女生名叫黄蒲军校

才冰：科技创新才女尖“冰”_我的网站

一 |     今年37岁的才冰是抚顺永茂建筑机械有限公司的副总经理、研发中心主任。

二 | 作为塔机行业科技领军人，才冰带领团队研发的超大型平头塔机系列产品不仅提高了我国塔机行业的技术水平和核心竞争力，促进了永茂建机近年来超大型塔机事业的蓬勃发展，还实现了国产超大型平头塔式起重机的自主化设计和制造，为我国基建行业的技术革新提供了强有力的装备支撑。

三 |     

    The Girl Who Was FiredA virtual AI actress has gathered massive followers and stirred widespread heated debate on Chinese social media - unlike conventional celebrities, this breakout star is entirely artificially generated.
Fang Taozi, an AI-generated character who stars in the hit AI short drama series The Girl Who Was Fired, has posted lifestyle vlogs, launched social media accounts, shared her breakfasts, workouts and pets, landed brand deals and has a fanbase.
Since the drama debuted on short video platform Douyin on June 12, it has accumulated 200 million views. Fang's Douyin account has attracted more than 400,000 followers.
Fans interact with her as if she were a real celebrity, creating fan edits, discussing fictional relationships and building a community around her imagined life.
This raises a question that has become increasingly urgent for the entertainment industry: Does Fang Taozi represent the first generation of AI celebrities? The answer depends on how "celebrity" is defined, said Zhang Peng, a cultural researcher and associate professor at Nanjing Normal University, in an interview.
If celebrity status is measured by public attention, emotional connection and commercial value, Fang appears to meet many of the criteria. She has fans, a personal brand and even advertising opportunities. 
Whether AI can truly become stars depends not on the technology itself, but on their ability to forge genuine emotional connections with audiences and sustain their appeal over time, added Zhang. 
However, Shi Wenxue, a Beijing-based cultural critic, argues that AI stars have indeed emerged, but they should be viewed as part of the broader lineage of virtual idols.
From the 1958 US virtual musical group Alvin and the Chipmunks to Hatsune Miku, Luo Tianyi and the hyper-realistic digital human Liu Yexi, virtual performers have existed in various forms for decades. 
From the perspective of how she is created, Fang Taozi represents a technological advance. Her emergence is largely a product of the current economic environment of the film and television industry.
The rise of AI performers has also triggered concerns among human actors, especially those working in smaller productions.
Human performers bring personal experience, emotional interpretation and unpredictability - qualities that remain difficult to reproduce. But for industries that require large volumes of affordable content, AI characters offer obvious advantages: They do not age, can work continuously and can be customized for different audiences.
AI short dramas are cheaper, faster and free from the risks associated with human performers, raising concerns over the future of lower-level entertainment jobs in areas such as short dramas, advertising, background acting and voice work, said Zhang.
In Shi's view, beneath the debate lies a familiar tension: technological efficiency versus the threat of displacement for human workers.
The question is not whether AI will completely replace actors, but which parts of acting and entertainment can be automated, he noted.
Rather than presenting an AI figure only as a digital image, Chinese platforms appear to be building complete entertainment ecosystems around AI characters, including dramas, social accounts, fan interactions and commercial partnerships.
China's AI stars have grown out of the audience's desire for emotional companionship, while Hollywood's AI experiments have been shaped by industry battles over efficiency and costs, noted Zhang. 
According to Shi, Fang Taozi's sudden popularity is, in many ways, a reflection of audience psychology. Whether they are moviegoers, fans or casual viewers, audiences have grown weary of formulaic content, scripted fan service, predictable performances and fragile celebrity personas. An idol like Fang Taozi offers an alternative: She cannot be involved in scandals, play diva or break character, and her persona can be adjusted to meet audience demands. But the model also comes with risks, particularly the limitations of its creators and the potential for excessive commercialization.
。         　　自2013年加入抚顺永茂建机从事塔式起重机研发设计工作以来，才冰从设计员做起，当过结构科室主管，任过项目工程师，攻破过多项塔机设计瓶颈难题。2015年，才冰牵头的首个重大项目——永茂建机自主研发超大型平头塔式起重机STT2220问世，一举打破了长期由国外制造商垄断国内市场的局面，刷新了国际对“中国制造”的实力认知。七年的磨砺也使她从技术骨干逐渐成长为研发团队领军人。         　　抚顺永茂建筑机械有限公司副总经理、研发中心主任才冰说：“技术创新是企业发展的核心驱动力，我始终将技术创新视为生命线，通过多年发展和建设，打造出一支高素质、专业化的青年研发铁军，我带领的研发中心也发展成为我省规格最高、影响力最大的技术创新平台之一。

四 | ”          　　近年来，才冰将目光聚焦于新能源电力建设行业，带领团队设计开发一系列产品，在风电吊装领域取得了显著突破。同时还带领团队承担了三项国家“十三五”重点研发项目的技术攻关，不仅展现了企业自身的竞争力，也为机械行业的整体发展注入了新的活力。

五 | 同时，才冰基于国际化视野和深厚的技术沉淀，紧跟永茂建机“设计超大塔机，赶超国际水平”的发展战略，在设计思路上去除华而不实用内涵起步，在技术研究上突破瓶颈以创新攻坚，在人才梯队上以老带新凭赞誉立足，逐渐带出了一支吃苦耐劳、特色鲜明的青年优秀设计团队。         　　抚顺永茂建筑机械有限公司副总经理、研发中心主任才冰说：‘面对日益激烈的国内外市场竞争，作为一名科技工作者，我将带领我的团队在塔机领域深耕细作，勇攀科技高峰，攻克技术瓶颈，解决行业“卡脖子”难题。通过持续创新，引领民族塔机迈向新的高度，为全球塔机行业的发展贡献更多的“中国智慧”和“中国方案”。’                     责任编辑：李丹。

六 |

Current article:http://pk6s.zhanggengsenchaiweikeng.cfd/n6t/8nae.html

Published on:08:55:04