The six-year-old skating girl wows the whole crowd with light, fluid slalom skating moves. Netizens comment: Don’t blink—she’s going way too fast to catch a clear view! 6岁“小孩姐”轮滑过桩，动作轻盈丝滑，震撼全场。网友：别眨眼，快到根本看不清！

《无人着装 / Worn by No One》 币安九周年线上装置艺术展 An online installation exhibition for Binance's 9th Anniversary 这是一批被重新观看的币安官方周边。帽衫、球衣、围巾、包袋、鞋帽、运动装备……它们被从日常使用中抽离，置于白色展厅、绳索、冰、尘土、树脂与光线之间，成为一组关于物件、空间与关系的装置。 This exhibition reimagines official Binance merchandise. Hoodies, jerseys, scarves, bags, caps, shoes, and sports gear are removed from everyday use and placed into white spaces, ropes, ice, dust, resin, and light—becoming installations that invite a different way of seeing. 我们的大部分生活已经发生在线上。朋友、对话、工作、身份与信任，都停留在网页、软件、账户和屏幕之间。也因此，这些真实存在的衣服、包袋、帽子和道具，反而提醒我：身体、触感、空间，以及人与人的连接，依然值得被重新看见。 Today, much of our lives unfold online. As more of our relationships, identities, and memories move into digital spaces, these physical objects begin to carry a different meaning. They remind us that touch, space, and human presence still matter. 如果其中某一幅让你感到一点错愕、惊讶、不适、快乐，或者只是停留片刻，那也许就是它的价值。 If even one piece leaves you feeling surprised, unsettled, amused, or simply makes you pause for a moment, then perhaps it has already fulfilled its purpose. 线上展厅已上线 · The exhibition is now live 👉👉👉 @binance @binancezh @heyibinance @cz_binance

在湾区出门打车,有三个选择：Waymo、Tesla、Uber。 Waymo 平均等 5、6 分钟，价格最贵，十几二十分钟车程，大概 20 刀。Uber 叫车最快，人类驾驶价格中等。 最便宜的是 Tesla 的 Robotaxi，安全员+全自动驾驶 ，大概 8 刀。其实它不算”无人车”，是一个员工坐用 FSD(监督版,L2)开网约车。 加州监管机构(CPUC)今年 3 月说:“Tesla 没在运营自动驾驶服务”,它持有的牌照和一家豪华轿车公司一样,而且到现在都没申请过自动驾驶牌照。真正无人驾驶的 Tesla,目前只在德州。 由于是全自动驾驶，司机很无聊，会跟我聊天，他说,Waymo 在湾区干了 5 年,Tesla 才 1 年。所以，人目前的优势是比全自动驾驶便宜😄 Tesla和Waymo的自动驾驶逻辑完全不同。 Waymo 是激光雷达+毫米波雷达+一堆摄像头，每进一个新城市都要重测一遍，扩张是线性的。 Tesla 是纯摄像头, ”给它一双眼睛,让它自己学着看”，不依赖高精地图,我自己感觉这种模式更容易快速扩张。 所以造价一个天上一个地下，Waymo 一台车的传感器约 1.27 万美元,Tesla 只要 400 美元。两家其实都画了运营圈，现在 Waymo 湾区只覆盖SF+半岛+圣何塞。Tesla 范围更大，从北边的马林一路到圣何塞以南，桥和高速都能走。 事实上，现在真正决定它们能跑多远的，既不是雷达也不是摄像头，不是技术的天花板，而是牌照。 湾区的人像有精神分裂。 我今天去买咖啡，咖啡店明令禁止客人周末用电脑和Ipad，如果你非要用，他推荐你去别家。(Four Barrel 干脆全店不装 wifi,The Mill 桌上直接贴”laptop free zone”贴纸)。门口立着块小黑板:「DIGITAL DETOX,Fri–Sun,No Laptops. No iPads. No Doomscrolling. Thanks」。 我去的 City Lights 书店，书架上没有 AI、也没有投资类的书，大写着！不要划手机了！要你活在当下！选书人只推荐你读古典文学和诗。 结果我一推门出去，公交站牌又是十来个AI广告、像在跟我说：你不赶紧跑，就赶不上这个时代。 公交站灯箱一块接一块。Workato「把你的 Claude 用量提升 1100%」,Postman「你的 API 准备好迎接 AI agent 了吗」,Confluent、Dataiku「No more secret agents」、Campfire、Retool…… 纽约的朋友问我怎么样？你还喜欢湾区吗？他自己是不喜欢。 “ 因为湾区只有科技行业，没有别的。来看看纽约的广告吧！花样百出，甚至能在时代广场看到茅台😂 湾区让我想起小时候的海淀，大家像克隆人一样,唯一的标准答案、单一的追求：非我族类都是垃圾。所以湾区华人圈有股很明显的味儿：比邮编、比大包、比小孩上私校，整个就是海淀卷王换个地儿接着干一样的事儿。” Tyler Cowen 管这叫”多元的单一文化”(diverse monoculture) 我觉得是精神分裂：一年全力冲向AI、一边又求求你做个人关掉WI-FI 也许这两块牌子要一起看才完整:「Increase your Claude usage by 1100%」,和「Be here now」。 不过好处是，自动驾驶普及之后机器人开车 ，人形机器人服务员🤖普及之后 ，我总不用再给它小费了吧😅

《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.

0930 She is in the light. (Series Preview) - 见我置顶. - #boudoirphotography# #fineartphotography# #indoorphotography# #AsianModel# #IntimatePortrait# #artistic# #Sensual# #temptation# To： @Fengsiyuan @XWANWU @linsivvi303

[📢] TAEYANG 2024 TOUR [THE LIGHT YEAR] OFFICIAL MERCHANDISE IN TAIPEI This Saturday! TAEYANG 2024 TOUR [THE LIGHT YEAR] IN TAIPEI - The limited official merch will be available at Taipei Music Center on 14 Dec. 🟠 周邊販售資訊 ➤ 開放時間： VIP 優先購買 14:00 – 演出結束後 一般購買 15:00 – 演出結束後 ➤ 位置：詳見場域圖 ➤ 付款方式：現金、LINE PAY ※ 實際販售時間請以現場公告為準，時間安排以及購賣數量限制將依現場實際情況 變動，販售結束時間會依現場準備情況變動，將不另行公告。 ※ 官方周邊數量有限，售完為止，如商品售完則會提早結束。 ※ 請於購買當下檢查商品狀態，一旦離開周邊商品櫃台，將不予退換貨。 ※ 為響應環保，現場不提供塑膠袋，請自行準備購物袋。 • 周邊購買方式及入場辦法 #TAEYANG# #태양# #TAEYANG2024TOUR# #THELIGHTYEAR# #THEBLACKLABEL# #더블랙레이블#

[📢] TAEYANG 2024 TOUR [THE LIGHT YEAR] OFFICIAL MERCHANDISE IN HONG KONG 演唱會當日將有官方周邊商品於現場發售，數量有限，售完即止。 ◼ 營業時間 2024年10月4日（星期五）下午1時至晚上8時 2024年10月5日（星期六）中午12時至晚上7時 位置：亞洲國際博覽館東大堂地下 💛接受現金（千元紙幣恕不接受）及電子支付，包括信用卡 (Visa及Master)、支付寶、微信支付或PayMe。 💛請自備購物袋。 💛付款前請檢查商品，所售商品恕不退換。 #TAEYANG# #태양# #TAEYANG2024TOUR# #THELIGHTYEAR# #THEBLACKLABEL# #더블랙레이블#

#中国人的国庆假日# The National Day fireworks and drone show light up the night sky of Nanchang, Jiangxi, China, this heroic city! 国庆烟花与无人机表演点亮中国江西南昌这座英雄城市的夜空！ #China# #NationalDay# #Jiangxi# #赣出新精彩#

To every soul fighting in the dark, this melody is for you. 🎸 无论机制如何冰冷，我对你们的爱与原生能量，永不改变。 The Premium badge disappears tomorrow, but our frequency aligns perfectly. 从32天起号奇迹到今晚无惧截流的回归，这首 35 秒的原声吉他弹唱 #CoverByJeslynTeo，是我送给你们最深厚的情书。# 没有了蓝标的加持，我们靠灵魂的共鸣相认！ 💬 Let this song be our anchor. 如果我的歌声与能量曾温暖过你，请在评论区留下你的共鸣。 Keep sharing the light! (Drop a ❤️ & Bookmark this to break the algorithm! 👇) #EnergyManagement# #CoverByJeslynTeo# #Acoustic# #HighVibe创作者#