杀人回忆

英菲尼迪的首款纯电动汽车QX灵感车，即将量产。_我的网站

A |     

    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)
。在2019年北美车展上，英菲尼迪推出了一款名为QX灵感的概念车，这是第一款专为纯电动汽车设计的概念车。在此之前，英菲尼迪的所有设计都可以与燃料发动机相匹配，而QX灵感只能与电动机和电池相匹配。

B | 是的，英菲尼迪的电动汽车时代即将到来。高端的英菲尼迪并没有将QX灵感的参数置于死地，而是意味着概念车的布局可以适应四轮驱动配置和高性能电池组，其中每个轴可以配备一个电机，以实现普通燃料车无法想象的线性加速。当然，这一说法也意味着四轮驱动必须是可选的顶部匹配配置，而QX灵感的入门版仍然是主要驱动。纯电动汽车布局的使用也意味着QX灵感本身会得到一个非常大的内部空间，英菲尼迪说，通过缩短不再存在的发动机舱，他们为汽车增加了无与伦比的额外空间。超大空间，豪华内饰。

C | 英菲尼迪QX灵感内饰采用非常高规格的设计，包括大理石覆盖的中央控制平台，棕色和白色皮革装饰方向盘和面板，以及绒面钻石装饰地板，所有这些通常用于高端家具面料。此外，QX灵感还显示了未来互联技术的可能性，如超大液晶仪表板和嵌入方向盘的显示屏。大气灯还结合了流行的RGB元素，根据不同的环境光的使用，这是相当流行的。

D | QX灵感旨在探索纯电动汽车未来的发展方向。例如，日产的Propilot自动驾驶技术可以支持方向盘、刹车和油门踏板自动接受、座椅自动旋转30度，以实现人机交互时真正无人驾驶。许多设计的QX灵感也开始与室内空间，装饰和互动。

E | 日产聆风的经验最终将以英菲尼迪QX为灵感付诸实践。简而言之，任何豪华的纯电动汽车都可以用更多的钱为您制造。

F | 目前，英菲尼迪QX的灵感并未具体说明何时量产，但由于保时捷、梅赛德斯-奔驰、福特、奥迪和特斯拉已经拥有了自己的纯电动SUV，如果没有进一步的行动，在未来两年占领新市场将为时已晚。正因为如此，QX灵感的设计与量产模式非常接近。

Current article:http://p1aijc.foujiongwenruapoumeizhan.buzz/news/20260826_651.html

Published on:11:40:13