論演算法時代的文化工業：從文化圖式化到技術圖式化

The Culture Industry in the Algorithmic Age: From Cultural Schematization to Technical Schematization

本文旨在重新思考文化工業概念在演算法時代的理論效力。本文指出，霍克海默與阿多諾對文化工業的批判，關鍵不在高雅／通俗文化之辨，而在揭示文化生產納入資本主義工業流程後，如何透過圖式化機制接管主體統合經驗的能力，並將美學經驗轉化為可預期、可消費且可管理的替代性經驗。接著，本文進一步援引斯蒂格勒的技術哲學，從記憶的體外化、記憶輔助性的第三持存與時間客體等概念出發，說明文化工業已由文化內容的標準化，推進為對感知、注意力與記憶條件的技術性重組。及至如今的數位平台與社交媒體時代，此一機制更發展為痕跡工業與演算法治理的結合，透過資料蒐集、個人側寫、預測與推薦，將個體拆解為可分體，並對注意力、欲望與社會性進行持續調製。本文最後主張，面對演算法體制對公共性與反思能力的壓縮，文化工業批判應轉向時間政治與技術政治，重新思考如何在數位環境中開闢公地、重建欲望經濟，並恢復跨個體化的可能條件。

This article reconsiders the critical relevance of the culture industry thesis in the algorithmic age. It argues that Horkheimer and Adorno’s critique is concerned less with distinctions between high and popular culture than with the industrial schematization of experience, through which cultural production absorbs the subject’s capacity to organize perception and transforms aesthetic experience into a predictable, consumable, and governable substitute. Drawing on Bernard Stiegler’s philosophy of technics, the article further shows how this logic develops from the standardization of cultural content into a technical reorganization of perception, attention, and memory through exosomatization, tertiary retention, and temporal objects. In the age of digital platforms and social media, this process becomes an industry of traces intertwined with algorithmic governmentality. The article concludes that critique today must reopen the questions of temporality, commons, desire, and transindividuation.