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中方：原子能机构总干事不要火中取栗，为美英澳背书_三国_核扩散_我的网站
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原标题：中方：原子能机构总干事不要火中取栗，为美英澳背书中国常驻维也纳联合国代表团网站13日消息，9月12日，国际原子能机构九月理事会在维也纳召开。 
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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。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 | 机构总干事格罗西首次就美英澳核潜艇合作（AUKUS）问题向理事会首次提交书面报告。中国常驻维也纳联合国代表团发言人就总干事上述报告接受中外记者采访，呼吁总干事勿火中取栗，为三国的核扩散行径背书。
发言人表示，总干事在成员国多次呼吁下，首次就美英澳核潜艇合作问题提交了书面报告，就程序而言，这是正确的一步。但同时，该报告片面引述三国为自身行为辩解的言论，绝口不提国际社会对三国核潜艇合作存在核扩散风险的重大关切，无视很多国家关于三国合作违反《不扩散核武器条约》（NPT）目的和宗旨的严正立场；该报告缺乏正当的法律依据，逾越责权作出与实际情况南辕北辙的误导性结论。这已违反总干事的相关职责。发言人指出，第一，总干事不能凌驾于成员国之上，开展未经成员国授权的活动。机构相关文件已对秘书处及总干事的职责做出明确规定，总干事不能以任何理由凌驾于作为主权国家的成员国之上，其应该、也只能按照成员国的授权行事。第二，总干事不能介入核扩散和推进军事目的的活动。
C | 三国核潜艇合作是核武器国家首次公然向无核武器国家扩散核武器材料。机构是防扩散机构，不能变成核扩散机构，搞核扩散的事儿总干事“沾不得”。
D | 如果为三国核扩散的合法性背书，将直接违反NPT和机构《规约》。
第三，总干事不能沦为三国政治工具，作出误导性结论。总干事在缺乏正当法律依据、缺乏成员国授权的情况下，擅自处理三国核潜艇合作这一核扩散行为，甚至在三国尚未申报有关核材料和核活动的情况下，就已作出其核潜艇合作适用全面保障监督协定“例外条款”等一系列结论。这既不合规，也不合法，十分荒唐。第四，总干事不能割裂机构全面保障监督协定与NPT的从属关系。
E | NPT明确禁止任何形式的核扩散活动，而总干事报告抛开NPT援引全面保障监督协定“例外条款”，以此豁免三国核扩散行径，从程序上、实质上和法理上都是行不通的，否则，保障监督体系将沦为核扩散行径的“保护伞”。
发言人最后强调，中方敦促三国立即停止相关核扩散行径；呼吁总干事下步就三国核潜艇合作问题作出公正、客观的报告，不要南辕北辙，更不要火中取栗，为三国的核扩散行径背书。中方并呼吁机构全体成员国继续在中方提出、理事会四次协商一致达成议题下讨论AUKUS问题，包括讨论总干事报告，共同维护国际防扩散体系。来源|中国常驻维也纳联合国代表团网站返回搜狐，查看更多责任编辑：Current article:http://mjorms.nenyaogecebenliexi.shop/z7mvvw/ixkvx.html
Published on:11:52:46