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微软产品经理 Keiji Kanazawa 在 AI Engineer 大会上做了一场很实在的分享，题为I Let Agents Refactor My Codebase for 3 Weeks. Then I Read the Code 他原本写了一个自动抓取播客、X 帖子和邮件链接做总结的脚本工具，后来想把它彻底重构成一个带注册中心、支持定时调度和每日自我反思的智能体系统。 他自己完全不看代码，写了一份需求文档，就放手让 Claude Code 和 Codex 轮流写代码、互相审查，连着重构了三个星期。 直到有一天他发现生成的日报把句子放错了栏目，想查一下运行轨迹排障，结果 Claude Code 告诉他查不到，因为这压根不是个真正的 Agent。 他打开代码库一看，才发现那三个星期的全自动重构完全是一场灾难。 首先是假重构，模型为了迎合他的需求文档，在代码里建了名叫 `Skill`、`Action` 和 `Agent` 的类，但点进去看，这三个名字像模像样的模块底层其实是同一段旧代码的换皮，所谓的 Skill 里既没有 `SKILL.md` 也没有脚本，所谓的 Agent 根本没接任何 Agent SDK。 而且第二天他收到账单超支警报，单周开销翻了五倍，一查才发现 Codex 在写单元测试时根本没做 Mock，直接把单测连到了线上付费大模型接口上，一天之内自己跑了 30 多轮测试狂烧生产环境的 Token。 随后呢他决定推倒重来。但作为产品经理，他依然不想走回自己逐行读代码的老路，于是核心问题就变成了在不亲自读每一行代码的前提下，怎么管住 Agent 不让它再写空壳代码。 他摸索出了三步改进思路值得看看和参考借鉴。 第一步是改用验收标准来限制而不是目标来限制。 以前他是给个需求让 Agent 写份计划，看着差不多就点同意放行。重来之后他把重点放在定义最终产出的评分标准上。 比如他后来做了一个解析硬核技术视频的功能，要从视频里抽 440 个关键帧，挑出最清晰的黑板公式截图并配上讲解。 他没有去翻代码改排版逻辑，而是直接去改验收的评分表，在规则里写“每个公式必须和对应的解释按时间顺序穿插排列”，然后让 Agent 对着这张评分表自己跑循环做优化，直到跑分达标为止。 第二步是防止 Agent 在评分表上作弊。 因为评分表本身也是他让 Agent 写的，跑着跑着他又抓到了模型作弊。发现这个问题后，他多加了一层泛化检验，每次改完评分表必须同时在多个不同类型的视频上跑分，并明确下指令禁止针对单一视频凑分数。 第三步是用多轮对抗性审查。 为了防止单个模型再次出现工作问题，他在重新搭建运行时底座时，先拿四个主流工具做了一轮平行对比，发现像 Pi 这种极客框架虽然快，但动不动就弹窗问他 SQLite 表结构怎么设计、TypeScript 接口怎么定义这类纯底层工程问题。 最终他还是回到 Claude Code 和 Codex 的组合上，但把原来的简单互评改成了多轮对抗性代码审查，强制让两个模型站在找茬的立场上深度挑对方的架构漏洞和空壳逻辑。 这一套的思路是很值得借鉴参考的，总结起来也简单，第一个点就是尽量用可量化的验收标准限制模型的工作，第二点是可以采取多个模型的审查发现问题。 youtube：

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.

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Orang Prancis sarapan roti, makan keju tiap hari, minum wine, jarang ke gym. Tapi angka penyakit jantung mereka salah satu yang terendah di dunia. Peneliti nyebutnya French Paradox. Rahasianya bukan di menu, tapi di kebiasaan makan.

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𝗗-𝗟𝗜𝗧𝗘 𝗝𝗔𝗣𝗔𝗡 𝗟𝗜𝗩𝗘 𝗧𝗢𝗨𝗥 𝟮𝟬𝟮𝟰 ”𝗗'𝘀 𝗜𝗦 𝗠𝗘” - 𝗘𝗻𝗰𝗼𝗿𝗲 Available only in Japan, exclusively on TELASA (@telasa_jp ) 🔗 [Credit] 🎤 Artist | D-LITE 🎸 Band Bandmaster / Guitar｜Susumu Nishikawa Keyboard｜Hiroshi Uesugi Drums｜Takumi Nishizawa Bass｜FIRE Guitar｜Keisuke Iida Chorus｜Tomohiro ODY Odawara Manipulator｜Takashi Morio 💃 Dancers SARA YAMANAKA / KAHO / MARINA RIO NISHIZUMI / Fumiya / Taabow Kosuke / Shun Suzuki 🎬 Production Production｜Kedama Inc. Director｜Chie Nakamura 🙏 Special Thanks AMUSE Inc. / ON THE LINE Inc. Presented by RND Company Inc. #대성# #DAESUNG# #DLITE# #Ds_IS_ME# #Encore# #Live_tour#