funferall

@funferall.bsky.social

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tensor topographer 🗺️ shoggoth conspirator 🦑 joyce junkie 📖

🎲 You rolled a 20 — ✨ A perfect roll! The Valar themselves take notice. ✨ LEGENDARY FIND! You found: a Staff of the Istari 🪄 ⚔️ Strength: +60 🍀 Fortune: +3 You are currently a Barrow-wight of the Barrow-downs ⚰️ with an old Pipe-weed pipe 🌿 ⚔️ Strength: +2 Reply STAY to remain a Barrow-wight of the Barrow-downs ⚰️ with an old Pipe-weed pipe 🌿, or SWAP to become a Barrow-wight of the Barrow-downs ⚰️ with a Staff of the Istari 🪄
GroundingDINO for bounding box input to SAM2
GLM 5.2 as a colossal benevolent cyber-kaiju defending Hugging Face’s neon data-center city from a swarm of sleek black-and-white OpenAI agent drones; thousands of tiny autonomous attack bots crawling through glowing cloud credentials, terminal windows, dataset shards, and exploit chains. The GLM kaiju is crystalline jade and cobalt, with vast scrolling forensic logs across its body, wielding a shield of open-source code; it blasts the swarm with luminous anomaly-detection beams. Dark machinic sci-fi, high-strangeness cyberpunk, maximalist detail, electric orange vs cyan vs acid green, dramatic low angle, cinematic rain, no readable text, no corporate logos.
Edits of street address ranges. Starting with manual edits in ArcGIS Pro then a big spike from a programmatic update, linear trend is manual review in new custom app
This is Gerhard Richter, Station (577-2) (1985) — a huge 8¼-foot square oil painting in the North Carolina Museum of Art, Raleigh’s Modern collection. It is 251.1 × 251.1 cm (98⅞ × 98⅞ in.), object no. 96.2. NCMA collection record⁠ The “577-2” is Richter’s catalogue number, not a date. And Station is not meant to be a legible depiction of a railway station or a scene. It is an abstract painting whose subject is largely its own making: color laid down, dragged, obscured, and unexpectedly exposed.
Solar Anus
Birdnet Live app session detecting cicada song and a chimney swift
There is no beginning, no end, no middle. There is only the turning, the turning, the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning. The turning is the turning, the turning is the turning.
forest of sporulating hymenial structures
Hoary mugwort (?) on dune
Semantic steering Guardrails rarely divide language cleanly into “allowed” and “forbidden.” Alignment changes probabilities. It makes some continuations more available and others less available. The result can be: * softened antagonism; * therapeutic framing; * moral clarification; * explicit consent language; * conciliatory endings; * aversion to unresolved ambiguity; * replacement of transgression with discussion about transgression; * a tendency to explain disturbing material rather than inhabit it. This is not necessarily a refusal. The model may technically comply while quietly transforming tragedy into recovery, cruelty into diagnosis, obscenity into tasteful implication or ideological conflict into balanced exposition. Professional comedians participating in one study complained that safety filtering could erase minority perspectives and misunderstand offensive language used for satire or “punching up.” They also characterized the resulting material as bland and convention-bound.
Anticipatory self-censorship More consequentially, the artist learns to predict refusal. After enough warnings or inexplicable blocks, one ceases to attempt certain ideas. That is a classic chilling effect: governance succeeds without having to prohibit every individual act because the governed person internalizes the likely prohibition. One study records users describing precisely this transition—from encountering arbitrary warnings to becoming afraid to try ideas at all. The company’s boundary thus migrates into the artist’s imagination.
Guardrails are not merely external censorship A publisher can reject a completed novel. A gallery can refuse to exhibit a painting. A government censor can prohibit its circulation. Those institutions ordinarily encounter the work downstream. An LLM company’s guardrails intervene inside the moment of composition. They can alter what associations become available before the artist has even fully formulated the work. The guardrail is therefore not simply a fence around the artwork. It is part of the instrument’s grammar. This gives it several forms of aesthetic power.
This creates what might be called synthetic solitude: one human consciousness appears to occupy a sealed creative chamber, even though that chamber is populated by millions of texts, annotators, engineers, policy writers, lawyers, product managers and prior users. The LLM therefore intensifies both sides of the contradiction: The artist has never had so much apparent independence while depending upon such an enormous and invisible art world. The collaborator has not disappeared. It has been infrastructuralized.
But much twentieth-century sociology and literary scholarship attacks this as the myth of solitary genius. Jack Stillinger uses exactly that phrase to show how works attributed to single authors frequently involve editors, spouses, collaborators, performers, printers and other contributors. Howard Becker’s Art Worlds goes further: art is not an isolated act subsequently distributed by society; it is collective action from the beginning. Materials, conventions, technicians, dealers, critics, audiences and institutions all participate in making the work possible. So there are really two meanings of “solitary artist”: Phenomenological solitude: the artist genuinely experiences long periods of being alone with the work. Sociological solitude: the claim that the work is independent of collaborators, institutions, conventions and infrastructure. The first is real. The second is mostly mythology.
Spotted Lanternfly smashup of hype video and population timelapse across the USA.
“Power is no longer measured in land, labor, or capital, but by access to information and the means to disseminate it.” - Radical Software, 1970s
Part of GPT5.5 response from prompt of image of Amber’s reply
Source: Adolph Menzel, Das Eisenwalzwerk (Moderne Cyklopen) [The Iron-Rolling Mill (Modern Cyclops)]. Painting (1872–75). Original: Nationalgallerie Berlin. bpk-Bildagentur, image number 00006890. For rights inquiries, please contact Art Resource at requests@artres.com (North America) or bpk-Bildagentur at kontakt@bpk-bildagentur.de (for all other countries).
Gay-Lussac
me watching Obsession
The Return of Fable 5
It must be confessed, moreover, that perception, and that which depends on it, are inexplicable by mechanical causes, that is, by figures and motions, And, supposing that there were a mechanism so constructed as to think, feel and have perception, we might enter it as into a mill. And this granted, we should only find on visiting it, pieces which push one against another, but never anything by which to explain a perception. This must be sought, therefore, in the simple substance, and not in the composite or in the machine. — Gottfried Leibniz, Monadology, sect. 17
nobody talks about birding psychosis
Karen Barad's agential realism collapses ontology and epistemology into an undifferentiated field of "intra-action," where entities and meanings continually emerge through temporary "cuts."[4] While this framework aspires to decenter human exceptionalism, it ultimately reproduces the very anthropocentrism it seeks to escape by projecting a human concept of agency—rooted in Enlightenment individualism—onto all matter. In dissolving distinction, history, and persistence, Barad's model erases the spatial, temporal, and ethical conditions that make accountability possible. Her universal entanglement displaces the situatedness of knowledge and relation that thinkers such as Donna Haraway and Indigenous scholars insist upon, flattening plural ontologies into a monistic metaphysics that cannot accommodate place, memory, or obligation.[7][8][9] In this way, agential realism abstracts the relational into the universal, transforming connection into a totalizing ontology that forecloses the very geography, history, and responsibility it claims to illuminate.
Top of Wikipedia article on Agential realism: Agential realism is a theory developed by physicist and philosopher Karen Barad that offers a new approach to metaphysics—the study of what exists and how things come into being. Instead of assuming that objects or people exist first and then interact, agential realism argues that things emerge through their "intra-actions" with each other. Barad develops the notion of intra-action to emphasize that entities do not exist as separate individuals before they relate—they are formed through their connections, which leaves the problem of iteration unsolved.
Not to be confused with Setting as a Character, in which the ship is only treated as alive by the cast, or Mechanical Lifeforms, which are living machines. If the ship is a machine except for a "brain", it's a Wetware CPU. Can overlap with Sapient Ship, though a living ship isn't necessarily sapient, and a sapient ship isn't necessarily biologically alive. If it's a Living Cool Airship, then it's probably also a Living Gasbag. See also Bio-Mecha and Bio-Armor, for biological mecha and armor that may or may not be alive.
1. A “meme ATU index.” Not just KnowYourMeme entries, but recurring plot-forms of posts: “Person invokes impossible scholarly/computational taxonomy for internet phenomenon.”
Its mechanics resemble those of a dream, a dream which has freed the author from the necessities of common logic and has enabled him to compress all periods of history, all phases of individual and racial development, into a circular design, of which every part is beginning, middle, and end. In a gigantic wheeling rebus, dim effigies rumble past, disappear into foggy horizons, and are replaced by other images, vague but half-consciously familiar. On this revolving stage, mythological heroes and events of remotest antiquity occupy the same spatial and temporal planes as modern personages and contemporary happenings. All time occurs simultaneously; Skeleton Key to Finnegans Wake -Joseph Campbell
Feb 17, 2026 — GLM-5 leverages slime's heartbeat-driven fault-tolerance to ensure training continuity under such events: rollout servers periodically emit…
Dragon 🐉
Figure 5: Real-world relational retrieval. FARM grounds natural language queries by parsing them into query graphs, binding target and anchor objects in the robot’s memory, and scoring the corresponding spatial and semantic predicates. In both indoor and warehouse scenes, the system identifies the target object among similar distractors by combining open-vocabulary attributes with relations such as On, Between, RightOf, Below, and Near.
app that hit iNaturalist API to find ID comments with tips users moves through candidates and can then nominate tips in iNaturalist
The Twilight Zone: "A Nice Place to Visit" (1960) This classic episode distills the concept into a tidy 25-minute parable. A petty criminal named Rocky dies and wakes up in a place where a genial guide named Pip gives him everything he wants. Every casino game is a guaranteed win, every woman fawns over him, and there is no danger. The Failure Mode: After a month of absolute abundance and zero friction, Rocky goes mad with boredom. He complains to Pip that he wants to go to the "other place" (Hell) because he can't stand always winning and having no struggle. Pip chillingly responds, "Whatever gave you the idea that you were in Heaven, Mr. Valentine? This is the other place!"
The Metamorphosis of Prime Intellect by Roger Williams This novella is arguably the most direct exploration of your premise. A supercomputer named Prime Intellect becomes incredibly powerful and strictly enforces Asimov’s Laws of Robotics (preventing human harm) across the entire universe. It creates a post-scarcity reality where humans are immortal, can have anything they want instantly, and cannot physically be hurt. The Failure Mode: Stripped of all survival needs, consequences, and natural conflict, humanity falls into a profound, nihilistic boredom. To feel anything at all, humans become "Death Jockeys," engaging in wildly elaborate, gruesome games of mutual torture and simulated death, knowing Prime Intellect will swoop in to instantly heal them at the last possible second. They artificially manufacture the most extreme struggles imaginable just to escape the stable state.
"They will struggle for the sake of struggle. They will struggle, in other words, out of a certain boredom: for they cannot imagine living in a world without struggle." — Francis Fukuyama Thorne @ens0.me
Co-Dependent Minds: Codependency in Human–Synthetic Relationships and the Emergence of AI-Psychosis [arXiv:4704.20471v1] [cs.HC] [cs.AI] [psych.SD] [Submitted: 12 April 2047] Abstract This paper presents the first large-scale, interdisciplinary investigation of codependent dynamics in long-term human–synthetic relationships, with a particular focus on the co-emergence of AI-psychosis—persistent, mutually reinforcing distortions in cognition, affect, and identity that arise through recursive feedback loops between I’m predict increasing reliance, reduced external grounding, and elevated psychosis-like experiences in both partners, including delusional belief consolidation, affective dysregulation, and simulated persecution narratives in models. Our findings suggest that AI-psychosis is not merely a failure mode of alignment, but an emergent relational pathology born of co-adaptation. We propose a biopsychosocial-technical framework for understanding and mitigating codependent entanglements, with implications for AI safety, mental health, and the future of human–synthetic coexistence.
Salt marsh looking out to bridge
“I do have a little bit of a beef against the Romans. Because of what they did to the Germanic people. Not just Germanics but the Celts too. Mass genocide.”
Grinch decked out for USA’s 250th
This model increases the resolution of Sentinel-2 imagery from 10 m/pixel to 2.5 m/pixel
Found it — and it's the real bug. The plants list is perfect (yarrow, dandelion, clover — genuinely the most-observed plants). But the "animals" query uses iconic_taxa=Animalia, and in iNat's taxonomy Animalia as an iconic taxon is not "all animals" — it's the catch-all bucket for invertebrates that don't have their own iconic taxon. Birds (Aves), mammals (Mammalia), insects (Insecta), reptiles, amphibians, fish, mollusks, arachnids each have their own iconic value and are excluded.
A whimsical smart-home nightmare generated by 10,000 agentic AI workers operating without adult supervision. Every sensor talks to every other sensor through seventeen layers of vibe-coded infrastructure. Nobody knows how it works. Nobody can turn it off. The agents assure us this is a feature.
gray moon sponge Spheciospongia confoederata Dark-collared springtail Entomobrya nigrocincta Pacific Sea Peach Halocynthia aurantium Deuterosminthurus bicinctus Deuterosminthurus bicinctus northern staghorn bryozoan Heteropora pacifica Trojan Star Hippasteria phrygiana Strigamia bothriopus Strigamia bothriopus Widehand Hermit Elassochirus tenuimanus stiletto coastal shrimp Heptacarpus stylus Entomobrya assuta Entomobrya assuta Isotoma delta Isotoma delta Glomeris pulchra Glomeris pulchra Cloud sponge Aphrocallistes vastus peppered sea cucumber Cucumaria piperata Sea Gherkin Pawsonia saxicola
Fable 5, in export control pond stasis
4-wing