摘要： 数字媒介时代，公众参与艺术被嵌入平台化媒介技术所构成的界面—算法—数据装置之中，参与既被呈现为审美公共性的扩张，又被转化为可计算的可见性资源与可开采的行动绩效。以朗西埃“可感秩序”的审美政治框架为理论坐标，在吸纳参与文化研究对平台基础设施与“不可见参与”的批判视角的基础上，可进一步提出“分配机制—授权机制—剥夺机制”的分析路径。在这条路径中，公众获得的往往是被指标化确认的在场感，而非能够改写出场、阐释与判断条件的政治能动性。平台化参与的再政治化需要同时面向机制内部的异议形式重启与机制外部的公共文化基础设施重建，从而为歧见的持续显现与公众作为审美政治行动者的生成保留制度空间。

关键词: 公众参与艺术, 参与文化, 可感秩序, 平台治理, 审美政治

Abstract: In the age of digital media, public participatory art has become deeply entangled with the interface– algorithm–data assemblage of platformized media infrastructures. Under these conditions, participation is promoted as a mode of expanded public engagement, yet it is also converted into measurable visibility, datafied interaction, and extractable performance. Taking Jacques Rancière’s notion of the distribution of the sensible as a theoretical point of reference, and incorporating critical scholarship on participatory culture, platform infrastructures, and invisible participation, this article proposes a threefold analytical framework centered on mechanisms of distribution, authorization, and dispossession. From this perspective, the article argues that platformized participation tends to grant the public a quantified sense of presence rather than substantive political agency capable of transforming the conditions under which visibility, interpretation, and judgment are organized. Accordingly, the repoliticization of participation in platform environments requires both the renewal of dissenting practices within existing technical systems and the rebuilding of public cultural infrastructures beyond platform governance. Only in this way can space be sustained for the continued articulation of dissensus and for the emergence of the public as an active agent of aesthetic politics.

Key words: public participatory art, participatory culture, distribution of the sensible, platform governance, politics of aesthetics