超级银河大怪兽格斗

When a Chinese mythic world travels without translation_我的网站

一 |     “这款超声波燃气表具实现了更高效、更精准的计量，不仅能够有效保证燃气安全，还有着降本增效的作用。”在不久前举行的第五届中国辽宁国际投资贸易洽谈会上，多家“小巨人”企业携新科技、新产品亮相丹东展区，辽宁思凯科技股份有限公司战略总裁袁鸣霞向嘉宾介绍。    

    Chen Aijun works in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)The video came with almost no instructions.
There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
    Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)
。         　　近年来，丹东市坚持“工业强市”理念，加速新旧动能转换，形成了仪器仪表、汽车及汽车零部件、新材料等主导产业，培育出一大批专精特新“小巨人”企业、“隐形冠军”——中国陀飞轮手表、中国第一块智能IC卡燃气表、国内首创海洋微塑料前处理及检测技术、中国第一台涡轮增压器、国内独家生产精密微型片式可调电阻……这些“小巨人”展现了丹东“专、精、特、新”金字招牌。    　　今年是我省实施全面振兴新突破三年行动的攻坚之年，丹东市立足产业基础和资源优势，加快推进新型工业化，扎实做好结构调整“三篇大文章”，积极融入“数字辽宁、智造强省”建设，推动全市工业经济高质量发展，坚决打赢全面振兴攻坚之年的攻坚之战。1月至10月，全市规模以上工业增加值同比增长9.5%，位居全省第二；高技术制造业占比14.5%，位居全省第一，实现量、质双提升。         　　尤其是今年以来丹东市优质企业竞相发展。走进丹东市振兴经济开发区，企业车间有序运转，一线工人各司其职……振兴经济开发区围绕现代制造园、智慧服装园、商贸物流园、精密智造园、浙商科技园，打造“园区中的园区”“金牌园区”，以“小个体”聚集“大整体”，以“园中园”补强“链中链”，吸引“链主型”企业入驻，促进优质资源集聚。         　　窥一斑而知全貌。今年前10个月，丹东市新增省级专精特新中小企业12户、创新型中小企业17户，累计认定数量均位居全省前五。新培育制造业单项冠军企业4户。新增数字化、智能化应用场景137个，规模以上企业“上云上平台”率达到82.5%。

二 | 海合谷、威科特瑞入选省5G工厂试点，高新区入选省级“5G+工业互联网”融合先导区试点，丹东通博集团工业互联网平台入选省级工业互联网平台。    　　此时，虽已进入初冬时节，但在丹东，随处可见抓发展、求突破、促振兴的生动场景：项目建设现场，塔吊林立、车辆穿梭，建设者抢工期、赶进度；厂房车间里，机器轰鸣，生产线一片忙碌。         　　工业是丹东市高质量发展的根本所在。

三 | 丹东市政府与国家顶级智库赛迪研究院签署推进新型工业化战略合作协议，形成丹东市先进制造业产业体系重点产业图谱，一体推进传统产业转型升级、优势产业巩固提升、新兴产业培育壮大和未来产业谋划布局。

四 |          　　不仅如此，丹东与中国工业互联网研究院达成战略合作，为丹东市中小企业数字化转型城市试点创建和数字化转型工作提供智力支撑，组织移动公司、联通公司、华为公司成立7支队伍，调研企业618家，向企业提出数字化转型诊断建议442个，为全市企业数字化转型奠定良好基础。全面提升发展的“含金量”“含智量”“含新量”“含绿量”，丹东市产业向新，质量向优，增长向“绿”。                   责任编辑：刘春阳。

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Published on:12:33:57