导语：如今，科幻早已杰出版页与银幕，延长至游戏、动画、千里浸式体验、设计、科技传播乃至改日城市联想之中，构建起横跨产业、学术与行家谈话的远大生态。正如驰名科幻作者刘慈欣在3月27日中国科幻大会开幕式上所言：“科幻让咱们在启程之前，先要想了了为什么要启程，以及要往那儿去。”那时期变革以超乎预期的速率迅猛而至，科幻通过铺陈改日的时期图景，为咱们注释时期与东谈主文的筹商、时期变革中的逆境与机遇，掀开了浩荡的空间。
华南理工大学荣誉教授、聚首国教科文组织原副总工作汉斯·谈维勒在出席本届中国科幻大会时发饰演讲指出，频年来，中国与多国科幻领域均获得长足跨越。科幻所塑造的改日图景与联想叙事，已能推动执行变革，成为激勉步履与翻新的有用器具，加速推动聚首国可捏续发展主张的罢了。在他看来，科幻可普及公众对清洁能源、可捏续城市、快意步履等议题的通晓与步履意愿，并与媒体艺术、建筑及数字孪生等时期交融，为跨学科翻新与轮回经济实践提供试验场。
*著述整理自汉斯·谈维勒教授于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张。
科学之梦——创造改日
Science Dreams – Creating the Future
汉斯·谈维勒博士在大会上发言。图源：主持方
持久以来，科幻为咱们提供了对于改日的各样联想。它随机被赞美成形色改日的载体，却也常因这少许而受到品评。但这两种评价似乎齐有失公允。
Science fiction (sci-fi) provides us with future visions. It has been praised – and criticized – as a predictor of the future， both perhaps unfairly.
科幻诚然关怀咱们东谈主类对其他星球的探索、对新时期的开发，乃至对外星斯文的探索欲。但它更防卫的是咱们为何想要去作念这些事情，以及这些事情所带来的后果将如何影响咱们的生计和咱们所处的星球。有些科幻构想与执行相去甚远，如今回看以致显得好笑；但也有一些设计，竟与执行的发展出东谈主意料地接近。
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.
科幻既发生在改日，也回望畴前；既不错置于咱们老到的日常场景之中，也不错张开于远处的星系之间；既形色可能到来的寰宇，也联想那些本可能发生却未始到来的寰宇。科幻永远深受其写稿或呈现期间的影响：在天灾人祸的年代，它常常反念念干戈；而在跨越发展的时期，它则更多地瞻望东谈主类改日的走向。
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.
科幻永远是执行生计中多种灵感的伏击起原。岂论在西方如故东方，科幻一直齐是承载改日联想的伏击弁言。
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·芬奇曾试验过多种干戈机器与翱游器械。许多东谈主曾因这些构想而将他视作胡念念乱想的疯子，但达·芬奇的险些每一项发明，齐在后世社会中以某种格式得到了印证。但是，达·芬奇并非一位科幻作者。他驯顺我方的发明，也了了地意志到，这些发明在某种意旨上可能编削整个这个词民族的生计。
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”留住了普遍机械手稿，许多设计远超其期间。他设计过“空气螺旋”，常被看作直升机的早期见解；还画过扑翼翱游器和滑翔安装，试图效法鸟类翱游。图源：Wikimedia Commons
19世纪是科幻的清晨期间，爱迪生以及他所处期间掀翻的翻新波澜与康健机械，共同开启了这一篇章。插足20世纪初，东谈主们也初始联想城市的改日，而而后最为深化的变革，偶合就发生在城市之中。1910年代催生了“空中帝国”的联想——那是一个属于翱游的期望。随后，民众交通与原子期间又接踵登场。
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”的虚构视频屏幕安装。这是一种安装在墙上的屏幕，可使身处他乡的东谈主借助它看见相互并进行疏导。1925年，“Telephot”出面前根斯巴克的演义《拉尔夫 124C 41+》中，这一设计为通讯时期开辟了全新的维度。而后，视频通话险些成为整个波及天际旅行或时候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）则进一步建议了以全息影像进行疏导的设计。
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年的早期好意思国科幻演义，亦然科幻史上很有代表性的“时期预言型”作品。书里写到了许多自后常见的设计，比如视频通话、天际翱游、太阳能应用等。
20世纪50年代，飞碟插足了民众联想。60年代，怀旧产业跟着电影的兴起而不停发展。协和式超音速客机则在捏续防碍航空翱游的界限。70年代催生了天际生计的联想，空间站与“天际实验室”（Skylab）成为这一时期的伏击璀璨。80年代展现了“玻璃罩下的生计”。1990年前后，“不朽能源”的不雅念初始高慢。而后，科幻电影中又不时出现了清洁能源的构想，以及机器东谈主、仿生东谈主和半机械东谈主的形象。
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.
而后，寰宇插足了东谈主工智能期间，这一期间正以全面而刚劲的势头浸透进生计的各个领域。
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东谈主和星际旅行仍有待发现与罢了，但受科幻寰宇的启发，许多时期早已不再仅仅联想的家具。大致50年前，东谈主们曾设计改日会出现翱游汽车，或东谈主类大致通过植入大脑的数据芯片来学习。如今，跟着中国和好意思国研发的“翱游出租车”捏续鼓动，翱游汽车正渐渐从联想走向执行。
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，低空经济看成中国国度策略性新兴产业，迎来限制化发展的关键节点。广义的翱游汽车，即电动垂直起降翱游器（eVTOL），正加速完成从试点示范到量产请托的跨越式发展，成为推动低空经济发展的伏击力量之一。图源：新华社
科幻文体是创造庞杂而粗浅联想寰宇的家具。它不仅为东谈主们提供了文娱性的阅读体验，况且已日益解释其对现代科学时期、乃至对执行寰宇的影响。将虚构转机为执行的艺术，于今仍是科学靠近的最具挑战性的任务之一。一些科幻作者自己即是科学家，他们笔下所写的，恰是那些他们但愿大致成真、或大致在执行寰宇中存在的时期，尽管他们也了了这些时期在刻下锋未罢了。
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，齐对现代科学时期发明产生了影响。凡尔纳的这部经典作品发表于1870年，叙述了一位发明家乘坐我方名为“鹦鹉螺号”（Nautilus）的水下漂荡器旅行的故事。这一时期设计远远杰出了其所处的期间。尽管在演义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.
“机器东谈主”（robot）一词由卡雷尔·恰佩克建议，源自“罗博塔（Robota）”，意为“强制作事”。跟着时候推移，HG真人游戏官方网站这一词语的含义不停演变，也由此启发作者进一步联想：机器东谈主挣脱抑遏，反过来奴役其创造者。看成奴役性劳能源的机器东谈主见解，渐渐被鼓动至机器东谈主大致念念考、以致大致感受的层面。
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，刘慈欣是现代最具代表性的科幻作者。为奖赏他在这一领域所作出的私有孝敬，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体馆，于2024年在山西阳泉市厚爱落成启用。
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·谈维勒博士与中国驰名科幻演义作者刘慈欣先生合影。图源：作者供图
在科幻电影领域，东谈主们不错看到许多经典之作，它们形色了充满惊东谈主发明的未下寰宇，举例《星球大战》《星际迷航》《银翼杀手》，以及1985年出品的《回到改日》。在《回到改日》中，主东谈主公穿越到了主张年份2015年。如今，像《回到改日》和《全面回忆》这类广受家庭不雅众深爱的影片中所呈现的一些蚀本创意的发明，仍是走到了现代时期发展的前沿。
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“科学期望，21点app创造改日”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，重心聚焦十年发展积淀与新期间发展要求。畴前几年间，中国及许多其他国度的科幻界齐获得了巨猛进展，简直罢了了从空料到切实翻新的跨越。改日几年，跟着科技翻新与产业翻新进一步深度交融，还将催生出怎么的具体恶果，咱们面前只可联想。而科幻产业无疑将带来远超当下所能意料的深化变革。
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，科幻生态体系中的整个利益筹商方齐必须作出切实孝敬。这其中包括科学界、产业界、学术界、国度层面、区域层面和国外组织、媒体、科学作者以及公众。他们靠近的任务，是共同构建一个兼具平淡遮蔽面与深厚内涵的体系，为迈向科技强国开辟新的旅途。
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·谈维勒博士在大会上发言。图源：主持方
科幻这一弁言大致使复杂议题变得更易雄厚，激勉产业发展，并推动公众围绕可捏续发展到执行冲突等一系列问题张开筹商。会聚艺术家、时期东谈主员和科学家的创意空间，经常大致成为翻新、跨学科配合以及可捏续替代有缠绵发展的伏击环节。这不仅有助于形成既有用又具有文化契合度的措置有缠绵，也可能催生新的创意产业形态，同期推动传统学问与文化价值的妥洽共融。
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.
畴前，科幻主要被视为一种文娱类型。也正因如斯，在《保护和促进文化进展格式各种性契约（2025）》中，科幻并未被列为一个颓唐类别。但刻下仍是到了应当明确数字时期在咨嗟文化各种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，科幻所构建的改日场景和富于联想力的叙事，仍是大致推动执行寰宇的变化，尤其是在促进可捏续发展方面。通过联想各种可能的改日，科幻不错成为激勉步履与翻新的有劲器具，推动罢了聚首国于2015年通过的特定可捏续发展主张（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.
从聚首国和教科文组织的筹商表述看，AI最有但愿在一些具体主张上施展较强作用，举例：健康（SDG 3）、汲引（SDG 4）、食粮与农业、快意步履（SDG 13）、以及更好的数据分析和资源成立。
以科幻为基础构建的数字空间，不错通过呈现不行捏续的作念法与环境疏远所带来的后果，以及可捏续实践和生计表情带来的积极效益，来普及公众通晓。科幻还大致通过形色东谈主类得手支吾环境挑战的寰宇，培育一种“但愿感”。与此同期，数字化以及数字期间的跨境配合，也可能进一步助力可捏续发展。数字化雷同催生了对于假造执行、收罗干戈以及东谈主类意志与数字收罗交融的叙事。至于AI，则有助于更高效地治理资源、减少突然并普及生计质料。
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已对科幻产生深化影响，岂论是在所探讨的主题层面，如故在故事叙述表情层面，均是如斯。科幻作品普通筹商东谈主工智能对社会的影响，举例：创造具有感知才调的机器所波及的伦理考量、东谈主工智能杰出东谈主类智能的可能性，以及自动化对管事带来的冲击。
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.
以下是科幻与东谈主工智能助力罢了可捏续发展主张（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：科幻不错呈现改日能源起原与时期，展现可再生能源的利用以及能源高效使用的旅途；
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、翻新和基础格式：科幻作品不错突显先进时期和基础格式翻新；
SDG 9: Industry， innovation， and infrastructure: Sci-fi stories may highlight advanced technologies and infrastructure innovations;
SDG 11：可捏续城市和社区：科幻不错形色可捏续城市狡计、机灵与创意城市以及生态友好型社区的发展设计；
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：快意步履：通过展现快意变化和环境退化所带来的后果，科幻大致普及公众通晓，并激勉个东谈主和集体遴荐步履，以增强快意韧性并推动可捏续发展；
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。科幻不错突显生物各种性与生态系统的伏击性，呈现东谈主类行径对环境变成的负面影响，并激励保护步履。
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.
科幻还不错与媒体艺术偏激他新兴文化创意产业沿途，看成磨练建筑理念的伏击试验场，在支吾全球性挑战、推动可捏续城市发展方面施展关键作用。
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.
翻新性叙事大致激勉建筑师、城市狡计者、工程师和政策制定者跳出传统措置有缠绵的框架，转而念念考可捏续替代旅途，举例绿色建筑、机灵与创意城市，以及高效的行家交通系统。垂直花坛、智能建筑和模块化建造等见解，齐不错回顾到科幻作品所建议的筹商设计。
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、相互促进的共生筹商。科幻电影中所形色的高耸摩天大楼与普遍城市景不雅，既影响了现代建筑好意思学，也推动了时期与可捏续理念在城市狡计中的交融。科幻普通构想改日城市与改日建筑，不停拓展建筑联想的界限。通过设计建于其他星球或水下的城市，科幻也在促使建筑师念念考可应用于执行场景的替代性材料、能源起原和居住表情。
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.
通过开荒大模子产业集群、假造执行产业园等载体，城市不错加速数字时期向科幻创作、智能制造等场景的浸透，形成虚实交融的翻重生态。频年来的翻新实践，正越来越多地借助假造执行（VR）、增强执行（AR）等新兴数字器具，并伙同东谈主工智能，以打造千里浸式、互动式环境与空间，让科幻寰宇变得可感、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，搭客佩带VR开荒在假造场景中互动体验。图源：新华社
执行寰宇场地的数字孪生，也不错被用于构建科幻模拟场景。此类数字复制体将使用户大致探索城市或其他场地的改日版块。
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.
科幻富于联想力的特点，大致激勉东谈主们为罢了可捏续改日而遴荐步履，举例推动轮回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.
可捏续实践与资源治理旅途，包括减少撤消物、推动资源再利用、借助纳米时期开展材料回收、通过生物时期罢了撤消物判辨，以及愚弄东谈主工智能优化资源使用。科幻并不是轮回经济实践的径直驱能源，但它大致成为一种有劲器具，用于构想并践诺筹商理念与时期。
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.
数字平台还让叙事不错互动——用户能切身影响故事的发展。借助GPS和迁徙时期，基于本色位置的体验会指点用户在简直环境中进行千里浸式探索。”
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.
在整个这些领域，中国齐具备争取当先地位的细密条目。事实上，中国科幻产业正稳步迈向高质料发展的新阶段。中国科普商酌所最新发布的《2026中国科幻产业报恩》高慢，2025年中国科幻产业总营收达到1261亿元东谈主民币，约合182.5亿好意思元，创历史新高，同比增长15.7%。值得防卫的是，该产业已贯串三年年营收防碍1000亿元东谈主民币。
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.
中国科普商酌院近期发布的一份报恩高慢，到2025年，中国科幻产业的总收入将达到1261亿元东谈主民币（约合180.5亿好意思元）。
报恩指出，科幻并不仅仅对时期的形色，更是从五个关键维度探讨东谈主类应当如何面对改日，即阅读、影视、游戏、养殖品和文旅。报恩还初次引入两个新领域，即以东谈主工智能和千里浸式体验为特征的“科幻时期与装备”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.
著明科幻作者刘慈欣在大会上示意，科幻的发展与国度现代化策略精雅连结。“在我看来，科幻的意旨不错轮廓为一句话：它让咱们在启程之前，先要想了了为什么要启程以及需要往那儿去。”（引自《中国日报》2026年3月28日至29日报谈“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，中国科协党构成员、文书处文书于俊清强调了科技翻新的策略作用，他示意，要以科幻为纽带，杰出科技引颈、促进交融翻新、饱读舞公众参与、拓张通达翻新，进一步推动科幻行状高质料发展，促进科技翻新和产业翻新深度交融，催生新质坐蓐力，会聚起开荒科技强国、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.”
筹商报谈：
汉斯·谈维勒（Hans d’Orville）
聚首国教科文组织原副总工作、原策略狡计助理总工作；华南理工大学（SCUT）荣誉教授；聚首国教科文组织国外创意与可捏续发展中心（ICCSD，北京）研讨委员会主席
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
对于IPP
华南理工大学行家政策商酌院（IPP）是一个颓唐、非渔利性的学问翻新与行家政策商酌平台。IPP围绕中国的体制考订、社会政策、中国谈话权与国外筹商等开展一系列的商酌责任，并在此基础上形成学问翻新和政策研讨妥洽发展的细密步地。IPP的愿景是打造通达式的学问翻新和政策商酌平台，成为当先寰宇的中国智库。
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