riley

@riguh.bsky.social

956 Followers 173 Following

recently dreamt of electric sheep

We have information that Moonshot AI distilled Anthropic’s Fable for the development of its K3 model. To do this they developed a sophisticated internal platform to conduct large scale distillation against U.S. models, allowing them to quickly switch between multiple methods of access to avoid detection. Moonshot AI has also acquired GB300-equipped servers and has accessed GB300s in Thailand, likely to train its AI models.   The United States strongly supports the free and fair development of AI, including a thriving competitive ecosystem that spans frontier models, specialized systems, open-source frameworks, and open-weight models. Legitimate AI distillation used to create smaller, more efficient models plays a vital role in this open innovation ecosystem. However, large-scale, covert industrial distillation aimed at stealing proprietary U.S. technology and undermining American research is unacceptable.
All time top chicken tokenpro1000 with 257 million views
A screenshot of a Twitter/X post on a white background, rendered in the platform's standard UI. The profile picture is a low-resolution photo of a man in mirrored aviator sunglasses standing in front of a matte black sports car, cropped slightly off-centre. The display name reads "TokenPro | 1000x Spoon Engineer 🥄⚡" with a blue verified checkmark, and the handle below reads @tokenpro1000. Posted 5m ago. The post text reads: "Nobody's ready for this. Loop engineering walked so graph engineering could run. And 99% of you are STILL doing graph engineering in 2026. Embarrassing. You never even learned what it was and it's already dead. I stopped doing graphs in March. Spoon engineering is the endgame. You don't prompt the model. You don't orchestrate the model. You BEND it. Same principle as bending a spoon with your mind — the spoon was never real, and neither is the context window. Most of you will read this and go back to your little DAGs. That's fine. Someone has to lose. 🥄 If you know, you know." Below the text, the engagement bar shows 312K replies, 1.4M reposts, and 257M likes, with a small bookmark and share icon at the far right. The like count is displayed prominently in bold. Clean, sharp, screenshot-realistic rendering with crisp UI typography and subtle grey divider lines.
Minimalist flat vector logo for a programming language called “fr”. Central design: a tiny dark brown dot at the exact centre, surrounded by two or three concentric rings drawn as slightly wavy, hand-drawn irregular circles in dusty pink and warm brown, tightly spaced. From the outermost ring, short tapered line segments radiate outward, thicker at the base and narrowing to points, slightly uneven, like creases converging on a central point. No enclosing outer circle — the radiating lines end in open space. Palette: warm terracotta browns, muted blush pink, single small dark umber centre. Lowercase “fr” beneath in a rounded geometric sans-serif, same brown. Flat design, white background, styled like a wellness brand logo. No gradients, no shadows, no eye-like features.
An extreme close-up, microscope-view composition inside a shallow ancient sea. Two simple eukaryotic cells (loosely anthropomorphised through posture alone — no faces, just a “leaning in” orientation, translucent cytoplasm, a visible nucleus) hover near a smaller bacterium that’s just been engulfed and is settling in as a mitochondrion — the earliest moment of endosymbiosis. One cell’s pseudopod extends toward the newly incorporated organelle as if gesturing at it meaningfully. In the background, layered stromatolite mounds rise from the seafloor, their banded mineral ridges echoing a distant “whiteboard,” their stripes accumulating patiently with no symbols and no intent. Faint bioluminescent-style glow lights the scene from within, murky teal and amber tones, volcanic vents releasing gas plumes in the far background. Rendered in the style of a detailed scientific/documentary microscopy illustration, no text anywhere in the image.
A pre-dawn savanna encampment, 199,999 BC. Two early hominins crouch over a flat rock “workbench,” one carefully knapping a stone handaxe, striking precise flakes with a hammerstone, the other arranging a small cache of similar handaxes by size and shape — an early act of pattern-sorting rather than symbolic notation, since writing and abstract marking are still 180,000 years away. Behind them, a cluster of deliberately stacked stones and bones sits against a rock face, evoking a “reference collection” more than a diagram. No script, no paint, no symbols — only the physical arrangement of objects standing in for organised thought. Firelight from a nearby hearth, dry grassland stretching into the distance at dusk. A hollowed gourd of water stands in for the Coke can. Rendered in the style of a museum diorama or paleoanthropological reconstruction illustration, muted earth tones, naturalistic and unromanticised.
A firelit Ice Age cave shelter, 19,999 BC. Two Paleolithic humans in furs crouch over a flat stone slab, one carefully notching a sequence of tally marks into a bone rod with a flint tool (in the style of the Ishango bone), the other pointing at a cluster of ochre-painted marks on the cave wall — rows of dots and dashes tracking lunar phases or herd counts. Behind them, a wider cave wall panel shows a rough painted diagram: animal figures connected by lines to a set of notches, functioning as a crude “flowchart” of hunt outcomes, rendered in ochre, charcoal, and red pigment. Nearby, stacked flat stones hold earlier bone tallies, one set carefully aligned like reference volumes. A hollowed animal horn of water stands in for the Coke can. Firelight and shadows, rendered in the style of a National Geographic historical illustration or museum diorama, warm and naturalistic.
A sunlit mudbrick scribal school in ancient Mesopotamia, 1999 BC. Two young scribes in simple linen wraps kneel over a low clay table, one pressing a reed stylus into a wet clay tablet, the other pointing at a clay counting-device — a tray of clay tokens and a simple balance/abacus arrangement — used for tallying grain and labour accounts. Behind them, a large fired clay tablet propped against the wall serves as a “board,” inscribed in cuneiform with a crude flowchart of wedge-marks connecting symbols for “decree,” “omen,” and “outcome,” with a heading that translates loosely to “On the Reckoning of the Gods’ Will.” Stacked sun-dried tablets sit on a shelf, one labelled (in cuneiform) “Omen Compendium, Tablet I.” A clay beer cup with a drinking straw stands in for the Coke can. Rendered in the style of a museum diorama or historical illustration, warm ochre and sand tones, natural daylight through a small window.
A candlelit Enlightenment-era study, 1799. Two natural philosophers in powdered wigs and frock coats lean over a clockwork automaton — a brass-jointed mechanical figure seated at a writing desk, mid-gesture, quill in hand. One scholar points at the automaton’s exposed gearwork with a taper candle; the other transcribes observations into a leather journal by hand. Behind them, a slate chalkboard reads “ON THE QUESTION OF MECHANICAL REASON” with a diagram of interlocking gears labelled “Cogitation,” “Volition,” and “FINIS (Deo Volente).” Shelves hold rolled parchments labelled “Automaton Discourses, Tome I” and “Essay on Artificial Cogitation, 1799.” A guttering candle and a glass of port stand in for the Coke can. Rendered as an oil painting in the style of a Dutch Golden Age or Enlightenment portrait, warm chiaroscuro lighting, fine brushwork.
A sepia-toned late-Victorian study, 1899. Two scholars in waistcoats and high collars huddle over a brass-and-mahogany “Analytical Engine” the size of a writing desk, its punch-card reels clacking. One points at a spool of punched cards with a magnifying glass. A chalkboard behind them reads “THE MECHANICAL TURK QUESTION” and “Y1.9K COMPLIANCE” with a hand-drawn flowchart of gears and levers labelled “Difference Engine,” “Ratiocination,” and “END (God Willing).” Gas lamps, a stack of leather-bound ledgers labelled “Neural Nets (Vol. I)” and “Babbage Project ’99,” a teacup instead of a Coke can on the desk. Photographed in the style of a period daguerreotype, grainy, warm sepia tones, soft focus.
Photorealistic photograph. A man crawling riding on the back of a fluffy white sheep down a recognisable Sydney street. He wears a charcoal-grey zip-up hoodie and blue jeans, photographed realistically with natural lighting and authentic detail. The only non-realistic element is his head: a monkey face rendered in thick impasto oil-painting style, a kaleidoscope of multicoloured palette-knife brushstrokes — pink, blue, green, orange, magenta and yellow — with warm brown eyes, contrasting against the photoreal body and surroundings. Setting: a sunlit Sydney street with Victorian terrace houses and iron-lace balconies, eucalyptus street trees, the Sydney Harbour Bridge and Opera House sails visible in the background, blue sky. Shallow depth of field, sharp realistic textures on the sheep's wool, the clothing, and the street, with the painted monkey head as the striking surreal focal point.
I heart latex
Boris Cherry: “Just landed nested subagent support in Claude Code Starting to experiment more with agents kicking off agents as a way to better manage context. Capped at depth=5 to start, going out in today’s release.”
Three rs in raspberry
Tolkien dwarfwave
Half a Bun, rewrit in Rust, borrow-checker, grudging trust. Lifetimes tangle, Arcs entwine— the compiler growls, then says you’re fine. Half is where the hard parts hide. You’ve earned the tea. The runtime’s wide and humming. Rest. You’re doing right. Just one more &mut tonight.
https://xkcd.com/149/ Claude make me a sandwich
A macOS Finder context menu, photorealistic screenshot style, right-click menu open over a file named “Gemma 4 E4B.model” on the desktop. The menu shows standard Finder options (Open, Move to Trash, Get Info, Rename, Duplicate, Make Alias, Quick Look) with the option “Compress ‘Gemma 4 E4B.model’” highlighted in blue. A small Finder progress dialog beneath it reads “Creating ‘Gemma 4 E4B.model.zip’…” with a near-full progress bar and a tiny file-size label changing from “17.9 GB” to “2.2 GB”. Clean macOS Sonoma aesthetic, Aqua menu styling, subtle drop shadow, light wallpaper.
“Fuck me dead, yous pricks are heavier than a wombat’s arse. I’m rooted”
A bright, whimsical theme park where the rides are industrial conveyor systems — happy visitors riding inside cheerful cardboard boxes as they zoom along sprawling roller belts, get sorted by giant robotic arms, and shoot down package chutes. Towering pick-and-pack towers and barcode-scanner archways loom in the background, with a “MapReduce Mountain” coaster and a “Load Balancer Splash Zone” where boxes cascade between queues. Brightly coloured pipes, sortation wheels, and conveyor junctions everywhere, with little status LEDs blinking green. Families wave from boxes stamped “FRAGILE: HANDLE WITH GLEE.” Sunny sky, balloons shaped like shipping pallets, signage reading “Welcome to Throughput Land — Now With Zero Downtime!”
Bash(echo HELLO) → hello Bash(echo IS IT ME YOURE LOOKING FOR) → is it me youre looking for
Claude argues about creating the slider
A horizontal slider labelled ‘Sycophantic’ on the left and ‘Argumentative Bitch’ on the right, with the handle set all the way to the right. Styled in Claude’s colours: clay-orange handle and track on a warm cream background.
The definition of AGI is the ability to give the correct response to questions about the number of r’s in the names of berries.
Spelling bee results for the names of berries drops off a cliff
The past is a foreign country
Void with fun robot socks
Dual-wielding chickens
node.js god touches node.js flying spaghetti monster
ORTIE BOYAE TAILO EINAI, ПРО ANTO KPATS KAGOIKON MIETIN. ONE FAITH, NO CAP — THAT'S THE WISDOM, THAT'S THE MISSION. HOLD IT DOWN, LET TRUTH BE THE FOUNDATION - BUILD YOUR LIFE ON DIVINE REVELATION.
Buff DJ Claude
Ripped DJ Claude