与「Cave」相关的搜索结果

世界上前20的Skill必装榜！ 1、superpowers（by obra），当时星标 30.2 万 它把开发拆成四步：头脑风暴、写计划、测试驱动、代码审查，串成一套开发流程。做中大型功能之前装上，AI 不会一上来就乱写代码。 2、skills（by mattpocock），当时星标 29.8 万 需求说不清的时候，它会反过来追问你，再帮你理清架构。排查 bug、重构老项目，用它最顺手。 3、andrej-karpathy-skills（by multica-ai），当时星标 22.1 万 一份项目规则：AI 先想清楚再动手，只改该改的地方。放进项目根目录，写代码时就生效。 4、skills（by anthropics），当时星标 18.2 万 官方技能库，Word、PPT、表格和 PDF 都能直接做。想自己写 Skill，照着它的模板改就行。 5、ponytail（by DietrichGebert），当时星标 16.8 万 让 AI 像最懒的资深工程师一样思考：能不加的抽象就不加。代码写完让它过一遍，把过度设计和技术债挑出来。 6、ui-ux-pro-max-skill（by nextlevelbuilder），当时星标 13.8 万 整套配色、字体搭配和交互规范都在里面。做落地页、后台和 APP 界面之前装上，页面更像设计师做的。 7、graphify（by Graphify-Labs），当时星标 12.9 万 把代码、文档和数据库结构转成一张知识图谱。接手陌生项目时先建图，再问"这个函数被谁调用"，一查就清楚。 8、caveman（by JuliusBrussee），当时星标 11.4 万 让 AI 用最少的字回答，啰嗦的铺垫全删掉。长时间跑 agent 的时候装上，能省下一大截 token。 9、agent-skills（by addyosmani），当时星标 10.9 万 谷歌工程师整理的工程规范，覆盖接口设计、上下文管理和质量检查。团队一起写项目，用它统一写法。 10、taste-skill（by LeonxLnx），当时星标 9.9 万 给 AI 补上审美：排版、参考图和动效都有讲究。做官网首页和作品集的时候用，页面不再像套模板。 11、Understand-Anything（by Egonex-AI），当时星标 8.7 万 把代码变成能点开的交互图谱，还会讲清楚业务流程。新人上手项目、读开源代码，最省时间。 12、impeccable（by pbakaus），当时星标 8.3 万 专门提升 AI 的设计能力，会检查间距、层级和细节。页面做完先让它审一遍，再按建议打磨。 13、awesome-claude-skills（by ComposioHQ），当时星标 7.7 万 一份技能合集，按场景收录了八百多个 Skill。不知道该装什么，先来这里挑。 14、last30days-skill（by mvanhorn），当时星标 6.5 万 它会去 Reddit、X 和 YouTube，汇总最近 30 天的讨论。 做选题、追热点、调研同类产品的时候用。 15、humanizer（by blader），当时星标 5.9 万 专门去掉文字里的 AI 痕迹，比如套话和固定句式。公众号、口播稿和邮件写完，都可以让它过一遍。 16、diagram-design（by cathrynlavery），当时星标 5.8 万 支持四十多种图表，直接输出成网页文件。写技术文档、做方案汇报，用它画架构图和流程图。 17、i-have-adhd（by ayghri），当时星标 5.8 万 让 AI 先说结论和下一步，再给细节，不把答案埋在长段落里。问技术问题、想马上拿到结果，就装它。 18、marketingskills（by coreyhaines31），当时星标 5.6 万 覆盖文案、SEO 和数据分析这些营销技能。写推广文案、提升网站搜索排名的时候用。 19、academic-research-skills（by Imbad0202），当时星标 5.3 万 从查文献、写论文到模拟审稿，一条流程串起来。写毕业论文、投期刊之前都能用。 20、scientific-agent-skills（by K-Dense-AI），当时星标 5.3 万 让 AI 变成科研助手，接入生物、化学这些领域的数据库和工具。做实验分析、查专业资料的时候用。

code for review : Prompt : Create a 2D anime short for the web. It must look completely like real Japanese anime, as if it were taken directly from a finished theatrical anime film. This is traditional-looking, hand-drawn 2D anime, not a 3D animation, a moving illustration, or a stylized web graphic. Deliver the final result as a single, self-contained HTML file that plays offline, with a synthesized soundtrack. Use any tools, libraries, references, guides, literally anything etc. Use theatrical mecha and kaiju anime as the art style reference for the design, line work, painted backgrounds, color, and atmosphere. The film is 83 seconds long, in 39 shots. Its characters are a colossal silver archer robot, a fleet of container ships, and a leviathan. No people appear in the film. Use any tools or techniques you want, including 3D, as long as the final result looks 100% like hand-drawn 2D anime. SCENE A blazing sunny day on a coast. A massive armored archer robot, a hundred meters tall, stands in a deep lunge on a headland and draws a bow taller than itself. Close-ups: the hand on the grip, the limb and cable, the foot planted in the surf. Blue energy crawls along the arrow into the chest armor until the arrowhead blazes like crystal. The string snaps forward and a shockwave flattens the sea. The arrow is a harpoon trailing a thin cable. It tears the clouds into two walls above a ship's deck, climbs through the cloud tops, and reaches the edge of space in a blue flash along the planet's limb. Out at sea, container ships cross a colossal shadow. Four humpback whales breach beside a ship, with real arcs and full tail flukes, and dive tail last. From below, shapes move under the bright churning surface. Four whale heads rise from a boiling sea, and a ring of teeth rises around them: they are lures inside a mouth. They drop in and the jaws shut. The leviathan breaches through the fleet in one slow, enormous arc. Its belly slides past the bridge windows. The swell it leaves lifts the ships and stands one on end, spilling containers. Its ridged back and flukes sink into spray fog. High above, the arrow turns over and comes back red-hot through the atmosphere. Below the surface, the leviathan crawls through a luminous canyon on clawed forelimbs and swallows a fleeing whale. A thin streak meets the sea on the horizon and a white plume swells up. The harpoon drives through its back in a blue-white flash, lightning runs along its body, and the barbed tip punches out of its belly into the rock, which bursts apart. The cable stays attached the whole time, rising to the surface. A mountain of water swells from the sea. The dying leviathan erupts, rolls over between the ships and falls, and a wall of water takes the fleet. ANIME QUALITY STANDARD Every frame must look as if it was drawn by professional anime animators and painted by master background artists for a finished theatrical film. Archer: A massive, heavy anime mecha with sculpted overlapping armor plates, panel lines, bolts, markings and a faceted chest reactor that glows blue. Hands really grip the bow and string. The arrow never passes through the armor. Keep it on-model from every angle. Leviathan: Whale-like and colossal, always dwarfing the ships. Rough, dark grey-teal wet hide with barnacles and scars, a pale ribbed throat, a spined back, huge clawed flippers, and a cavernous maw with uneven teeth. A real bending body with weight, never a stiff model hanging on pillars of water. Whales: Real humpback anatomy with tail stock, big notched flukes and long curved flippers rooted in the body. Ships: Detailed container ships with corrugated multicolor containers, lashing bars and a white bridge tower. Line art: Confident, delicate, hand-inked anime line work with subtle variation in thickness and pressure. Coloring: Traditional anime cel coloring with clean color areas, hard-edged cool lavender-blue shadows, crisp highlights, and a bright, high-key, saturated palette. Never gloomy, grey or muddy, even in the darkest moments of the story. Backgrounds: Richly detailed, hand-painted anime backgrounds in a gouache style: towering white cumulus, a cobalt-to-turquoise sea at kilometer scale, a painted coast with a far town, Earth from orbit, a port city from the stratosphere. Underwater: Luminous cyan depth with god rays, a rippling surface seen from below, jagged canyon rock, silt and fish. Bright, not black. Lighting: Summer sun with colorful shadows, and a separate character key light so that nothing sinks into shade. Effects: Bold drawn anime FX on twos and threes. Sharp lightning with a white core, plasma trails, sheets of water pouring off the body, plumes, spray and a wall of water with real mass. Never particle mush or cotton-wool clouds. Animation: Authentic hand-drawn anime timing, with characters on twos, strong key poses, natural holds, and overlapping movement. Huge things move slowly and heavily. Nothing clips, slides or floats. Sound: An original epic score with ominous drones, brass and choir, near silence before the impact, then a colossal hit. Add a recurring whale-song motif, bow creak, charge whine, sonic boom, thunder and the sea, muffled underwater, all timed to the picture. Direction: Cinematic shots, macro close-ups against huge wide shots, thoughtful staging, and pacing that builds from quiet tension to a devastating climax. IT MUST NOT LOOK LIKE - 3D: No plastic materials, CGI shading, visible polygons, game-engine lighting, or computer-perfect perspective. - Blocky "Minecraft" shapes: No plain boxes, empty flat surfaces, or toy-like proportions. Every surface carries design detail. - SVG or vector art: No simple geometric shapes, perfect curves, uniform outlines, flat corporate illustration, or basic gradients. - Web animation: No sliding layers, constant bobbing, floating parts, smooth software easing, or puppet-like joint rotation. - Pasted-on elements: No 2D sprites floating in a 3D scene. - AI art: No warped shapes, melted details, flickering, or changing designs. - Non-anime art: No Western cartoon designs, realistic rendering, soft painterly shading on the characters, or generic digital illustration. - Amateur work: No stiff poses, empty backgrounds, muddy colors, clip art, placeholders, or unfinished details. You are free to change any part of the prompt, if it would result in better results. The result should feel enormous, terrifying and beautiful, a blockbuster in bright anime colors. Before finishing, inspect random frames as still images. If any frame does not look completely like real 2D anime, keep improving it. Do not stop until every frame could pass as a still from a theatrical anime film.

Crypto timelines are full of takes. But is that really the full story? Put one on trial with Binance AI 🕵️🫆 → Find a crypto “hot take” you want to fact-check → Ask Binance AI to break down the context, data and caveats → Share what you found in the replies 10 winners chosen by us. 2,000 USDC in total rewards split equally among the winners. Contest ends: Oct 14, 23:59 UTC Disclaimer: This is not an offer or solicitation to trade any financial product. Not available to users in jurisdictions including: US, UK, EEA, Hong Kong, Singapore, and the jurisdictions on Binance's prohibited list (see for details)

The World is Changing: AI For Creativity By Jeffrey Katzenberg A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.” I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul." Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create. A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.” A Distinction With a Difference I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . . Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new. Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new. One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground. A Path Forward In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . . Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling. The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

GPT-6 Astra ULTRA built full Minecraft clone in hours Features: - Mining and block building - Crafting tools, weapons, and armor - Inventory and storage chests - Furnaces and smelting - Farming, harvesting, and replanting - Animals, breeding, and sheep shearing - Combat, health, hunger, and food - Growing trees and renewable resources - Flowing water and falling sand - Villages, cottages, and torchlit caves - Sleeping, respawning, and saving worlds - Desktop and mobile controls

A TON OF THINGS HAPPENED IN THE STOCK MARKET TODAY. Here's a full recap: 1. The U.S. reportedly offered Iran a deal to halt the siege and lift sanctions in exchange for reopening the Strait of Hormuz and ending proxy attacks, according to Al Arabiya. Axios also reports that Rubio told several foreign counterparts the U.S. does not plan new strikes on Iran for now, with pressure shifting toward the naval blockade and new sanctions campaign instead. Crude Oil fell 4% and the 10-year treasury bond fell from 4.72% to 4.62%. 2. Global physical gold-backed ETFs $GLD attracted $6.4B of inflows last week, their largest weekly intake since January and the 3rd-largest weekly inflow on record. North America led with $4.4B, followed by Europe at $1.7B and Asia at $300M. This marked the 7th straight week of inflows, with global gold ETFs pulling in $16.4B over that stretch. Total AUM in global gold ETFs rose by $33B last week to $615B, the highest level since the second week of May. 3. Intuit $INTU reported Q4’26 revenue of $4.4B, beating estimates of $4.27B and up 14% YoY. Adjusted EPS came in at $4.03 versus $3.58 expected. Global Business Solutions revenue rose 14% YoY to $3.4B, the Online Ecosystem grew 17% YoY to $2.6B, Consumer revenue increased 14% YoY to $930M, and Credit Karma revenue rose 16% YoY to $743M. For FY27, Intuit guided revenue to $23.3B–$23.5B versus $23.72B expected, while adjusted EPS guidance of $22.88–$23.12 came in well below the $27.32 estimate. The company also raised its dividend 15% YoY to $1.38/share, bought back $5.5B of stock, and has $7.9B remaining on its authorization. Management said its strategy is to win as an AI-driven expert platform while staying disciplined on investments and scaling its big bets. 4. President Trump said the U.S. Navy has removed and/or detonated all mines from international waters in the Strait of Hormuz. He said Iran has been notified that any ship or boat placing new mines will be “immediately and systematically destroyed.” Trump added that Space Force is monitoring every square inch of the Strait, along with Pickaxe Mountain and the three previously destroyed nuclear sites, and said a “Zero Tolerance” policy on mine placement is now in full effect. 5. Canada is responding to U.S. tariffs with new tariffs of its own. The country is raising steel tariffs to 50% from 25%, while roughly 700 products will face new tariff rates of 15%, 25%, and 50%. The measures are set to take effect on September 8, marking another escalation in the U.S.–Canada trade dispute. 6. Anthropic is expected to tell IPO investors its total addressable market exceeds $30T, topping SpaceX’s $28.5T estimate, according to WSJ. The figure represents the potential value of work Anthropic believes AI models could eventually perform, not a direct revenue forecast. Anthropic generated $11.6B in Q2 revenue and could seek to raise as much as $100B at roughly a $2T valuation. IPO documents are expected within weeks, potentially setting up a September or early October listing. 7. OpenAI’s data-center head Chris Malone left the company last week, according to WSJ. Malone joined in March 2025 shortly after Stargate was announced and played a key role overseeing OpenAI’s massive data-center buildout. He previously led data-center strategy at Meta and earlier worked on data-center technology at Google. The departure comes just weeks after OpenAI also replaced its chief revenue officer, adding another senior leadership change as the company races to scale infrastructure, revenue, and compute capacity. 8. ClickHouse has surpassed $350M in annual recurring revenue, up 40% since May, as AI agents drive demand for database and observability infrastructure. OpenAI’s usage has reportedly grown roughly 10x over the past year to more than 30 petabytes of data per day, or around 30T events daily. OpenAI has also shifted parts of its log-management workload from Datadog to ClickHouse over the past year. ClickHouse was valued at $15B in January and says gross margins currently range from 50%–70%. Earlier this year, the company acquired Langfuse to expand deeper into monitoring AI applications and agents. Nebius $NBIS owned a 28% stake in ClickHouse as of May 2025, though that stake has likely been diluted by subsequent fundraising. 9. JPMorgan reiterated its Overweight rating on SpaceX $SPCX with a $240 price target, saying the company’s AI ambitions are coming into sharper focus and that it is increasingly positive on Grok. The firm highlighted SpaceX’s completed acquisition of Cursor on 8/14 as an important step in building enterprise AI capabilities. Cursor brings roughly $4B of ARR as of June 2026, with about 75% coming from businesses, which JPMorgan says should help streamline go-to-market and provide valuable model-training data. The firm also said Cursor data is already showing up in Grok’s supplemental training, with tangible improvements in recent model performance. 10. OpenAI says its new Broadcom-built Jalapeno AI chip outperformed Nvidia $NVDA GB300 in both throughput per watt and response latency during internal testing, according to Bloomberg. The chip is built specifically for inference, not training, and runs at roughly 700 watts. OpenAI plans to begin deploying Jalapeno for its models later this year, saying the performance gap widened on larger workloads, including Moonshot’s Kimi model, and that the chip has also performed well on unreleased OpenAI models. The key caveat is that Jalapeno was tested against GB300, not Nvidia’s newer Vera Rubin generation. OpenAI says a second-generation chip is already nearing tape-out, while work on a third generation has begun. 11. The top 10 most active options today by contracts traded were $NVDA with 1.8M contracts, $TSLA with 1.8M contracts, $AAPL with 636K contracts, $SPCX with 548K contracts, $INTC with 540K contracts, $AMZN with 498K contracts, $MU with 483K contracts, $AMD with 403K contracts, $PLTR with 361K contracts, and $SOFI with 359K contracts. 12. Raymond James raised its Nvidia $NVDA price target to $352 from $330 and reiterated a Strong Buy rating. The firm says Nvidia’s CPU opportunity is becoming more important, especially for agentic AI workloads, even though CPUs are only about 3% of sales today. Raymond James expects CPU revenue to reach roughly 5% of total revenue by CY28 and believes Nvidia could potentially become the world leader in CPU revenue within several years. The firm also argued the stock remains inexpensive, trading at less than 15x CY27 GAAP earnings, below the S&P 500 at 18.6x, despite sales and net income growth still expected to exceed 20% in CY28. Its new $352 target is based on a 22x multiple on CY28 estimates, which Raymond James views as conservative given Nvidia’s leadership, CUDA moat, GPU performance, free cash flow, and history of trading at much higher multiples. WALL STREET IS THE GREATEST SHOW ON EARTH.

The Bolsheviks declared war on the Russian Orthodox Church as soon as they seized power. They stripped it of legal status and property, then executed thousands of priests, monks, and believers in the Red Terror. Metropolitan Vladimir of Kiev was dragged from the Monastery of the Caves, tortured, and shot in January 1918. Patriarch Tikhon publicly excommunicated the Bolshevik leadership and spent his remaining years under arrest until his death in 1925. In 1922, while the country starved, the Soviets seized church gold and jewels under the pretext of famine relief. When believers in Shuya tried to stop them, troops opened fire on the crowd. Lenin then issued a secret memo ordering the most merciless suppression of the clergy possible, arguing conditions would never again be so favorable for crushing the Church’s influence for decades. By year’s end thousands of clergy had been shot and a 1000 year old institution was driven underground by the regime that claimed to liberate the peasants who built it.

现在清理到没有几个全局的 skills，只剩下自己的工作流和 matt 的几个，还有 ponytail。ponytail 一直留着是觉得真的挺好用，尤其是配合 codex，减少过度设计效果杠杠的。 什么 caveman，感觉没啥用了，一看官网，好家伙，从一个 skills 扩展到一个创业公司了。 不知道大家还保留着什么 skill 在用？