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NASA“好奇号”火星车终于抵达期待已久的含硫酸盐区域_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.
。 NASA在周三的声明中把含硫酸盐的区域描述为“长期寻找的区域 ”和 “特殊的”。该航天局的火星勘测轨道飞行器(MRO)在“好奇号”于2012年抵达盖尔陨石坑之前就已经勘察了该地区，因此研究人员期待近距离观察已经有一段时间了。“好奇号”没有浪费任何时间来熟悉这个地区。
二 | NASA表示：“到达后不久，该漫游车就发现了各种各样的岩石类型和过去水的迹象，其中有爆米花纹理的结核和含盐矿物，如硫酸镁（泻盐是一种）、硫酸钙（包括石膏）和氯化钠（普通食盐）。”该漫游车最近钻进了一块名为“Canaima”的岩石，以仔细观察其化学和组成。“好奇号”就像一个轮子上的科学实验室，所以它正在使用车载设备来分析它从岩石中提取的样本。在其他方面，“好奇号”将寻找可能存在的任何有机分子的迹象。自从“好奇号”的“同胞”漫游者在杰泽罗陨石坑发现一些有机物以来，火星上的有机物最近一直是一个热门话题。请记住，有机分子的发现并不一定证明火星上曾经存在过微生物生命。“好奇号”正在帮助科学家们解决一些关于含盐矿物的起源问题，这些矿物可能是在这个星球的过去几十亿年前干涸的溪流和池塘留下的。NASA表示：“假设这个假设是正确的，这些矿物提供了诱人的线索，说明红色星球的气候是如何--以及为什么--从更像地球变成今天的冰冻沙漠的。”“好奇号”已经穿越了岩石（随着时间的推移，它的车轮受到了相当大的冲击）和沙子，以达到它现在的位置。除了很酷的科学成果外，回报是令人惊叹的景观。
三 | 8月14日的全景图显示了圆润的火星山丘和布满岩石的沙丘的华丽景色。
四 | “好奇号”科学操作协调员 Elena Amador-French 谈到了对这些景色的敬畏感。“沙脊是华丽的。你可以在上面看到完美的小漫游车足迹。”Amador-French 谈到全景图中看到的山口时说：“悬崖峭壁很美--我们真的很接近山壁了。”“好奇号”只是刚刚开始研究含有硫酸盐的地区的秘密。它也让漫游者团队忙于研究如何在保证“好奇号”安全和功能的同时，在岩石和沙地上航行。Amador-French说：“科学成果越多、越有趣，火星上的障碍似乎就越多。
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