Financial Decision Making in Older Adults Is Associated With Frontoparietal-Salience Between-Network Connectivity.

The ubiquitous integration of digital media into everyday life has fundamentally reshaped the ways cultural heritage is disseminated. Chinese traditional festivals, represented by the Spring Festival, Dragon Boat Festival, and Mid-Autumn Festival, originally relied primarily on family rituals, local customs, public celebrations, and intergenerational transmission for continuity. In the era of social media, user activities such as viewing, commenting on, sharing, and re-disseminating cultural content have become important forms of digital interaction (). These festivals are also continuously transformed into text-and-image posts, short video clips, live streaming scenes, hashtags, and comment interactions. Consequently, traditional festivals have become not only time nodes and ritual practices in real life but also cultural symbols that can be viewed, discussed, evaluated, and re-disseminated in cyberspace. In recent years, the communication value of intangible cultural heritage in tourism development, staged performances, and urban brand construction has received sustained attention, providing an important research background for understanding the re-dissemination of traditional festivals in the digital age (; ; ). Particularly, recent studies applying big data perspectives have highlighted the transformative role of digital platforms in evaluating the cultural heritage value of Chinese festivals (). Furthermore, investigating user engagement with digital Chinese cultural heritage underscores that online spaces not only connect information but also facilitate deep emotional sharing among participants (). Existing research on cultural soft power has mostly unfolded at macro levels such as national image, international communication, public diplomacy, and intercultural exchange. Soft power theory proposed by Nye emphasizes the importance of cultural attraction, value identity, and institutional image in international relations (). Subsequent national image research further points out that a nation's cultural image is not a single dimension but is composed of multiple dimensions: functional, normative, aesthetic, and emotional (). Meanwhile, spontaneous public experiences, active sharing, and network diplomatic interactions on digital platforms have gradually become important perspectives for measuring and understanding soft power (; ). This perspective is fundamental to understanding cultural communication at the national level, but in the current digital media environment, the manifestation of cultural soft power does not exist only in policy texts, official communications, or international cultural projects. Ordinary netizens participate in the flow of cultural information at a daily level by browsing, liking, commenting, forwarding, and co-creating content around traditional festivals on social platforms. Relevant studies indicate that social media is not only a channel for information dissemination but may also participate in the process of preservation, expression, and re-confirmation of cultural identity among youth groups (). Digital and social media research also shows that platform interaction, user-generated content, and online communities are continuously changing individuals' information contact, attitude formation, and participation methods (). Indeed, user-generated content and digital footprints on social media have emerged as critical participatory tools for exploring and verifying cultural landscapes and public engagement (). Therefore, it is necessary for soft power research to further focus on individual-level perceptual experiences. How do netizens understand the global visibility of their country's traditional festivals? How do they evaluate the cultural attraction carried by these festivals? What statistical association does this evaluation have with their sense of group identity and digital participation? It should be noted that “perceived global influence,” the focus of this study, must be explicitly defined as domestic netizens' subjective perception of overseas cultural visibility. It is not intended to serve as evidence of actual global influence, nor is it an objective measurement of international reception. Rather, it is a subjective judgment formed by domestic netizens based on their digital media experiences. Many respondents do not necessarily have direct intercultural contact experience; their understanding of issues such as “how foreigners view Chinese festivals” or “whether traditional festivals receive overseas attention” often comes from platform recommendations, news reports, short video content, comment section discussions, and peer sharing. Together, this information constitutes a digital observation window, allowing individuals to form impressions of the global dissemination status of traditional festivals even in the absence of direct overseas experience. Although this perception cannot replace evaluations by overseas audiences, it can represent the psychological proj