KBW 2026 Day 2 汇总： 0G 首尔全日程顺利收官 🇰🇷 今天我们在 KBW 主会场的 0G Booth 盛况空前💥 除了展台的超高人气，今天的重磅输出与专场活动也全盘收官 👇 📍 主会场观点碰撞 • CoinDesk Live：0G CEO @michaelh_0g 直击痛点，指出 Agent 帮你花钱必须具备“自我验证”能力，这正是 0G 信任底座的核心价值。 • DeFi 圆桌：@BondSuperApp_ 带来了基于 0G 的金融 Super App 方案，旨在解决多链资产割裂的现状。 🍸 House of AI 江南夜话·圆满收官 今晚在 Gangnam Big Place 的 House of AI 活动也顺利闭幕🎉 大家拿着 0G 护照 穿梭在各大生态项目 Demo 间打卡集章，现场不仅诞生了 25 位拿到限量版 0G Labubu 的幸运儿🎁，还听到了关于 Agent 经济、AI 隐私博弈的Panel 分享⚡️ 🥂美食、特调与畅聊 ，感谢今晚每一位到场的生态伙伴与朋友 ，首尔之夜圆满落幕✨

“新疆让我十分着迷，因为错误的信息，这里让很多人误解。”定居广东中山的澳大利亚博主杰瑞两次骑行进疆，目前正在写一本关于新疆的书籍。新疆到底有什么魅力？一起来听听杰瑞的讲述。 “Xinjiang is a place that fascinates me. It's a place that most of the world misunderstands because of misinformation about the region.” Australian influencer Jerry, who has lived in Zhongshan, Guangdong for over 20 years, has cycled to Xinjiang twice and is currently writing a book about the region. What makes Xinjiang so charming? Let’s listen to Jerry’s story. #中山# #新疆# #骑行# #JerryGrey#

我花了一个小时跑通了 @axisrobotics 的第一条训练轨迹 选的已经是最简单的任务了 抓个东西放到指定位置 但是操作起来比想象的难 机械臂移过去之后要反复调方向 上下左右一点点挪 灵敏度高了容易过头 夹爪角度对不上就是夹不住 感觉跟抓娃娃一样 看得到 抓不到。 Axis主要做的就是让我们在浏览器里控制机械臂 操作数据拿去训练AI机器人 下面是Axis测试网教程 👇👇👇 ▎ 准备 → 电脑 + Chrome（手机不行） → 打开 Axis Hub： → 注册 邮箱/Google/X/钱包都行 ▎ 选任务 → 状态选 Live → 难度选 Beginner / Easy → 类型找 Pick、Place（抓起来放到指定位置） → 确认有剩余 Slots 再进去 ▎ 操作 进模拟器 左边是目标 右边有参考图 双击物体 → 机械臂自动靠过去 方向键 → 微调前后左右 E / D → 上升 / 下降 按住空格 → 夹紧 松开空格 → 放开 N → 存档 B → 读档 💡 技巧：靠近后灵敏度调低 先到正上方再慢慢降 别横着拖容易碰到别的东西 ▎ 完成后（ ⚠️ 重要） 弹出 Task Completed 之后 → Portfolio → History 验证通过 → 点 Sign → 钱包确认签名上链 ❗ 不签名 = 任务白做 不计入 Axis Points 也不算 Kaito Katalyst 的有效 Trajectory ▎ 刷分策略 → 同一个任务最多做5次 算平均分 做好了就换下一个 → 多做不同场景和难度 Points看多样性 → Points未来作为空投参考 比例暂未公布 完整流程： 进Hub → 选任务 → 完成操作 → 验证通过 → 签名上链 ✅ 开始给AI机器人贡献训练数据 @axisrobotics @kaitoaihash

人类对Codex的开发不足1%！ 昨天刚拿到了API就花了一点时间做了一个挂单脚本 账户初始资产总额311.8u 跑了一晚刷了8k的交易量还挣了1.31u 这样的积分成本相当于是负的 主要得益于现在平台流动性嘎嘎好 去做这么一个脚本需要考虑的东西不少： - 用什么策略？可以参考一下 @ZhanweiC 的策略 - 哪些任务可以并发，哪些动作必须串行？ 读取可以并发，但提交订单、撤单最好串行，否则很容易出现刚下单又被另一个线程误删、误撤、重复挂单 - BUY 和 SELL 要不要拆线程？ BUY 需要扫市场和盘口，比较慢；SELL 需要盯账户持仓，响应要快。拆开后 SELL 不会被 BUY 全量扫描拖住 - 本地 state 怎么设计？ 不能只靠 API open orders，因为交易所状态不是实时一致的。create order 成功后，open orders 可能几秒后才查得到。本地 state 需要承担短期去重、防重复提交、防误清理的作用 - 如何处理 eventual consistency？ 刚创建的订单不能因为下一秒 open orders 查不到就认为失效。需要设置等待窗口，比如 30-60 秒，避免账户同步线程把新订单误清掉 - 订单价格怎么取？ Yes / No、Over / Under 这种反向 outcome 很容易算反。尤其 SELL 时，最好用当前持仓 outcome 的 bestAsk，而不是盲目拿 Yes 侧 orderbook 做 complement - 份额精度怎么处理？ 前端显示 17.86，不代表真实可卖就是 17.86。下单数量必须向下截断，不能四舍五入，否则会出现 insufficient shares - API 异常怎么分类？ hash mismatch、余额不足、份额不足、远端断连、返回截断、订单同步延迟，处理方式都不一样。不能简单无限 retry - dry-run 和 live 必须隔离 所有真实下单逻辑都要先 dry-run，看清楚 would-place / would-cancel，再打开 live - 日志一定要可读 真跑起来以后，最重要的是快速知道：挂了什么、撤了什么、为什么跳过、为什么失败、是不是重复提交。 - 风控边界怎么写？ 不市价卖出、不吃单、post-only、限制 BUY 范围、开赛前撤买单，这些都要变成代码里的硬约束 不是说有了AI随随便便就能做出一个可以长期稳定可交付的系统，一定要从工程的角度出发做好稳定性测试跟风控 感兴趣的朋友一起来交流～ @predictdotfun

看得我泪流满面😭🥹💔就凭这一点，难道中国人还能再吃狗肉吗？ A Belated Tribute to China’s Wenchuan Earthquake Rescue Dogs. This is a tribute that comes years too late. On October 2, 2021, the last search-and-rescue dog that had served in the 2008 Wenchuan Earthquake, Bingjie, passed away. With his death, all 67 rescue dogs that answered the call during one of China’s darkest disasters had completed their final roll call. This isn’t about whether you love dogs or keep pets. It’s about heroes. Back in 2008, when mountains collapsed and entire cities were reduced to rubble, these dogs charged into places no human could safely enter. At a single whistle from their handlers, they disappeared into twisted steel, shattered glass, and unstable concrete without hesitation. Their paws were ripped apart by broken rebar and jagged debris. They bled with every step. Many worked until the pads of their feet were raw and infected. Yet the moment they caught even the faintest scent of life beneath the ruins, they refused to leave. They barked. They dug. They kept digging. For them, every signal they gave meant another chance for someone to survive. That wasn’t simply bravery. It was something even purer. A complete trust in the person who guided them. A trust so absolute that it stood above fear itself. Bingjie was barely a year old when he was deployed to Wenchuan. Still little more than a puppy, he clawed through what had become a living hell and helped save 13 lives. The first little girl he rescued is now a university graduate. The future she was able to live began with a wet black nose finding her in the darkness… and a pair of tiny paws digging until they nearly gave out. If she remembers that moment, then she remembers who reached her first. No matter how you measure it, humanity owes these dogs a debt that can never truly be repaid. There was also Shenhu, another legendary rescue dog. By the time he retired in 2019, nearly fourteen years old, he had helped save 15 lives. His handler couldn’t bear to part with him, so he brought Shenhu home and stayed by his side until the very end. Today, a statue stands in his honor. But the truth is… Dogs don’t understand medals. They don’t understand monuments. They don’t care about titles or glory. A gentle pat on the head. A favorite tennis ball. A few words of praise from the person they trust. To them, that was worth risking everything. If called again, they would have done it all over without a second thought. People often speak of loyalty. These dogs never spoke a word. They carved loyalty into their bones. Now they have all returned to the place people lovingly call the Rainbow Bridge. Perhaps they’re together again, sniffing one another, wagging their tails, healthy and full of life, just as they were back then. To the silent heroes who gave everything so that strangers could have another tomorrow… Thank you. You will never be forgotten.

《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.