Lofi Radio 为专注场景而做的音乐电台网站，采用 macOS 风格灵动岛设计，收录 21 个精选电台，涵盖 Lofi、Chillhop、Jazz、Classical、Hip-Hop、Ambient 等多种风格，打开网页即可收听，支持 Lofi Girl B站直播流，支持 FLV/HLS 自动兜底，还可记录每日专注时长和睡眠定时，完全免费，无需注册。

如何去除AI生成人物的“塑料感”呢？ AI生成人物的时候，感觉脸上油光发亮，像个塑料一样，看起来一眼假，就像下面这个图片一样。 解决方法很简单，可以试试六个小技巧： 1. 肤色过于均匀、缺少层次 Prompt 增加：subtle tonal variation、natural skin imperfections 2. 光影太硬、棚拍感明显 Prompt 增加：natural diffuse lighting、soft ambient light 3. 皮肤像塑料、没有毛孔 Prompt 增加：natural skin texture、visible pores 4. 镜面高光太强、脸上大片发亮 Prompt 增加：reduced specular highlights、soft matte skin 5. 磨皮过度、面部细节模糊 Prompt 增加：minimal skin retouching、preserved facial details 6. 画面锐化过度、边缘生硬 Prompt 增加：subtle sharpness、natural image softness

《Galaxy：AI 推理资本市场正在链上成型》（作者 Lucas Tcheyan；编译 深潮 TechFlow） Galaxy Digital 研报认为，随着 AI 推理取代训练成为 GPU 需求主导力量，围绕推理的资本市场正在形成。链下，ICE、CME 等机构正推动 GPU 指数和期货合约；链上，Venice 将推理访问权代币化，Pearl、Ambient 通过“有用工作量证明”补贴推理生产，USDAI 则用稳定币为 GPU 硬件融资。报告指出，当前链上推理市场仍处早期，投机需求多于真实使用，但其在算力定价、融资、结算和可组合性上的金融层机会值得关注。 阅读全文：

最近重新在扫我自己的笔记《2025未发币重点项目跟进》 看到笔记里第18个项目 fogo @fogo发了空投，而且 #fogo# 还上了 Binance 现货，fdv开盘维持在5-6亿美金。 看到直接上binance等时候还挺意外的，毕竟项目上了 Binance = 项目进入主流流动性体系， 有一说一，这些年 BNB 真的是有吃又拿，光是平台侧的空投体系，官方页面显示每枚 BNB 累积空投价值约 $366，这些年币价还涨那么多倍，妥妥印钞机。 数据来源： 1️⃣fogo空投 看到公告里说的是大约6%空投份额，第一期给了1.5%份额，1.5亿枚，单枚均价0.055～0.06，空投包大约8-900万美金。 总共给22300个地址发了空投，平均6700枚代币，单钱包大约300-400美金。 说实话在当下的行情下，已经很不错了，能给空投，还给出了具体的用户奖励规则：（ 空投主要给了这3类： 1）Ambient交易、Valiant用户，Pyth 质押用户 2）Wormhole跨链用户、 3）Fogo Fishing钓鱼活动用户 2️⃣：错过 能进我丰密重点项目跟进的笔记，一般都有点东西，Fogo定位为专为高频交易优化的SVM Layer 1，由前Jump Crypto高管量化交易专家构建，Citadel交易员/Ambient创始人做的，我当时的简化笔记里写了概要： 在我印象里，早期参与点比较少，大约7月份出来了测试活动，后来出来了Fishing钓鱼任务。 这次 Fogo 的空投，虽然不是超级大空投，当时的精力应该在其他项目上，但对我来说，它更像一面镜子，在「跟进—决策—执行」这条路上，还有很多值得优化的地方。 我一直强调只做赔率/概率足够高的项目，但也面临一些现实问题，我跟的项目很多，信息密度很高，但执行资源是有限的：时间、注意力、资金、深度跟踪找权重、甚至多号执行的体力与心力········· 反思：把资源平均撒在一堆可能有收益的项目上是很难得， 应该是把精力凡在真的可能改命的项目，集中是所有优势资源形成足够集中的投入，做到足够深、足够重、足够早。最终往往是谁能吃透，谁能谁敢下重注。 我们所有人都应该只押少数几个能改命的项目，我的筛选标准是： 1）赛道够大 2）赔率够高 3）可理解、可验证、可执行的项目机制与权重逻辑 4）能拿到确定性仓位/资格； 5）风险可承受、投入可持续，边际成本最低 具体行动点：优选项目，大部分项目降级处理，严控成本的参与，不再把注意力和执行力浪费在边缘收益上。每个重点项目都定期复扫清单，盯关键节点，找动作机会，卡点执行。。 时刻提醒自己： 真正能改变命运的机会，永远只属于那些敢于集中资源、并且愿意在早期把执行做到位的人。 下钟了，买单吧

《Fogo开局就是大招，直接上了币安》 Fogo 的这次 Binance Prime Sale 超额认购了 41 倍，热度和关注度很高并且这是币安史上第三次 prime sale，今年首次。 过去半年，整个市场都在围着「Speed Meta」转，EVM 赛道有 Monad、MegaETH 轮番轰炸，订单簿永续赛道被 Hyperliquid 卷到 80 亿美金 FDV 而SVM的性能链呢? 现在它来了 #Fogo# @fogo 由华尔街量化大佬亲自打造一条高速性能公链Fogo正式上线，它专为机构级金融和高频交易设计的 SVM 兼容 Layer-1 区块链，将传统金融（TradFi）的性能标准（如纳斯达克级速度）与去中心化基础设施相结合，实现实时、可扩展的链上体验。 可以理解为Solana为支付而生，Fogo为交易而生。 都说链上的交易和CEX差别巨大，而Fogo把 TradFi 的极致体验原封不动地搬到了链上。 
40ms 出块，1.3 秒最终确认，570+ 真实 TPS，零滑点订单簿，零弹窗签名，体感几乎是即时的，这是人类反应速度的极限。 大多数公链还在卷TPS，而Fogo只跟你谈时间，是毫秒级别的，意味着你点击鼠标确认，刚松按键，交易已经在链上确认了。 Hyperliquid把订单薄搬到了链上，那么Fogo就是把纳斯达克的交易低延迟带到了链上。速度性能方面通过主网数据，已经完全优于Monad。 主网已处理超过 30 亿笔交易（截至 1月 14 日， 在高负载下维持 1,500+ TPS,以上数据是经过压力测试的实测数据，在 Chainspect 的实时性能排行榜上排名第1。 Fogo 的创始团队几乎是一张“做市商全明星阵容”： • Douglas Colkitt：前 Citadel 量化研究员，Ambient Finance（前 CrocSwap）创始人 • Robert Sagurton：前 Jump Crypto 核心成员，曾在摩根大通、摩根士丹利、R3 负责交易基础设施 • Michael Cahill：前 Jump Crypto 高管、Pyth Network 前 CEO，真正把预言机带进机构的人 • 核心工程由 Douro Labs 主导，该团队也是 Pyth 背后的团队 一条由做交易的大佬打造的链更能深知目前链上交易的痛点，正如此Fogo为SVM带来缺少的东西。 生态上Fogo完全做足了准备工作，很多 L1 上线时只有一条裸链，Fogo 上线自带： • Ambient：下一代无 MEV AMM • Valiant：现货 + CLOB 混合流动性层 • Pyron / FogoLend：原生借贷市场 • Pyth Lazer + Wormhole + Metaplex + Squads + Goldsky 全套基础设施 这次Fogo开局就是大招，直接上了币安，首先就是Fogo 的这次 Binance Prime Sale 超额认购了 41 倍，热度和关注度很高并且这是币安史上第三次 prime sale，今年首次。 Fogo这次登录币安也是让人羡慕的，0BNB 上币费，这也体现了币安对这个项目的信任。0上币费公告（ 大家关心的项目时间节点：1 月 13 日空投查询开放；1 月 15 日：主网正式上线，币安现货在主网TGE首日上线。 后续还会上线更多交易所，不用怀疑项目实力，而且还会有下一次赛季的激励，5000 万 $FOGO（总量 0.5%）用于未来营销。可以期待上线的表现和第二赛季的开启🔛

Monad 主网客户端已正式进入审计阶段，应该是快要来了 @monad 生态的项目交互教程写了差不多30多个。花了大半天的时间整理了36个感觉不错的生态项目，每天交互一遍，钱包排名肯定进前列。 每个人看重的点不同，后面有时间再补充 1.优先注重有融资的项目，可能一鱼两吃 2.Monad原生项目，推特介绍带“Only on Monad” 3.Monad 测试网主推的项目（主页上的，推特一直推的） 4.Defi 协议类的 5.看生态项目的推特活跃度 注意‼️侧重交互天数，合约数，以及TX，NFT（有合适的一定要打，优质的NFT权重大） 以上是我的侧重点，其他的点看个人情况而定。具体👇 1. Castora （价格预测）： 2.Kuru（Swap,购买代币、发射代币、组LP等 ）： 3.Crysta （Swap，创建邀请）： 4.Bean Swap（Swap，创建流动性，组LP，交易）： 5.OctoSwap （Swap,添加流动性，移除流动性）： 6.AZAAR（Swap，mint 代币）： 7.aicraftfun（投票）： 8.Nad域名（只需铸造一次）： 9.Kinza Finance（supply,取回，借贷）： 10. Mu Digital 1）铸造平台代币： 2）铸造的代币可去 Kinza 平台供给和借出 ： 11.Multipli（领取USDC测试币，质押，解除质押）： 12.Bebop（swap）： 13.Monadex（Swap，组LP，移除）： 14.Mace（Swap）： 15.Nad .fun （部署代币，交易，平台积分任务）： 16.Kintsu（质押，解除质押等）： 17.Hashflow（交易）： 18. 19. 20.Magma ：(质押，解除质押)： 21.Pancake（swap）： 22.FastLane Labs(质押，解除质押)： 23.Aprior(质押，取回，claim)： 24.Ambient(交易，添加池子，存款等)： 25.Curvance（质押，组池子，借贷，玩pump,偿还等）： 26.Fantasy .top(卡牌游戏)： 27.Magic Eden:（部署NFT）： 28.monadscore（赚积分，完成社交任务）： 29.Dyson（swap,质押，取回）： 30.Flap（PUMP玩法的平台，创建代币，交易）： 31.Morpheus （Spot交易，每日签到完成Matrix任务） ： 32.Narwhal（铸造USDT，交易） ： 33.apriori(质押MON)： 34.Atlantis（Swap、质押、铸造测试网NFT等）： 35. Magma（质押）： 36.kizzy Monad 官推经常奶，需要下载APP 和邀请码。估计有毛，精品号搞 Monad合作的全部生态项目： 暂时先总结这么多，还有别的优质的评论区记得抛出来。上面几乎所有的都写过教程，需要的可以搜我之前的教程 测试网已经快5个月了，最后这2个月测试网交互的活跃度看网站的数据有明显的下降，但是网传的钱包活跃度好几千的，手撸的话感觉不太真。看官方动作应该是快要来了，赶紧每天交互，NFT有合适的也可以Mint 起来！ 撸毛的话该做的都做，剩下的听天由命! #monad# #monad_testnet_mon# #测试网#

《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.