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无问芯穹夏立雪：智能体带来Token分层，国产芯片适配效果明显提升_我的网站
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We shall first consider some of the positive and negative appraisals of the film, before turning to its significance for Chinese viewers and, more broadly, to possible comparisons between the philosophical and cultural traditions of East and West. This commentary draws primarily on reviews by Emily Wilson in the London Review of Books and in The Atlantic, and Daniel Mendelsohn in the New York Review of Books, as well as on questions raised by Zhong Shu.
It should first be acknowledged that Nolan has produced an impressive action movie, condensing and abridging most of the major episodes of Odysseus' adventurous journey back to Ithaca. Avoiding digital technology based on artificial screens, he gives the story an unusually tangible quality.
The film also benefits from a distinguished cast, whose performances illuminate the different strands of the narrative as conceived by the director. At the same time, the viewer is invited to reconstruct the complex temporal layers of the epic, extending from the fall of Troy to Odysseus' homecoming (nostos), his reunion with Telemachus and Penelope, and the harsh punishment of the suitors.
Many objections concerning anachronisms in costumes and armor, the use of American English, details of the Mycenaean or Archaic periods, or the casting of particular characters seem unfair. Some degree of anachronism is inevitable, and the pursuit of historical or textual fidelity would ultimately be futile. Nolan was obliged to omit or substantially rework parts of the original narrative in order to fit it into a three-hour film. Some omissions are nevertheless regrettable -- notably the treatment of the Cyclops episode and Odysseus' descent into the Underworld, as well as the complete omission of the Phaeacian episode and his encounter with Nausicaa.
There are, however, more serious grounds for concern with regard to the central idea underlying Nolan's reinterpretation of the Odyssey. In his attempt to convey a modern moral message largely alien to Homer's world, Nolan presents an Odysseus who has surprisingly little in common with the "complicated" (polytropos) man depicted by the ancient poet. The ethical ambiguities of a shrewd and resourceful character, ready to deceive and to commit violence in pursuit of his ends, are largely absent from Matt Damon's Odysseus. Instead, we encounter a hero repeatedly tormented by guilt for atrocities perpetrated or condoned during the Trojan War and consequently seeking some form of atonement.
Zhong Shu is therefore justified in asking Nolan whether he intends to "Christianize" Odysseus. The filmmaker seems to have moved him, almost imperceptibly, from what anthropologists have described as a "shame culture" -- the world of Homer, in which honor and fame, as perceived by others, are of central importance -- to a "guilt culture," characterized by an internalized sense of responsibility and remorse for wrongdoing. This latter moral orientation emerges with classical Greek ethics, particularly with Socrates and Plato, and reaches its fullest expression in Christian and post-Christian conceptions of morality.
Nolan appears to believe that such a transition toward guilt follows naturally once we recognize the force of a commitment to "Zeus' law," particularly in the obligations of mutual hospitality (xenia). He connects these obligations with a version of the "Golden Rule," understood as a principle of reciprocal respect in our treatment of others.
This, however, is problematic as a construal of Homeric morals. Early variants of the Golden Rule can be found from the fifth century BC onwards in Democritus and Isocrates, and later in Epictetus and, of course, in the teachings of Jesus. More importantly, the moral conscience Nolan attributes to Odysseus not only "Christianizes" him; it arguably "Kantianizes" him as well. "Zeus' law" is presented almost as a universal proto-categorical imperative, something that could readily be endorsed by Kant. This differs significantly from the ancient injunction against hybris: the warning against excessive pride, the transgression of human limits, and the violation of the divine and cosmological order that we encounter throughout Homer's epics.
One may, of course, concede to Nolan the artistic right to create his own Odysseus: a depressed war veteran, conscious of the dangers of violating moral rules, and concerned with preserving the normative foundations of civilization. The difficulty lies elsewhere. Nolan's attempt to accommodate this new hero and his moral psychology within the narrative framework of the original Odyssey is not entirely successful. The result is a tension between the Homeric story the film seeks to reconstruct and the modern moral drama superimposed upon it. This tension, I believe, accounts for much of the film's weakness.
When we turn, however, to the horizon of the Chinese tradition, a more intriguing possibility emerges. The moral dimension of Nolan's Odysseus may be closer to certain aspects of Confucian thought than to the Homeric model. Confucian relational role ethics can be interpreted as encouraging a form of moral self-consciousness in which responsibility, integrity, and the cultivation of the self become increasingly internalized. In this qualified sense, one might speak of a movement from "shame" towards something resembling a "guilt" culture.
The Golden Rule is also prominent in Confucian teaching. Furthermore, the demand to examine and rectify one's conduct in accordance with yi (righteousness), while cultivating ren (benevolence or humaneness), can be understood as pointing toward a more inward and spiritual form of the Greek nostos: a return not simply to one's geographical home, but to one's moral center, situated within a network of relationships.
In addition, Nolan's relative downplaying of divine intervention, and his tendency to integrate the divine dimension into a more naturalistic moral order, may make his construal more congenial to the practical ethos of Chinese philosophy than to a worldview grounded explicitly in metaphysical theology.
There is, therefore, a certain paradox. Although Nolan's film may be criticized as an interpretation of Homer, its very misreading of the epic may enable it to contribute to a dialogue between East and West. By transforming Odysseus into a figure whose moral conscience combines Christian, Kantian, and perhaps unexpectedly Confucian elements, Nolan brings into contact traditions that otherwise belong to very different intellectual worlds. His Odyssey is not true to Homer's spirit. But precisely for this reason, it raises questions about how different civilizations understand responsibility, moral identity, the relation between the individual and the community, and, ultimately, the meaning of returning home.
The author is a Professor Emeritus of Philosophy with the National and Kapodistrian University of Athens and Secretary of the Center of Greek and Chinese Civilizations. [email protected]
。 “今年上半年公司Token调用量7个月增长40倍，其中95%以上的推理任务来自智能体（Agent）需求。” 在2026WAIC期间，无问芯穹CEO夏立雪在接受澎湃新闻记者等媒体采访时表示，目前无问芯穹已在全国纳管16种不同架构芯片、合计3.7万P算力，过去一年已将推理成本降低至十分之一，未来全链路协同下仍有90%成本下降空间。 夏立雪认为，当前AI行业的核心矛盾从未改变：需求是指数级增长，芯片供给的增长是线性的，单纯堆芯片已经追不上需求增速。
B | “大家不是觉得AI没用，是觉得它有点贵——这本身就是供不应求的信号，如果供大于求，大家只会觉得它没用。
C | ” 过去三年推理成本的下降，已经带动了第一批场景落地；他判断未来全行业仍有至少90%的成本下降空间，来源不只是单点技术优化，而是全链路协同：跨域异构集群的资源池化、PDD等新架构的普及，以及场景端的需求分层。 夏立雪认为，真正的生产力应该是“资源规模×Token生产效率×Token转化为生产力的效率”。
D | 目前全行业还在共创价值衡量指标，本质是计量每个Token产生的实际经济价值，推动行业从“按Token数量计费”转向“按最终价值计费”。
E | 据了解，今年上半年，无问芯穹Token增量几乎全部来自Agent。“95%以上的推理任务跑的都是智能体相关任务，不管是直接服务大模型厂商，还是直接服务垂类客户，最终需求都来自Agent落地。”夏立雪表示，目前代码生成、文娱营销、基础设施运维、具身智能、制造、电力、法律等行业都已经在大规模使用AI。 针对行业普遍关注的Token标准化问题，夏立雪明确判断：Token必然分层，且分层已经在发生。
F | 未来会出现面向高端复杂任务的高价值Token，也会有面向简单场景的高性价比Token。 这种分层直接带动了过去一年国产芯片的落地进展。他坦言，国产芯片适配效果的明显提升，一半来自技术端解决了跨集群调度、负载均衡等问题，更核心的原因是Agent带来了任务分层：智能体会派生大量不同复杂度的子任务，不需要所有任务都跑在最高端的芯片上，国产芯片可以承担自己擅长的任务，不用再“硬扛”最复杂的大模型训练负载。 “不同芯片各有侧重，都能在价值金字塔里找到自己的位置，不用浪费资源杀鸡用牛刀。” 夏立雪透露，目前无问芯穹已经在和行业客户探索多模型协同的分层交付模式，通过不同能力的模型配合完成任务，直接为最终结果负责。 对于今年的热点话题物理AI，无问芯穹宣布将具身智能场景纳入Token工厂的覆盖范围。 夏立雪表示，AI必然从数字世界走向物理世界，云侧GPU、边缘节点、机器人本体的算力都应该被纳入统一资源池调度，而团队过去在大规模云侧强化学习、跨集群调度上积累的能力可以直接复用，其发布的RLinf新版本已经实现真机渲染、训练到推理的全链路云边协同，Mizar-Robo推理优化方案已经和星海图、云深处等具身机器人厂商达成合作，优化机器人端侧推理效率，形成“机器人采集物理世界数据-云侧强化学习训练-端侧推理落地”的闭环。“我们不做机器人本体，就做好具身场景的Token工厂，给伙伴们提供低成本的弹药，让他们能以更低的成本推产品、拓市场。” 谈到AI赛道的行业竞争，在夏立雪看来，AGI不是单一公司能完成的使命，当前行业供需缺口还在持续扩大，只要技术能创造效率价值就有商业空间。
G | 近期智谱GLM、月之暗面Kimi等清华系开源大模型登顶国际榜单，中国的开源生态是核心优势，开源让技术、数据、资源能更快流动形成闭环，带动全行业效率提升。 当天，无问芯穹公布Agentic Infra 的“前店后厂一中心”战略布局，涵盖三大核心技术能力与产品服务体系：“算力集散中心”：Agentic Infra 自主式基础设施平台；“Token工厂”：Agentic MaaS 大模型服务平台；“AI生产力商店”： Agentic Infra 行业解决方案。
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