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Culture | Crowd control
文化｜现场观演秩序
英文部分选自经济学人20260919期文化板块
Culture | Crowd control
文化｜现场观演秩序
The rise of the phone-free concert
无手机演唱会的兴起
A growing band of musicians wants fans to experience gigs the old-fashioned way
越来越多的音乐人呼吁乐迷回归传统，以纯粹的方式感受现场演出
“This machine is killing me,” croons Phoebe Bridgers in “Lost Boys”, her new song. She does not say whether she has a particular device in mind (or whether, like Rage Against the Machine, she is using the term as a metaphor for the establishment). But, given that her song is about self-destruction and stunted maturity, she may well be referring to a smartphone.
菲比·布里吉斯（Phoebe Bridgers）在新歌《Lost Boys》中浅吟低唱道：“这些机器真要命。”她并未言明自己是否特指某种具体设备，亦或像“暴力反抗机器”乐队（Rage Against the Machine）1那样，以“机器”隐喻当权体制。不过，鉴于这首歌讲述的是自我毁灭与心智成长受阻，她指的很可能是智能手机。
注：Rage Against the Machine（暴力反抗机器）是一支来自美国洛杉矶的说唱金属乐队，1991年成立，以激进的政治立场和融合说唱、金属、放克的音乐风格闻名。
Elsewhere, however, Ms Bridgers has been loud and clear about her feelings towards the gadgets: she has banned phones during her world tour, which kicked off on September 14th. To gain entry, ticket-holders will have to seal their devices inside pouches that are then magnetically locked for the duration of the gig. That means no filming or taking photos, as fans annoyingly do at other performances. According to Samsung, a phonemaker, each concert-goer in Britain records on average 12 and a half minutes of video per show.
然而，在其他场合，布里吉斯对手机的态度却掷地有声：她在9月14日拉开帷幕的世界巡演中全面禁用手机。持票观众入场时必须将手机装入特制的收纳袋中，并在演出全程保持磁力锁定。这意味着现场无法拍照或录像，从而免去其他演出中歌迷频频拍摄带来的恼人干扰。手机制造商三星的数据显示，在英国，观众在每场演出中平均会录制12.5分钟的视频。
She is not alone in enforcing such rules. Alicia Keys, Childish Gambino and Jack White have all banned smartphones at their gigs. Sir Paul McCartney barred them at two concerts he played in Los Angeles earlier this year. Bob Dylan’s upcoming tour will be phone-free. For some musicians, nostalgia plays a part in their decision. Sir Paul described his LA concerts as “really special”: “It was like an old gig, like how everyone used to play.” But the anti-tech trend is not just a yearning for simpler times. Rather, the hope is that fans will get more out of the live-music experience. The idea is that it is all the more special for being ephemeral.
布里吉斯绝非唯一推行此类规定的艺人。艾丽西亚·凯斯（Alicia Keys）、“幼稚甘比诺”（Childish Gambino）和杰克·怀特（Jack White）都在各自的现场演出中全面禁用手机。今年早些时候，保罗·麦卡特尼爵士（Sir Paul McCartney）在洛杉矶举办的两场演唱会同样实施了手机禁令。鲍勃·迪伦（Bob Dylan）即将开始的巡演同样也实行“无手机”政策。对部分音乐人而言，这一决定多少是出于怀旧。保罗爵士形容那两场洛杉矶演唱会“非常特别”：“那感觉就像昔日的现场演出，回归过往的演艺方式。”不过，这股反科技潮流并不只是对简单年代的怀念。音乐人更希望歌迷能够更充分地感受现场音乐的魅力。其背后的理念是：转瞬即逝才弥足珍贵。
Getting your hands on a ticket means getting to enjoy the company of your favourite musician and fellow enthusiasts without a screen in the way. Artists aver that concerts should be appreciated in the moment, not videoed for social media. At Harry Styles’s recent gig in Manchester, guests had to put their phones away, but they were given disposable cameras along with a note: “Thank you for really being here with me. Dance with all your friends.”
买票进场意味着可以在没有屏幕阻隔的情况下，与心仪的音乐人及同好共享现场时光。艺人们也强调，看演唱会就该专注于当下的沉浸体验，而非为了发社交平台录视频。最近哈里·斯泰尔斯（Harry Styles）在曼彻斯特的演出，就要求观众把手机收起来。不过，主办方给每个人都发了一次性相机，还附了张小纸条：“谢谢你们真正与我同在，与朋友们尽情共舞吧！”
The effect is scarcity—the only way to experience the show is to be there in person—and that may only heighten fans’ fear of missing out. Musicians have argued that the exclusivity is part of the point. Mr Dylan has said that the fact his performances will be “device-free” will “make the occasion even more unique”.
此举旨在营造一种稀缺感，体验演出的唯一办法就是亲临现场。这反而会加剧乐迷的“错失恐惧症”(FOMO)1。音乐人认为，这种排他性正是意义所在。鲍勃·迪伦（Bob Dylan）曾表示，他的演出“禁止电子设备”，会“使这一场合更显独特”。
注：“Fear of missing out”是当代社交媒体心理学中的经典概念，译为“错失恐惧症”（FOMO）。
Music is meant to connect the performer and the listener. Artists have said that they hate looking out at a sea of iPhones rather than smiling faces. Ghost, a Swedish metal group, banned phones on its tour in 2025; their front man cited the “ever-growing distance I felt between the crowd and the band”. Kaytranada, a Canadian DJ, put it more bluntly: “It looks mad awkward from where I stand.”
音乐的初衷在于联结表演者和听众。艺人们坦言，他们不愿看到台下是一片举着iPhone的“手机海”，而非一张张笑脸。瑞典金属乐队Ghost在2025年的巡演中实施了手机禁令，其主唱直言，此举是为了消弭“观众和乐队之间日益扩大的距离感”。加拿大DJ凯特拉纳达（Kaytranada）的表述则更直白：“从我站的位置看过去，那场面极其尴尬。”
翻译组：
Ryan，诗酒趁年华
zy，当下快乐就是意义
审校组：
Shulin，非上上智，无了了心
Rachel，学理工科，爱跳芭蕾，热爱文艺的非典型翻译
3
Very，男，电气民工，经济学人资浅爱好者
在如今这个时代，如何能够表现出比AI更加优秀，这是一个在未来较长时间内我们都需要面临的课题。
我也思考了很多，思来想去，大概有这几方面：
其一，需要承担责任的。从广义上而言，AI的提供者大概率是不会对你使用他们的模型而产生的任何结果负责，所以那些需要承担责任的岗位，对于人而言，仍然是不可或缺的。人类社会的责任逻辑链路最终必须要指向自然人，除非社会制度的运行规则发生重大改变。
其二，需要现场操作的岗位还是无法被替代。这个倒只是限定在当下至不远的将来，毕竟后续科技将发展到何种地步谁也无法估量。我觉得越是靠脑、体结合的，被替代的概率越低。譬如装修工、管道工、电工等等。而纯脑力的譬如写代码的就已经在被部分取代了。
其三，与人互动的职业。AI无法带来很直观的情绪价值，或者说我们（在明知的前提下）对于这些实际交流大概率是拒绝和非人的AI交流。因为这里有一种共情的情感因素在里面，我们大概率只能愿意与同类同情。
其四，没有明确目标，但是需要协调和公关的岗位。当我们需要处理一些没有可量化目标时，AI往往无法直接执行，譬如危机公关等等。这些行为需要大量人与人之间的博弈，而不是简单的迈向一个既定目标。
其五，原创的创造性工作。这个其实我本不想写入，但我犹豫了很久，觉得倘若这个我们都放弃而让AI取代的话，那我们生活的意义和价值真的会趋向一致。如果因此而走向人类大同的话，那这种大同显然是许多科幻片中全人类需要抵抗和拒绝的。因为这种大同抹杀了人类个体的独特性。
当然，上述所有的方面都不是完全独立于AI而存在，而是在AI的配合下完成，现在这些东西也已经完全被AI所融合了。当下我们难道还能够分得清哪些是纯粹的人类成果，而哪些是借助AI实现的吗？但显而易见的是，这种趋势无法避免，而且以如今科技的迭代速度，走多远我都不会感到惊讶，在这个趋势下，人类大概率是没有完全的护城河了。
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