汉斯·道维勒：以科学之梦打造未来

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导语：如今，科幻早已超越书页与银幕，延伸至游戏、动画、沉浸式体验、设计、科技传播乃至未来城市想象之中，构建起横跨产业、学术与公共话语的庞大生态。正如知名科幻作家刘慈欣在3月27日中国科幻大会开幕式上所言：“科幻让我们在出发之前，先要想清楚为什么要出发，以及要往哪里去。”当技术变革以超乎预期的速度迅猛而至，科幻通过铺陈未来的技术图景，为我们审视技术与人文的关系、技术变革中的困境与机遇，打开了广阔的空间。

华南理工大学荣誉教授、联合国教科文组织原副总干事汉斯·道维勒在出席本届中国科幻大会时发表演讲指出，近年来，中国与多国科幻领域均取得长足进步。科幻所塑造的未来图景与想象叙事，已能推动现实变革，成为激发行动与创新的有效工具，加速推动联合国可持续发展目标的实现。在他看来，科幻可提升公众对清洁能源、可持续城市、气候行动等议题的认知与行动意愿，并与媒体艺术、建筑及数字孪生等技术融合，为跨学科创新与循环经济实践提供试验场。

*文章整理自汉斯·道维勒教授于2026年3月27日在中国科幻大会上的发言，内容经演讲者修改和扩展。

科学之梦——创造未来

Science Dreams – Creating the Future

汉斯·道维勒博士在大会上发言。图源：主办方

长期以来，科幻为我们提供了关于未来的种种想象。它有时被赞誉成描绘未来的载体，却也常因这一点而受到批评。但这两种评价似乎都有失公允。

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

科幻固然关心我们人类对其他星球的探索、对新技术的开发，乃至对外星文明的探索欲。但它更在意的是我们为何想要去做这些事情，以及这些事情所带来的后果将如何影响我们的生活和我们所处的星球。有些科幻构想与现实相去甚远，如今回看甚至显得可笑；但也有一些设想，竟与现实的发展出人意料地接近。

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.

科幻既发生在未来，也回望过去；既可以置于我们熟悉的日常场景之中，也可以展开于遥远的星系之间；既描绘可能到来的世界，也想象那些本可能发生却未曾到来的世界。科幻始终深受其写作或呈现时代的影响：在动荡不安的年代，它常常反思战争；而在进步发展的时期，它则更多地展望人类未来的走向。

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.

科幻始终是现实生活中多种灵感的重要来源。无论在西方还是东方，科幻一直都是承载未来想象的重要媒介。

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世纪，列奥纳多·达·芬奇曾试验过多种战争机器与飞行器械。许多人曾因这些构想而将他视作异想天开的疯子，但达·芬奇的几乎每一项发明，都在后世社会中以某种形式得到了印证。然而，达·芬奇并非一位科幻作家。他坚信自己的发明，也清楚地意识到，这些发明在某种意义上可能改变整个民族的生活。

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.

达·芬奇的“发明”留下了大量机械手稿，许多设想远超其时代。他设计过“空气螺旋”，常被看作直升机的早期概念；还画过扑翼飞行器和滑翔装置，试图模仿鸟类飞行。图源：Wikimedia Commons

19世纪是科幻的黎明时代，爱迪生以及他所处时代掀起的创新浪潮与强大机械，共同开启了这一篇章。进入20世纪初，人们也开始想象城市的未来，而此后最为深刻的变革，恰恰就发生在城市之中。1910年代催生了“空中帝国”的想象——那是一个属于飞行的梦想。随后，大众交通与原子时代又相继登场。

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）曾构想出一种名为“Telephot”的虚构视频屏幕装置。这是一种安装在墙上的屏幕，可使身处异地的人借助它看见彼此并进行交流。1925年，“Telephot”出现在根斯巴克的小说《拉尔夫 124C 41+》中，这一设想为通信技术开辟了全新的维度。此后，视频通话几乎成为所有涉及太空旅行或时间旅行的科幻故事中的常见元素。而在《星球大战》中，乔治·卢卡斯（George Lucas）则进一步提出了以全息影像进行交流的设想。

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.

《拉尔夫124C41+》——一部1911年的早期美国科幻小说，也是科幻史上很有代表性的“技术预言型”作品。书里写到了很多后来常见的设想，比如视频通话、太空飞行、太阳能应用等。

20世纪50年代，飞碟进入了大众想象。60年代，怀旧产业随着电影的兴起而不断发展。协和式超音速客机则在持续突破航空飞行的边界。70年代催生了太空生活的想象，空间站与“天空实验室”（Skylab）成为这一时期的重要象征。80年代展现了“玻璃罩下的生活”。1990年前后，“永恒能源”的观念开始浮现。此后，科幻电影中又陆续出现了清洁能源的构想，以及机器人、仿生人和半机械人的形象。

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，世界进入了人工智能时代，这一时代正以全面而强劲的势头渗透进生活的各个领域。

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

尽管五彩斑斓的外星人和星际旅行仍有待发现与实现，但受科幻世界的启发，许多技术早已不再只是想象的产物。大约50年前，人们曾设想未来会出现飞行汽车，或人类能够通过植入大脑的数据芯片来学习。如今，随着中国和美国研发的“飞行出租车”持续推进，飞行汽车正逐步从想象走向现实。

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，低空经济作为中国国家战略性新兴产业，迎来规模化发展的关键节点。广义的飞行汽车，即电动垂直起降飞行器（eVTOL），正加速完成从试点示范到量产交付的跨越式发展，成为推动低空经济发展的重要力量之一。图源：新华社

科幻文学是创造宏大而纯粹想象世界的产物。它不仅为人们提供了娱乐性的阅读体验，而且已日益证明其对现代科学技术、乃至对现实世界的影响。将虚构转化为现实的艺术，至今仍是科学面临的最具挑战性的任务之一。一些科幻作家本身就是科学家，他们笔下所写的，正是那些他们希望能够成真、或能够在现实世界中存在的技术，尽管他们也清楚这些技术在当时尚未实现。

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).

凡尔纳的《海底两万里》、乔治·奥威尔的《一九八四》以及卡雷尔·恰佩克的《R.U.R.》等经典作品，都对现代科学技术发明产生了影响。凡尔纳的这部经典作品发表于1870年，讲述了一位发明家乘坐自己名为“鹦鹉螺号”（Nautilus）的水下航行器旅行的故事。这一技术设想远远超越了其所处的时代。尽管在小说问世之前潜艇便已存在，但直到凡尔纳的作品广为流传之后，潜艇设计才得到进一步的改进。

Classic novels like Jules Verne's “Twenty Thousand Leagues Under the Sea”, George Orwell's “1984”, or Karel Čapek'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.

“机器人”（robot）一词由卡雷尔·恰佩克提出，源自“罗博塔（Robota）”，意为“强制劳动”。随着时间推移，这一词语的含义不断演变，也由此启发作家进一步想象：机器人挣脱束缚，反过来奴役其创造者。作为奴役性劳动力的机器人概念，逐渐被推进至机器人能够思考、甚至能够感受的层面。

It was Karel Čapek 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.

在中国，刘慈欣是当代最具代表性的科幻作家。为表彰他在这一领域所作出的独特贡献，由扎哈·哈迪德建筑事务所北京办公室的大桥谕（Satoshi Ohashi）设计的刘慈欣科幻文学馆，于2024年在山西阳泉市正式落成启用。

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.

汉斯·道维勒博士与中国知名科幻小说作家刘慈欣先生合影。图源：作者供图

在科幻电影领域，人们可以看到许多经典之作，它们描绘了充满惊人发明的未来世界，例如《星球大战》《星际迷航》《银翼杀手》，以及1985年出品的《回到未来》。在《回到未来》中，主人公穿越到了目标年份2015年。如今，像《回到未来》和《全面回忆》这类广受家庭观众喜爱的影片中所呈现的一些富有创意的发明，已经走到了现代技术发展的前沿。

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“科学梦想，创造未来”这一主题的启发，2026年3月27日在北京举办的第十届中国科幻大会，重点聚焦十年发展积淀与新时代发展要求。过去几年间，中国及许多其他国家的科幻界都取得了巨大进展，真正实现了从梦想到切实创新的跨越。未来几年，随着科技创新与产业创新进一步深度融合，还将催生出怎样的具体成果，我们目前只能想象。而科幻产业无疑将带来远超当下所能预见的深刻变革。

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.

为此，科幻生态体系中的所有利益相关方都必须作出切实贡献。这其中包括科学界、产业界、学术界、国家层面、区域层面和国际组织、媒体、科学作家以及公众。他们面临的任务，是共同构建一个兼具广泛覆盖面与深厚内涵的体系，为迈向科技强国开辟新的路径。

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.

汉斯·道维勒博士在大会上发言。图源：主办方

科幻这一媒介能够使复杂议题变得更易理解，激发产业发展，并推动公众围绕可持续发展到现实冲突等一系列问题展开讨论。汇聚艺术家、技术人员和科学家的创意空间，往往能够成为创新、跨学科协作以及可持续替代方案发展的重要枢纽。这不仅有助于形成既有效又具有文化契合度的解决方案，也可能催生新的创意产业形态，同时推动传统知识与文化价值的协调共融。

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.

过去，科幻主要被视为一种娱乐类型。也正因如此，在《保护和促进文化表现形式多样性公约（2025）》中，科幻并未被列为一个独立类别。但当前已经到了应当明确数字技术在维护文化多样性方面作用的时候了。

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，科幻所构建的未来场景和富于想象力的叙事，已经能够推动现实世界的变化，尤其是在促进可持续发展方面。通过想象各种可能的未来，科幻可以成为激发行动与创新的有力工具，推动实现联合国于2015年通过的特定可持续发展目标（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.

从联合国和教科文组织的相关表述看，AI最有希望在一些具体目标上发挥较强作用，例如：健康（SDG 3）、教育（SDG 4）、粮食与农业、气候行动（SDG 13）、以及更好的数据分析和资源配置。

以科幻为基础构建的数字空间，可以通过呈现不可持续的做法与环境忽视所带来的后果，以及可持续实践和生活方式带来的积极效益，来提升公众认知。科幻还能够通过描绘人类成功应对环境挑战的世界，培育一种“希望感”。与此同时，数字化以及数字时代的跨境协作，也可能进一步助力可持续发展。数字化同样催生了关于虚拟现实、网络战争以及人类意识与数字网络融合的叙事。至于AI，则有助于更高效地管理资源、减少浪费并提升生活质量。

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.

数字化与AI已对科幻产生深刻影响，无论是在所探讨的主题层面，还是在故事讲述方式层面，均是如此。科幻作品经常讨论人工智能对社会的影响，例如：创造具有感知能力的机器所涉及的伦理考量、人工智能超越人类智能的可能性，以及自动化对就业带来的冲击。

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.

以下是科幻与人工智能助力实现可持续发展目标（SDGs）的几个例子：

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

SDG 7：经济适用的清洁能源：科幻可以呈现未来能源来源与技术，展现可再生能源的利用以及能源高效使用的路径；

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：产业、创新和基础设施：科幻作品可以凸显先进技术和基础设施创新；

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

SDG 11：可持续城市和社区：科幻可以描绘可持续城市规划、智慧与创意城市以及生态友好型社区的发展设想；

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：气候行动：通过展现气候变化和环境退化所带来的后果，科幻能够提升公众认知，并激发个人和集体采取行动，以增强气候韧性并推动可持续发展；

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 15：陆地生物。科幻可以凸显生物多样性与生态系统的重要性，呈现人类活动对环境造成的负面影响，并激励保护行动。

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.

科幻还可以与媒体艺术及其他新兴文化创意产业一道，作为检验建筑理念的重要试验场，在应对全球性挑战、推动可持续城市发展方面发挥关键作用。

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.

创新性叙事能够激发建筑师、城市规划者、工程师和政策制定者跳出传统解决方案的框架，转而思考可持续替代路径，例如绿色建筑、智慧与创意城市，以及高效的公共交通系统。垂直花园、智能建筑和模块化建造等概念，都可以追溯到科幻作品所提出的相关设想。

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.

建筑与科幻之间存在着一种由来已久、相互促进的共生关系。科幻电影中所描绘的高耸摩天大楼与广袤城市景观，既影响了现代建筑美学，也推动了技术与可持续理念在城市规划中的融合。科幻经常构想未来城市与未来建筑，不断拓展建筑想象的边界。通过设想建于其他星球或水下的城市，科幻也在促使建筑师思考可应用于现实场景的替代性材料、能源来源和居住方式。

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.

通过建设大模型产业集群、虚拟现实产业园等载体，城市可以加快数字技术向科幻创作、智能制造等场景的渗透，形成虚实融合的创新生态。近年来的创新实践，正越来越多地借助虚拟现实（VR）、增强现实（AR）等新兴数字工具，并结合人工智能，以打造沉浸式、互动式环境与空间，让科幻世界变得可感、可体验。

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，在嘉兴市南湖区“翼时空·嘉兴1921”机遇时空体验馆内，游客佩戴VR设备在虚拟场景中互动体验。图源：新华社

现实世界地点的数字孪生，也可以被用于构建科幻模拟场景。此类数字复制体将使用户能够探索城市或其他地点的未来版本。

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质，能够激发人们为实现可持续未来而采取行动，例如推动循环经济原则在城市中的应用。

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

可持续实践与资源管理路径，包括减少废弃物、推动资源再利用、借助纳米技术开展材料回收、通过生物技术实现废弃物分解，以及运用人工智能优化资源使用。科幻并不是循环经济实践的直接驱动力，但它能够成为一种有力工具，用于构想并推广相关理念与技术。

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.

数字平台还让叙事可以互动——用户能亲身影响故事的发展。借助GPS和移动技术，基于实际位置的体验会引导用户在真实环境中进行沉浸式探索。”

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.

在所有这些领域，中国都具备争取领先地位的良好条件。事实上，中国科幻产业正稳步迈向高质量发展的新阶段。中国科普研究所最新发布的《2026中国科幻产业报告》显示，2025年中国科幻产业总营收达到1261亿元人民币，约合182.5亿美元，创历史新高，同比增长15.7%。值得注意的是，该产业已连续三年年营收突破1000亿元人民币。

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.

中国科普研究院近期发布的一份报告显示，到2025年，中国科幻产业的总收入将达到1261亿元人民币（约合180.5亿美元）。

报告指出，科幻并不只是对技术的描绘，更是从五个关键维度探讨人类应当如何面对未来，即阅读、影视、游戏、衍生品和文旅。报告还首次引入两个新领域，即以人工智能和沉浸式体验为特征的“科幻技术与装备”以及“搜索热度”。

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.

著名科幻作家刘慈欣在大会上表示，科幻的发展与国家现代化战略紧密相连。“在我看来，科幻的意义可以概括为一句话：它让我们在出发之前，先要想清楚为什么要出发以及需要往哪里去。”（引自《中国日报》2026年3月28日至29日报道“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年大会开幕式上，中国科协党组成员、书记处书记于俊清强调了科技创新的战略作用，他表示，要以科幻为纽带，突出科技引领、促进融合创新、鼓励公众参与、拓展开放创新，进一步推动科幻事业高质量发展，促进科技创新和产业创新深度融合，催生新质生产力，汇聚起建设科技强国、文化强国的磅礴力量。

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：

汉斯·道维勒（Hans d’Orville）

联合国教科文组织原副总干事、原战略规划助理总干事；华南理工大学（SCUT）荣誉教授；联合国教科文组织国际创意与可持续发展中心（ICCSD，北京）咨询委员会主席

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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