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When a Chinese mythic world travels without translation_我的网站
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There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
。 特斯拉喜欢大建筑，从内华达州的超级工厂到得克萨斯州的超级工厂，它已经建造了许多大型建筑。根据Courier-Tribune的报道，特斯拉正在接管一个占地超过50万平方英尺的大型仓库。根据商业地产公司CBRE的一份市场报告，该公司在Gateway TradePort签订了近66.7万平方英尺的租约，这是一个位于伊利诺伊州Pontoon海滩的计划中的工业园区。该建筑的规模表明，它太大了，不可能只是另一个特斯拉服务中心，特别是考虑到特斯拉目前正在圣路易斯建造一个大型的新服务中心。该报告无法准确指出特斯拉计划在该地点做什么。该公司和开发商NorthPoint Development of Kansas City都没有立即回应评论请求。特斯拉的网站也没有列出南伊利诺伊州的任何工作机会。
B | 虽然在出版时没有该地点的工作列表，但特斯拉后来为Pontoon海滩的建筑增加了几个与库存有关的工作列表。
C | 在招聘信息中，特斯拉提到了一个“高度动态的零件配送中心”。特斯拉正在为我们位于密苏里州圣路易斯的极具活力的零部件配送中心寻找一位积极进取、经验丰富的主管。这个职位将对日常运作进行监督，包括收货、存货、发货以及与上述活动有关的所有交易。
D | 零件和服务仓库主管还将确保零件库存和组织的效率和准确性。此人将与零件和服务采购员、物流和质量团队以及全球的内部和外部客户密切合作。这个职位将直接向零件和服务仓库的副经理汇报。我们目前有白班和轮班的职位空缺，但需要有灵活性。听起来新的地点将成为特斯拉服务部门的一个巨大的新零件配送中心。最近，Electrek报道了特斯拉在“革新”其车辆服务和减少北美维修的等待时间方面投入了大量的精力。
E | 零件库存实际上是实现这一目标的一个关键部分，因为服务中心在完成维修之前往往需要等待零件。如果特斯拉能在美国中部拥有一个大型的零部件配送中心，比如在圣路易斯附近，它可以帮助将零部件更快地送到北美各地的服务中心。特斯拉获得的大规模新建筑仍在建设中，因此，目前还不完全清楚特斯拉何时能完成新的零部件配送中心，但如果它已经在为其招聘人员，应该会相对较快。
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