© Pamela Smith/Associated Press
与黄仁勋让你们相信的不同，摩尔定律依然活着，而且还活得很好。
在今年的台北电脑展上，英特尔 CEO 帕特·基辛格，直接回怼了黄仁勋「传统处理器在 AI 时代正在式微」的观点，并甩出了面向 AIPC 的大招——新一代低功耗移动平台架构 Lunar Lake ，实现了 x86 处理器有史以来最高的能效。
这是英特尔在酷睿 Ultra（Meteor Lake）进行 40 年里最重大的处理架构变革后，又一次挤爆牙膏。从封装工艺、P 性能核、E 能效核到 GPU 核显、NPU AI 引擎等大量细节都有不小的调整。
今天，英特尔正式发布了 酷睿 Ultra 200V 系列处理器，首批搭载这款处理器的笔记本电脑在 9 月 24 日起发售，现在已经开启预售，包括宏碁、华硕、戴尔、惠普、联想、LG、微星和三星在内的 80 款 PC 产品。
Ultra 200V 系列处理器一共有 9 款，它们都是 8 核 8 线程，区别主要在于的 CPU 最高睿频、GPU 核心数量和 NPU 引擎数量差异，而且由于英特尔此次将内存直接封装到处理器中，最高支持 32GB RAM 且无法升级内存。
在我们介绍英特尔这款处理器的具体表现之前，先快速了解它的主要变化：
有史以来最高效的 x86 处理器
AI 算力大幅提升
全新的架构设计
采用台积电先进工艺
能效比是酷睿 Ultra 200V 系列处理器最大的提升，英特尔调整了电源管理的方式，并针对每晶片单位面积每瓦功耗的性能进行优化而完全重新构建了性能核。
因此，在英特尔宣布 Ultra 200V 拥有「最快的 CPU 核心」、「最好的内置 GPU」和「最佳的 AI 性能」的同时，整体功耗却只有原来的一半。
英特尔表示，在相同性能表现下，Ultra 9 288V 比高通 X Elite 的旗舰处理器 X1E-80-100 功 耗低 40%，甚至和苹果 M3 芯片旗鼓相当。
就拿戴尔搭载新款处理器的的 XPS 13 来说，新版本除了处理器外配置与旧款完全一致，连续播放 1080p Netflix 视频的时长从原来的 18 小时提升到了 26 小时。
在英特尔现场展示的一个办公场景续航测试里，搭载新款处理器的酷睿 Ultra 200V 处理器的华硕 Zenbook S 14，要比电容量更大、搭载 AMD HX 370 的 Zenbook S 16，续航还要多近 4 个小时。
在游戏性能上，英特尔也展开了对 AMD 、高通的回击，在发布会连续祭出多张「吊打友商」的对比测试。在和高通的对比中，甚至有 23 款游戏无法在高通处理器上运行。
Ultra 200V 系列处理器 GPU 性能提升了 50%，并提供 67 TOPS 的 AI 算力，首次亮相的 X(e)2 图形微架构使在移动图形性能方面带来平均 30% 的性能提升，使得在游戏中可以实现更高的帧率和更复杂的图形效果, 提升玩家的沉浸感。
在使用 XeSS 超分辨率技术的前提下，Ultra 200V 运行《赛博朋克：2077》的帧率可以达到 45fps，《古墓丽影：阴影》可达到 66 fps，要注意这是轻薄本上的游戏体验。
在发布会后英特尔提供的现场实时演示中，可以看到 Ultra 200V 的帧速率要明显好于 AMD HX 370 和高通 X1E-80-100。不过具体的游戏体验和续航表现如何，也要看 PC 厂商的适配和调教情况。
除了轻薄本，游戏玩家还可以期待搭载新一代酷睿的掌机，微星就在现场展示了 13 英寸的 Prestige AI+ Evo 机型，预计将在明年 1 月发布。
从酷睿 Ultra 200V 发布会频繁对比 AMD、高通就不难得知，英特尔希望在 AI 时代重新抢夺 PC 处理器的领先地位。其中离不开大量生产力工具的兼容和性能，发布会上也展示了使用 Adobe、Lightroom 等应用时 Ultra 200V 处理器 AI 性能的提升。
英特尔宣布也将对超过 500 种 AI 大模型的优化，同时搭载 Ultra 200V 处理器的所有产品， 从 11 月起都能免费更新并包括 Windows 11 AI+ PC 功能，不过需要要升级到最新版本的 Windows。
虽然 AI 硬件依然在萌芽阶段，但今年无疑是 AIPC 的重要一年。
英特尔、高通、AMD 都基于 AI 带来了下一代笔记本电脑处理器，主打轻薄本的酷睿 Ultra 200V 也并非英特尔最强的处理器，拥有更多核心、线程和更大内存的 Arrow Lake 预计将在今年晚些时候面世。
Canalys 报告显示，2024 年第二季度本季度 AIPC 出货量已经达到 880 万台，占 PC 总出货量的 14%，其中 Windows 的 AIPC 出货量环比增长 127%。
随着 CPU、GPU 和 NPU 每个处理器部件都具有自己的 AI 专用加速功能，端侧模型和更多应用生态的适配，当我们在寻找最适合将 AI 算力转化为生产力的硬件时，PC 依然还是目前最合适的设备。
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With Medea finally consigned to oblivion and Theseus united with his father, King Aegeus of Athens, Ovid’s Metamorphoses rushes on to a little-known group of myths explaining the origins of Minos and the fearsome Myrmidons who were later to fight for Achilles in the war against Troy.
The delight of King Aegeus in meeting his son at last proved short-lived when King Minos of Crete threatened war against Athens. Minos assembled a fleet of ships, and cruised the islands obtaining the allegiance and support of the small kingdoms there. When his fleet came to the island of Aegina, Aeacus its king refused on the grounds of his binding treaties with Athens. As the Cretan fleet sailed, Cephalus arrived from Athens, and was told of Aeacus’ unfailing allegiance. However, he noticed that people and things had changed since his last visit to Aegina.
King Aeacus then takes over the narration, giving his account of the plague that had almost destroyed the people of Aegina. It had arisen because of one of Jupiter’s extramarital affairs, with the nymph of the island, inevitably also named Aegina; Juno’s jealous reprisal against the nymph was largely expressed in a plague sent against the people of the island. Aeacus gives a vivid account of the deadly consequences of an infectious disease which sounds much like one of the many outbreaks of the plague that have struck Europe. In the end, with corpses being piled high unburied or in funeral pyres, Aeacus called on Jupiter either to give him his people back, or to kill him.
Aeacus saw an army of ants hard at work on a sacred oak tree, and asked that Jupiter give him such an army of people. When he slept that night, the king dreamed of those ants being transformed into people. The following morning, his son Telamon woke him, to tell him that overnight the city had been peopled afresh. They hailed Aeacus as king, and immediately went on to labour hard on the land and to become the fearsome band of warriors known as Myrmidons, a name derived from the Greek for ant, μύρμηξ (myrmex).
Later legend tells that the Myrmidons moved to Thessaly, from where Aeacus’ grandson Achilles took them with him to the Trojan War. The word has even entered the English language, although little-used for over a century. It came to mean a loyal and unquestioning follower, much like a worker ant.
The first work of visual art which shows the Myrmidons seems to be Virgil Solis’s engraving for a 1581 edition of Metamorphoses. King Aeacus is shown calling on Jupiter to repopulate the island, as the ants climb the old oak tree, and babies spill out from a cleft in its trunk.
That was followed in the latter half of the eighteenth century by this engraving by Jean-Michel Moreau le Jeune, Telemon and Aeacus, showing Telemon taking his father Aeacus out to see the loyal and hard-working Myrmidons at the end of the story. I suspect that this too was made for an illustrated edition of Metamorphoses.
If Aeacus did not make sufficient impression on artists, the figure of Minos did, particularly as he, together with Aeacus and Rhadamanthus, was made a judge of the dead in Hades, after his death.
Michelangelo shows Minos in that (Christianised) role in his huge fresco The Last Judgment (1537-41), with his attribute of a snake, which appears to be about to do Minos something of a mischief.
Minos also features in Dante’s Divine Comedy, which brought him to the attention of two of the greatest illustrators (and fine artists) of the nineteenth century, William Blake and Gustave Doré.
Blake’s watercolour of Minos (1824-27) shows him presiding in judgement over four cavorting couples, in a thoroughly radical vision.
Doré’s version, engraved here by Gaston Monvoisin, is more restrained, and shows Minos’ trademark serpent. Below him are souls queued up for his judgement.
Just as humans have always wanted to fly, the ability has commonly been ascribed to those elevated to the status of god or goddess. While some systems of belief have been happy to award all their deities the power of flight, it was more restricted in those of the ancient Mediterranean civilisations responsible for most of the myths painted in European art.
Charles-Antoine Coypel’s Fury of Achilles from 1737 captures Achilles, wearing his elaborate armour in the centre, as he’s being aided in the war against Troy by Athena on the left and Hephaestus on the right. Further to the right is Scamander, shown traditionally with his large jar gushing water and a wooden paddle in his right hand. Beneath them are the bodies of Trojans, and the river is starting to run red with their blood. In the more distant chariot is Hera with one of her peacocks.
More generally, though, unlimited free flight was confined to Hermes/Mercury, messenger of the gods, Cupid, and those personifying features of the sky, including the winds, heavenly bodies such as rainbows (Iris, another divine messenger), and events like night.
Pierre-Auguste Renoir painted The Judgement of Paris late in his long career, in 1908-10. Its three slightly soft-focus nudes are shown against a blurry background of countryside. Paris has accepted Aphrodite’s bribe, and is here awarding her the golden apple. Watching on is Hermes, complete with his winged helmet and sandals signifying his flying ability, and his distinctive caduceus.
The sixth painting in Edward Burne-Jones’ Perseus series, The Death of Medusa II (1881-2), completes the story of Medusa by showing the hero fleeing from the Gorgons. The headless body of Medusa is left on the ground, and her sisters fly around searching for her assailant. Perseus wears the helmet of Hades to maintain his invisibility, and is flying away with his borrowed winged sandals, while inserting Medusa’s head in his kibisis.
Sandro Botticelli’s huge masterpiece Primavera (Spring) demonstrates this differentiation, in its retelling of the story of Zephyrus and Flora. The west wind (far right, and detail below) abducted and raped the nymph Chloris (to the left of him), who was then transformed into the goddess Flora, who is dressed and decked in flowers, representing the Spring. Only Zephyrus as a wind, and Cupid above, are shown in flight.
Charles William Mitchell’s The Flight of Boreas with Orithyia from 1893 gives a full and classical account of this myth. Orithyia is trying to push the head of her abductor away, and unfasten his right hand from her thigh, but Boreas is just about to take her airborne.
Another deity whose role in mythology depends on her ability to fly is Eris, whose spreading of discord among the goddesses was key to the origin of the war against Troy.
In Jacob Jordaens’ Golden Apple of Discord (1633), the facially discordant Eris, seen in midair behind the deities, has just made her gift of the golden apple, now at the centre of the grasping hands above the table. At the left, Minerva (Pallas Athene) reaches forward for it. In front of her, Aphrodite, her son Eros at her knee, points to herself as the goddess most deserving of the apple. On the other side of the table, Hera reaches her hand out for it too.
Flying ability wasn’t evenly distributed in Norse mythology either, but was a skill best developed among valkyries.
Edward Robert Hughes’ first work showing a valkyrie from Norse mythology, Dream Idyll (A Valkyrie) from 1902, depicts a naked and unarmed woman riding a winged horse in the sky over a late Victorian city, perhaps London.
This has perpetuated into more recent myths and legends of fairies and related little creatures.
This Allegorical Scene looks like one of the more extreme faerie works from Victorian Britain, but was painted by Domenicus van Wijnen almost two centuries earlier. At the upper right, hundreds of small putti-like fairies are being ejected from below, flying in an arc over the top of the painting, and coalescing around a goddess lit brightly from behind. Below her is a river, where large numbers of naked bathers are congregated, and they too appear to rise up into the sky in another stream of flying figures.
These have been perpetuated in Christian beliefs in the form of angels, whose wings have more ancient and pre-Christian origins.
Hieronymus Bosch’s panel Ascent of the Blessed is one of the four making up his Visions of the Hereafter (c 1505-15), with particularly original and beautiful winged angels. These wings enable clear distinction to be made between humans and other human-like creatures, and the messengers of God. Being messengers, just as older gods like Eros, Thanatos, and Vanth before them, there’s a feasible rationale for them requiring their wings in order to move swiftly from heaven or the pre-Christian underworld to earth, and in their duties on earth.
There are even a few instances of divine and saintly figures being awarded the gift of flight.
William Blake’s unusual Nativity of 1799-1800 shows Joseph (left) supporting the Virgin Mary, who appears to have fainted. Jesus has somehow sprung from her womb, and hovers, arms outstretched as if ready for crucifixion, in mid-air. On the right, Mary’s cousin Elisabeth greets the infant, with her own son, John the Baptist, on her lap.
The occasional saint has been awarded their licence to fly, as shown here in the figure of Saint Mark in Tintoretto’s early success Miracle of the Slave from 1548. Here the artist’s intention is not just about motion, but about the act of flying, and the figure’s saintliness or divinity.
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