作者：百年不渡分类：未来幻想点击：5557次下载：17022次大小：70M 日期：2026-08-26

一仆二主

写好两个“合” 守住新竹县“蓝天”_我的网站

A | AI摘要国民党徐欣莹与民进党郑朝方竞逐新竹县长，选情胶着。蓝营面临整合初选对手陈见贤及与民众党争夺竹北市长的双重挑战，成败关键在于党内团结与蓝白合作。

B | 如果说台湾年底县市长选举，蓝营在彰化县选情最危险，那么其在新竹县的选情则仍显混沌。

Chen Aijun works in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)The video came with almost no instructions.
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.
Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)

Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)
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C | 不是说国民党新竹县长参选人未定，而是说选将虽然有了，但新竹县蓝营初选裂痕未化解，内部整合仍陷僵局；此外，国民党和民众党还在激烈争夺新竹县竹北市长参选名额，且都不愿妥协，倘若蓝白在新竹县“最大票仓”竹北市闹得不愉快，恐将连带冲击蓝营新竹县选情，甚至可能让民进党“渔翁得利”。蓝绿新竹县选情拉扯 2026年新竹县长选举，由国民党徐欣莹对决民进党郑朝方，目前两人选情胶着，民调互有领先，差距在缩小。

D | 其实，这已经是两人二度交手。2018年徐欣莹第一次对决郑朝方，只不过当时徐欣莹脱离国民党自立门户，代表“民国党”参选，郑朝方首次代表民进党出战。那一年，国民党则派出杨文科角逐，最终杨文科在“三脚督”中得票率38.2%成功当选县长，并于2022年成功连任，得票率63.36%。如今，杨文科即将卸任，施政满意度达58.8%，8年经营颇有成效，巩固了蓝营基本盘、拓展了中间选票渠道，为2026年代表国民党出战的徐欣莹打下坚实基础。按理说，新竹县基本盘仍是蓝大于绿，这次泛蓝也没分裂，但徐欣莹与郑朝方对决之路并不顺畅，甚至有些踉跄。

E | 此前一份民调显示，民进党郑朝方支持度44.88%，国民党徐欣莹35.5%，双方差距9.38个百分点。

F | 而近日另一份民调显示，国民党参选人徐欣莹以41.4%的支持度，领先民进党参选人郑朝方的38.1%。徐欣莹从落后9.38个百分点，到领先3.3个百分点，并不意味着徐欣莹稳操胜券，而是显示双方仍在激烈拉扯中，且徐欣莹还要面对一些不确定因素。蓝营面临两大难题首先，徐欣莹如何尽快“牵手”初选竞争者陈见贤，并获得他的支持。要知道，初选中徐欣莹民调只是险胜陈见贤1.2%，而且陈见贤参加初选时获得了新竹县现任议长张镇荣、新竹县前县长邱镜淳、竹北市前市长何淦铭及蓝营多名议员的支持，也是地方实力派。只是，初选中徐欣莹、陈见贤两人杀到刀刀见骨，陈见贤受伤最重，如今要言归于好、携手共守“蓝天”，并非易事。8月22日，虽然徐欣莹、陈见贤同台参加活动，但双方仍零互动，整合曙光何时能降临？其次，徐欣莹还要面临一个非常棘手的难题，也就是蓝白争夺新竹县“最大票仓”竹北市长人选。按照民众党主席黄国昌的说法，早前蓝白达成的协议是由民众党邱臣远参选竹北市长，他希望国民党和徐欣莹要说到做到。

G | 另外，柯文哲参加2024年台湾地区领导人选举时在竹北市得票不低，他也坚持力挺邱臣远参选。还有一点，由于地理位置关系，竹北市与新竹市也互动紧密，而新竹市又大概率将由与民众党关系密切的高虹安成功连任，若邱臣远也能胜选，那么未来民众党地盘将进一步扩大。

H | 民众党算盘虽打得响，但国民党也有自己的想法。目前，蓝白各自力推的竹北市长人选民调“相当接近”，不过国民党吴旭智支持度稍微领先民众党邱臣远，蓝营并不想礼让。如果蓝白没有办法在竹北市长人选上达成共识，民众党肯定不满，其支持者“小草”也不会力挺国民党，情况若再恶化，蓝白各自为战，恐将连带影响新竹县选情。竹北市是“台湾硅谷”新竹科学园的重要落脚地之一，随着大量科技业家庭、新移入人口、年轻中产与跨县市通勤族加入，竹北市已成为台湾人口最年轻的城市，竹北市甚至新竹县的选民结构也发生了一些变化。蓝营人士指出，目前徐欣莹在新竹县竹北市以外的12个乡镇民调都领先，恰恰只有竹北市陷入混沌，偏偏竹北市又是新竹县“最大票仓”，蓝白若在竹北市整合好，选情就能明朗。民进党来势汹汹徐欣莹知名度高，也有科技专业背景，能得到许多中间选民支持，但民进党派出的郑朝方也不弱。

I | 郑朝方的父亲为新竹县前县长郑永金，而郑朝方2022年当选竹北市长后，施政也颇受在地民众肯定。这次，他就主打“竹北经验”要推广到全县，来势汹汹。

J | 不过，最近郑朝方被爆料出现财务问题，其家族也卷入违建争议，尽管郑朝方对此都采取“冷处理”，但徐欣莹和国民党却要好好想一想，该怎么出招才能得分。因此，对于徐欣莹和国民党而言，关键在于写好两个“合”字，一是国民党“内部合”，二是“蓝白合”，倘若皆顺利，守住新竹县“蓝天”的概率还是比较大的。（记者林连金）。