杨舢 梁露馨

AYANG Shan, LIANG Luxin

当今文化创意集群存在着创意不足、空间同质化和相关研究雷同等问题，折射出以同一性本体论应对差异生成问题的局限性。基于德勒兹—瓜塔里的组装概念，笔者尝试提出一种新的差异生成解释。笔者首先批判了“集群迷思”，并指出文化实践的凝胶空间性；其次，阐释了组装理论的概念，包括树形组装与块茎组装、超编码抽象机器与突变的抽象机器（逃逸线）等概念，以及它们与差异生成的关系，同时指出，犹如远离平衡的热力学强度环境，块茎组装是保持非同一性生产能量的社会强度环境；最后，选取了上海田子坊和“南京1865”两个文创集群作为对比研究对象，简述两者发展历程，识别超编码抽象机器和突变的抽象机器（逃逸线），分析块茎和树形组装对文化创意活动的促进和限制，并借此反思以精细量化考核指标体系为代表的文创集群治理手段的不足。这种本质主义工作方式最终扼杀了文创集群创意性和空间差异性。

There are such problems as insufficient creativity, spatial homogeneity, and similar research on current cultural creative clusters. These problems are related to the fact that identity ontology is unable to deal with the problem of difference-becoming. Based on Deleuze-Guattarian concept of assemblage, this paper proposes a different interpretation. Firstly, the paper criticizes the “clustering myth” and points out the gellable spatiality of cultural practices. It then goes on to explain Deleuze-Guattarian conceptual framework of assemblage with such terms as rhizomatic assemblage, arborescent assemblage, abstract machine, etc., and their connections with difference becoming. The paper points out a rhizomatic assemblage is a social field maintaining the productive energy of non-identity. Finally, it selects two typical cultural creative clusters, Tianzifang in Shanghai and “Nanjing 1865”, as the comparable research objects, briefly describes their development process, identified the abstract machine of overcoding, flight lines of mutation and deterritorialisation, and analyzes the promotion and limitation of rhizomatic and arborescent assemblage on cultural and creative activities. It reflects on the inefficiency of the fine-quantified index system which has been broadly used as regulating means for cultural creative clusters. However, this essentialist way may eventually throttle the creativity and spatial differences of cultural creative clusters.

杨舢，南京大学建筑与城市规划学院，副研究员。y_sampan@sina.cn

梁露馨，南京大学建筑与城市规划学院，硕士。nju2021llx@163.com

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