accounting for only 2% of such surveyed people.

Digital technology companies believe that their profits are small, while university computer research centers say there are no similar research topics and research needs.

It can be seen that as inheritors of living cultural intangible cultural heritage subjects, they have weak awareness and skills of digital communication, and are almost aphasia in the digital communication of intangible cultural heritage; in addition, social scientific and technological forces have low participation in the protection and inheritance of intangible cultural heritage, resulting in weak participation of society as a whole in the digital communication of intangible cultural heritage in China, and effective digital communication of intangible cultural heritage cannot be carried out from the perspective of communication subjects.

3) The perception of intangible cultural heritage audiences shows a serious intergenerational imbalance

Intangible cultural heritage is a cultural practice passed down from generation to generation.

Its essence is change, which emphasizes the close relationship between people, people and environmental changes.

The mainstream group in the digital age is young people known as "Internet Aborigines".

Their dependence on Internet platforms and digital content is irreplaceable.

However, data shows that the overall average age of intangible cultural heritage inheritors in China is currently over 60 years old.

At the same time, from the survey on the communication effect of Shanghai operas, we can see that the content of Shanghai operas is too old, divorced from today's life, and ungood-looking.

It is considered that it is too old-fashioned and is the reason why the public does not like Shanghai operas.

This embarrassing situation of Shanghai Opera is also a current problem faced by other intangible cultural heritage projects, and this phenomenon will directly affect the audience's recognition and acceptance of intangible cultural heritage.

In addition, in the previous survey of the inheritance practice of intangible cultural heritage education, it was found that the current school's education and publicity of intangible cultural heritage culture are not sufficiently oriented, and more than 70% of the students in school have never been exposed to intangible cultural heritage related activities in school.

It can be seen that the neglect of intangible cultural heritage art in school education has led to young people's lack of understanding of China's traditional intangible cultural heritage culture.

This is also the direct reason why intangible cultural heritage has fallen out of favor among young audiences, which exacerbates the seriousness of problems such as low awareness and weak acceptance among communication audiences.

4) Original and single form of intangible cultural heritage communication channels

Previous survey data on the awareness of Su embroidery shows that for Su embroidery, which still focuses on traditional communication such as "point-to-point" live displays, 65% of young people do not know Su embroidery, and more than 92% of young respondents cannot truly understand Su embroidery.

This "primitive" communication method is difficult to impress young audiences and cannot meet the diverse needs of audiences in the digital age.

Although China's intangible cultural heritage communication has gradually become digital in order to change this situation, the results are not satisfactory.

In a previous survey on the digitalization degree of intangible cultural heritage projects, it was found that only 5% of the inheritors interviewed had opened new media channels such as websites or apps, but the digital content on their platforms was lacking, and the presentation method was simple and crude.

There were very few tours and downloads, as if they were in name.

In addition, data from the survey on the effectiveness of intangible cultural heritage digital communication also showed that only 9% of the respondents downloaded intangible cultural heritage related apps, mainly focusing on a few applications such as "Tea Ceremony Culture" and "Daily Forbidden City"; and the number of people who pay attention to intangible cultural heritage "and watch intangible cultural heritage online videos is less than a quarter of the total number of respondents.

From this point of view, how to promote the cultural core of intangible cultural heritage through a new path of digital communication and effectively attract young audiences is a new topic raised by the digital age for the dissemination of intangible cultural heritage in China.

5) The overall application of intangible cultural heritage digital technology lags behind

The digital communication of intangible cultural heritage in China started late and the application of technology lags behind relatively.

As early as 2000, the "American Memory" project completed the digitization of 5 million pieces of American cultural and historical archives, and provided free search services for 80 subject databases on the Internet.

In contrast, the digital protection of intangible cultural heritage in China was only after the General Office of the State Council issued the "Opinions on Strengthening the Protection of Intangible Cultural Heritage in my Country" in 2005 that the work related to the digital protection of intangible cultural heritage and the establishment of archives and databases was clarified.In previous case and literature research, it was found that there are currently not many "intangible cultural heritage digital communication centers" or "digital exhibition halls" in the country and various provinces and cities in China.

Compared with relatively mature historical and cultural exhibition halls, historical relics museums, and urban planning museums, etc., the digital application of intangible cultural heritage in museums is generally backward.

This leads to the fact that in the process of digitalization of intangible cultural heritage, there is often a lack of digital semantics and organization of local knowledge, the unity of "Tao" and "Instrument" cannot be achieved, and the form and significance of intangible cultural heritage are not equally emphasized.

At present, China's digital technology is in a leading position in the world.

With the arrival of the 5G era, AI technology and data science technology have gradually been implemented and popularized in all walks of life.

How to make many technologies give full play to strong advantages in the digital communication of intangible cultural heritage, and provide Chinese civilization Shining glory in the world art palace is a difficult problem that needs to be solved urgently in intangible cultural heritage research.

China's response strategies to digital communication of intangible cultural heritage

Based on the foregoing, although China's intangible cultural heritage is currently in the process of digital communication, gradually relying on new media such as "three micro and one end" and mobile applications to carry out digital communication, and presenting many new characteristics of the times, due to the lack of systematic integration of communication strategies, its communication effect is still not satisfactory.

Therefore, from the perspective of communication, we propose the following strategies at three levels: communication subjects, communication content and communication channels: 1) Forming a "digital community" for the dissemination of intangible cultural heritage information.

The digital dissemination of intangible cultural heritage in China is a systematic and huge project.

Effective digital dissemination of intangible cultural heritage requires coordination with government departments, intangible cultural heritage inheritors, social organizations and the public.

The joint participation of multiple entities such as the public constitutes a "digital community" for the dissemination of intangible cultural heritage information composed of multiple action entities that are closely connected and highly cooperative with each other.

Accelerate the construction of intangible cultural heritage digital archives and museums, improve intangible cultural heritage protection mechanisms, and stimulate young people's enthusiasm for spreading intangible cultural heritage.

As a government department for intangible cultural heritage protection and manager, on the one hand, it is necessary to coordinate intangible cultural heritage protection forces at different levels and establish a complete system.

China's intangible cultural heritage database storage, description, integration, retrieval, and backup system.

On the other hand, in addition to the promulgated "Law of the People's Republic of China on Intangible Cultural Heritage," relevant rules need to be formulated and promulgated to provide policy and mechanism guarantees for the practice of digital dissemination and protection of intangible cultural heritage.

In addition, the public is the ultimate object and subject of intangible cultural heritage communication, and effective digital communication of intangible cultural heritage still depends on the power of the public, so it is particularly important to arouse the awareness of intangible cultural heritage communication among digital users.

Therefore, while improving the intangible cultural heritage protection mechanism, we should also build a well-defined intangible cultural heritage digital museum system, which can extend the experience of the country's first museum with 5G coverage, the Hubei Province Museum, to various provinces, cities and regions, and use high-definition real 4K live broadcasts, VR roaming, 5G holographic projection shows and other digital technologies to spread intangible cultural heritage culture.

This not only gives people a refreshing new experience, but also inspires the majority of digital users and young people to spread intangible cultural heritage.

enthusiasm.

In turn, guide them to actively participate in digital communication of intangible cultural heritage.

Expanding the market for intangible cultural heritage digital cultural and creative products, innovating market recognition, and expanding the content carrier of intangible cultural heritage must be combined with the times, brands, and industries to release new vitality.

For example, drawing on Nanjing Yunjin's digital craft development experience: under the promotion of cultural inheritance, project development, brand expansion and tourism, Yunjin, which has a thousand-year history of hand-weaving, will be combined with creative design, new product development and digital technology to extend the length of the product line.

and width, forming a complete cultural industry ecological chain, which not only won the recognition of society and consumers, but also reproduced the brilliance of China culture.

Therefore, in order to tap intangible cultural heritage projects with market demand and development potential, innovate inheritance content carriers recognized by the market, and then expand the market of digital cultural and creative products, and promote the branding and industrialization of intangible cultural heritage, the main ideas are as follows: First, intangible cultural heritage digital resources should absorb different social, technological and other elements, especially cultural market elements, on the basis of content inheritance and innovation, carry out integrated development, and enrich the contemporary connotation of intangible cultural heritage digital content; The second is to actively promote the cross-border integrated development of intangible cultural heritage culture, digital resources and their elements with other industries through game development, integration of culture and tourism, derivative development, and intangible cultural heritage IP incubation, so as to build a benign ecosystem for the intangible cultural heritage digital cultural industry.

Promote the global promotion of intangible cultural heritage digitalization, promote cultural confidence, and shape the brand image of intangible cultural heritage.

In the current situation of global economic integration and increasingly serious invasion of foreign cultures, intangible cultural heritage digital communication should try its best to maintain its original "ecological model"., This is the top priority of intangible cultural heritage protection, and it is also a key move to promote national cultural confidence.

On the basis of content inheritance and innovation, intangible cultural heritage inheritors should also strengthen digital media literacy education, improve their ability to use digital media and communicate, and use various intangible cultural heritage digital communication platforms to shape the intangible cultural heritage they inherit.

brand image.

For example, the newly revised China Intangible Cultural Heritage website www.ihchina.cn), on the one hand, provides Chinese intangible cultural heritage inheritors with many national policies and intangible cultural heritage information; on the other hand, it is also an important platform for external digital communication of Chinese intangible cultural heritage culture, further enhancing international exchange experience and publicity, thereby shaping the brand image of China's intangible cultural heritage overseas and forming an accurate understanding of China's national image.

2) Building a digital communication content activation system for intangible cultural heritage The 2015 UNESCO "Ethical Principles for the Protection of Intangible Cultural Heritage" emphasized that the dynamic and vivid nature of intangible cultural heritage should continue to be respected.

The important inheritance feature of China's intangible cultural heritage is its living evolution.

Intangible cultural heritage in traditional life is a product adapted to social life at that time.

Now, if intangible cultural heritage is to be integrated into contemporary life, it is inevitable to re-examine and innovate the skills of inheriting intangible cultural heritage from the perspective of aesthetics and needs of today's society.

To sum up, in order to realize the living evolution of intangible cultural heritage in China and build a strategic system for activating intangible cultural heritage digital communication content, we can start from the following three aspects: 1.

Integrate various forces to promote the imaging process of intangible cultural heritage, and enrich and innovate the digital communication content of intangible cultural heritage.

As stated in McLuhan's view that "media is an extension of the human body", the image recording of intangible cultural heritage not only comprehensively, truly and systematically The recording of "intangible cultural heritage" also transforms the traditional intangible cultural heritage technical process into visual language, expands people's horizons.

At the same time, the content of intangible cultural heritage is innovated based on the characteristics of the audience, and secondary creation of intangible cultural heritage is carried out.

Therefore, imaging recording is an important path to realize innovation in intangible cultural heritage digital communication content.

On the one hand, professional image creation institutions and personnel are allowed to go deep into the intangible cultural heritage community and perceive intangible cultural heritage culture up close from the perspective of life experience.

Use images to record and restore real intangible cultural heritage content.

On the other hand, intangible cultural heritage research experts are invited to participate in image recording and rely on audio and video technology to produce images and videos that are in line with the general public's understanding of complex skills.

It breaks their stereotypes about traditional intangible cultural heritage.

In addition, it is necessary to classify and number all types of intangible cultural heritage image data, enter them into the archives management database, improve the archives information of relevant image data, and carry out reasonable innovations in the compilation of intangible cultural heritage image content to maximize the role of cultural inheritance.

Compile a spectrum of intangible cultural heritage communication events, carry out content marketing, and expand the impact of intangible cultural heritage digital communication.

First, we must conduct a comprehensive, systematic and in-depth analysis of intangible cultural heritage projects, clarify the historical development context, and grasp their own unique cultural origins and connotations., accurately locate intangible cultural heritage digital communication.

The second is to effectively integrate intangible cultural heritage digital communication with various resources such as the environment, market, media, government, and enterprises to fully leverage or create social hotspots.

For example, the 7th China Chengdu International Intangible Cultural Heritage Festival in 2019 attracted more than 1100 intangible cultural heritage projects from 86 countries around the world.

It not only achieved high-value intangible cultural heritage offline transactions, but also covered 190 million people online., becoming a short-term intangible cultural heritage hotspot communication event.

Third,"explosive incidents" should be created based on the audience's cognitive and acceptance characteristics, combined with the characteristics of intangible cultural heritage and the style of digital technology, to achieve the effect of viral spread on the Internet.

Cultivate intangible cultural heritage creative talents, promote intangible cultural heritage education for all, and promote the healthy development of intangible cultural heritage.

General Secretary Xi Jinping pointed out: Ideology determines the direction and development path of culture.

People are not only the main body of the activation of intangible cultural heritage business, but also the creators of intangible cultural heritage digital content and intangible cultural heritage creativity.

If we want to achieve effective intangible cultural heritage digital communication and give full play to the spiritual guidance and resource mining role of heritage, we need to cultivate a group of intangible cultural heritage digital communication creative talents, which include not only existing intangible cultural heritage inheritors or practitioners, but also the majority of digital users of intangible cultural heritage information.

The creativity of intangible cultural heritage is not only an innovative extension of traditional intangible cultural heritage crafts and skills, but also a dynamic tension between today's intangible cultural heritage economy and intangible cultural heritage culture.

Therefore, while strengthening the traditional education model of intangible cultural heritage entering campuses, we should also carry out universal education on intangible cultural heritage through video documentaries, online education and other channels to attract more digital users and young groups to learn about intangible cultural heritage and actively join intangible cultural heritage.

In the process of creativity, creation and dissemination of digital content, innovative intangible cultural heritage cultural formats should be cultivated.

3) Integrating the digital communication channels of intangible cultural heritage in China.

The digital communication of intangible cultural heritage is the product of the organic combination of digital media and digital technology.

On the one hand, digital media not only has the preservation and accessibility of print media, but also has the freshness and timeliness of electronic media.

It also has its own graphic and text reading and audio-visual properties.

On the other hand, the development of digital technology and Internet technology has further accelerated the comprehensive integration of different types of media.

Therefore, how to fully integrate the communication advantages of different media channels and creatively build a digital communication channel system for intangible cultural heritage is of great significance.

Relying on data mining and AI technology, we have strengthened the construction of intangible cultural heritage information portals and created accurate dissemination of intangible cultural heritage.

As early as 2017, China launched the UNESCO International Intangible Cultural Heritage Big Data Platform (www.diich.com), aiming to build a global intangible cultural heritage official platform, setting up unified classification standards for intangible cultural heritage projects and unique international identification codes, becoming an important information portal for the dissemination of intangible cultural heritage information.

At present, the platform has collected more than 160,000 intangible cultural heritage projects, included more than 70,000 inheritors around the world, and has covered 105 countries and regions.

On this basis, we will continue to adhere to user needs as the guide, use big data mining and AI data analysis technology to collect and analyze user data of the intangible cultural heritage information portal, and build a citizen intangible cultural heritage literacy simulation test system to realize the intelligence of information and user needs.

Only by matching and improving the content of the intangible cultural heritage information portal can accurate dissemination of intangible cultural heritage digital content be achieved.

Integrate new media resources, improve the digital display effect of intangible cultural heritage, and expand the spread of intangible cultural heritage circles.

As of April 2019, there have been more than 24 million videos about intangible cultural heritage on the Douyin platform, with a cumulative number of views reaching 106.5 billion times.

Obviously, Short Video platforms have become an important channel for digital dissemination of intangible cultural heritage, enriching the digital display form of intangible cultural heritage content, and this entertainment-style fragmented promotion method is also popular among young people.

At the same time, the participatory, openness, communication and connectivity of social media can well help intangible cultural heritage culture realize the spread of interest in circles, maximize the aggregation effect of intangible cultural heritage digital communication, and proactively build and guide the daily and social interest groups of intangible cultural heritage, link resources inside and outside the platform, and realize the co-creation and sharing of intangible cultural heritage content on the same screen, thereby carrying out secondary dissemination of intangible cultural heritage on the Internet.

Build an intangible cultural heritage virtual experience center, strengthen audience in-depth experience, and innovate intangible cultural heritage scene-based experience communication With the continuous development and large-scale application of AI technology, the digital communication of intangible cultural heritage has also been pushed into the era of experiential communication of application scenarios.

This requires making full use of modern digital technology and AI technology to enhance the intangible cultural heritage scene experience, which is specifically manifested in two aspects: first, content experience, building an intangible cultural heritage virtual experience center, and comprehensively using VR, augmented Reality (AR), 3D dynamic (3D) and other digital technologies to present intangible cultural heritage culture, inheritance history, craftsmanship and other content to the audience from multiple dimensions, and enhance the interaction and experience of intangible cultural heritage scenes; The second is the consumption experience, realizing an integrated online and offline experience of intangible cultural heritage, providing users with "visible and visible and visible" services, combining intangible cultural heritage AR digital display, AI interactive experience with the intangible cultural heritage and creative industry, carrying out intelligent innovation and reshaping based on traditional craft techniques and traditional cultural connotations, so that intangible cultural heritage can truly enter people's daily lives.

At present, the wide application and popularization of 5G technology in China is bound to bring innovative changes in various industries.

In the era of the Internet of Everything, for the development of digital communication of intangible cultural heritage in China, we should seize this opportunity, rely on the current leading 5G technology, borrow a variety of digital technologies and Internet technologies, and accelerate the pace of comprehensive digital transformation of intangible cultural heritage, provide audiences with more intelligent and instant digital intangible cultural heritage content and products, integrate and leverage multi-channel communication media, and enhance the integrated interactive experience in digital communication of intangible cultural heritage.

In order to promote the wide spread of China's intangible cultural heritage in the world, only in this way can the cultural confidence of the Chinese nation in the new era be demonstrated.

(The original text is published in "Cultural Heritage", issue 01, 2020, the annotations are omitted, and refer to the original issue for details)