Sonic Labs 表示，自 2026 年 3 月 1 日启动 Vertical Integration（VI）模式以来，其基于原生金融基础设施产生的收入已超过同期手续费销毁规模约 400%。数据显示，USSD 与 Metropolis vault 等产品累计产生约 1.3 万美元收入，按期间均价折算约为 29.5 万枚 S，而同期链上手续费相关销毁总量约为 5.98 万枚 S。Sonic 表示，随着高吞吐链降低交易成本，单纯依赖 Gas Fee 的价值捕获模式正在减弱，因此希望通过链上金融产品收入增强对原生资产的价值回流。

我看了一下@ycombinator 今年的项目，基本上都是 1. FDE/Router + Vertical Application： 模型router → 针对某个具体场景做优化 → 接入业务 workflow → 用数据反馈继续优化。 初创公司卖模型，初创公司都是中转站。 2. Router + LLM Optimization / Infra： 跟上一类不一样，这种是解决大模型调用本身的问题：routing、cost、latency、eval、observability、prompt optimization、fine-tuning、inference 等。 比如说 @WorkWeave 这个产品，他们说自己是AI to understand and then route engineering work。最开始的产品更像是 AI-native engineering analytics：接 GitHub / PR / Claude / Cursor 等工程数据，然后用模型分析： 工程师到底完成了多少工作 哪部分代码是 AI 写的 AI coding tools 有没有真正提高 productivity AI 花了多少钱、ROI 怎么样 哪些任务 AI 做得好、哪些做得不好 后面他们这个方向跑到最后发现还是需要模型聚合能力，他们就往一个中转站走了，然后发布了weave router。 他们分析 各种企业的Claude Code workload 后称，大约 60–70% requests 是比较简单的 completion，这些任务用便宜的 open-source model 可以做到相近效果，而成本可能只有约 1/40。 Coding request → Weave classifier/router → 判断任务难度 → 选择模型。 所以拆解一下这家公司就是做Router + Vertical Coding 场景，Weave 这种模式比单纯做一个LLM中转站 Router 更值得借鉴，先找到一个 token spend 巨大、任务高度重复、而且不同任务对模型能力要求差异巨大的 vertical，尤其是coding场景，然后做它的 intelligent routing layer。 所以我感觉年初做中转站的经验虽然没有给我个人带来什么经济收益，但是确实积累了很多实战技能，比如说如何从零到一搭建中转站，如何做FDE，挨个建群解决用户的api问题，比如我自己搭画布接seedance。 往后来看这种经验太值钱了，以后的ai startup都会是这个形态。

卖座力强劲的《蜘蛛侠：重生日》（Spider-Man: Brand New Day，简称《蜘》）热映中，片中扮演蜘蛛侠好友Ned（内德）的29岁美国演员Jacob Batalon（雅各布贝塔隆）与34岁室内设计师女友Veronica Leahov在法国南部举办为期三天的浪漫婚礼，“蜘蛛侠”Tom Holland（汤姆霍兰）与老婆Zendaya（赞达亚）到场见证。

转发提示词：风格人物+精神投射 by 虎小象 @hx831126 不是单纯的Pixar风格，有点Designer Toy 风格 让模型帮我加入了人物戏剧夸张的身形和表情「修长身形，大脚，块状的结构」 以此慢慢的 让模型延展其他人物。 提示词： A high-resolution vertical Pixar-style 3D character illustration. Main character: Salvador Dalí — depicted as a tall, slim, and slightly exaggerated Pixar-style 3D character. Wearing a classic blue shirt, yellow tie, high-waisted plaid trousers with suspenders, and leather shoes. His iconic long upturned mustache, slick black hair, sharply arched eyebrows, and slightly eccentric posture. Stands with chest out, one hand on hip, head tilted slightly back in his typical theatrical flair. Background: Flat, clean yellow background with subtle surface texture. Strong sunlight from top-left casts a distinct and enlarged shadow on the wall behind him. Key Concept – Shadow as spiritual projection: The shadow cast behind him does **not** mirror his body shape. Instead, it takes the form of one of his most iconic artworks — a surreal melted clock with long dripping arms, inspired by “The Persistence of Memory”. The melted clock shadow is positioned diagonally, starting from his shoulder, stretching wide and low across the yellow wall, surreal and fluid, yet unmistakably symbolic. This shadow is **Dalí’s legacy made visible** — a symbolic extension of his identity through time, dream, and visual distortion. Lighting & Rendering: Pixar-like rendering with detailed but stylized textures. Use subtle filmic grain, soft shadows, and warm color grading. Subtle sparkles or light speckles inside the shadow to evoke dreamlike texture. Typography (top-left corner): “Salvador Dalí” in minimalist black sans-serif font, “Dalí” bolded.

《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.

三星電子社長兼CTO宋在赫於半導體博覽會發言 三星確認開發4F²： 2026年10月14日，三星電子社長兼CTO宋在赫在SEDEX 2026現場確認，公司也在開發4F²技術，並表示「正在努力」，但未透露具體進度或量產時程。 4F²技術說明： 相較現行主流6F²結構，4F²可將DRAM單元面積縮減約三分之一，在相同晶片面積內容納更多單元，有助提升容量與成本競爭力。 CXMT引發市場關注： 中國長鑫存儲（CXMT）總裁曹堪宇日前宣布，已在4F²架構取得關鍵進展，並計畫於2026年底前推出採用該技術的伺服器DDR5 RDIMM產品。 韓廠早有布局： 三星與SK海力士早已投入4F²研發。SK海力士去年已公開4F² VG（Vertical Gate）平台及3D DRAM路線圖。 業界看法： 因無法取得EUV設備，CXMT選擇4F²作為突破路徑，但良率提升仍是重大挑戰；部分分析認為市場對中國追趕速度的擔憂有所誇大。

$VICR 受到利好消息刺激，盘后股价涨幅达到11% VICOR 官宣一家领先的AI OEM厂商获得其VPD专利产品的授权。这对VICOR而言，是重大突破。（尤其考虑到VICOR目前正挥舞专利大棒，向诸多竞争对手发起了新一轮诉讼） ============================= Vicor licenses VPD to a leading AI OEM Sep 16, 2026 at 4:00 PM EDT ANDOVER, Mass., Sept. 16, 2026 (GLOBE NEWSWIRE) -- Vicor has granted a non-exclusive license to a new OEM licensee with the right to procure Vertical Power Delivery (VPD) modules covered by Vicor patents from unlicensed suppliers. VPD enables high-performance AI compute and network processors fueled at a high current density from a low voltage source. VPD systems, consisting of a “multi-cell converter” and a VPD network, enable breakthrough performance by avoiding the “the last inch problem” of Lateral Power Delivery (LPD). VPD systems are protected by foundational patents to innovations conceived during a decade of pioneering research conducted by Vicor in the U.S. VPD licensees can source VPD solutions from unlicensed global suppliers, whose multi-cell Voltage Regulators (VR) or Integrated Voltage Regulators (IVRs) are stacked in a multi-layer system. VPD solutions using high current density and high gain MCM™ current multipliers manufactured as ChiPs™ (Converters housed in Package™) in a Vicor fab are also available to licensees. MCMs enable substantially higher total system efficiency, are much thinner and mechanically and thermally adept. By procuring VPD modules for high-performance AI accelerators from Vicor, licensees may earn substantial discounts on licensing royalties for commodity VPD modules from unlicensed suppliers. The Vicor licensing practice provides OEMs and hyperscalers with multi-source flexibility, supply chain redundancy, and scalability, including from U.S. based Vicor fabs. As high-performance compute and network processors migrate to VPD, unlicensed OEMs and hyperscalers may need a license to secure their supply chain. Potential licensees may expect a structured licensing practice providing much lower royalty rates for early adopters. Supply agreements with infringing suppliers may contain indemnification provisions for recovery of royalties and monetary damages, but cannot overcome importation bans.

00后必备的十项生产力产品清单 1. beesim、gg手机卡：注册海外平台账号（Claude、ChatGPT、Google等） 2. 双机：OPPO用于国内生态，iPhone用于海外生态 3. MacBook：剪辑、写代码、跑AI工作流的主力设备 4. DJI Mic Mini：大疆迷你无线麦克风 5. 罗技MX Vertical垂直鼠标：57°夹角，从没得过腱鞘炎 6. Anker 140W充电头：没有充电焦虑 7. 众安银行(ZA Bank)卡：用于海外收款 8. ChatGPT Plus、Claude Pro：无需多解释 9. 抖音、小红书、视频号、X账号（每周一条复盘） 10. 三本书：《思考的真相》《人人都是产品经理》《逻辑哲学论》

🧵 后端/基建开发推荐阅读的十篇论文 别只背八股了，很多面试题就是这些论文里的工程问题被压缩成的问答。 推荐按顺序读，强烈建议边读边画图/做笔记。 1️⃣ RocksDB： 看懂工业级 KV 存储怎么演进 RocksDB 这篇不是讲单个算法，而是讲一个 KV 存储在大规模生产环境里，优化重点怎么从写放大、空间放大一路转到 CPU 利用率。 Evolution of Development Priorities in Key-value Stores Serving Large-scale Applications: The RocksDB Experience 2️⃣ WiscKey： 理解为什么要把 key 和 value 拆开WiscKey 的核心是把 LSM-tree 里的 key 和 value 分离，减少 I/O 放大，尤其适合理解 SSD 时代 KV 存储的设计取舍。 WiscKey: Separating Keys from Values in SSD-conscious Storage 3️⃣ Vertical Paxos： 把主从同步放进共识算法里看很多高可用方案看起来只是“注册中心 + 主从同步”，但 Vertical Paxos 提供了更底层的解释框架。 Vertical Paxos and Primary-Backup Replication 4️⃣ PacificA： 工程里的强一致复制协议PacificA 讲的是日志型分布式存储系统里的复制框架，重点不是抽象共识理论，而是故障、恢复、对账这些工程细节。 PacificA: Replication in Log-Based Distributed Storage Systems 5️⃣ SWIM： 服务发现别只会说注册中心SWIM 把故障检测和成员变更传播拆开，用随机探测 + gossip 传播，解决大规模节点下全量心跳扛不住的问题。 SWIM: Scalable Weakly-consistent Infection-style Process Group Membership Protocol 6️⃣ TiDB： Raft 怎么落到 HTAP 数据库里TiDB 这篇讲 multi-Raft、行存、列存副本和 learner，适合看 Raft 怎么服务事务和分析混合负载。 TiDB: A Raft-based HTAP Database 7️⃣ Paxos vs Raft： 别把二者理解成口水战这篇用相同术语比较 Paxos 和 Raft，结论很实用： 二者整体方法接近，核心差异主要在 leader election。 Paxos vs Raft: Have we reached consensus on distributed consensus? 8️⃣ Paxos 和 Raft 的形式化映射： 把学术优化搬到工程系统上海交大这篇建立了 Paxos 和 Raft 的形式化对应关系，还讨论如何把 Paxos 优化迁移到 Raft。 On the parallels between Paxos and Raft, and how to port optimizations 9️⃣ PolarFS： 高性能共享存储里的 ParallelRaftPolarFS 为 PolarDB 做低延迟共享存储，里面提出 ParallelRaft，用乱序 I/O 能力突破 Raft 严格串行带来的吞吐限制。 PolarFS: An Ultra-low Latency and Failure Resilient Distributed File System for Shared Storage Cloud Database 🔟 X-Engine： 双 11 级 OLTP 存储引擎X-Engine 是阿里的 OLTP 存储引擎方向，适合看电商峰值流量下，存储层怎么做写入、压缩、缓存和冷热数据管理。 X-Engine: An Optimized Storage Engine for Large-scale E-commerce Transaction Processing