#更新# 此《The Walls and Gates of Peking》（北京的城墙和城门）是瑞典学者喜仁龙 (Osvald Siren) 在1920、1921年访问中国，考察过北京当时尚存的城墙和城门后的著作。全书共分八章，内收录照片109幅，测绘图纸50幅。此本为1924年伦敦John Lane出版社发行。介绍下载：

此《中国北京皇城写真全图》（The Imperial Palaces of Peking）由瑞典学者喜仁龙编著。全书共三卷，收录了图版274幅，14幅建筑平面图。全面展现了紫禁城等建筑的结构与装饰特点，以及中南海、北海、颐和园、圆明园等皇家园林的原貌。此英文本出版于1926年。介绍下载：

美东时间周三晚上9点、北京时间周四上午9点，不明白播客邀请《纽约时报》记者傅才德Mike Forsythe @PekingMike 听他讲述郭文贵在美国的高光时刻，他参加的每一场庭审以及周一宣判时法庭上的戏剧场面。对于郭文贵与这起案件的庭审，你想了解什么？欢迎向嘉宾提问： @LiYuan6

麦肯锡，一个商业怪胎：同时为利益冲突的双方服务。一边拿着五角大楼数千万美元合同，另一边却在为独裁国家提供咨询；一边为医药监管机构(如FDA)服务，一边又在为被监管的制药巨头出谋划策。纽约时报著名记者@PekingMike的名作《当麦肯锡来到小镇》被制作成8分钟视频。

【认知觉醒】Turn Chaos into Leverage / Kutip Bulu Ayam Buat Penyapu ☕🔥 要永远相信，所有的山穷水尽，都藏着峰回路转！ 哪怕生活留下一地鸡毛，咱也要有本事把它搓成一把鸡毛掸子，把身上的灰尘拍个干净，接着往前走。 所谓的绝处逢生，不过是你在最烂的牌局里，把那些别人嫌弃的碎屑，重新握回手里，当作翻盘的筹码。心不死，局就不算完。 ☕✨ #EnergyManagement# When you hit rock bottom, remember: the dead end is usually just a sharp turn in disguise. If life leaves you with nothing but a mess of scattered feathers, you don't sit there crying. You pack them up and build a fortress. True resilience isn't about waiting for the storm to pass with a clean slate; it’s about taking the absolute chaos handed to you and turning it into your ultimate leverage. The game isn’t over until you decide to quit. ☕✨ #EnergyManagement# Kena selalu percaya, waktu kita rasa dah tak ada jalan, kat situ lah rezeki nak pusing balik. Kalau hidup kita bersepah macam bulu ayam bertaburan, tak payah pening kepala duduk meratap. Kutip balik semua bulu tu, ikat kemas-kemas buat penyapu habuk, kebas badan, jalan terus. Orang yang betul-betul kental bukan sebab hidup dia sentiasa "perfect". Tapi sebab dia tahu macam mana nak tukar "sampah" jadi senjata untuk bangkit balik. Selagi semangat tak patah, lubang sedalam mana pun kita boleh panjat keluar. ☕✨ #EnergyManagement#

【认知觉醒】Stop Impressing Imaginary Critics / Jaga Tenang Kita Jerk ☕🔥 在没钱时候骑电动车出门，就怕遇见熟人，怕丢面子； 后来有钱了，买了汽车，再骑电动车出门时候就不怕了。 记住前后两种感觉，然后思考一个事： 你骑的电动车没有变，为什么你的感受就变了？ 这就是世界的一个真相。 十方空无意，众生几分别！同样的两个轮子，同样的你，风还是那样吹，变的不过是心里那点弯弯绕绕。 我们总把别人怎么看当成天大的事，穿便宜衣服怕被笑寒酸，甚至发条朋友圈都要反复琢磨配文。可那些你以为的观众，其实根本没买票入场。 ☕✨ #EnergyManagement# When you’re broke, driving a total beater car makes you sweat. You practically duck behind the steering wheel at a Starbucks drive-thru, praying you won't run into anyone you know. But once you’ve made it and have a luxury ride sitting in your garage? You can cruise around in that exact same rusty beater with zero cares in the world. Think about it. The car didn't change. Your net worth did, but more importantly, your head shifted. The biggest illusion we live in is "Main Character Syndrome." We skip buying things we like or overthink a simple social media post, stressing over what "they" will think. Here is the cold truth: the crowd you’re trying so hard to impress? They aren’t even watching. Stop letting imaginary critics run your life. ☕✨ #EnergyManagement# Masa tengah sesak, naik motor kapcai lama pun rasa segan. Memanjang rasa rendah diri, takut tersisih atau tersumpung kawan-kawan lama kat bandar. Tapi bila rezeki dah melimpah, dah ada kereta besar tersadai kat rumah, waktu tu pakai selipar jepun naik kapcai buruk tu pun kita rasa poyo jerk, tak ada hal langsung. Cuba fikir balik. Motor tu tetap motor yang sama. Angin yang tiup pun sama. Yang berubah cuma "pusingan" dalam kepala kita sendiri. Dunia ni kadangkala penuh dengan wayang yang kita cipta sendiri. Kita terlalu sibuk jaga "standard" kat mata orang lain, sampai nak post gambar kat medsos pun fikir dua tiga kali sebab takut orang mengata. Hakikatnya, "penonton" yang kita risaukan sangat tu, sebenarnya tak beli tiket pun nak tengok hidup kita. Jaga tenang kita jerk, tak payah pening kepala pasal pandangan orang. ☕✨ #EnergyManagement#

欧洲算力赛道可以分成综合机房托管（IDC）、本土公有云AI算力、专用HPC/AI算力厂商、国家级超算运营方四大类，头部企业（截至2026年）： 一、欧洲体量最大的中立IDC机房（机柜、电力、互联能力最强） 主打算力园区、整机柜租赁、大客户托管，是AI算力最核心的载体 1. Digital Realty（数字地产，美国上市，欧洲第一大IDC） 收购欧洲老牌Interxion后坐稳龙头，欧洲64个数据中心，总电力容量约566MW，法兰克福、阿姆斯特丹、伦敦拥有欧洲顶级算力园区，面向微软、Nebius、AI企业做批发算力机柜，欧洲高密度液冷算力节点最多。 2. Equinix（艺恩尼克斯） 欧洲93个数据中心，侧重互联网交换、金融与云互联，欧洲 peering 网络最强，适合需要低时延的算力调度、跨境算力组网，高端政企算力托管首选。 3. Vantage Data Centers、Global Switch 主攻英国、法国、德国大型超算园区，承接海外AI公司欧洲落地自建机房需求。 二、欧洲本土全栈云厂商（可直接租用GPU算力，主打欧盟数据主权） 欧美云市场格局：AWS、微软Azure、谷歌云占据欧洲70%公有云份额；下面是欧洲本土自研算力云，合规性优势极强 1. OVHcloud（法国，欧洲本土第一大云） 欧洲最规模化的本土云计算企业，9个国家自建43个数据中心，裸金属、H100/L4 AI算力齐全，性价比显著高于美国大厂，垂直自研服务器、散热体系，是欧洲商用大模型最常用的算力平台。 2. Nebius Group（荷兰注册，原Yandex拆分） 当前欧洲增速最快的AI算力巨头，手握欧洲稀缺的2.5GW电力配额，批量部署英伟达H100/Blackwell集群，拿到微软、Meta大额AI算力长单，主打大规模训练级算力，定位欧洲版CoreWeave。 3. Hetzner（德国） 性价比标杆，德国、芬兰自建机房，GPU服务器、托管机价格极低，中小企业、量化、推理算力使用最多，PUE能耗控制优秀。 4. 德国电信 T Cloud 欧盟国家级主权云，面向工业、政务、医疗等高监管行业布局AI算力，计划2026年底对标美国超大规模云能力，工业仿真算力优势突出。 5. Scaleway（法国伊利亚德集团）、IONOS（德国） 二线本土云，主打绿色可再生能源算力、轻量级AI推理集群，合规适配GDPR。 三、欧洲专注AI/HPC高性能算力的专业厂商（专精大模型、液冷超算） 1. Northern Data（德国上市） 欧洲老牌高性能算力运营商，从算力矿机转型AI液冷算力集群，拥有欧洲最大的专用GPU算力集群之一，主打高密度浸没式冷却，适合长周期大模型训练。 2. Eviden（原法国Atos） 欧洲本土超算整机厂商，BullSequana系列是欧盟EuroHPC计划主力机型，承建欧洲首台艾级超算JUPITER，提供政企定制HPC、科研算力整体方案。 3. WBS Power（波兰） 在建欧洲单体最大算力园区：波兰波罗的海数据中心，规划总装机3.2GW，依靠北欧风电做低成本绿色算力，面向全球AI企业做超大算力基建出租。 四、欧洲国家级顶级超算运营体系（科研、工业顶级算力） 由欧盟EuroHPC统筹，算力面向科研、气象、生物医药、工业仿真开放： • 德国于利希超算中心（运营JUPITER，欧洲首台艾级超算） • 芬兰LUMI超算、意大利LEONARDO超算、西班牙MareNostrum超算，构成欧洲最强科研算力矩阵 简单选型参考 • 租商用GPU、做大模型训练：优先 Nebius、OVHcloud、Northern Data • 机柜托管、自建算力集群：Digital Realty、Equinix • 低成本推理、中小算力：Hetzner、Scaleway • 政务、工业合规算力：德国电信T Cloud、Eviden

《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.