Under the guidance of the principles of normative protection, systematic protection, original ecology protection, integrity protection and innovative protection, folk art can be protected by digital technologies such as digital map, digital photography, digital video, digital audio, digital panorama, digital animation, tactile media and virtual reality. Through these methods, the risks related to technology, culture, intellectual property and cost in the process of folk art protection are effectively avoided. Through digital technology, folk art has got rid of the limitation of time and space, and has been displayed, utilized and appreciated to the greatest extent. In other words, the digital protection of folk art has become a new application platform, which plays a huge role in mass communication.

Keywords: digital technology; Protecting folk art; Risk problem

The digital technology protection of folk art is a brand-new subject and a comprehensive project involving a wide range. Digital technology provides technical means for the protection and dissemination of folk traditional art and changes the traditional way of cultural heritage protection. However, it should be noted that although digital technology can promote communication and exchange between different cultures, it may also weaken, distort or even obliterate the differences between different cultures in the process of cultural heritage protection in terms of technology and communication. How to prevent the risks in the process of digitalization of folk art is a new problem facing the digital protection of folk art.

I. Technical risks in the process of digital protection

1. Hidden risks in information collection, processing and storage.

The digitalization of folk art involves the collection, processing and storage of information, including the selection of collection equipment, data processing methods, storage formats and database technology. However, so far, there is no unified national data processing standard or specification. No matter in the stage of folk art prospecting or in the process of applying for the list project, there are some problems to varying degrees. The specific performance is as follows: the data is well preserved, but the label and description are poor, which can not be understood and found by potential users; Because the information related to folk art is not well linked and bound, the resources themselves cannot be understood or unreliable when people visit; Often due to the independence of data verification and data processing software, the practicability of data is reduced; The data set in the database can be kept, but because of their different database technologies, others can't understand its results and rules, and the data can't be accessed; There are also some data with password protection, encryption, security equipment and other measures, but when not applicable, it will also lead to data unavailability. Folk art is distributed all over the country. If all localities process data in different ways, specifications and technologies, it will be difficult to achieve the ultimate goal of folk art-protection, inheritance, resource integration and appreciation.

2. Risks implied by improper use of database technology.

Central management system is the core of digital technology protection of folk art, which is usually inseparable from the quantitative support of later databases. At present, the commonly used background software of management system in China is commercial software. In addition to the high price, these commercial software will also cause the burden of passive learning for users with the upgrade of the new version, and users will not understand the internal structure of the software. Moreover, both the software and the company's production have their life cycles, which are not worth mentioning for the continuation of our folk art for hundreds or even thousands of years. Once the software and technology we rely on stop developing or the company goes bankrupt, then the system we developed in the early stage can only stop using, causing waste. And may lead to the separation of digital technology.

Second, the cultural risks in the process of digital protection

1. Risks implied by improper grasp of humanities

With the development of digital technology, the problems in the protection of cultural heritage are also highlighted. Although digital technology is the most effective means of protection at present, its technical disadvantage inevitably damages cultural heritage. It is easy to form a new discourse hegemony. While recording and protecting culture, it may obliterate some historical and cultural heritages, implant too many modern things into them, make the protection as original as possible, and mix too many technical and human factors, so that cultural protection is no longer pure, but a so-called "creative" protection, which needs our great attention.

2. Risks involved in importing technology from other countries

In recent years, China has made remarkable achievements in the digital protection of folk art, but compared with foreign countries, there are still many shortcomings and defects in the digitalization of traditional folk art in China. At present, due to the weak development of information resources in China, the input of technical information is more than the outflow of technical information. However, due to the gap in technical level, we are often subject to people in the protection of folk art, and the imported software technology also has the risk of revealing the core content of culture. Therefore, the risks implied by using digital technology to protect folk art should also be strictly guarded against.

Third, intellectual property risks in digital protection.

Folk art is our precious wealth, the development course and spiritual wealth of our country and nation. With the development of modern social economy, some folk arts are in danger of extinction; However, its cultural and commercial value has gradually emerged, and the dispute over the ownership of folk art has gradually become prominent. However, the judicial field of folk art protection in China is relatively backward, which makes the legal protection of folk art and how to promote its prosperity and development increasingly important. The rational use of digital technology of folk art is mostly faced with the collection and concentration of information, and it needs the permission of relevant cultural management departments or inheritors to comprehensively and carefully collect the process information of folk art. According to the relevant provisions of China's copyright law, the digital information art formed after collection can be "reasonably used" under certain circumstances. For example, public institutions such as museums, art galleries, libraries and archives do not need permission to use copyrighted works when selecting, displaying and preserving traditional works of art. On the retrieval of digital data of folk art. One of the purposes of digital protection of folk art and culture is to establish a database of collection resources, which can be protected in various forms, such as museums or other public institutions. The main purpose of protection is to better protect our folk art resources and let more people and our descendants know, watch and apply them. In order to search the library resource database more conveniently, it is necessary to effectively classify and archive the huge database information resources and establish a digital retrieval system, so as to facilitate people to search and find the needed resources and improve the efficiency of use. The development and establishment of database resources need to invest a lot of manpower, material resources and financial resources, and also need to invest a lot of money for post-maintenance, which should enjoy copyright and be protected by copyright law. Therefore, when we search, consult and copy the original information of folk art, we should obtain the permission of the obligee and pay the corresponding remuneration.

Fourth, the cost risk of digital technology protection.

With the protection of digital technology of folk art, the financial cost will also increase with the upgrading of equipment hardware and software and the improvement of image quality requirements. In order to have a better visual effect, using video mode to expand storage capacity will also lead to higher and higher costs, increased resource consumption and increased expenses. These are all problems that have to be paid attention to in the process of digital technology protection of folk art, and at the same time, the later resource maintenance of digital database also needs to invest manpower and financial resources. In order to make better use of database information to meet people's needs, the input and output of folk art digital technology protection must be effectively planned and demonstrated. Control unnecessary waste and investment, choose the object and dissemination mode of folk art digital information in the case of limited funds, and avoid excessive cost or garbage data accumulation.

References:

[1] Zhou, Geng Guohua. Digital protection technology of cultural heritage and its application. Beijing: Higher Education Press, 20 1 1.

[2] Zhang Geng. Research on Intellectual Property Protection of Folk Literature and Art, Beijing: Law Press, 2007.

[3] Xin Li. New ways to protect intangible cultural heritage. Beijing: Science Press, 20 1 1.

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