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Thank you @JensenHuang for 33 years of bold leadership. You built a small startup into America’s most valuable company, with relentless improvement. Your grit and perseverance should always be remembered. Your personal generosity with time and advice to founders like me has secured a bright future for America and AI.

楼下有位义正词严表演主流卫道士的。 我本来想让大家去看梁一梦@dream1984tube的推特，但鉴于很多人忽略了，我把他的帖子整理放这里: 梁一梦:摧毁黄仁勋的幕后黑手 2026年11月12日 11:35 我一直觉得是对华鹰派联合媒体在中期选举合谋猎杀英伟达和黄仁勋，但是媒体发表的标题文章味道越来越奇怪，充满了赤裸裸的种族歧视，现在发现他们都只是台前的打手而已，不得不让我重新审视最早纽约时报发表间谍新闻的记者 @AnaSwanson ，为什么对那么显而易见荒谬的线索高举高打，直到我检索了她过去里面，所有关于 ai 关于芯片科技关键新闻稿件以及深度报告中的重复核心信源，了解媒体工作的一定熟悉不是非常紧密和信任的关系不会信这么长期高频次的联络采纳其观点，你们猜我发现了谁—Jack Clark。 Anthropic 联合创始人、政策主管 / Anthropic Institute 负责人. Jack Clark @jackclarkSF 自己就是彭博社记者出身， OpenAI 政策总监（Policy Director） 在今年五月在阿斯彭研究所（Aspen Institute）举办的“AI and America's Place in the World”安全峰会及政策工作晚餐中，Jack Clark 与多位深入报道芯片供应链审查与地缘科技竞争的资深媒体人同场出席，其中也报过最先报道女间谍纽约时报记者，@paulmozur孟建国，他们一起进行了“AI 武器化与国家安全供应链防御”闭门讨论。 在纽约时报捕风捉梦的报道出来之后，第一个跳出来支持的国会议员 @ChrisCoons 在今年 7 月接受了 @jackclarkSF 的政治捐款，注意@jackclarkSF 生活在加州工作在旧金山Anthropic，特意专门跑去给一个Delaware州的参议院捐款，不要用那是他howntown解释， 2019 年在众议院情报委员会作证时提交的履历：众议院文件，原文他老家是"Varndean College, Brighton" 另外一个重要信息，他曾是乔治城大学 CSET 的非常驻研究员. 这次围绕猎巫黄仁勋的 @Georgetown 大学的人非常多， @MarkZJia 最高大法官的书记员 法学教授 @RyanFedasiuk 最早高呼黄仁勋辞职的上遍各种媒体的情报学讲师@dennisw5 前cia高级主管 CSET 全称是"安全与新兴技术中心"2 019 年设在乔治城大学的外交学院，专门研究 AI、半导体这类技术跟国家安全的关系。创办资金主要来自 Open Philanthropy，第一笔就是 5500 万美元。Anthropic 的 Holden Karnofsky 是它的联合创始人之一。它是"有效利他主义"（Effective Altruism）圈子最大的金主。 如果再有人我说冤枉了 @MarkZJia ，2026 年初五角大楼依据《联邦采购供应链安全法》（FASCSA）对 AI 模型供应商展开合规调查的风波中，Mark Jia 曾在华盛顿邮报及 Lawfare 连续撰文，就“国家安全行政权力界限与供应链风险认定标准”发表深度法理分析。法律论战中，其学术观点被 Anthropic 的法律抗辩团队广泛引用，用以界定“何种商业联系构成法理上的供应链国家安全穿透风险”。 全世界最早报道黄仁勋和黄乐的有浪漫关系直接抹黑黄仁勋金融时报的 @AsiaLens ，后来却说自己没有看过美国情报界的情报，他长期正面宣传报道Anthropic 的主动（划重点主动）合规政策（例如 2025 年 9 月独家报道 Anthropic 率先切断所有多数股权由中国资本持有的机构的 API 访问权，注意是独家从拿到信息来源的，为什么他独家？ 还记得针对黄仁勋的国会质询闭门会议，在媒体报道发出之前，国会议员@RepBrianMast 与@RepMoolenaar ，两人均签署 11 月 4 日对黄仁勋质询函,然后纽约时报女间谍新闻爆发，舆论做出黄仁勋是因为女间谍被国会审查一样，因为今年七月$1,500 万通过“保守派 AI 共识项目”直接捐给了他们两个，这笔资金背后金主是Anthropic PBC，通过Public First Action 渠道，Dario Amodei亲自拿了一百万美金。 在 2026 年选举周期中，Anthropic 构建了“双轨资金池”（企业 PAC AnthroPAC + 战略超级 PAC Public First Action），向此次负责向黄仁勋施压的核心国会立法者定向提供了关键支持，Anthropic 长期利益信托（LTBT）受托人 Richard Fontaine 担任 CEO 的智库 CNAS，系国会对华出口管制方案的直接设计者。在此次针对 Megaspeed 走私调查的内部听证会准备材料中，大量采纳了 CNAS 发布的《Defending the Compute Advantage》（保护算力优势）中的穿透式审查标准。 Richard Fontaine（Anthropic 长期利益信托 LTBT 受托人，2025 年 4 月/6 月加入，掌握董事会多数席位选举权）： 华盛顿核心国家安全智库新美国安全中心（CNAS）首席执行官（CEO），曾任美国参议院外交关系委员会幕僚及白宫国安会官员。 CNAS 长期向众议院外交委员会（主席 Brian Mast）和众议院中国委员会（主席 John Moolenaar）提供针对中国半导体与 AI 算力封锁的政策简报；Fontaine 直接坐镇 Anthropic 最高治理监督机构（LTBT），使 Anthropic 的对华芯片出口管制立场与国会国安鹰派高度一致。 民主党核心筹款人 Helen Milby 搭建的“Hakeem Jeffries 阵营—Anthropic 闭门通道”： 调查媒体 Sludge 于 2026 年 10 月 21 日披露， 长期为民主党“新民主党人联盟（New Democrat Coalition）”及众议院少数党领袖 Hakeem Jeffries 阵营筹款的资深筹款人 Helen Milby，同时运营着一家由企业资助的非营利组织，专门安排 Anthropic 等科技企业高管与国会民主党进行闭门对接。 Dario Amodei 在 2026 年内多次前往参议院银行委员会展开闭门政策沟通，提交关于“大算力外流对国家安全冲击”的机密级技术评估备忘录。该委员会资深共和党成员 Kevin Cramer 正是在今天成为全美首位公开要求黄仁勋辞去英伟达 CEO 职务的参议员。 一个巧合是巧合，一系列的巧合还是巧合吗？ Christopher LiddellAnthropic 董事会成员，2026 年 2 月 13 日加入，占据指定 Class T 董事席位， 特朗普第一任期白宫副幕僚长（White House Deputy Chief of Staff，深耕共和党高层与国会资金网络（2026 年 6 月曾向众议院拨款委员会小组主席 Chuck Fleischmann 捐款 $3,500），为 Anthropic 搭建起直通共和党主导的众议院各委员会的沟通桥梁。 引爆推特的，外交关系委员会的 Chris McGuire（@ChrisRMcGuire ），把金融时报报告的浪漫关系直接写成黄仁勋 "sleeping with Alice Huang, a Chinese spy" 他的推特只有 1.2 万粉丝，他以前在拜登的国安会当过 Chhabra 的下属。Chhabra 现在是 Anthropic 的国家安全负责人。今年 6 月台北 DSET 论坛他还和 Chhabra 同台，这个帖子发出之后，很短之内，众议员 Seth Magaziner 。前国家安全顾问 Susan Rice前议员 Adam Kinzinger ，纷纷立刻转载评论，达到1000万流量。 这是一次跨党派的种族主义的最高级别的清洗，意图驱逐世界殿堂级企业的华裔创始人。

The Moral Collapse of the Chinese Crypto Community To Elon Musk 2022–2023 marked the golden age of Chinese-language Twitter. Back then, there was no creator revenue you offered purely based on traffic. Two main groups of creators came here to share insights: Influencers who migrated over with their followers after their Weibo accounts were banned. Content creators who were already living overseas. These people came with genuine intent to share, and they often uncovered valuable market alpha. Whether it was Bay Area Spaces, inscription research bloggers, or spot and secondary market analysts. Back then, everyone believed the next bull run would be bright. People expected their altcoin spot holdings would deliver at least 5–10x returns. After all, A16Z poured capital into projects left and right, and every so often, stories popped up of Gen Z traders hitting A8 and retiring financially free. Then the tide turned. High-cap tokens pumped immediately upon launch. Instead of bringing fresh liquidity into the market, the ETF event drained what little liquidity remained, driven largely by Trump-related narratives. The crash on October 11 was almost inevitable. Long before that, many had already lost everything on altcoins. That black-swan event merely liquidated whatever leveraged contract positions were left. Starting around 2024–2025, after X rolled out creator ad revenue, a flood of traffic chasers emerged, catering to lowbrow audiences. These people do not trade crypto, nor do they care about any market narratives. They crossed over to this platform just to scrape together that tiny creator payout, as they have little footing in real life. Consequently, we saw the worst tropes from mainland domestic social media spill over: gender polarization, disinformation, and bootlicking culture. While you tweaked the algorithm to curb plagiarism, the platform still fails to incentivize high-quality content. Plenty of boundaryless content farms still rack up views, and accounts that harass others relentlessly often evade effective reporting penalties. Meanwhile, posts from creators I used to follow have vanished from my timeline. I kindly request that you strictly investigate accounts that distribute other users’ private information without consent.

The Moral Collapse of the Chinese Crypto Community To Elon Musk @elonmusk 2022–2023 marked the golden age of Chinese-language Twitter. Back then, there was no creator revenue you offered purely based on traffic. Two main groups of creators came here to share insights: Influencers who migrated over with their followers after their Weibo accounts were banned. Content creators who were already living overseas. These people came with genuine intent to share, and they often uncovered valuable market alpha. Whether it was Bay Area Spaces, inscription research bloggers, or spot and secondary market analysts. Back then, everyone believed the next bull run would be bright. People expected their altcoin spot holdings would deliver at least 5–10x returns. After all, A16Z poured capital into projects left and right, and every so often, stories popped up of Gen Z traders hitting A8 and retiring financially free. Then the tide turned. High-cap tokens pumped immediately upon launch. Instead of bringing fresh liquidity into the market, the ETF event drained what little liquidity remained, driven largely by Trump-related narratives. The crash on October 11 was almost inevitable. Long before that, many had already lost everything on altcoins. That black-swan event merely liquidated whatever leveraged contract positions were left. Starting around 2024–2025, after X rolled out creator ad revenue, a flood of traffic chasers emerged, catering to lowbrow audiences. These people do not trade crypto, nor do they care about any market narratives. They crossed over to this platform just to scrape together that tiny creator payout, as they have little footing in real life. Consequently, we saw the worst tropes from mainland domestic social media spill over: gender polarization, disinformation, and bootlicking culture. While you tweaked the algorithm to curb plagiarism, the platform still fails to incentivize high-quality content. Plenty of boundaryless content farms still rack up views, and accounts that harass others relentlessly often evade effective reporting penalties. Meanwhile, posts from creators I used to follow have vanished from my timeline. I kindly request that you strictly investigate accounts that distribute other users’ private information without consent.

255M views on a 3D Short by Zack D. Films i tried to rebuild his style with ONE Claude prompt, then ran it on Opus 5.5 and Fable 5.2 (they did NOT make the same Short) the full prompt is below ↓ paste it into Claude Code in an empty folder and answer its 2 questions. it shows u the script and waits for ur go. u need Blender + its free MPFB add-on and a graphics card. give it a few hours (the prompt is minus one optional paid-voice line) Ask me 2 things, then wait: 1. The story in one line: a strange TRUE event where one person did one odd physical thing ("He tied 42 weather balloons to a lawn chair."). If I say "you pick", pitch 3 with one source link each and take the first unless I choose. 2. The voice. Default: Kokoro (free, runs on my computer), a calm, warm male narrator. Then tell me everything else is free: Blender (find my install, or tell me the one download), its free MPFB extension for human bodies (ask me before you install it) and into this folder a Python venv with FFmpeg (imageio-ffmpeg), kokoro-onnx + its model files (kokoro-v1.0.onnx and voices-v1.0.bin from the kokoro-onnx GitHub releases), faster-whisper (small.en), numpy and Pillow. It needs no API key or account and renders on my graphics card with EEVEE. The look: a clean, realistic 3D world, like a good game cutscene. Bright, saturated, a little filmic. - People: realistic bodies with generic faces and big readable expressions (shock, a smirk, a scream). Plain clothes, no logos. Never a real person's likeness: for a real person keep the face out of close-ups (hands, back, side, distance, straight top-down). - CALM shots only. Bodies in fast action or contact (running, jumping, fighting, falling) look stiff, so tell the story with frozen moments under a slowly moving camera, macro inserts of hands and objects, rooms, vehicles, the sky, top-down views and the aftermath. - One new picture for every caption chunk (2-4 words, about 1-1.5 s): a new framing, a new action or a camera move. Nothing ever holds still: every shot drifts, pushes in or orbits. - The shot kit: macro insert (extreme close-up of the key object or hands, very shallow depth of field), hero low angle (wide lens at waist height), god's-eye top-down with a slow rotate, tracked object, over the shoulder, smash zoom on the word that matters, whip pan between beats, glow highlight (the named object glows orange with a rim, then fades), a big 3D number lying in the scene, a thought bubble (a cloud ring showing what he hoped for), a TV in the scene replaying the event. - Light: a bright warm sun, blue sky with clouds, soft shadows. Night scenes use hard lamps and a dark sky. Wide lens up close, depth of field on every shot, motion blur on every fast camera move. - Captions: 2-4 words at a time, white bold rounded sans, about 64 px on a 1080 px-wide frame, centred, 78% down the frame, soft dark shadow, no box. Each chunk replaces the last on the same frame as its picture. - Banned: real footage, photos, downloaded textures or 3D models, logos, AI images or AI video, downloaded music, gore. 38-50 s, 100-140 words, 150-180 words a minute. The voice starts at 0.0 s. - Line 1: the most surprising physical act, in past tense, opening with "He" (or "She"). No name, date or setup. Frame 1 shows that act. - Then a cause-and-effect chain: every sentence starts with a hinge word (Then, Suddenly, So, Because, But, Later) and is ONE visible action. - The context arrives late, after "You see,". - A reveal: someone looks closer and the story turns. - The last line is the consequence. No call to action, no question. - Names are rare: use one only when it pays off. Title = "He ..." or "The Man Who ...". The cover is the first frame. Save every stage to disk so a crash never costs more than one stage. - sources.md: every fact with its link and the date you read it. Anything you can't verify stays out. - script.json: the lines and the caption chunks cut by hand (2-4 words, one picture each), each chunk with its shot: the set, the camera, what moves. - Kokoro reads the whole script in one take (speed 1.0-1.1) and pauses are squeezed to 0.35 s at most; faster-whisper times every word (pass it a 16 kHz numpy array, not a path); write chunks.json with each chunk's start and end. A picture and its caption switch together on frame round(start*30)+1. - blender/: Python scripts run headless (blender -b -P). makes one .blend with the sets, the cast, the props and every shot baked with a key on every frame. sets EEVEE with ray tracing, the AgX view with the Punchy look, motion blur, depth of field and bloom in the compositor. Bodies come from MPFB or are built by you; clothes, hair, props and sets are built in code. - Stills first: one half-size still per shot as a contact sheet. Look at every tile and fix what's off before any full render. Time one full-size frame and tell me the estimate. - Render 1080x1920 at 30 fps to PNG frames, skipping frames already on disk. - numpy only: a light music bed, a sound on every action (a whoosh on each whip pan, hits, wind, room tone), ducked under the voice, mastered to -14 LUFS on the whole stereo mix. - burn the captions in from chunks.json. Encode out/_9x16.mp4 (1080x1920, 30 fps, TV-range yuv420p) and out/_x_7x8.mp4 (1008x1152, under 10 MB, 2-pass): a crop of the 9:16 frame that keeps the subject and the caption. - Blender paths: pass absolute output paths (a relative one lands on the drive root). - MPFB headless: enable it with addon_utils.enable("bl_ext.user_default.mpfb"). Bake a body's shape keys before you pose it: the rig is fitted to the baked shape. - Clothes: cut them from the body mesh and push them 7-16 mm out along the normals; keep two rings of body faces under every hem. - Nothing coplanar: keep every resting object 1 cm off its neighbour and draw ground markings into the texture, or they flicker. - Hair: EEVEE draws hair only from a Curves object, hair type STRIP. Use a Principled BSDF on it (the Hair BSDF renders black). - Skin: keep subsurface weight near 0.2 (more turns faces black in EEVEE) and add a soft fill light from below under a noon sun. - Hands: a curled hand reads as a claw from the palm side, so shoot a grip from behind the knuckles. - Motion blur: shutter position START, a key on every frame, plus a key half a frame after each shot's last frame, so blur never reaches across a cut. - Check: run a black-frame and one-frame-flicker check on the render. Make a contact sheet (a frame every 0.5 s) and look at every tile: the act reads in the first 2 s, faces are lit, nothing clips through anything, captions stay off faces and key objects. Then step through the first 2 s, the middle and the end frame by frame. Fix, render only the changed shots again. Pitch (or take my story), then show me the script with the word count, the caption chunks with their seconds and the shot list with what the first frame shows. Build nothing until I say go. how the two runs went: one run each on the same PC, so it's one sample, not a ranking. both took under 3 hours on one shared 8 GB graphics card. the story for both: a man who tied 42 weather balloons to a lawn chair in 1982 where they split: -> Opus opened wide on the balloons over the yard. Fable opened on the man kneeling at the chair with his Jeep behind him -> Opus put 5 big 3D numbers in its scenes, Fable 2 -> Fable followed the caption spec (white text, soft shadow). Opus went ALL CAPS with a thick outline -> Fable pulled the Smithsonian's own record and ended on the chair in the museum. Opus ended on the $1,500 fine -> a few Opus shots are hazy and one opens on a blank grey frame save this for ur next Short. who did it better, Opus or Fable?

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.

Grok Bot summary: IAC 2026 presentation by SpaceXAI President Michael Nicolls. 🎯 The main message - SpaceX was founded in 2002 to make life multi-planetary and "extend the light of consciousness to the stars." - He said the biggest risk as constellations grow is not debris. It's satellite operators not sharing data with each other. 🌍 How Starlink grew - Starlink began in 2019 with 60 V0.9 satellites. User service started in late 2020 as the "Better Than Nothing Beta." - V1.5 added space lasers, which let the satellites link into a mesh. That's when Starlink really took off, reaching oceans, Antarctica and airplanes. - V2 (2023) has 4x the capacity of V1. Falcon launches V2 satellites 2–3 times a week, and each launch adds about 3 terabits of capacity. - V3 launched on Starship about a week before the talk. Each V3 satellite has another 10x capacity, and each Starship launch carries 20–30x what a Falcon launch does. - Starlink now has over 11,000 satellites, about 60% of all active satellites in low Earth orbit. - It serves more than 13M customers in about 170 markets, plus ships and planes. - The laser mesh means Starlink doesn't depend on local ground infrastructure. During last year's fires and power outages in Spain, it kept tens of thousands of customers and emergency responders online. 🚀 The life of a Starlink satellite - **Before launch:** SpaceX checks that deploying the satellites won't bring them close to anything else, and shares where they'll be. - **Deploy:** satellites are released below 300 km, where almost no other operators fly. - **Orbit raising:** each climb path is checked against other satellites and crewed space stations, and SpaceX publishes the satellites' positions every hour on the way up. - **Lower orbits for safety:** the original plan was about 1,000 km. Now every satellite flies below 500 km, and V3 will fly at about 350–360 km. At these heights a dead satellite falls back to Earth within months instead of staying up for centuries. 🛡️ How they avoid collisions - Each satellite makes small station-keeping moves about once a day and a collision-avoidance move about every 10 days. - Across the fleet, that's about 1,000 avoidance moves a day. - Starlink's threshold for moving is nearly 100x more cautious than the industry standard, so the whole fleet's collision risk is about the same as a much smaller constellation's. - "Ducking" moves turn the satellite so it presents a smaller target during a close pass, cutting the collision risk about 10x more. - Automated software makes these decisions, which is why Starlink tries to stay in contact with every satellite at all times. 📡 Always connected - Starship's live launch video was streamed over Starlink. - The new V3 satellites connected to the network within 2 minutes of release, because Starlink terminals are built into the satellites. Their lasers link into the mesh within tens of minutes. - The goal is to make contact right away and never lose it. 🌬️ Space weather - During a 2024 solar storm, air density in orbit jumped 5x in a few hours, which throws off predictions of where satellites will be. - Starlink is "probably one of the best sensors" for this. It measures density in real time and automatically corrects its position forecasts. 🔭 Working with astronomers - **Optical:** SpaceX tried Vantablack paint and sun visors. What finally worked was a mirror-like film that reflects sunlight away from the ground, combined with careful steering. A V2 satellite now looks about as bright as a sheet of paper. This was done with groups like the Vera Rubin Observatory. - **Radio:** working with observatories like the US National Radio Astronomy Observatory (NRAO), Starlink steers its beams and frequencies around where the telescopes are pointing. As a result, the telescopes can now observe more often. ♻️ End of life - SpaceX uses statistics to predict when parts will fail and deorbits satellites early. Many of those satellites would have kept working. - Retired satellites are steered down within weeks, not left to drift for the 5 or 25 years regulations allow. - They're built to burn up completely, and reentry is aimed over the ocean. - Of about 10,000 satellites launched by early 2026, only a few dead ones remain in orbit. The goal is zero. - "Reliability and rate go together." ⚠️ The biggest danger: other operators - Tracked debris is like obstacles on a road: if you can measure it, you can avoid it. - What you can't avoid is a satellite that maneuvers without telling anyone. Starlink has had passes as close as tens of meters this way. - Starlink has maneuvered around satellites from about 650 operators in recent months, but shares position data with only about half of them. "That number is too low." - SpaceX shares data with China's space station and some Chinese operators. Many operators don't share at all, including some in the US, Europe and Japan. ⭐ Stargaze: Starlink's own space tracking - Over 30,000 star trackers on Starlink satellites spot passing objects as streaks against the stars. - Stargaze now tracks over 17,000 objects, including about 90% of the maneuvering satellites that cross Starlink's orbits. - In one example, an untracked satellite's predicted 9 km miss shrank to about 60 m after it maneuvered toward Starlink. Stargaze caught the move and the Starlink satellite dodged in time. - He said it's still no substitute for operators sharing their plans in advance. 🤝 The ask: share your data - SpaceX runs its own space safety data platform, and over 100 operators have signed up. - Operators can upload their satellite positions and check them against Starlink and against Stargaze tracking. - His message to every operator was to join the platform and share their positions. 🧠 StarMind: AI compute in space - StarMind is SpaceX's planned AI satellite constellation, starting launches and scaling next year. - The goal is to move AI compute off Earth. He expects StarMind to drive demand for Starship launches the way Starlink did for Falcon. - On the ground, SpaceX is building over 2 GW of compute in Memphis. He said AI demand will be nearly limitless, and Earth's resources make that hard to keep scaling there. - In space, the satellites run on solar power and shed heat through large radiators. - Each satellite is simpler than a Starlink: basically a computer with big solar panels and radiators. - Each one has about 250 kW, roughly one NVL72 rack of compute. - They'd fly in tight clusters of about 10 satellites linked by about 10 terabits of bandwidth, then connect to Starlink. - SpaceX has filed for up to **1 million satellites**, in low-inclination and sun-synchronous orbits. Building them could mean thousands of satellites a week. - New challenges include much higher reliability and redundancy, flying in close formation, and micrometeoroids. Dead satellites might be sent away from Earth instead of burning up in the atmosphere. 🌙 Beyond Earth - Starlink is developing very high-bandwidth lasers to connect the Moon, then Mars, building an "interplanetary mesh." - All of that depends on getting safety right in low Earth orbit first. 💡 Key takeaways - Starlink is the world's biggest constellation, and it's moving lower to be safer. - It makes about 1,000 collision-avoidance moves a day, with nearly 100x more caution than the industry standard. - The biggest risk is operators who don't share where their satellites are going. - StarMind could scale to 1 million AI satellites, with launches starting next year. - "Coordination is a key element for realizing all of our ambitions."

There is a bright and exciting future for humanity ahead – and space is fundamental to that future. To achieve this, space safety must be done right. We encourage every operator to not only share ephemeris data proactively the same way Starlink already does, but to also adopt the high standards of space safety that SpaceX and Starlink use every day →

23 Negara Siap Berkompetisi di IMSO-23 #SobatBelajar#, sebanyak 404 murid dari 23 negara siap beradu kemampuan dalam International Mathematics and Science Olympiad (IMSO) ke-23 Tahun 2026 yang berlangsung pada 2–7 Oktober 2026 di Depok, Jawa Barat. Ajang ini menjadi ruang bagi murid untuk mengasah kemampuan matematika dan sains sekaligus merasakan serunya berkompetisi bersama talenta-talenta muda dari berbagai negara. Seperti apa, ya, persiapan dan perasaan para peserta IMSO-23 menjelang kompetisi? Yuk, simak selengkapnya melalui video di atas! ——— 23 Countries Ready to Compete in the 23rd IMSO #SobatBelajar#, 404 students from 23 countries are ready to showcase their skills at the 23rd International Mathematics and Science Olympiad (IMSO), taking place on October 2–7, 2026, in Depok, West Java. This event offers a platform for students to sharpen their math and science abilities while experiencing the thrill of competing alongside bright young talents from around the world. Curious about how the IMSO-23 participants are feeling and preparing for the competition? Check out the video above to find out! #IMSO23# #PendidikanBermutuuntukSemua# #KemendikdasmenRAMAH#