Within the pattern of diversity in unity of the Chinese civilization, the myths of Ba-Shu are harmoniously integrated yet distinct from those of the Central Plains,.Its regional mythological thinking, characterized by unique cultural features, can provide valuable enlightenment for contemporary people. From the perspective of quantum theory, this paper explores the characteristics of Ba-Shu mythological thinking from three aspects.First, empathetic thinking and inclusiveness. Quantum entanglement reveals a universal and subtle connection between living organisms, which shamans use to achieve spiritual communication. Sanxingdui has unearthed the most numerous and diversified shaman shapes in the country.As the birthplace of Wu culture, the Ba-Shu region demonstrates a strong mythological thinking characterized by its regional features. The animal composite figures unearthed at Sanxingdui, which often integrate features from multiple animals, reflect a cultural mentality of harmony and inclusiveness.Second, the fusion of time and space. The quantum tunneling effect transcends the limitations of classical physics on space-time, enabling individuals to achieve the transcendence of three-dimensional space-time in a special state of consciousness. The early development of astronomical and astrological culture in the Ba-Shu region reflects the ancestors' need to explore parallel universes and communicate with deities of the heavens and earth. The shapes, ranging from the "Tianmen" series to those representing different time-space dimensions, demonstrate the Ba-Shu ancestors' imagination of time-space travel.Third, image-thinking holographic narratives. The quantum field and the holographic principle reveal the wholeness of the universe, where the material world and the world of consciousness are interdependent, manifesting and concealing each other. The ancestors of Ba-Shu were good at figurative thinking and reproduced sacred matters through holographic narratives. These narratives primarily took the form of flat images that conveyed a sense of space, three-dimensional modeling of artifacts, and scene-based narrative of sacred matters.

如果说佛学提倡的是传统宗教思想上的生命升华，那么AI是呈现的则是科学思想上的生命追求。二者在生命认知上虽有各自的理论依据和表述逻辑，但作为宗教的佛学和作为科学技术的AI在生命叙述上都以“意识”为主体。笔者将从佛学和AI对生命“意识”的不同叙述差异出发，探讨佛学对当前AI研究方面的一些启示。

In the mythical narratives of the emperors of the Chinese dynasties, the myth of "Yu’s reward of black jade" was directly related to the mandate of heaven, the virtues of saints, the achievements of emperors, and the change of the royal power. These can be called the most core narrative element of the founding of a state and the divine right of kings. However, was the "black jade" appearing first in the myth of Yu related to the creation myth? What was the relevance? This paper uses the quadruple evidence method to explore the hidden facts and mainly focuses on the elements of the creation. It will highlight a clear clue about the narrative of the creation myth and the ritual performance "from the first separation of the earth and heaven by an axe to Yu’s reward of the black jade and then to the offering of sacrifices with black jade and the worship of the Orient with green jade in the elusive mythical narratives. The tools for the creation of the earth and heaven in China's narrative of the creation myth were an axe and a chisel, and the core tools in the myth of “Grand Yu Controls the Waters” were a mountain-cutting axe, black jade and a jade slip. All these tools were born directly or indirectly out of the axe and battle-axe. The “offering of sacrifices with black jade” and the “Oriental God of Xi” in the inscriptions on shells and animal bones in the Yin Dynasty, and the royal ceremony of "worshiping the Orient with green jade" in ancient books were undoubtedly the ceremonial illustration and inheritance of the creation myth.

In Three-Body, Liu Cixin employed the “Wallfacer Project” as a pivotal narrative device to re-define the theatrical display of human political power as a survival gambit on an interstellar scale, thereby deconstructing the epistemological and ethical frameworks of traditional political performance. Within this interstellar theater, the Wallfacers weaponize political performance into an informational warfare tool for civilizational survival through the absolute informational monopoly of “cognitive barricades” and the deceptive tactics of “strategic subterfuge”. The genuineness of performance is entirely suspended, plunging the audience — including the Three-body civilization, human society, and potential cosmic observers — into a deadly loop of the “chain of suspicion”. In this schema, the roles of performer and spectator dissolve into instrumentalized proxies for survivalist gamesmanship, while the traditional “performer-audience” relationship collapses into a zero-sum contest governed by the Dark Forest Law.

When performance becomes inextricably bound to species survival, Three-Body exposes the violent displacement of morality by technological rationality: Luo Ji’s deterrence ritual as the “Swordholder” reveals itself as a “civilizational trick”, where performative violence sustains the illusion of peace. By magnifying political performance on an interstellar stage, the novel not only lays bare the fictive nature of power narratives but also furnishes a dehumanized critique for posthuman performance through the ruthless logic of “cosmic sociology” — ultimately asserting that all performance is survivalist enactment of power in the existential crucible of civilizational continuity.

The Canonization of Gesar's Epic" for consideration for inclusion in the conference program. Gesar's Epic, characterized as a historical poem, is a long heroic epic formed by the accumulation of various cultural elements from Tibetan myths, historical narratives, cultural memories, customs, beliefs, and expressive discourse throughout different periods. In different eras, among different ethnic groups, and within varied historical contexts, continuously creating new versions of the epic. Moreover, through the recording, organizing, research, commentary, and further creative contributions by generations of eminent monks, wise sages, and scholar-literati, the process of its canonization has been persistently advanced. Gesar's Epic is a living classic. From its orally transmitted form to the written texts that have been recorded and organized, through literary historiography, diverse interpretations among different ethnicities, and its translation and dissemination both domestically and internationally, it has gradually established its status as a classic.

In traditional studies of violence, as a coercive means for the strong against the weak, violence reflects the strong will of the strong. Whether it is an innate biological instinct or the result of social upbringing, human beings need to confront to their own violence. René Girard, a famous contemporary French literary critic, anthropologist and religious scientist, has been thinking about violence all his life, and explores the roots of violence with mimetic anthropological theories. Mimetic anthropology mainly consists of three parts: mimetic desire, scapegoat mechanism and Biblical revelation. Mimetic desire is presented as a triangle with the desire subject, the mediator and the object as the apex, and Girard thus denies the linear structure of human desire from subject to object. The desire subject learns the object from the mediator and desires the same object with the mediator, which leads to interpersonal conflict and violence. In primitive society, when mimetic desire pervades, the differences between human beings are lost, the distinctions that are the basis of social order are dissolved, the members of the community confront each other and a sacrifice crisis breaks out. In the extreme chaos, mimesis draws the primitive people to activate scapegoat mechanism, and transform the chaotic violence of all against all into the unanimous violence of all against one. The Community executes the victim, social harmony is restored, and social order is reestablished. By running scapegoat mechanism, the community attributes its own violence to external violence, and in this way, obscures the truth of collective violence and prevents the demise of ancient societies and cultures. Therefore, Violence is the heart and soul of the sacred. Myth narrates the sacred, but also covers the sacred. Although the Bible is similar in structure and motif to myth and is also filled with narratives of violence, its narrative perspective is not that of the persecutor who perpetrates violence, but that of the victim who suffers it. Girard thus argues that Biblical revelation offers humanity the possibility of salvation from the mechanism of violence by replacing violence with love and forgiveness, renouncing all forms of violence. Mimetic anthropology combines the dual perspectives of persecutor and victim, taking into account the destructive force and the constructive force of violence, but its theoretical construction is only based on the meta-dynamic of mimesis. Girard left behind the historical and cultural context and social reality to talk about violence. The path of religious forgiveness and absolution as a solution to the reality of violence is doomed to a utopian bubble. Nowadays, the forms of violence are ever-changing, and the connotation and extension of violence have greatly expanded. Girard is unable to face the derivation of violence, and his path to solving violence is not practical or feasible.

Fan studies has been an interdisciplinary, or even anti-disciplinary, field of research. Scholars have drawn on methodologies from both literary studies and anthropology to analyze contemporary fan communities and their productions. However, some key terms and theories from anthropology have been applied arbitrarily and indiscriminately in fan studies, most notably the theory of the gift economy.

Digital fandom is often seen as an epitome of the gift economy in the digital age, within a world dominated by the capitalist market economy. This paper aims to examine the application of the term “gift economy” in fan studies and analyze the misunderstandings and idealizations associated with the concept. Two images or scenarios of the gift economy are frequently used as examples in fan studies: the first being the pre-modern potlatch referenced in Marcel Mauss’s seminal discussion of gift economies, and the second being the familial and acquaintance networks in the modern, atomized urban world, maintained by women’s affective labor and gifts.

While scholars in fan studies have correctly identified the similarities and parallels between fan culture and the gift economy, they often overlook the nuances in the dynamic interactions between the gift economy and the market economy, typically idealizing fan culture and positioning it as an alternative to the market economy. On the other hand, the application of the gift economy theory to fan cultural studies also opens up new perspectives. As fan culture becomes increasingly hybrid, it may be more productive to understand it through people's identification with and understanding of fan products, rather than through the binary between gift and merchandise.