Max

大G，連續創業者 serial entrepreneur. Max , a contributor on the earth. @Taiwan #Bitcoin

[SaintSeiya_Cels_Archives @ArchivesCels]

#SaintSeiya40th #聖闘士星矢40th

[【ゲーム公式】聖闘士星矢 Galaxy Soldiers @Seiya_GSS]

📢『#聖闘士星矢』アニメ放送40周年記念イベント開催📢

10月11日は『聖闘士星矢』アニメ放送40周年の記念日です！

日頃の感謝と原作への敬意を込めて、
10月1日＆11日より、豪華2本立ての記念イベントを開催！

まずは【第1弾】の目玉イベントをご紹介👇

✨ 10月1日（木）スタート！第1弾イベント内容 ✨
➡️ ログインボーナス第1弾
ログインするだけで「神話召喚チケット×10」を含む豪華報酬をGET！
➡️ ラッキー購入
大賞を目指して運試し！豪華抽選に参加しよう！
➡️ Webショップ限定無料特典＆お得パック
今だけ【聖闘士星矢40周年記念特典】が無料で手に入る！

🌠Webショップ限定累計チャージも開催中
Webショップでのチャージが超絶大還元！

🌟 さらに！10月11日当日は…？
公式Xにて、40周年を祝う記念ギフトコードを大公開予定🎁
今すぐ公式アカウントをフォローして、最新情報をお見逃しなく！

#星矢GSS #聖闘士星矢 #聖闘士星矢40周年

[⛩ Ryo Saeba | Japon XYZ ⛩ @Ryo_Saeba_3]

Il y a 40 ans jour pour jour, le 11 octobre 1986, le premier épisode de Saint Seiya était diffusé au Japon sur TV Asahi.
Le chara design de Shingo Araki, les musiques de Seiji Yokoyama, la voix d'Éric Legrand...
Brûle, mon Cosmos ! 💫
#SaintSeiya40th #聖闘士星矢40th

[【ゲーム公式】聖闘士星矢 Galaxy Soldiers @Seiya_GSS]

🎉＼㊗️『聖闘士星矢』アニメ放送40周年！／🎉

1986年10月11日の初回放送から、
ついに40周年を迎えました！✨

これまで共に歩んでくれた聖闘士星矢を愛する皆様へ、
心からの感謝を込めて特別記念ギフトコードを配布します👇

💎ブルーダイヤ×4000
🎫クイック挑戦チケット×40
をプレゼント！

【ギフトコード】seiya40anniv
入力場所▶︎（ゲーム内）メイン画面⇒左上のアイコン⇒ギフトコードボタン
受取期間:10/31(土)23:59迄

📢【特報：40周年限定イベント開催決定！】
40周年を記念した【特別な限定イベント】も絶賛準備中🔥
詳細は今後公式よりお知らせいたしますので、続報をお楽しみに！

🌌燃え上がれ、40年目の小宇宙！
🌟永遠の伝説は終わらない！

#星矢GSS #聖闘士星矢 #聖闘士星矢40周年

[Max @Max_Lu]

@FishAudio DRAMA

[Max @Max_Lu]

這是一個很長的一集，但很有意義。
我提供了(繁中英字幕加載)，歡迎大家使用。

Cheeky Pint 回來了！

Mark Zuckerberg @finkd 與 Alexandr Wang @alexandr_wang 來到小酒館，一同探討他們最新的前沿模型 Muse Wonder。

00:00:24 Muse 的突破性應用案例
00:07:28 模型即產品
00:14:35 Muse Wonder
00:24:56 前沿模型是如何打造的
00:48:26 豪擲 1000 億美元的豪賭
01:07:21 代理式商務
01:19:34 OpenRouter
01:20:06 超越智慧型手機
01:27:00 融資
01:34:06 為什麼 AI 不會是贏家通吃的局面
01:40:46 Meta 超級人工智慧實驗室 (MSL)
02:08:11 在馬克·祖克柏手下工作

[John Collison @collision]

Cheeky Pint is back! Mark Zuckerberg @finkd and Alexandr Wang @alexandr_wang came to the pub to discuss their new frontier model, Muse Wonder.

00:00:24 Muse’s breakout use cases
00:07:28 The model is the product
00:14:35 Muse Wonder
00:24:56 How frontier models are built
00:48:26 Betting $100B
01:07:21 Agentic commerce
01:19:34 OpenRouter
01:20:06 Beyond the smartphone
01:27:00 Funding
01:34:06 Why AI won’t be winner-take-all
01:40:46 Meta Superintelligence Labs (MSL)
02:08:11 Working for Mark Zuckerberg

[Max @Max_Lu]

@stats_feed @bot @grok 需要你查證這個資料

[Jeffrey Katzenberg @jeffreykWNDR]

The World is Changing: AI For Creativity

By Jeffrey Katzenberg

A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe.

Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.”

I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both.

In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious.

There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love.

People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft.

Is History Repeating Itself?

The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul."

Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work.
A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept.

They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded.

This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix.

What I Learned From Walt Disney

In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell.

We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not.

That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create.

A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did.

Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.”

A Distinction With a Difference

I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . .

Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new.

Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out.

Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new.

One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable.

Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground.

A Path Forward

In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . .

Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human.

At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling.

The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it.

There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us.

The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires.

What I Learned From Steve Jobs

Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities.

What I See Coming Soon

As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process.

Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

[Max @Max_Lu]

這就是我們要一起帶進現實的未來——從地球到火星，再到木星衛星與奧尼爾圓柱。

This is the future we shall bring into being.
via @elonmusk｜原作 Aze Alter
（中英字幕版）

[Tim Denning @Tim_Denning]

https://t.co/BhRU5HJY2F

[Max @Max_Lu]

［黃仁勳在講座上接川普電話還開擴音］#maxsharing

“Oh shit , Mr.president “

在洛杉磯的 All-In Summit 大會上
黃仁勳的手機突然響了
是川普打來的

黃仁勳接起電話
給切成了免持....

川普當著幾千人說，AI 危險論和反對建資料中心都是"騙局"，黃仁勳在旁邊一直附和...

黃仁勳上手忙腳亂找免提，川普調侃："Jensen 造得出十年沒人能抄的芯片，卻不會開免提。"

哈哈哈哈

然後川普一頓瘋狂輸出：

- 反對建資料中心的聲音是"陰謀"，最高興的是中國

- 資料中心能讓老百姓富、各州富，是"未來二十幾年的石油"，比網路還大

- 反對的人正中別人下懷，可能是搞政治的，也可能是中國

- 黃仁勳："您說得對，我們不會讓它得逞。"

川普說：“機器人不會接管世界。AI 也不會。這整件事是個騙局。”

還順帶提了自己叔叔在 MIT 當了 40 多年教授，自稱"有遺傳，懂 AI"。

他隨後畫風一轉說：要"稍微小心、穩妥地做"，但不會因此叫停整個產業。有句口頭禪是"誰贏了 AI，誰就贏了"。

結束，他誇黃仁勳和 David Sacks 幹得好。最後又說美國有 20 兆美元投資正在進來，拜登那會兒連 1 兆都不到。

黃仁勳全程附和，回應：

"您說得對，我們不會讓那種事發生。我們會確保美國在 AI 競賽中，每個行業、每家公司、每個州、每個人都贏。"

#Nvidia #ai #allinsummit

[Roland.W @rwayne]

https://t.co/WiQH8KpYGc

[BBC News 中文 @bbcchinese]

在9/11袭击25周年前夕，一场无人机灯光秀在纽约上空重现了世贸中心双子塔。

2977架无人机象征着2977名罹难者，在天际线的映衬下飞行于纽约港上空，组合成世贸双塔轮廓，以原有尺寸呈现坍塌的高楼。

[Claude @claudeai]

We’re introducing Claude Fable 5.1 and Claude Mythos 5.1.

They're the world’s most advanced models for coding and knowledge work.

[alex @alextalksai]

🚨 BOMBAZO EN GITHUB

Un desarrollador chino acaba de lanzar una herramienta GRATUITA capaz de crear vídeos automáticamente para TikTok, Reels y YouTube Shorts.

Se llama MoneyPrinterTurbo.
Y ya ha superado las 100.000 estrellas en GitHub.

Funciona así:

1. Introduces un tema o una palabra clave
2. La lA genera el guion, la narración y los subtítulos
3. Busca el material visual, edita el vídeo y te entrega el resultado final

Todo ocurre en un único flujo de trabajo.

Guárdate esta herramienta.

Estoy seguro de que puedes sacarle muchísimo partido.

Repo abajo 👇

[Tim Cook @tim_cook]

Sending lots of love to the Apple community on my last day as CEO. My title changes tomorrow, but the love I have for the Apple community never will. Thank you for being a constant source of inspiration. My gratitude is endless, and I’m excited for the next chapter!

[Jensen Huang @JensenHuang]

For my first post, I’m sharing a letter @NVIDIA signed on why open models matter.

AI will transform every industry, power every company, and be built by every country.

Open models strengthen safety and cybersecurity, accelerate innovation and diffusion, and enable sovereignty.

The world needs both frontier closed models and frontier open models.

https://t.co/AUKzoQ5Ikb

[老白（每日 AI 干货✊） @laobaishare]

GitHub 上 star 最高的一批 skill，我全扒了一遍。

最猛的一个 24 万 star，比不少明星框架还高。

star 从高到低，都附了链接，按需自取 👇

1｜superpowers · 约 24 万 star

给 AI 装一整套资深工程师的干活习惯：先想清楚再动手、自己写测试、自己 debug。目前的天花板。
https://t.co/E0BCS2IACI

2｜ECC（everything-claude-code）· 约 20 万 star

性能优化全家桶——技能、记忆、安全、先查资料再动手，一次配齐，多个 AI 编辑器通用。堆料之王。
https://t.co/na2wK0NtsC

3｜mattpocock/skills · 16 万 star

一个真·资深工程师，把自己天天在用的私货全开源了。胜在真实，不是摆拍。
https://t.co/hRDzPFLUm8

4｜anthropics 官方四件套 · 16 万 star

官方亲自下场：pdf / docx / pptx / xlsx。一句话生成带排版的 Word、能算公式的 Excel、能讲的 PPT。
https://t.co/hTef9hugfh

5｜karpathy skills · 13 万 star

其实就一个文件，把大神 Karpathy 踩过的 AI 写码坑总结成规则喂给 AI。四两拨千斤，肉眼可见变聪明。
https://t.co/PEDW9UMgzX

6｜gstack · 11 万 star

YC 掌门 Garry Tan 的原装配置，23 个工具分别扮演 CEO、设计、工程经理、QA。抄大佬桌面，拎包入住。
https://t.co/j8worF6kyA

7｜ui-ux-pro-max · 10 万 star

专治"程序员默认审美"。让 AI 做出来的界面像专业设计师，不是一眼假。
https://t.co/Di5WCHVIYG

8｜caveman · 8 万 star

最有梗的一个：让 AI"像原始人一样说话"，砍掉 65% 的输出 token，省钱还好笑。
https://t.co/O7nPU7V65o

9｜graphify · 8 万 star

把一堆代码、文档、图片，变成一张能直接问答的知识图谱。一团乱麻的老项目瞬间能"问路"。
https://t.co/CycKRSLKBV

说到底，这些几十万 star 的 skill，就是把一个资深行业大佬，打包成一个你能直接抄的文件。

vibe coding 时代不用你自己会研发

——装上对口的 skill，等于随时雇了个高手，站你背后。

[美研芒格君 @Kay2289123]

这篇文章跑断了双腿，用尽人脉，走访了十余家硅谷一线做光模块、互联、存储的公司，和一线 Manger, RD 深入交流，陆陆续续写了 4 周。相信是你在别的地方看不到的

我不仅聊，也跟着真金白银地下注。口说无凭，截图奉上。

请注意，大家不要盲目跟单，评论区冒充我的都是骗子。我在WhatsApp 也不会分享任何策略。

存储大家最近肯定都有关注。东西贵了总会回落，偏偏这一次，没那么简单

我拆解了AI 疯狂消耗存储底层的三把结构性短缺锁。有人认为，只要 AI 投资不掉头，这场紧张会一路拖过 2028 年。我同意

既然贵又缺，那就想办法少用它——开始挖一条条绕开这笔税的路。这，才是这篇文章真正想带你看的东西。

内存墙是一个词，其实是两个毛病

第一个毛病是装不下（容量）：KV 缓存、模型权重，HBM 里塞不下
第二个毛病是搬不快（带宽）：数据从内存搬到 GPU 的速度跟不上

「省内存容量」和「互联传得快」解药，也是新瓶颈，熟悉我的《三层逻辑》的读者都知道，这是新玩家、机会

文章深度拆解了三条路线
📷第一条路，用便宜的料，去顶替贵内存 HBF: 「容量大得多、但慢一些」: SNDK, SK 海力士

📷第二条路·砍掉数据搬运
>「近内存计算」AI 推理的核心运算是矩阵乘法，做进内存芯片里— SK，三星等
> 光 HBM: 光模块搬存储：MU, MRVL等
> 3D 堆叠

📷第三条路：软件智能管理
>冷热数据分层：猜得准
>共享内存（CXL协议）：三星、SK、MRVL，ALAB

小众方式：SRAM

我的观点 三条路不是竞争，是分工。说到底，我在观察的是一件什么样的事：当一种东西又贵、又缺、还降不回来，一整套「绕开它」的技术生态，会怎样整体地长出来，这是凭空冒出来的新曲线、新资金

我在硅谷一线大厂，每天从事 AI 推理训 ,把行业掰开揉碎讲给你听。欢迎回看，节选⬇️
06-24《要看懂万亿光互联，Credo很关键》
06-02 《迈威尔+50%, 不看懂怎么能安心？深入解读原》
05-26《美光...下个产业机会流向》-> amat, kla
05-28 《40小时呕心沥血！MRVL光模块+AI推理布局解析》
05-21 《深度拆解ALAB互联27年布局, 这次别踏空!》
05-10 《耗时一周调研，带你彻底读懂 MRVL底层逻辑》
05-03 《压箱底的 AI 主线 下一“瓶颈”标的》
04-29 《MXL》
04-28 《MRVL进入关键时期》
04-27 《Marvell 取消 POET 是必然+5 层光模块解析》

[Aurora @auora1808]

接下来几个月币圈应该会迎来至暗时刻，熊市到目前应该已经清洗了两波人，第一波是搞DAT的，第二波是特朗普胜选之后进场的，还剩最后一波没被套住就是当时ETF进场的机构基金（起始点应该在4w-4.4w）那么最大痛点应该是跌倒这个价格附近把这轮牛市进场的这三波人全套住，同时跌破5w这个心理价位在情绪上也会给人很大的冲击，类似于上轮跌破2w给人那种绝望感。
6w肯定是撑不住的，不要觉得在这里一直插针反弹就是买盘强，参考一下黄金一路向下的走势，不停的插针但是最后依旧向下破支撑，币应该也是这个走势。
最后说下crcl，crcl也一样，不建议这里抄底，最终的目标价应该是40以下，大概率会跟着币同时触底。