“文本末世”（Textpocalypse）由美國學(xué)者 Matthew Kirschenbaum 提出，指的是由于人工智能生成內(nèi)容爆發(fā)式增長，無作者、無意義甚至誤導(dǎo)性的文本泛濫，令人類難以辨認(rèn)及信任真實(shí)內(nèi)容的情況。在可想象的核末世、氣候末世、戰(zhàn)爭末世之間，“文本末世”顯得無傷大雅，但它的逼近將在最基本的認(rèn)知層面上如何影響我們的生活，還缺乏有效的討論。

單讀與瑞士文化基金會身處文化行業(yè)者與創(chuàng)作者之間，希望從文學(xué)行業(yè)、文學(xué)讀者以至更廣泛意義上的文本生產(chǎn)與使用者的角度，思考這一末世可能性帶來的挑戰(zhàn)。

「在“文本末世”到來前寫作」系列活動將由一場面向公眾的講座、兩場申請制的工作坊組成。今天我們介紹公眾講座的內(nèi)容：

The term“Textpocalypse”, coined by an American scholar, refers to a scenario in which the explosive growth of AI-generated content results in a flood of authorless, meaningless, or even misleading texts—making it increasingly difficult for humans to recognize or trust what is real.

This series of events, organized byOne-Way Street Journaland supported byPro Helvetia Shanghai, the Swiss Arts Council,seeks to examine the challenges posed by the possibility of textual apocalypse from the perspectives of the literary industry, literary readers, and the broader community of text producers and users.

The"Writing Ahead of theTextpocalypse"seriesconsists of one public forum and two application-based workshops. Today, we introduce the details of the public forum:

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「在“文本末世”到來前寫作」

公眾講座

Writing Ahead of the “Textpocalypse”

Public Forum

主題

Theme

與技術(shù)爭奪愛與記憶

Negotiating Love and Memory in a Technological Age

在“文本末世”的預(yù)言中，人工智能生成的文本可能如海嘯一樣襲來，將人類自主生產(chǎn)的文本圍成大海中的一個(gè)個(gè)小島。而在“文本末世”的邊緣，我們已經(jīng)需要去面對良莠不齊的文本相互淹沒，并在許多情況下變得無關(guān)緊要的事實(shí)。

相聚在人類寫作的小島上，今天的文學(xué)創(chuàng)作者、文本實(shí)踐者和文字工作者們必須重新考量“字”的本質(zhì)與邊界。經(jīng)歷打印技術(shù)、平裝本、文檔與電子書的普及，人工智能文本的流行是否會帶來文字技術(shù)化的另一次變革，它將會如何改變?nèi)祟悓懽髡叩奈恢?？精英?nèi)容的消解與創(chuàng)作勞動的貶值，是否意味著重建文學(xué)價(jià)值的努力應(yīng)該找到新的方向？我們將會變得更“智能”——更友好、更去精英化或者更平庸，還是變得更“人類”——不論這意味著什么？

We are undergoing a profound transformation in how technology shapes love and memory. What once relied on letters, books, and libraries—what philosopher Bernard Stiegler called “third memory”—is now being redefined by the internet, algorithms, and AI.

These technologies are no longer passive tools but active arbiters of what we remember, whom we meet, and how we feel. As we upload our emotions and experiences into digital systems, will love and memory risk becoming data, replicable and capitalized?

時(shí)間

Time

2025 年 11 月 9 日（周日）

15:00—17:00（北京時(shí)間）

Sunday, Nov 9, 15:00–17:00

地點(diǎn)

Location

北京單向空間·郎園 Station 店

北京市朝陽區(qū)東壩鎮(zhèn)半截塔路 53 號郎園 station

（北京紡織倉庫南門）D3-1 座

Beijing OW Space

(Langyuan Station Shop)

How to Participate

Scan to Register

語言

Language

中英

講師

Jonas Lüscher

1976 年生于瑞士，是一位作家與散文家。曾在伯爾尼接受小學(xué)教師培訓(xùn)，之后在慕尼黑從事電影行業(yè)，并先后于慕尼黑哲學(xué)學(xué)院、蘇黎世聯(lián)邦理工學(xué)院及斯坦福大學(xué)學(xué)習(xí)哲學(xué)。他的主要著作包括中篇小說

Frühling der Barbaren

Barbarian Spring

, 2013)、小說

Kraft

（2017）、詩學(xué)講稿

Ins Erz?hlen flüchte

n（

Fleeing into Storytelling

, 2020）及小說

Verzauberte Vorbestimmung

Enchanted Determinism

，2025)。此外，他也經(jīng)常在瑞士、德國及國際媒體上發(fā)表政治隨筆。他的書籍已被翻譯成二十多種語言，并榮獲多個(gè)重要文學(xué)獎項(xiàng)，包括瑞士圖書獎、弗朗茨·黑塞爾獎、馬克斯·弗里施獎及威廉·拉貝文學(xué)獎。他擁有瑞士和德國雙重國籍，現(xiàn)居慕尼黑。

Jonas Lüscher, born in Switzerland in 1976, is a writer and essayist. After training as a primary school teacher in Bern, he worked in the film industry in Munich and studied philosophy at the Hochschule für Philosophie München, ETH Zurich, and Stanford University. His publications include the novella

Frühling der Barbaren

Barbarian Spring

2013), the novel

Kraft

(2017), the poetics lecture

Ins Erz?hlen flüchten

Fleeing into Storytelling

2020), and the novel

Verzauberte Vorbestimmung

Enchanted Determinism

2025). In addition, Lüscher publishes political essays in Swiss, German and international newspapers. His books have been translated into more than twenty languages and have received numerous awards, including the Swiss Book Prize, the Franz Hessel Prize, the Max Frisch Prize, and the Wilhelm Raabe Prize. Jonas Lüscher holds both Swiss and German citizenship and lives in Munich.

Martina Clavadetscher

Martina Clavadetscher 是一位瑞士作家與劇作家。她曾學(xué)習(xí)文學(xué)、語言學(xué)與哲學(xué)，并為多家歐洲劇院創(chuàng)作劇本。憑借小說

The Invention of Disobedience

，她在 2021 年獲得瑞士圖書獎。2022 年，她的作品

Vor aller Augen

出版，并被改編為舞臺劇，已成功上演了兩年多。她的最新作品

Die Schrecken der anderen

于今年出版。目前她居住在瑞士。

Martina Clavadetscher is a Swiss writer and playwright. After studying literature, linguistics and philosophy, she wrote plays for various theaters in Europe. For her novel The Invention of Disobedience, she won the Swiss Book Prize in 2021. In 2022, her book Vor aller Augen (In Plain Sight) was published, and a stage version has been successfully performed for over two years now. Her latest book, Die Schrecken der anderen (The Horrors of Others), was published this year. She currently lives in Switzerland.

陳思安

作家，戲劇編劇、導(dǎo)演，譯者。出版短篇小說集《體內(nèi)火焰》《活食》《冒牌人生》《接下來，我問，你答》等。譯著《詩與歌：帕蒂·史密斯詩歌選1970-2015》《蒙辱：阿亞德·阿赫塔爾劇作集》等。主要戲劇作品：《請問最近的無障礙廁所在哪里？》（編?。?，《風(fēng)雪山神廟》（編劇/作詞），《凡人之夢》（編劇/導(dǎo)演），《冒牌人生》（編?。峨S黃公望游富春山》（導(dǎo)演）等。

Chen Si'an, playwright, short story writer, theatre director, and literary translator, was born in April 1986 and now resides between Shanghai and Beijing. She has authored four short story collections, including

The Flame Within

(2021),

Eating Alive

(2020), and

A Counterfeit Life

(2019), revealing her fresh and distinctive voice in contemporary Chinese fiction. Her plays have been staged across prestigious venues worldwide, from the Royal Court Theatre, Edinburgh International Festival and Hong Kong Arts Festival No Limits to China's National Centre for the Performing Arts, Shanghai Dramatic Arts Center and Korea's Myeongdong Art Theatre.

吳琦

《單讀》主編，播客《螺絲在擰緊》主播。與項(xiàng)飆合著談話錄《把自己作為方法》，譯有《下一次將是烈火》《去山巔呼喊》《在門外談話 : 詹姆斯·鮑德溫的一生》等。

Wu Qi is the editor-in-chief of One-Way Street Journal, the host of the podcast The Turn of the Screw. He is the co-author with Xiang Biao of the book,

The Self as Method: in Conversation with Xiang Biao

, and the Chinese translator of

The Fire Next Time

Go Tell It On The Mountain

and

Talking At The Gate: A Life Of James Baldwin.

主辦方

微信: 單讀

微博: @單讀

Instagram: one_way_street_journal

“單讀”誕生于 2009 年，是單向空間旗下集出版、聲音、影像、活動等全媒體原創(chuàng)內(nèi)容為一體的文化品牌?！皢巫x”堅(jiān)持全球化視野，挖掘國內(nèi)外新一代創(chuàng)作者和思想者，發(fā)表小說、詩歌、劇本、非虛構(gòu)和視覺藝術(shù)作品；用冷靜、獨(dú)立的視角切入社會議題，推崇沉靜、深入、優(yōu)雅的閱讀，尊重清醒、獨(dú)特、富有活力的聲音。

《單讀》MOOK 書影

支持方

瑞士文化基金會致力于在國內(nèi)外推廣瑞士當(dāng)代文化藝術(shù)?；饡?939年由瑞士政府成立，其上海辦公室于2010年成立，旨在支持中瑞兩國藝術(shù)家與機(jī)構(gòu)間的合作與交流，通過開展項(xiàng)目促進(jìn)兩國在文化領(lǐng)域內(nèi)知識與經(jīng)驗(yàn)的分享。目前，瑞士文化基金會上海辦公室開展的項(xiàng)目主要集中在瑞士當(dāng)代藝術(shù)，其中包括視覺藝術(shù)、表演藝術(shù)、設(shè)計(jì)、音樂、文學(xué)等眾多領(lǐng)域。

About Pro Helvetia, the Swiss Arts Council

Pro Helvetia supports artists and cultural practitioners from Switzerland and is committed to international cultural exchange. Pro Helvetia Shanghai is founded in 2010 and represents the Swiss Arts Council in China. Its aim is to encourage dialogue between Swiss and Chinese cultural practitioners and institutions by supporting projects that enhance the exchange of knowledge and experience in the cultural field.

關(guān)注和參與瑞士文化基金會在中國的活動，歡迎查看網(wǎng)站

www.prohelvetia.ch