秦铃森 Qin Lingsen
1994 年出生。Qin Lingsen, born in 1994.
In Search of the Coordinates of God in Non-Continuity
作品《以非连续性寻找上帝坐标系》是分不清到底是场景在动还是球在动，永远 无法逃离设定的重力场景，没有出口，运动产生了不同速度状态和不同的形态， 直到最后挣扎爆裂，永恒的量子纠缠。
In the work In search of the coordinates of God in non-continuity, we cannot tell whether it is the scene moving or the ball, and we will never be able to escape from the predetermined scene of gravity. There is no exit, as the movements produce different states of velocity and forms. At the very end, a struggle bursts out, ending up in eternal quantum entanglement.
作品《事件视界》则是依附于美国哥伦比亚航天飞机失事而创作，音频取材于 NASA 通讯资料的人声后摇，无数先驱为了探索未知而壮烈牺牲。悲剧事件的发生， 令人性的伟大和缺失显得更为明显，人类最终的命题再次显得尤为复杂。在濒临 崩溃无望的境地，人性会依附于寄托于信仰于何物?
Event Horizon is based on the true story of the crash of the US space shuttle Columbia. The audio is created as post-rock that is based on the voice of the NASA communication data. Many pioneers are sacri ced in the exploration of the unknown. The occurrence of tragic events renders the greatness of human nature as well as its lack all the more obvious. Therefore, the final proposition of mankind once again appears to be particularly complex. What will human nature rely on in a hopeless situation?
创作自述 Artist Statement
此次投稿两部作品是使用 3D 建模软件，转换合成封闭场景和图像 data 混合而成 的数据球体，反录屏幕录制，Find Cut Pro 后期剪辑处理，军事化红外线，以及 非线性叙事。作品的灵感依附于理论物理和航天悲剧，作品中交织了人类的悲剧 和人类的基本情感。
The two works are created with 3D modeling software to convert a closed scene and image data mix into a data sphere, recorded using a reverse screen to recording and then Final Cut Pro for post-editing, as well employing military infrared and nonlinear narrative. Inspired by theoretical physics and aeronautical tragedies, the work interweaves human tragedy and tbasic human emotions.
推荐词 Nomination Comments
生于 1994 年，成长在媒体饱和，互联网全球化信息时代，他沉浸在互联网并获得的 “教育” ，在屏幕和网络里捕获好奇，也在此地购买物质材料用以创作。
For Qin Lingsen, the medium is the message. Like a comic character closed in a box but full of energy, he is eager to jump out and try out everything surrounding him; he is also brave and willing to express himself.
Born in 1994, Qin has grown up in an environment of media saturation. He “educates” himself in the Information Age by immersing himself in the Internet—capturing curiosity on screens and networks, and obtaining materials for creation here.
His two animations combine military elements, theory of physics, software synthesis, speci c tragedies in aerospace, in order to provide a non-representational narrative animation with a private perspective in which time is filled with sadness. In the animation, the ball bounces within the sealed space, as though projecting the daily conditions of a vigorous young man.