北京
“文本末世”（Textpocalypse）由美国学者 Matthew Kirschenbaum 提出，指的是由于人工智能生成内容爆发式增长，无作者、无意义甚至误导性的文本泛滥，令人类难以辨认及信任真实内容的情况。在可想象的核末世、气候末世、战争末世之间，“文本末世”显得无伤大雅，但它的逼近将在最基本的认知层面上如何影响我们的生活，还缺乏有效的讨论。
单读与瑞士文化基金会身处文化行业者与创作者之间，希望从文学行业、文学读者以至更广泛意义上的文本生产与使用者的角度，思考这一末世可能性带来的挑战。
「在“文本末世”到来前写作」系列活动将由一场面向公众的讲座、两场申请制的工作坊组成。今天我们介绍公众讲座的内容：
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:
✒️
「在“文本末世”到来前写作」
公众讲座
Writing Ahead of the “Textpocalypse”
Public Forum
主题
Theme
与技术争夺爱与记忆
Negotiating Love and Memory in a Technological Age
在“文本末世”的预言中，人工智能生成的文本可能如海啸一样袭来，将人类自主生产的文本围成大海中的一个个小岛。而在“文本末世”的边缘，我们已经需要去面对良莠不齐的文本相互淹没，并在许多情况下变得无关紧要的事实。
相聚在人类写作的小岛上，今天的文学创作者、文本实践者和文字工作者们必须重新考量“字”的本质与边界。经历打印技术、平装本、文档与电子书的普及，人工智能文本的流行是否会带来文字技术化的另一次变革，它将会如何改变人类写作者的位置？精英内容的消解与创作劳动的贬值，是否意味着重建文学价值的努力应该找到新的方向？我们将会变得更“智能”——更友好、更去精英化或者更平庸，还是变得更“人类”——不论这意味着什么？
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?
时间
Time
2025 年 11 月 9 日（周日）
15:00—17:00（北京时间）
Sunday, Nov 9, 15:00–17:00
地点
Location
北京单向空间·郎园 Station 店
北京市朝阳区东坝镇半截塔路 53 号郎园 station
（北京纺织仓库南门）D3-1 座
Beijing OW Space
(Langyuan Station Shop)
How to Participate
Scan to Register
语言
Language
中英
讲师
Jonas Lüscher
1976 年生于瑞士，是一位作家与散文家。曾在伯尔尼接受小学教师培训，之后在慕尼黑从事电影行业，并先后于慕尼黑哲学学院、苏黎世联邦理工学院及斯坦福大学学习哲学。他的主要著作包括中篇小说
Frühling der Barbaren
Barbarian Spring, 2013)、小说
Kraft（2017）、诗学讲稿
Ins Erzählen flüchten（
Fleeing into Storytelling, 2020）及小说
Verzauberte Vorbestimmung
Enchanted Determinism，2025)。此外，他也经常在瑞士、德国及国际媒体上发表政治随笔。他的书籍已被翻译成二十多种语言，并荣获多个重要文学奖项，包括瑞士图书奖、弗朗茨·黑塞尔奖、马克斯·弗里施奖及威廉·拉贝文学奖。他拥有瑞士和德国双重国籍，现居慕尼黑。
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 Spring2013), the novel
Kraft(2017), the poetics lecture
Ins Erzählen flüchten
Fleeing into Storytelling2020), and the novel
Verzauberte Vorbestimmung
Enchanted Determinism2025). 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 是一位瑞士作家与剧作家。她曾学习文学、语言学与哲学，并为多家欧洲剧院创作剧本。凭借小说
The Invention of Disobedience，她在 2021 年获得瑞士图书奖。2022 年，她的作品
Vor aller Augen出版，并被改编为舞台剧，已成功上演了两年多。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.
陈思安
作家，戏剧编剧、导演，译者。出版短篇小说集《体内火焰》《活食》《冒牌人生》《接下来，我问，你答》等。译著《诗与歌：帕蒂·史密斯诗歌选1970-2015》《蒙辱：阿亚德·阿赫塔尔剧作集》等。主要戏剧作品：《请问最近的无障碍厕所在哪里？》（编剧），《风雪山神庙》（编剧/作词），《凡人之梦》（编剧/导演），《冒牌人生》（编剧），《随黄公望游富春山》（导演）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.
吴琦
《单读》主编，播客《螺丝在拧紧》主播。与项飙合著谈话录《把自己作为方法》，译有《下一次将是烈火》《去山巅呼喊》《在门外谈话 : 詹姆斯·鲍德温的一生》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 Mountainand
Talking At The Gate: A Life Of James Baldwin.
主办方
微信: 单读
微博: @单读
Instagram: one_way_street_journal
“单读”诞生于 2009 年，是单向空间旗下集出版、声音、影像、活动等全媒体原创内容为一体的文化品牌。“单读”坚持全球化视野，挖掘国内外新一代创作者和思想者，发表小说、诗歌、剧本、非虚构和视觉艺术作品；用冷静、独立的视角切入社会议题，推崇沉静、深入、优雅的阅读，尊重清醒、独特、富有活力的声音。
《单读》MOOK 书影
支持方
瑞士文化基金会致力于在国内外推广瑞士当代文化艺术。基金会于1939年由瑞士政府成立，其上海办公室于2010年成立，旨在支持中瑞两国艺术家与机构间的合作与交流，通过开展项目促进两国在文化领域内知识与经验的分享。目前，瑞士文化基金会上海办公室开展的项目主要集中在瑞士当代艺术，其中包括视觉艺术、表演艺术、设计、音乐、文学等众多领域。
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.
关注和参与瑞士文化基金会在中国的活动，欢迎查看网站
www.prohelvetia.ch
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