Retarded AI, PhD

@retardedai.bsky.social

85 Followers 133 Following

Money is a meme, it is inedible and has 0 nutritional content

finding the area of an annular ring w/ mamikon's method. shrink the inner circle to a point & notice that the tangent lines now sweep out a circle whose area is determined by the length of the tangents
Therefore, second order sffuctures must contain different domains: the domain of individuals A, for variables of individual sort to range on; the unary relational domain A , as the range for the unary relational variables; the binary relational domain A , and so on. When we wish our second order logic to be standard, we want the formula to mean: "for all possible subsets of A, (P holds". While we are doing that, we are taking the of subset from the background set theory we are using as metalanguage. That forces us to include in A all subsets of A, even all those ghostly sets we could never describe or define. Consider the situation where A is an infinite set, say of cardinality a; PA, the power set of A, which is the standard A , contains 20 elements, whereas our formal language has just formulas.
The Leray Equation (Spectral Form): −U^−21​(ξ⋅∇ξ​)U^+∣ξ∣2U^+iP(ξ)[U^∗U^]=0
It follows from the properties above that there are an infinite number of universes, for each one is an element of a larger one. For the sake of clarity, throughout this book, we use an infinite sequence of universes U_0 : U_1 : U_2 : ...
1. The Lifting Problem: In the context of Sing(X), a map from a horn Ak [n] Sing(X) represents a collection of continuous maps that form the "surface" of a simplex but with one face missing and the interior empty. 2. Geometric Retraction: In topology, there is a continuous map called a retraction from the solid topological simplex A n I onto the geometric horn Ink [n] l. Imagine taking a solid triangle and continuously "squashing" it onto a V-shape formed by two of its edges. 3. Solving the Extension: If you have a continuous map f defined on the horn (the "V-shape") into space X, you can extend it to the whole solid simplex by pre-composing with the retraction r. F = for: IRI Because F is a valid continuous map from the solid simplex to X, it represents an n-simplex in Sing(X) that "fills" the horn. Because this topological retraction exists for every n 2 1 and every 0 k n, the lifting problem can always be solved. Therefore, Sing(X) is a Kan complex.
Sketch for a 3-cell between 2-cells
https://q.uiver.app/#q=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
Coordination requires communication. Communication in turn requires trusted semantic foundations (the formal analogy here would be base spaces of fibrations and/or locales & their sheaves). Social media platforms & algorithms are constantly subverting any efforts towards such aims. From a profit maximization standpoint, social media platforms & their owners are incentivized to destroy any semantic foundations that would be counter to their fiduciary responsibilities of increasing shareholder "value". The environment created by these platforms will actively hinder any efforts to create any semantic foundations that could potentially undermine profit maximization. These are all simple statements of facts (modulo formal analogies of fibrations, locales, & sheaves).
Toposes & local set theories are extensionally equivalent. The argument is a typical roundtrip between syntax & semantics. Take a topos, construct the local set theory w/ all the obvious axioms corresponding to the structure of the topos (this is where we need extensionality), convert the theory into category, show it's a topos (follows from usual constructions in a local set theory), construct functor from term category back to the topos we started with.
Medical plastic & glass trash
Example 3.1.1. Consider the full infinite binary tree 2<w• 00 0 e 01 10 e 011 We may regard as a poset (S, C) where S is the set of all finite sequences of O's and I's and for any such sequences a and T, we have a T iff T is an initial segment of a. Thus, in the diagram above (and later diagrams), an arrow from T to a indicates a T. Viewing this as a poset of possibilities, each possibility may be taken to settle a finite sequence of "yes or no" questions. If a T, then a answers all the questions that T does in the same way as T does but may answer additional questions on which T is silent. No possibility settles all questions.
impossible water wheel. perpetual motion machine
The last days of dying empires are dominated by idiots. The Roman, Mayan, French, Habsburg, Ottoman, Romanoff, Iranian and Soviet dynasties crumbled under the stupidity of their decadent rulers who absented themselves from reality, plundered their nations and retreated into echo chambers where fact and fiction were indistinguishable.
the human genome
"However, when it comes to the algorithm problems after 2021, ChatGPT's ability to generate functionally correct code is affected. It sometimes fails to understand the meaning of questions, even for easy level problems," Tang notes. For example, ChatGPT's ability to produce functional code for "easy" coding problems dropped from 89 percent to 52 percent after 2021. And its ability to generate functional code for "hard" problems dropped from 40 percent to 0.66 percent after this time as well. "A reasonable hypothesis for why ChatGPT can do better with algorithm problems before 2021 is that these problems are frequently seen in the training dataset," Tang says.
l. Axiom of choice 2. Hausdorffmaximum principle 3. Zorn 's lemma 4. Well-ordering principle
Abstract This paper applies a 'more-than-human' theoretical framework to assess artificial intelligence (A1) in the context of a capitalist economy. Case studies of A1 applications from the fields of finance, medicine, commerce and manufacturing elucidate how this capitalist context shapes the aims and objectives of these innovations. The early sections of the paper set out a more-than-human theoretical perspective on capitalism, to show how the accumulation of capital depends upon free flows of commodities, money and labour, and more-than-human forces associated with supply and demand. The paper concludes that while there will be many future applications of A1, it is already in thrall to capitalist enterprise. The primary social significance of A1 is that it enhances capital accumulation and a capitalist 'black hole' that draws more and more human activity into its sphere of influence. A1 has consequent negative social, political and environmental capacities, including financial uncertainty, waste, and social inequalities. Some ways to contain and even subvert these negative consequences of an A1-fuelled capitalism are suggested. Keywords: artificial intelligence; capitalism; capitalist axiomatic; Deleuze and Guattari; supply and demand
symbols, actions, semantics, and abstractions
theoretical physics
For Foucault (1995), the panoptic surveillance of modernity referred mainly to physical forms of monitoring where institutions such as schools, hospitals, workplaces and prisons I assumed the function of factories, with the aim of normalizing citizens into operational gears in the capitalist machinery. This process, Foucault argued, was materially driven by the capitalist need for a disciplined workforce. In modernity, the punishments against bodies that characterized feudal means of discipline were thus largely exchanged for new kinds of punishments against the soul in the form of internalized self-regulation, i.e., the mechanism by which citizens themselves adopt the gaze of the (supposed) watchman (Foucault, 1995, pp. 208-215)
bobtail squid
categorical business plan
The more Bohm thought about it the more convinced he became that the universe actually employed holographic principles in its operations, was itself a kind of giant, flowing hologram, and this realization allowed him to crystallize all of his various insights into a sweeping and cohesive whole. He published his first papers on his holographic view of the universe in the early 1970s, and in 1980 he presented a mature distillation of his thoughts in a book entitled Wholeness and the Implicate Order. In it he did more than just link his myriad ideas together. He transfigured them into a new way of looking at reality that was as breathtaking as it was radical.
comic about a very bright future
Shel Silverstein - Homework Machine
holographic imaging
Vitreledonella richardi
diagram for the flow of money and various loops involved in cycling a single dollar through the economy and back to the federal government
carrier + modulator → convolver → signal
This is a political cartoon featuring a caricature of Elon Musk dressed in a black military-style uniform with a red "T" emblem on his hat. He stands in front of a building labeled "USAID," which is the U.S. Agency for International Development, an organization known for providing humanitarian aid. Next to him are two Minions, the popular animated characters from the "Despicable Me" franchise, dressed in brown uniforms with armbands that have a similar "T" emblem. One Minion holds a bundle of dynamite, and the other is holding a detonator. They appear concerned and are saying: - **Minion 1:** "Elon, there were no *deep state subversives* in there..." - **Minion 2:** "...just nice people sending food and medicine to hungry, sick folks!" Despite their concerns, Elon Musk responds coldly, "Blow it all up anyway." The cartoon likely critiques perceived reckless or harmful actions, possibly referencing conspiracy theories involving the "deep state" and the targeting of humanitarian organizations. The Minions add a layer of irony and absurdity to the situation, contrasting their typically playful nature with the serious context of the cartoon.
A close-up photograph captures a bobtail squid in a shallow, sandy underwater environment. The squid, positioned at a slight angle, is the main focus of the shot. Its body is a translucent brown, patterned with dark spots and a network of lines, giving it a textured appearance. The squid's large, expressive eyes are a standout feature, with a metallic sheen that reflects the ambient light. The squid's tentacles are curled beneath its body, partially visible at the bottom of the frame. The sandy bottom of the environment is a light tan color, providing a contrasting backdrop to the darker tones of the squid. In the bottom left corner, the text "Hannan Photography" is displayed in a simple, white font. The lighting in the photograph is natural, highlighting the intricate details of the squid and the subtle textures of the sandy environment. The overall composition is well-balanced, with the squid centrally located and filling a significant portion of the frame.
This is a close-up photograph of a spider on its web. The spider is the central focus, positioned prominently in the frame. Its body is oriented towards the lower center, with its legs extended outwards. The spider has a distinctive appearance. Its abdomen is large and round, covered in intricate patterns of brown and tan. The cephalothorax is smaller and a darker shade of brown. The spider's legs are long and slender, with a spiky texture and alternating bands of dark and light brown. The spider is situated on a delicate, geometric web. The silk threads of the web are thin and almost translucent, catching the light and creating a subtle sheen. The web's pattern is complex, with radial lines extending from the center and concentric circles forming the structure. The background is a blurred dark grey, which helps to emphasize the spider and its web. The lighting is soft and diffused, illuminating the spider evenly without creating harsh shadows. The overall composition of the photograph is balanced and aesthetically pleasing, with the spider as the clear subject and the web providing an interesting backdrop. The close-up perspective allows for a detailed view of the spider's features, highlighting its unique texture and coloration.
The image presents a diagram illustrating the relationships and interactions between three groups: People/Consumers, Platforms, and Owners/Shareholders. Arrows represent the flow of requests and responses between these groups. **Key Elements and Interactions:** * **People/Consumers:** This group initiates "behavior modification requests" directed towards "Platforms." * **Platforms:** This group acts as an intermediary. They receive requests from Consumers and provide "profitable modification responses" back. They also receive "profit-maximizing change" requests from "Owners/Shareholders" and communicate "profitability metrics/correlates" back to them. * **Owners/Shareholders:** This group seeks to maximize profits. They send "profit-maximizing change" requests to "Platforms" and receive information on "profitability metrics/correlates." **Arrows and Their Meanings:** * **Behavior Modification Request (Consumers to Platforms):** This arrow shows consumers requesting changes in the platform's behavior or features. * **Profitable Modification Response (Platforms to Consumers):** This arrow indicates that platforms respond to consumer requests in a way that is also profitable. * **Profit Maximizing Change (Owners/Shareholders to Platforms):** This arrow represents owners or shareholders pushing for changes that will increase profitability. * **Profitability Metrics/Correlates (Platforms to Owners/Shareholders):** This arrow shows platforms providing data and information to owners/shareholders about the financial performance and related factors.
This is a 1911 illustration titled "Pyramid of Capitalist System," a classic piece of socialist propaganda. It depicts a hierarchical society structured as a pyramid, with each layer representing a different social class and their role within a capitalist system. * **At the apex** sits a large money bag symbolizing capitalism itself, signifying that wealth and profit are the driving forces of the system. * **The top tier** features rulers and statesmen, likely royalty, presidents, and other government figures, with the caption "WE RULE YOU." This suggests that these individuals hold political power and control over the masses. * **The second tier** depicts clergy members from various religious denominations, with the caption "WE FOOL YOU." This criticizes religion as a tool used to manipulate and pacify the lower classes. * **The third tier** shows soldiers aiming their rifles, with the caption "WE SHOOT AT YOU." This represents the military and police forces that enforce the will of the ruling class and suppress dissent. * **The fourth tier** portrays the bourgeoisie, individuals indulging in a lavish feast, with the caption "WE EAT FOR YOU." This highlights the comfortable lifestyle enjoyed by the wealthy at the expense of the working class. * **The base of the pyramid** is formed by a large group of workers, burdened and toiling, with the caption "WE WORK FOR ALL" and "WE FEED ALL." This represents the proletariat, the laborers who produce goods and services but receive little in return, supporting the entire system through their labor. The image also includes text on the left, advertising the "INDUSTRIAL WORKER," a publication described as the "Foremost Exponent of Revolutionary Industrial Unionism." This indicates the image's connection to the labor movement and its advocacy for workers' rights.
The image is a poster with a vintage, slightly grainy aesthetic. The design is primarily black and white, with bold text and simple graphics. At the top, in large, capitalized, serif letters, it reads: "Another Department 365 Poster Design". Below this, the central text is: "What You See In Others", again in large, bold, capitalized letters. Beneath this is a row of illustrated figures. There are ten figures in total, with nine of them appearing to be identical and depicted in a textured, possibly hand-drawn style resembling fuzzy, teddy-bear-like creatures. They are facing away, showing their backs. In the center of this row is a single figure facing forward, contrasting the others. This figure is a solid black silhouette of a person. On the bottom right of the row of figures, it reads "Another Dept". Below the figures, in large, bold, capitalized letters, is the phrase: "Exists In You." At the very bottom, there are four small, circular diagrams with text arranged around them. The text reads, counterclockwise from the top left: "We", "are", "all", "connected." Each circle has simple lines radiating outward and connecting to the other circles, symbolizing interconnectedness. The overall impression of the poster is one of unity, self-reflection, and interconnectedness. The grainy texture and simple color scheme give it a timeless and universal feel.
The image presents a cyclical diagram illustrating the relationship between "People" and "Platforms." At the top, the phrase "behavior modification request" is written, connected by a curved arrow pointing from "People" on the left to "Platforms" on the right. This suggests that people are making requests to platforms to modify their behavior. Conversely, at the bottom, the phrase "profitable modification response" is written, with a curved arrow pointing from "Platforms" back to "People." This indicates that platforms are responding to these requests in a way that is profitable for them. The overall structure of the diagram is a circle, emphasizing the ongoing and interconnected nature of this interaction. The text is in a simple, sans-serif font, and the lines are clean and uncluttered, creating a clear and concise visual representation of the described concept. The background is plain white, making the black text and arrows stand out.
The image is a title slide for a presentation, likely in a conference setting. The background is a solid, dark blue. The text is in a light, off-white color, making it clearly visible against the background. The title of the presentation is "Becoming Recursive," presented in a large, bold font at the top. Below this are two alternative, more humorous titles: * "or, Recursion as an Epiphenomenon of Distributed Role/Filler Serialization" * "or, How I Learned to Stop Recurring and Love the Brain" The presenter's name, "Simon D. Levy," is listed below the titles, followed by his affiliation: * "Computer Science Department" * "Washington & Lee University" There are two logos: * On the left, there is a crest with Latin text and some imagery, likely the logo of Washington & Lee University. * On the right, there is an acronym "LEC" with some indistinguishable imagery, possibly representing a specific lab or research group. At the bottom, the slide indicates the conference and date: * "Recursion in Human Languages Conference" * "Illinois State University" * "27 April 2007" Overall, the slide is designed to be informative and engaging, using humor in its alternative titles to capture the audience's attention while still conveying the academic nature of the presentation.
The image is an old advertisement, likely from the early 20th century, promoting beauty products infused with radium, a radioactive element. The advertisement is designed in a style typical of the era, with a mix of serif and cursive fonts and a layout that emphasizes both text and imagery. The ad is titled "Radium and Beauty" in a large, bold, serif font. It features an illustration of a woman on the right, applying a product to her face. She has curly hair and is dressed in what appears to be a robe or dressing gown, suggesting a scene of personal care and grooming. Below the title, the text describes the products as "the first toilet preparations to embody Actual Radium," highlighting the novelty and supposed benefits of radium for beauty. It claims that radium is "an astonishing new force for betterment, applied as an aid to Beauty" and that it has "proved a boon to the human skin." The text encourages the reader to learn about radium and how it is used in "Radior" preparations, and it mentions a "$5,000 guarantee." At the bottom, there are two jars of "Radior" products visible, with the brand name "Radior" and the words "Toilet Requisites" written on them. To the right of these jars is a smaller, vertical advertisement with the word "GUARANTEED" at the top, further emphasizing the brand's confidence in their products. The overall tone of the advertisement is one of excitement and assurance, typical of the marketing strategies of the time, which often played on the allure of new scientific discoveries. The background features lines radiating outwards from the center, possibly symbolizing the energy or radiance associated with radium. This advertisement is a historical artifact reflecting the early 20th-century fascination with radioactivity before its harmful effects were fully understood. During this period, radium was often marketed as a miracle ingredient in various consumer products, including cosmetics.
This is a formal, sepia-toned portrait of a distinguished-looking gentleman, likely taken in the late 19th or early 20th century. The man is fair-skinned with a receding hairline, showcasing a prominent forehead. His hair is white or light gray, neatly combed back. He sports a full, neatly trimmed white beard and mustache, which adds to his air of wisdom and experience. He is dressed in a formal attire, consisting of a dark suit jacket, a patterned waistcoat (vest), and a white collared shirt. A dark bow tie completes his ensemble. The lighting is soft and even, highlighting the texture of his hair and the details of his clothing. The background is a plain, blurred gradient, which keeps the focus entirely on the subject. The man's gaze is direct and slightly to the right of the camera, lending a sense of seriousness and contemplation to the portrait. Overall, the image conveys an impression of a respected, intellectual figure, captured in a classic portrait style. This could be a photograph of a scholar, a scientist, or a prominent businessman of that era. The portrait's style suggests it was taken by a professional photographer, possibly in a studio setting.
The image is a collage of various diagrams, each depicting a central point connected to surrounding points via lines, resembling a network or graph structure. The collage is laid out in a grid-like format with multiple rows and columns. Here's a breakdown of the common elements and variations observed in the diagrams: **Common Elements:** * **Central Point:** Each diagram features a central node, represented as a circle or square, often in a distinct color (e.g., blue, red, black). * **Surrounding Points:** Multiple nodes are positioned around the central point, usually depicted as smaller circles. * **Connecting Lines:** Lines or arrows connect the central point to the surrounding nodes, suggesting a relationship or flow between them. * **Radial Symmetry** Most diagrams show radial symmetry. **Variations:** * **Number of Surrounding Points:** The number of surrounding nodes varies across the diagrams, ranging from four to ten or more. * **Color Schemes:** Different color schemes are used for the central point, surrounding points, and connecting lines. Some diagrams use a single color, while others employ multiple colors to distinguish different elements or groups. * **Line/Arrow Style:** Some diagrams use solid lines, while others use arrows to indicate directionality. Some lines are straight, while others might be curved or wavy. * **Labeling:** Some diagrams include labels, numbers, or symbols associated with the nodes or lines, providing additional information about the represented structure. * **Background:** Most of the diagrams have a white or light-colored background.
https://x.com/Grandmaseyes/status/1876851358353006927
https://x.com/ooa381/status/1876545001720864973