华为的ppt里，gpu跑的是aztec ruins离屏，能效对比的时候也是。
给的是frame的值，aztec的时间是64.3s，所以9000帧数约是36.35fps，865+帧数约22.73fps，这个倒是没问题的。
A站之前测过败家之眼的aztec，是4.17fps/w(催一下@lch920619x 坡壕有空跑跑[二哈])，高50%所以麒麟9000的aztec能效大概为6.255fps/w。
所以ppt上华为的gpu功率36.35÷6.255≈5.8w？
给的是frame的值，aztec的时间是64.3s，所以9000帧数约是36.35fps，865+帧数约22.73fps，这个倒是没问题的。
A站之前测过败家之眼的aztec，是4.17fps/w(催一下@lch920619x 坡壕有空跑跑[二哈])，高50%所以麒麟9000的aztec能效大概为6.255fps/w。
所以ppt上华为的gpu功率36.35÷6.255≈5.8w？
写作 | 北岛
始于河流而止于源泉
钻石雨
正在无情地剖开
这玻璃的世界
打开水闸，打开
刺在男人手臂上的
女人的嘴巴
打开那本书
词已磨损，废墟
有着帝国的完整
COMPOSITION
stars in the stream and stops at the source
diamond rain
is ruthlessly dissecting
the glass world
it opens the sluice, opens
a woman's lips
pricked on a man's arm
opens the book
the words have decomposed, the ruins
have imperial integrity
Translated by Bonnie S. McDougall and Chen Maiping
编者按：
《写作》一诗作于八十年代末、九十年代初，诗人北岛省思着写作的意义。这是一场“始于河流而止于源泉”的回溯之旅，是无情地剖开脆弱世界的坚硬之雨。写作将凝结成书，于废墟中存留帝国的完整。“被记录的风暴 / 散发着油墨的气息”——北岛《桥》。
始于河流而止于源泉
钻石雨
正在无情地剖开
这玻璃的世界
打开水闸，打开
刺在男人手臂上的
女人的嘴巴
打开那本书
词已磨损，废墟
有着帝国的完整
COMPOSITION
stars in the stream and stops at the source
diamond rain
is ruthlessly dissecting
the glass world
it opens the sluice, opens
a woman's lips
pricked on a man's arm
opens the book
the words have decomposed, the ruins
have imperial integrity
Translated by Bonnie S. McDougall and Chen Maiping
编者按：
《写作》一诗作于八十年代末、九十年代初，诗人北岛省思着写作的意义。这是一场“始于河流而止于源泉”的回溯之旅，是无情地剖开脆弱世界的坚硬之雨。写作将凝结成书，于废墟中存留帝国的完整。“被记录的风暴 / 散发着油墨的气息”——北岛《桥》。
By Khvay Samnang
Where Is My Land? is a mesmerizing three-channel video, which shows Rady dancing in three locations around Phnom Penh: in the sand-filled remnants of what was once Boeung Snaur, with the Peng Huot housing estate visible in the background; on the ruins of a destroyed house in a seriously eroded section of riverbank along the Mekong; and in the sand-pumping pipes in front of a Cham fishing village, with the Sokha Hotel looming.
Nget Rady’s performance in each of these locations responds to the intensity of the physical environment. While Rady is classically trained in the lkhon khol tradition, in Where Is My Land? little trace of recognizably Khmer dance gestures can be seen. The dance is mostly improvised, with fine muscle twitches and expressive looks creating a sense of intimacy with the camera and viewer.
Khvay Samnang’s direction alternates between close-up shots lingering on these details, and wide-angle views of the hauntingly unnatural-seeming environments. A tantalizing narrative begins to emerge, with the dancing figure appearing displaced, disturbed, desperate.
Several hundred homes have fallen into Cambodia’s rivers in recent years, and several deaths have been reported. Villagers blame the extreme erosion on sand-dredging barges and pipelines, the sound of which torments them day and night. With few options for compensation and little if any access to the luxury developments for which the sand is being mined, many are left wondering: Where Is My Land?
Where Is My Land? is a mesmerizing three-channel video, which shows Rady dancing in three locations around Phnom Penh: in the sand-filled remnants of what was once Boeung Snaur, with the Peng Huot housing estate visible in the background; on the ruins of a destroyed house in a seriously eroded section of riverbank along the Mekong; and in the sand-pumping pipes in front of a Cham fishing village, with the Sokha Hotel looming.
Nget Rady’s performance in each of these locations responds to the intensity of the physical environment. While Rady is classically trained in the lkhon khol tradition, in Where Is My Land? little trace of recognizably Khmer dance gestures can be seen. The dance is mostly improvised, with fine muscle twitches and expressive looks creating a sense of intimacy with the camera and viewer.
Khvay Samnang’s direction alternates between close-up shots lingering on these details, and wide-angle views of the hauntingly unnatural-seeming environments. A tantalizing narrative begins to emerge, with the dancing figure appearing displaced, disturbed, desperate.
Several hundred homes have fallen into Cambodia’s rivers in recent years, and several deaths have been reported. Villagers blame the extreme erosion on sand-dredging barges and pipelines, the sound of which torments them day and night. With few options for compensation and little if any access to the luxury developments for which the sand is being mined, many are left wondering: Where Is My Land?
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