#APEC2026Shenzhen# 100 Days Countdown. Shenzhen, China releases its new urban video Where Miracles Happen, extending a warm invitation to the world. #APEC2026Shenzhen# 倒计时100天，中国深圳发布最新城市视频《何以奇迹》，向全球发出热情邀约。 #China# #Shenzhen# #世界经济看中国#

【警惕新型钓鱼手法：以「朋友」发来的邀请函窃取登录凭证】近期，中国人权捍卫者和活动人士成为一场钓鱼攻击的目标。攻击者伪造派对邀请函，冒充他们熟识的联系人以及正规的电子邀请函服务。 过去五周里，多名中国人权捍卫者和活动人士收到派对邀请邮件，发件人显示的都是他们认识的名字。这些邮件后来被确认为钓鱼攻击，冒充了 Evite、Greetings Island、Punchbowl 等人们熟悉的邀请函服务，使用的邮件标题包括「生日派对，你在宾客名单上」（Birthday Bash—You're on the Guest List）、「一个难忘的夜晚」（A Memorable Evening）、「受保护的邀请函」（Protected Invitation）、「欢迎参加我的派对」（Welcome to My Party）、「给你发来一份邀请」（Sent You an Invitation），让邮件看上去既正规，又像是专门发给收件人本人的。 但收件人一旦点击「查看邀请函」（View Invitation）、「回复出席」（RSVP）、「看看谁会来」（See Who's Coming）、「打开你的邀请函」（Open Your Invitation）这些按钮，就会被转到毫不相干的可疑网站，与链接上显示的目标地址并不一致。有人随后试图核实邀请函的真伪，或者只是想把自己从邮件列表中移除，结果发现标注为「隐私政策」（Privacy Policy）、「将我移出名单」（Remove Yourself）、「屏蔽此发起人」（Block This Host）的链接，同样通向恶意网站。 技术证据显示，部分邮件可能并非单纯伪造发件人地址（这种手法称为「电子邮件欺骗」，即 spoofing，攻击者篡改邮件头和发件人信息，让邮件看起来来自某个认识的人），而是通过已被入侵的邮箱账号发出的。这让整场攻击格外危险：当消息来自熟悉的名字和一个真实存在的邮箱账号，收件人更容易信以为真。 目前的证据还不足以将这场攻击归因于中国政府或某个特定的攻击者，但所观察到的模式，与一场正在进行、针对中国人权捍卫者和活动人士的钓鱼攻击相吻合。从目前收集到的样本来看，这些邮件的目的之一很可能是窃取账号凭证。点击恶意链接之后，收件人可能被带到伪造的 Google、Microsoft 或其他登录页面，用以骗取密码、验证码或有效的登录会话。更为复杂的钓鱼系统，还可能通过截取会话信息，绕过常规的多重验证。 中国人权郑重提醒读者：不要点击任何来路不明的邀请函链接，哪怕消息看上去来自你认识的人。正确做法是通过另一个独立、可信的渠道联系对方，确认邀请是否真实。 如果你已经点开了链接，但没有输入任何信息，请立即关闭页面，不要再次打开。如果你输入过密码、验证码或其他账号信息，请立即修改密码，登出所有处于活动状态的登录会话，并检查近期的账号活动有无异常。条件允许的话，请启用抗钓鱼的多重验证，提醒你的联系人，并请所在机构的安全团队检查这封邮件。

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

今天从 @mattpocockuk 的skill中学习到一个新的概念：disable-model-invocation SKILL.md主文件yaml中这个参数是可以控制Skill是否只允许用户手动触发，当然这个是Claude Code的独有参数 Codex则是在/agents/openai.yaml文件中用allow_implicit_invocation: false去控制 使用GPT 5.6 SOL这个模型你会发现Codex会非常主动地去调用各种各样的Skill。当然，很多时候的Skill调用是非常不合时宜的。 所以这个参数就非常重要了。对于一些使用场景非常清晰的Skill，你完全可以把这个参数打开来提供人的主动权

最近如果想系统补一下强化学习，尤其是 LLM post-training，这套 Berkeley CS 185/285 很值得收藏。 Sergey Levine 的 Deep Reinforcement Learning 2026 春季版课程资料已经完整放出来了，昨天课程录像也开始上传到 YouTube。 课程从 imitation learning、Policy Gradient、Actor-Critic、Q-Learning，一直讲到 Model-Based RL、Offline RL 和 Exploration。 我比较感兴趣的是今年还专门加入了「RL with Sequences & LLMs」。 里面会从 RL 的视角重新讲 RLHF、Verifier Reward、GRPO、KL Regularization 这些现在做 LLM post-training 经常看到的东西。 而且不只是听课，Homework 4 直接要求自己实现 GR-REINFORCE 和 GRPO，再真正跑训练实验做对比。 最近 RL、Agent 和 LLM post-training 连得很紧，这套课正好可以把很多零散的概念重新串起来。 课程： YouTube 上搜索 RAIL 的「CS 185/285 (Spring 2026)」播放列表就能看到最新课程录像。

我是这么管理 Skills 的。 Skill 有两个痛点。 一个是同步。如何保持一个源，让它在项目、全局、以及远程机器上保持一致。 另一个是上下文爆炸。我见过装了两千多个 skill 的用户，然后回过头来问我们，为啥 code agent 这么慢。 我的解法：一个中央仓库，一个 sync 脚本，绝大多数 skill 加 disable-model-invocation: true。 1\ 只有一个源头 维护了一个 ~/Projects/cc-skills/，60+ skills，实验性质的不在这。改只在这里改，别处都是副本。 2\ 分发交给脚本 有个 sync.ts 脚本，底下是 rsync -av --delete，支持 local 和 ssh，推送到全局、多个项目和远程机器（比如在 macmini 上部署了 hermas 或 openclaw，只需要部分 skill）。 3\ 默认 .claude/skills，其余软链过去 通过软链支持不同的 Qoder 和 Codex 等，比如 ~/.agents/skills -> ~/.claude/skills，~/.qoder/skills -> ~/.claude/skills。 4\ 90% 以上加 disable-model-invocation: true 我同步到 global 的 15 个里，14 个加了这个 flag。所以用 claude code 的 /doctor 分析，结果很干净。 几十个 skill 就是几十段常驻描述，活还没开始干，窗口先被咬掉一块。几千个是什么光景，可以自己想。。 而且我本来就知道什么时候该用哪个。/deslop、/handoff 我打得出来，不需要模型替我猜。 5\ 新 skill 用 create-skill 建 上面这些约定我不想每次重记一遍，全塞进这个 scaffold 里了。它建出来的 skill 就按这套走：有副作用的一律加 disable-model-invocation: true，只有规范和知识型的才留给模型自己判断。 注：我的 create-skill 开源了：

分享一下我最近对Skills的使用的经验，应该会让你对skill有个全新的认知。 一、Skills 不是越多越好。 每个可被 Agent 自动调用的 skill，description 都会进上下文。装太多不仅占 token，还会让 Agent 在一堆相似 skill 里混乱。 二、Skill可以分两类。 一类是让 Agent 自己判断调用的。 一类是只给人手动触发的，比如高风险、低频、每天只跑一次的 workflow。 比如我有一个自媒体分析的Skill，它只需要在每天自动化任务时候调用，那它就不需要出现在我的上下文内。 这种可以在 SKILL.md 里加： disable-model-invocation: true 这样它不会常驻模型上下文。 三、加 skill 前先问三件事。 这个 skill 是干嘛的？什么时候用？给谁用？ 它的具体流程是什么？ 它是不是真的必须装？ 四、一个好 skill 最好有三块。 steps：执行步骤。 reference：参考文档、模板、规范。 lessons：踩过的坑和经验，避免下次再犯。 五、有些 skill 要拆开。 比如“先问清楚，再写 PRD”，放一起时 已经给了他目标，Agent 经常问两句就急着写 PRD。 拆成“问清楚”和“写 PRD”两个 skill，效果反而更好。 六、多用行业里已有的专业词。 比如代码风格直接说 PEP8，不用把缩进、命名、格式规则全写一遍。 七、如果skill实在是太多了，可以做一个 router skill。 类似 find-skill，只负责记录什么场景该用什么 skill。然后需要的时候让他去通过这个路由去找。

UU们，SpaceX 要IPO了！马斯克 @elonmusk 的星际大梦终于要让普通人摸一把了 SpaceX（Space Exploration Technologies Corp.）计划于 2026 年 6 月 12 日左右 在纳斯达克上市，股票代码 SPCX。本次 IPO 计划以 135 美元/股 的价格发行约 5.556 亿股，募集约 750 亿美元，估值约 1.75-1.8 万亿美元，将成为历史上最大规模 IPO 之一。 这次最爽的玩法当然是加密圈的“ tokenized 认购”，不用等美股开户排队，直接用USDC冲就行，24/7能交易，还能无缝转DeFi玩yield farming，简直是 crypto 的福音。 整理了一下关于加密行业我认为比较靠谱的攻略，本文给大家做个详细分享： 平台：Kraken & Bybit 的 IPO Tokenized 认购 这两家是核心玩法，使用 xStocks（Payward Services 技术）提供 tokenized 股份。 Kraken（xStocks）： 1. 支持 110+ 国家（含 EEA，中国用户可能需 VPN/合规检查，美国居民排除）。 2. 提交 非绑定意向（Indication of Interest），用 USDC 认购 SPCXx（1:1 锚定）。 时间：已开放，6 月 11 日前后分配，6 月 12 日起 24/7 现货交易。 优势：上市后自动转为标准 tokenized 股份，可转 DeFi（如 Solana）。 Bybit（IPO Express）： 针对 VIP/Pro 用户（需达到交易量/资产门槛）。 6 月 7-11 日注册订阅，6 月 11-12 日分配 + 现货交易。 用 USDC 认购 tokenized SPCX，同 IPO 价格（机构级待遇）。 优势：Bybit 用户友好，流动性好。 流程： 注册/升级账户 → KYC（身份验证）。 入 USDC。 在 IPO 页面提交意向股数（分配不保证，按比例）。 分配后持有/交易；未中退款。 注意：美国用户受限； 上市后 DeFi / On-Chain 玩法（Ondo 等 RWA） Ondo Finance：IPO 日（6 月 12 日）推出 SPCXon，在 Ethereum/Solana 上 mint（铸造），1:1 由托管人背书。非美用户用 MetaMask 等钱包，24/5 交易，完美融入 DeFi（借贷、LP、yield farming）。 PreStocks / 其他 RWA：Pre-IPO tokenized 产品，已有交易（如 上 SpaceX 代币），1:1 SPV 背书，24/7 on-chain 交易。 DEX 交易：上市后，在 Solana（Jupiter）、Base、Ethereum 等 DEX 上 swap SPCX 相关 token。部分有流动性池，可提供 LP 赚费。 其他 CEX：Binance、Coinbase 等可能有 pre-IPO perp（永续合约），USDC 结算，上市后自动转换。适合杠杆玩法。 当然，首日肯定是过山车，Starlink增长再牛，Musk再会整活，也挡不住市场情绪乱飞。别all in，玩得开心最重要。建议慎重参与。IPO 首日可能暴涨暴跌，结合基本面判断。 具体平台教程或最新更新，随时问我！投资有风险，DYOR

机器人圈也被 AI 的 scaling 卷麻了 截图是 ICRA 2026 一个数据统计，感觉蛮有意思的，分享一下。比如论文关键词的分布，中美加起来占一半以上的江山。 投稿 4947 篇，接收 1882 篇，接收率 38.04%。2021 年时候投稿量大概 4000 篇左右，机器人圈也在被 AI 的 scaling 卷麻。 Hot topics 是 Manipulation、Planning、Mapping/Perception 3D，SLAM/Localization，Object Detection/ Tracking。 author keyword top 是：Deep Learning for Visual Perception、Reinforcement Learning、Motion and Path Planning、Imitation Learning。 btw，这个数据不是 ICRA 官方做的，是韩国 DGIST 一个助理教授 Giseop Kim 做的，现在vibecoding一个东西变得无比容易。just do it… 想起来去年还写过一场 ICRA 2025 的 keynote 辩论，当时议题是“Data will solve robotics: True or false？” 转眼一年过去了……大家觉得这一年机器人领域的进展快吗？现在关于Data will solve robotics的争论，大家觉得有答案了吗🐶