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通讯｜中国自动驾驶出租车“驶入”阿联酋_我的网站

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    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.
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B |     　　迪拜8月10日电　通讯｜中国自动驾驶出租车“驶入”阿联酋　　记者夏晓　温新年　　8月的阿联酋迪拜，中午室外气温接近50摄氏度。记者在迪拜的朱迈拉海滨打开“萝卜快跑”手机应用，不到两分钟，一辆黑色汽车缓缓停靠路边。

C | 没有驾驶员，也没有方向盘。手机解锁车门，凉意扑面而来，车内宽敞整洁，语音提示“请系好安全带”后，车辆平稳起步。　　汽车沿着海滨路驰骋，车窗外，碧蓝的海湾与形如风帆的迪拜卓美亚帆船酒店相映成景。无论遇到环岛、信号灯还是车流，自动驾驶出租车都能精准地完成每一次转向和变道。

D | 若非驾驶位空无一人，很难让人意识到，这是一辆完全依靠人工智能自主行驶的汽车。　　如今，这样的场景正在迪拜街头越来越常见。　　从“萝卜快跑”到文远知行，再到小马智行，越来越多中国自动驾驶企业正“驶入”阿联酋。随着阿联酋加快建设智慧城市，自动驾驶成为中阿人工智能合作的新亮点。

E | 迪拜提出，计划在2030年前将25%的交通工具转换为自动驾驶，这为中国企业提供了广阔的发展空间。　　作为最早进入阿联酋市场的中国自动驾驶企业之一，百度旗下的“萝卜快跑”2025年与迪拜公路和运输管理局签署战略合作协议；今年年初获得全无人驾驶测试许可，成为迪拜首个且目前唯一获准开展全无人测试的平台，并从3月启动商业化运营。

F | 　　“萝卜快跑”阿联酋负责人陈强介绍，目前平台运营覆盖迪拜朱迈拉约25平方公里的区域，年底计划扩展至数百平方公里，运营车辆也将增至数百辆。商业化运营以来，不少当地乘客在平台留言评价“上车方便”“车辆行驶平稳”“乘坐体验舒适”“智能、安全”。　　陈强认为，阿联酋开放包容的监管环境，是中国自动驾驶企业在当地加速发展的重要原因。完善的道路基础设施、旺盛的出行需求以及新能源配套，也为商业化运营创造了有利条件。“如果能在迪拜跑通商业模式，就能为拓展整个中东市场提供样板。　　除了“萝卜快跑”，其他中国自动驾驶企业也在中东地区加快布局。　　文远知行目前已在中东部署超过200辆自动驾驶出租车，中东业务已实现经营盈利，并计划进一步覆盖迪拜、阿布扎比和沙特阿拉伯利雅得等城市。　　小马智行也计划于今年下半年在迪拜推出自动驾驶出租车商业化服务。该公司国际传播总监王露迪说，阿联酋消费者对智能汽车和国际品牌的接受度不断提升，政府的支持、完善的数字基础设施和丰富的应用场景，为中国自动驾驶技术落地提供了有利条件。

G | 　　迪拜公路和运输管理局局长、董事会主席马塔尔·塔耶尔表示，中国已成为全球交通基础设施、数字技术和人工智能发展的领先力量，迪拜愿意进一步深化与中国企业的长期合作，借鉴其先进技术和解决方案，推动迪拜未来交通项目实现更高水平的效率、质量和可持续发展。　　业内人士认为，随着人工智能、智能汽车、人形机器人等新兴产业合作不断深化，中国企业正以创新能力和产业优势，为中东智慧城市建设注入新的动力。  这是7月31日在阿联酋迪拜街头拍摄的“萝卜快跑”无人驾驶出租车。记者 温新年 摄。

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Published on:02:13:52