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導語：如今，科幻早已超越書頁與銀幕，延伸至游戲、動畫、沉浸式體驗、設計、科技傳播乃至未來城市想象之中，構(gòu)建起橫跨產(chǎn)業(yè)、學術(shù)與公共話語的龐大生態(tài)。正如知名科幻作家劉慈欣在3月27日中國科幻大會開幕式上所言：“科幻讓我們在出發(fā)之前，先要想清楚為什么要出發(fā)，以及要往哪里去?！碑敿夹g(shù)變革以超乎預期的速度迅猛而至，科幻通過鋪陳未來的技術(shù)圖景，為我們審視技術(shù)與人文的關(guān)系、技術(shù)變革中的困境與機遇，打開了廣闊的空間。

華南理工大學榮譽教授、聯(lián)合國教科文組織原副總干事漢斯·道維勒在出席本屆中國科幻大會時發(fā)表演講指出，近年來，中國與多國科幻領域均取得長足進步?？苹盟茉斓奈磥韴D景與想象敘事，已能推動現(xiàn)實變革，成為激發(fā)行動與創(chuàng)新的有效工具，加速推動聯(lián)合國可持續(xù)發(fā)展目標的實現(xiàn)。在他看來，科幻可提升公眾對清潔能源、可持續(xù)城市、氣候行動等議題的認知與行動意愿，并與媒體藝術(shù)、建筑及數(shù)字孿生等技術(shù)融合，為跨學科創(chuàng)新與循環(huán)經(jīng)濟實踐提供試驗場。

*文章整理自漢斯·道維勒教授于2026年3月27日在中國科幻大會上的發(fā)言，內(nèi)容經(jīng)演講者修改和擴展。

科學之夢——創(chuàng)造未來

Science Dreams – Creating the Future

漢斯·道維勒博士在大會上發(fā)言。圖源：主辦方

長期以來，科幻為我們提供了關(guān)于未來的種種想象。它有時被贊譽成描繪未來的載體，卻也常因這一點而受到批評。但這兩種評價似乎都有失公允。

Science fiction (sci-fi) provides us with future visions. It has been praised – and criticized – as a predictor of the future, both perhaps unfairly.

科幻固然關(guān)心我們?nèi)祟悓ζ渌乔虻奶剿?、對新技術(shù)的開發(fā)，乃至對外星文明的探索欲。但它更在意的是我們?yōu)楹蜗胍プ鲞@些事情，以及這些事情所帶來的后果將如何影響我們的生活和我們所處的星球。有些科幻構(gòu)想與現(xiàn)實相去甚遠，如今回看甚至顯得可笑；但也有一些設想，竟與現(xiàn)實的發(fā)展出人意料地接近。

Sci-fi has never really aimed to tell us when we might reach other planets or develop new technologies or meet aliens. Sci-fi speculates about why we might want to do these things – and how their consequences might affect our lives and our planet. Some sci-fi projects were wildly off the mark so that they look laughable today, others look surprisingly close to reality.

科幻既發(fā)生在未來，也回望過去；既可以置于我們熟悉的日常場景之中，也可以展開于遙遠的星系之間；既描繪可能到來的世界，也想象那些本可能發(fā)生卻未曾到來的世界?？苹檬冀K深受其寫作或呈現(xiàn)時代的影響：在動蕩不安的年代，它常常反思戰(zhàn)爭；而在進步發(fā)展的時期，它則更多地展望人類未來的走向。

Sci-fi takes place in the future and in the past, in familiar settings and in distant galaxies, in worlds that might be and worlds that might have been. Sci-fi is influenced by the age in which it is written or presented. In times of trouble, it speculates on war and in times of progress it looks to our future destination.

科幻始終是現(xiàn)實生活中多種靈感的重要來源。無論在西方還是東方，科幻一直都是承載未來想象的重要媒介。

Sci-fi has always been a source for various inspirations in real life. In the West and the East, sci-fi has always been a medium for futuristic imagination.

15世紀，列奧納多·達·芬奇曾試驗過多種戰(zhàn)爭機器與飛行器械。許多人曾因這些構(gòu)想而將他視作異想天開的瘋子，但達·芬奇的幾乎每一項發(fā)明，都在后世社會中以某種形式得到了印證。然而，達·芬奇并非一位科幻作家。他堅信自己的發(fā)明，也清楚地意識到，這些發(fā)明在某種意義上可能改變整個民族的生活。

In the fifteenth century Leonardo da Vinci was experimenting with various war and flying machines. Many considered him to be mad for these inventions, yet almost every of Leonardo’s inventions had some kind of interpretation in the modern age. However, Leonardo was not a sci-fi writer. He believed in his inventions and knew that in some way they might be life-changing for whole nations.

達·芬奇的“發(fā)明”留下了大量機械手稿，許多設想遠超其時代。他設計過“空氣螺旋”，常被看作直升機的早期概念；還畫過撲翼飛行器和滑翔裝置，試圖模仿鳥類飛行。圖源：Wikimedia Commons

19世紀是科幻的黎明時代，愛迪生以及他所處時代掀起的創(chuàng)新浪潮與強大機械，共同開啟了這一篇章。進入20世紀初，人們也開始想象城市的未來，而此后最為深刻的變革，恰恰就發(fā)生在城市之中。1910年代催生了“空中帝國”的想象——那是一個屬于飛行的夢想。隨后，大眾交通與原子時代又相繼登場。

The 19th century was the dawn of sci-fi, with Edison and a tidal wave of innovations and mighty machines. The 1900s also saw the future of the city, where the greatest transformations would subsequently occur. The 1910s brought us aerial empires – the dream of flight. Then came mass transport and the atomic age.

1911年，雨果·根斯巴克（Hugo Gernsback）曾構(gòu)想出一種名為“Telephot”的虛構(gòu)視頻屏幕裝置。這是一種安裝在墻上的屏幕，可使身處異地的人借助它看見彼此并進行交流。1925年，“Telephot”出現(xiàn)在根斯巴克的小說《拉爾夫 124C 41+》中，這一設想為通信技術(shù)開辟了全新的維度。此后，視頻通話幾乎成為所有涉及太空旅行或時間旅行的科幻故事中的常見元素。而在《星球大戰(zhàn)》中，喬治·盧卡斯（George Lucas）則進一步提出了以全息影像進行交流的設想。

In 1911 Hugo Gernsback wrote about the fictional video screen - the Telephot. It was a device that allowed people to communicate using a video screen mounted on a wall. Telephot appeared in Gernsback's 1925 novel “Ralph 124C 41+” and this idea created a whole new aspect in communication technology by adding the vision of the caller. Video calling has appeared since in almost every sci-fi story including space or time traveling. In “Star Wars”, George Lucas came up with the idea of going even further by displaying the communication between characters using holograms.

《拉爾夫124C41+》——一部1911年的早期美國科幻小說，也是科幻史上很有代表性的“技術(shù)預言型”作品。書里寫到了很多后來常見的設想，比如視頻通話、太空飛行、太陽能應用等。

20世紀50年代，飛碟進入了大眾想象。60年代，懷舊產(chǎn)業(yè)隨著電影的興起而不斷發(fā)展。協(xié)和式超音速客機則在持續(xù)突破航空飛行的邊界。70年代催生了太空生活的想象，空間站與“天空實驗室”（Skylab）成為這一時期的重要象征。80年代展現(xiàn)了“玻璃罩下的生活”。1990年前后，“永恒能源”的觀念開始浮現(xiàn)。此后，科幻電影中又陸續(xù)出現(xiàn)了清潔能源的構(gòu)想，以及機器人、仿生人和半機械人的形象。

Flying saucers appeared in the 1950s. In the 1960s, the nostalgia industry arose, with and through films. The supersonic Concorde aircraft was breaking aerial barriers. The 1970s brought life in space, with the space station and Skylab. The 1980s offered life under glass. 1990 saw the notion of everlasting energy. Then came clean energy in sci-fi movies, followed by the appearance of robots, androids and cyborgs.

此后，世界進入了人工智能時代，這一時代正以全面而強勁的勢頭滲透進生活的各個領域。

Thereafter, the world has entered the age of artificial intelligence (AI) which is upon us in full force and in every sector of life.

盡管五彩斑斕的外星人和星際旅行仍有待發(fā)現(xiàn)與實現(xiàn)，但受科幻世界的啟發(fā)，許多技術(shù)早已不再只是想象的產(chǎn)物。大約50年前，人們曾設想未來會出現(xiàn)飛行汽車，或人類能夠通過植入大腦的數(shù)據(jù)芯片來學習。如今，隨著中國和美國研發(fā)的“飛行出租車”持續(xù)推進，飛行汽車正逐步從想象走向現(xiàn)實。

While colored aliens and intergalactic travel are yet to be discovered, there is an array of technologies that are no longer mere figments of the imagination thanks to the world of sci-fi. About fifty years ago, people imagined a future with flying cars or people being able to learn through data chips inserted in their brains. Gradually, flying cars are now becoming a reality through flying taxis developed in China or the United States.

2026年，低空經(jīng)濟作為中國國家戰(zhàn)略性新興產(chǎn)業(yè)，迎來規(guī)?；l(fā)展的關(guān)鍵節(jié)點。廣義的飛行汽車，即電動垂直起降飛行器（eVTOL），正加速完成從試點示范到量產(chǎn)交付的跨越式發(fā)展，成為推動低空經(jīng)濟發(fā)展的重要力量之一。圖源：新華社

科幻文學是創(chuàng)造宏大而純粹想象世界的產(chǎn)物。它不僅為人們提供了娛樂性的閱讀體驗，而且已日益證明其對現(xiàn)代科學技術(shù)、乃至對現(xiàn)實世界的影響。將虛構(gòu)轉(zhuǎn)化為現(xiàn)實的藝術(shù)，至今仍是科學面臨的最具挑戰(zhàn)性的任務之一。一些科幻作家本身就是科學家，他們筆下所寫的，正是那些他們希望能夠成真、或能夠在現(xiàn)實世界中存在的技術(shù)，盡管他們也清楚這些技術(shù)在當時尚未實現(xiàn)。

Sci-fi literature is a product of creating magnificent worlds of pure imagination. Apart from offering reading for fun, the sci-fi literature has progressively proven its impact on modern science and technology and consequently on the real world. The art of turning fiction into reality is still the most challenging task for science. Some sci-fi authors being scientists themselves write about technologies they wish could be true or could exist in the real world, while knowing that they do not (yet).

凡爾納的《海底兩萬里》、喬治·奧威爾的《一九八四》以及卡雷爾·恰佩克的《R.U.R.》等經(jīng)典作品，都對現(xiàn)代科學技術(shù)發(fā)明產(chǎn)生了影響。凡爾納的這部經(jīng)典作品發(fā)表于1870年，講述了一位發(fā)明家乘坐自己名為“鸚鵡螺號”（Nautilus）的水下航行器旅行的故事。這一技術(shù)設想遠遠超越了其所處的時代。盡管在小說問世之前潛艇便已存在，但直到凡爾納的作品廣為流傳之后，潛艇設計才得到進一步的改進。

Classic novels like Jules Verne's “Twenty Thousand Leagues Under the Sea”, George Orwell's “1984”, or Karel C?apek's “R.U.R.” influenced modern inventions by science and technology. Jules Verne's classic was published in 1870 and told a story about an inventor traveling in his underwater ship called Nautilus. This technology was way beyond its time. Although submarines existed before the novel was released, it wasn't until Verne's novel become popular that submarine design was improved upon.

“機器人”（robot）一詞由卡雷爾·恰佩克提出，源自“羅博塔（Robota）”，意為“強制勞動”。隨著時間推移，這一詞語的含義不斷演變，也由此啟發(fā)作家進一步想象：機器人掙脫束縛，反過來奴役其創(chuàng)造者。作為奴役性勞動力的機器人概念，逐漸被推進至機器人能夠思考、甚至能夠感受的層面。

It was Karel C?apek who came up with the term "robot" derived from the word robota (work). Robots (robotniks) were named as workers or slaves. The meaning of the word changed over time and gave writers the idea of robots reaching for the leash and enslaving its creator. The idea of a robotic slave-worker seemed useful to the point where robots were able to think or even feel.

在中國，劉慈欣是當代最具代表性的科幻作家。為表彰他在這一領域所作出的獨特貢獻，由扎哈·哈迪德建筑事務所北京辦公室的大橋諭（Satoshi Ohashi）設計的劉慈欣科幻文學館，于2024年在山西陽泉市正式落成啟用。

In China, Liu Cixing is the most prominent contemporary sci-fi writer. To recognize his unique contribution in this field, the Liu Cixin Sci-Fi Museum, designed by Satoshi Ohashi of Zaha Hadid Associates Beijing Office, was inaugurated in 2024 in Yangquan-Chengdu, Shanxi Province.

漢斯·道維勒博士與中國知名科幻小說作家劉慈欣先生合影。圖源：作者供圖

在科幻電影領域，人們可以看到許多經(jīng)典之作，它們描繪了充滿驚人發(fā)明的未來世界，例如《星球大戰(zhàn)》《星際迷航》《銀翼殺手》，以及1985年出品的《回到未來》。在《回到未來》中，主人公穿越到了目標年份2015年。如今，像《回到未來》和《全面回憶》這類廣受家庭觀眾喜愛的影片中所呈現(xiàn)的一些富有創(chuàng)意的發(fā)明，已經(jīng)走到了現(xiàn)代技術(shù)發(fā)展的前沿。

In the realm of sci-fi movies one could look to classic movies, which picture futuristic worlds with a multitude of amazing inventions, such as “Star Wars”, “Star Trek” “Blade Runner” or the 1985 “Back to the Future” produced. In the latter, the main characters travel to the target year 2015. Some of the creative inventions that have appeared in family-favorite movies like "Back to the Future" and "Total Recall". are now at the forefront of modern technology.

受“科學夢想，創(chuàng)造未來”這一主題的啟發(fā)，2026年3月27日在北京舉辦的第十屆中國科幻大會，重點聚焦十年發(fā)展積淀與新時代發(fā)展要求。過去幾年間，中國及許多其他國家的科幻界都取得了巨大進展，真正實現(xiàn)了從夢想到切實創(chuàng)新的跨越。未來幾年，隨著科技創(chuàng)新與產(chǎn)業(yè)創(chuàng)新進一步深度融合，還將催生出怎樣的具體成果，我們目前只能想象。而科幻產(chǎn)業(yè)無疑將帶來遠超當下所能預見的深刻變革。

Inspiredby the permanent theme of “Scientific Dreams, Creating the Future”, the principal focus of the 10th China Science Fiction Convention held in Beijing on 27 March 2026 was on “Gathering a Decade of Intelligence, Ushering in a New Era of Innovation”. Over the past few years, the sci-fi community has accomplished enormous advances in China and many other countries – indeed progressing from dreams to tangible innovations. We can only imagine what concrete results will be generated during the next years through integration of technological and industrial innovations. The sci-fi industries will undoubtedly usher in tremendous changes beyond anything we can anticipate right now.

為此，科幻生態(tài)體系中的所有利益相關(guān)方都必須作出切實貢獻。這其中包括科學界、產(chǎn)業(yè)界、學術(shù)界、國家層面、區(qū)域?qū)用婧蛧H組織、媒體、科學作家以及公眾。他們面臨的任務，是共同構(gòu)建一個兼具廣泛覆蓋面與深厚內(nèi)涵的體系，為邁向科技強國開辟新的路徑。

To this end, all stakeholders of the sci-fi ecosystem will have to make tangible contributions. This includes the scientific community, industry, academia, national, regional and international organizations, the media, science writers and the public. They will be challenged to build a system with broad outreach and profound depth, charting new pathways towards a technologically advanced nation.

漢斯·道維勒博士在大會上發(fā)言。圖源：主辦方

科幻這一媒介能夠使復雜議題變得更易理解，激發(fā)產(chǎn)業(yè)發(fā)展，并推動公眾圍繞可持續(xù)發(fā)展到現(xiàn)實沖突等一系列問題展開討論。匯聚藝術(shù)家、技術(shù)人員和科學家的創(chuàng)意空間，往往能夠成為創(chuàng)新、跨學科協(xié)作以及可持續(xù)替代方案發(fā)展的重要樞紐。這不僅有助于形成既有效又具有文化契合度的解決方案，也可能催生新的創(chuàng)意產(chǎn)業(yè)形態(tài)，同時推動傳統(tǒng)知識與文化價值的協(xié)調(diào)共融。

Sci-fi mediums can make complex topics more accessible, inspire business development and encourage public discourse on issues ranging from sustainability to real world conflicts.Creative spaces bringing together artists, technologists, and scientists often provide hubs for innovation, interdisciplinary collaboration and the development of sustainable alternatives. This may yield both effective and culturally relevant solutions and new types of creative industries, while aligning traditional knowledge with cultural values.

過去，科幻主要被視為一種娛樂類型。也正因如此，在《保護和促進文化表現(xiàn)形式多樣性公約（2025）》中，科幻并未被列為一個獨立類別。但當前已經(jīng)到了應當明確數(shù)字技術(shù)在維護文化多樣性方面作用的時候了。

In the past, sci-fi has primarily been considered as a genre of entertainment. Accordingly, sci-fi had not been included as a distinct category in the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Therefore, it is now overdue to define the role of digital technologies in upholding cultural diversity.

今天，科幻所構(gòu)建的未來場景和富于想象力的敘事，已經(jīng)能夠推動現(xiàn)實世界的變化，尤其是在促進可持續(xù)發(fā)展方面。通過想象各種可能的未來，科幻可以成為激發(fā)行動與創(chuàng)新的有力工具，推動實現(xiàn)聯(lián)合國于2015年通過的特定可持續(xù)發(fā)展目標（SDGs）。

Today, sci-fi’s futuristic scenarios and imaginative narratives can induce real-world changes, especially towards promoting sustainable development. By imagining possible futures, sci-fi can serve as a powerful tool to inspire action and innovation towards achieving specific sustainable development goals (SDGs) of the United Nations adopted in 2015.

從聯(lián)合國和教科文組織的相關(guān)表述看，AI最有希望在一些具體目標上發(fā)揮較強作用，例如：健康（SDG 3）、教育（SDG 4）、糧食與農(nóng)業(yè)、氣候行動（SDG 13）、以及更好的數(shù)據(jù)分析和資源配置。

以科幻為基礎構(gòu)建的數(shù)字空間，可以通過呈現(xiàn)不可持續(xù)的做法與環(huán)境忽視所帶來的后果，以及可持續(xù)實踐和生活方式帶來的積極效益，來提升公眾認知。科幻還能夠通過描繪人類成功應對環(huán)境挑戰(zhàn)的世界，培育一種“希望感”。與此同時，數(shù)字化以及數(shù)字時代的跨境協(xié)作，也可能進一步助力可持續(xù)發(fā)展。數(shù)字化同樣催生了關(guān)于虛擬現(xiàn)實、網(wǎng)絡戰(zhàn)爭以及人類意識與數(shù)字網(wǎng)絡融合的敘事。至于AI，則有助于更高效地管理資源、減少浪費并提升生活質(zhì)量。

Sci-fi based digital spaces can raise awareness by depicting the consequences of unsustainable practices, environmental neglect as well as the benefits of sustainable practices and living. Sci-fi can foster a sense of hope by imagining worlds where humanity has successfully addressed environmental challenges. For its part, digitalization and cross-border collaboration in the digital age may benefit sustainable development even further. It has also led to narratives about virtual realities, cyber warfare, and the merging of human consciousness with digital networks. As for AI, it can help manage resources better, reduce waste, and improve the quality of life.

數(shù)字化與AI已對科幻產(chǎn)生深刻影響，無論是在所探討的主題層面，還是在故事講述方式層面，均是如此。科幻作品經(jīng)常討論人工智能對社會的影響，例如：創(chuàng)造具有感知能力的機器所涉及的倫理考量、人工智能超越人類智能的可能性，以及自動化對就業(yè)帶來的沖擊。

Digitalization and AI have had a profound impact on sci-fi, both in terms of the themes explored and the way stories are told. Sci-fi stories often explore the implications of AI on society, such as the ethical considerations of creating sentient machines, the potential for AI to surpass human intelligence, and the impact of automation on employment.

以下是科幻與人工智能助力實現(xiàn)可持續(xù)發(fā)展目標（SDGs）的幾個例子：

Here are a few examples for gains in SDGs through sci-fi and AI:

SDG 7：經(jīng)濟適用的清潔能源：科幻可以呈現(xiàn)未來能源來源與技術(shù)，展現(xiàn)可再生能源的利用以及能源高效使用的路徑；

SDG 7: Affordable and clean energy: Sci-fi can present futuristic energy sources and technologies, drawing on renewable energies and efficient energy use;

SDG 9：產(chǎn)業(yè)、創(chuàng)新和基礎設施：科幻作品可以凸顯先進技術(shù)和基礎設施創(chuàng)新；

SDG 9: Industry, innovation, and infrastructure: Sci-fi stories may highlight advanced technologies and infrastructure innovations;

SDG 11：可持續(xù)城市和社區(qū)：科幻可以描繪可持續(xù)城市規(guī)劃、智慧與創(chuàng)意城市以及生態(tài)友好型社區(qū)的發(fā)展設想；

SDG 11: Sustainable cities and communities: Sci-fi can project ideas for sustainable urban planning, smart and creative cities, and eco-friendly communities;

SDG 13：氣候行動：通過展現(xiàn)氣候變化和環(huán)境退化所帶來的后果，科幻能夠提升公眾認知，并激發(fā)個人和集體采取行動，以增強氣候韌性并推動可持續(xù)發(fā)展；

SDG 13: Climate action: By depicting the consequences of climate change and environmental degradation, sci-fi can raise awareness and motivate individual and collective action in favor of climate resilience and sustainability;

SDG 14：水下生物和SDG 15：陸地生物。科幻可以凸顯生物多樣性與生態(tài)系統(tǒng)的重要性，呈現(xiàn)人類活動對環(huán)境造成的負面影響，并激勵保護行動。

SDG 14: Life below Water and SDG 15: Life on Land – Sci-fi can highlight the importance of biodiversity and ecosystems, portraying the negative impact of human activities on the environment and inspiring conservation efforts.

科幻還可以與媒體藝術(shù)及其他新興文化創(chuàng)意產(chǎn)業(yè)一道，作為檢驗建筑理念的重要試驗場，在應對全球性挑戰(zhàn)、推動可持續(xù)城市發(fā)展方面發(fā)揮關(guān)鍵作用。

Together with media arts and other emerging cultural and creative industries, sci-fi can play a pivotal role as a testing ground for architectural ideas that address global challenges and promote sustainable urban development.

創(chuàng)新性敘事能夠激發(fā)建筑師、城市規(guī)劃者、工程師和政策制定者跳出傳統(tǒng)解決方案的框架，轉(zhuǎn)而思考可持續(xù)替代路徑，例如綠色建筑、智慧與創(chuàng)意城市，以及高效的公共交通系統(tǒng)。垂直花園、智能建筑和模塊化建造等概念，都可以追溯到科幻作品所提出的相關(guān)設想。

Innovative narratives can inspire architects, urban planners, engineers and policymakers to think beyond conventional solutions and consider sustainable alternatives, such as green architecture, smart and creative cities, and efficient public transportation systems. Concepts such as vertical gardens, smart buildings, and modular construction have roots in ideas presented through sci-fi.

建筑與科幻之間存在著一種由來已久、相互促進的共生關(guān)系?？苹秒娪爸兴枥L的高聳摩天大樓與廣袤城市景觀，既影響了現(xiàn)代建筑美學，也推動了技術(shù)與可持續(xù)理念在城市規(guī)劃中的融合?？苹媒?jīng)常構(gòu)想未來城市與未來建筑，不斷拓展建筑想象的邊界。通過設想建于其他星球或水下的城市，科幻也在促使建筑師思考可應用于現(xiàn)實場景的替代性材料、能源來源和居住方式。

Architecture and sci-fi have a long-standing and symbiotic relationship. The towering skyscrapers and sprawling urban landscapes depicted in sci-fi films have influenced modern architectural aesthetics, encouraging the integration of technology and sustainability in urban planning. Sci-fi has often envisioned futuristic cities and structures, pushing the boundaries of architectural imagination. By conceiving cities on other planets or under water, sci-fi is encouraging architects to consider alternative materials, energy sources, and living arrangements that could be applied to real-world scenarios.

通過建設大模型產(chǎn)業(yè)集群、虛擬現(xiàn)實產(chǎn)業(yè)園等載體，城市可以加快數(shù)字技術(shù)向科幻創(chuàng)作、智能制造等場景的滲透，形成虛實融合的創(chuàng)新生態(tài)。近年來的創(chuàng)新實踐，正越來越多地借助虛擬現(xiàn)實（VR）、增強現(xiàn)實（AR）等新興數(shù)字工具，并結(jié)合人工智能，以打造沉浸式、互動式環(huán)境與空間，讓科幻世界變得可感、可體驗。

By building clusters for large AI model industries, virtual reality industrial parks, and other carriers, cities can accelerate the infiltration of digital technology into scenarios such as sci-fi creation and intelligent manufacturing, forming an innovative ecology of virtuality and reality. Recent innovations have been leveraging emerging digital tools, such as virtual reality (VR) and augmented reality (AR) technologies together with AI, in an effort to create immersive and interactive environments and spaces that bring sci-fi worlds to life.

3月24日，在嘉興市南湖區(qū)“翼時空·嘉興1921”機遇時空體驗館內(nèi)，游客佩戴VR設備在虛擬場景中互動體驗。圖源：新華社

現(xiàn)實世界地點的數(shù)字孿生，也可以被用于構(gòu)建科幻模擬場景。此類數(shù)字復制體將使用戶能夠探索城市或其他地點的未來版本。

Digital twins of real-world locations can be used to create sci-fi simulations. Such digital replicas will allow users to explore futuristic versions of cities or various sites.

科幻富于想象力的特質(zhì)，能夠激發(fā)人們?yōu)閷崿F(xiàn)可持續(xù)未來而采取行動，例如推動循環(huán)經(jīng)濟原則在城市中的應用。

The imaginative nature of sci-fi can inspire action towards sustainable futures, such as through the application of circular economy principles in cities.

可持續(xù)實踐與資源管理路徑，包括減少廢棄物、推動資源再利用、借助納米技術(shù)開展材料回收、通過生物技術(shù)實現(xiàn)廢棄物分解，以及運用人工智能優(yōu)化資源使用。科幻并不是循環(huán)經(jīng)濟實踐的直接驅(qū)動力，但它能夠成為一種有力工具，用于構(gòu)想并推廣相關(guān)理念與技術(shù)。

Sustainable practices and resource management approaches include initiatives to minimize waste, reuse of resources, nanotechnology-driven material recycling, waste decomposition through biotechnology and AI for optimizing resource use. Sci-fi is not a direct driver of circular economy practices, but it can serve as a powerful tool for envisioning and popularizing concepts and technologies.

數(shù)字平臺還讓敘事可以互動——用戶能親身影響故事的發(fā)展。借助GPS和移動技術(shù)，基于實際位置的體驗會引導用戶在真實環(huán)境中進行沉浸式探索?！?/strong>

Furthermore, digital platforms enable interactive storytelling, where users can influence the narrative. Using GPS and mobile technology, location-based experiences can guide users through real-world environments.

在所有這些領域，中國都具備爭取領先地位的良好條件。事實上，中國科幻產(chǎn)業(yè)正穩(wěn)步邁向高質(zhì)量發(fā)展的新階段。中國科普研究所最新發(fā)布的《2026中國科幻產(chǎn)業(yè)報告》顯示，2025年中國科幻產(chǎn)業(yè)總營收達到1261億元人民幣，約合182.5億美元，創(chuàng)歷史新高，同比增長15.7%。值得注意的是，該產(chǎn)業(yè)已連續(xù)三年年營收突破1000億元人民幣。

In all these areas, China is well positioned to vie for the lead. Indeed, its sci-fi sector is steadily advancing towards a new phase of high-quality development. In 2025, total revenue of the sector registered RMB126.1 billion, equivalent to US$18.25 billion, which was a record high and a 15.7 % annual increase as reported in the 2026 China Science Fiction Industry Report, just released by the China Research Center for Science Popularization. It is noteworthy that the sector has surpassed annually RMB 100 bilion over the past three years.

中國科普研究院近期發(fā)布的一份報告顯示，到2025年，中國科幻產(chǎn)業(yè)的總收入將達到1261億元人民幣（約合180.5億美元）。

報告指出，科幻并不只是對技術(shù)的描繪，更是從五個關(guān)鍵維度探討人類應當如何面對未來，即閱讀、影視、游戲、衍生品和文旅。報告還首次引入兩個新領域，即以人工智能和沉浸式體驗為特征的“科幻技術(shù)與裝備”以及“搜索熱度”。

The Report stated that sci-fi goes beyond merely depicting technology. It delves into how humanity should face the future by focusing on five key perspectives, namely reading, film and television, games, derivatives and cultural tourism. For the first time, the report also introduced two new areas, science fiction technology and equipment, characterized by AI and immersive experiences, and search popularity.

著名科幻作家劉慈欣在大會上表示，科幻的發(fā)展與國家現(xiàn)代化戰(zhàn)略緊密相連。“在我看來，科幻的意義可以概括為一句話：它讓我們在出發(fā)之前，先要想清楚為什么要出發(fā)以及需要往哪里去。”（引自《中國日報》2026年3月28日至29日報道“Sci-fi revenue reaches Yuan 126.1 million”）。

Noted sci-fi writer Liu Cixin said at the Convention that the development of sci-fi is closely linked to the country’s modernization strategy. “To me, the essence of sci-fi can be encapsulated in a single sentence. It compels us to thoughtfully consider why we embark on a journey and where we aim to go before we set out.” (Sci-fi revenue reaches Yuan 126.1 million, in: China Daily, 28-29 March 2026)

在2026年大會開幕式上，中國科協(xié)黨組成員、書記處書記于俊清強調(diào)了科技創(chuàng)新的戰(zhàn)略作用，他表示，要以科幻為紐帶，突出科技引領、促進融合創(chuàng)新、鼓勵公眾參與、拓展開放創(chuàng)新，進一步推動科幻事業(yè)高質(zhì)量發(fā)展，促進科技創(chuàng)新和產(chǎn)業(yè)創(chuàng)新深度融合，催生新質(zhì)生產(chǎn)力，匯聚起建設科技強國、文化強國的磅礴力量。

At the opening of the 2026 Convention, Yu Junqing, Executive Secretary of the Leading Party Members Group of the China Association for Science and Technology highlighted the strategic role of technological innovation: “By using science fiction as a bridge, we can ignite scientific dreams, stimulate creativity and drive the deep integration of technology and industry. This will lead to the emergence of new quality productive forces and gather the powerful momentum needed to build a strong nation in science and culture.”

本文作者：

漢斯·道維勒（Hans d’Orville）

聯(lián)合國教科文組織原副總干事、原戰(zhàn)略規(guī)劃助理總干事；華南理工大學（SCUT）榮譽教授；聯(lián)合國教科文組織國際創(chuàng)意與可持續(xù)發(fā)展中心（ICCSD，北京）咨詢委員會主席

Former UNESCO Deputy Director-General and former UNESCO Assistant Director-General for Strategic Planning; Honorary Professor, South China University of Technology (SCUT), Guangzhou; Chairman, Advisory Committee, International Center for Creativity and Sustainable Development (ICCSD) under the auspices of UNESCO, Beijing

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