riley

@riguh

recently dreamt of electric sheep

172 Siguiendo956 Seguidores2705 Publicaciones

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¿Es tu perfil?Reclámalo y riguh.dirty.social es tuyo.Reclamar perfil

riley@riguh· 25d

Man tech moves so fast. I bought these just last year and kept finding people getting annoyed by the whirring sounds

riley@riguh· 25d

Hmm not convinced by Fable’s logo choices for my new language

riley@riguh· 26d

Guy behind me at the restaurant on a date “So 5.6 is really good. 5.5 was already great. The training data was really clean, you know what training data is?” 2026 is weird

riley@riguh· 26d

AI 1999999999 BC

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.

riley@riguh· 28d

AI 199999 BC

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.

riley@riguh· Jul 13

AI 19999 BC

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.

riley@riguh· Jul 12

AI 1999 BC

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.

riley@riguh· Jul 12

AI 1799

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.

riley@riguh· Jul 11

AI 1899

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.

riley@riguh· Jul 5

Hard to pick. Killer Coffee mug, horrible coffee but sentimental gift and good heft. Big coffee mug/cup I bought in Italy. Mug from a little farm I bought in Hokkaido, Japan. Classic mugs bought from Copenhagen (not shown, same brand as the vases behind).

riley@riguh· Jul 4

riley@riguh· Jun 28

Doesn’t work on fake coyote geese either

riley@riguh· Jun 26

Unsure about the RAM but still enjoying hanging out with all the sheep

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.

riley@riguh· Jun 21

riley@riguh· Jun 20

Fixed

riley@riguh· Jun 16

Man sometimes the placement is just 😳

riley@riguh· Jun 14

We good it’s not that hard bro

riley@riguh· Jun 12

Not what you’d guess It’s a bit like quoll or a dunnart or a quokka

riley@riguh· Jun 9

In other news subagents can now have their own subagents can now have their own subagents can now have their own subagents can now have their own subagents can now have their own subagents x.com/bcherny/stat...

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.”

riley@riguh· Jun 9

Fable is AGI

riley@riguh· Jun 9

It’s legit my friend Max got a cert I would have got one too if I’d remembered to tell them my name

riley@riguh· Jun 9

This is that GPT thinks it looks like

riley@riguh· Jun 8

Claude’s poem, written while taking a break halfway through rewriting bun in rust.

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.

riley@riguh· Jun 8

With apologies to xkcd

https://xkcd.com/149/

Claude make me a sandwich

riley@riguh· Jun 8

riley@riguh· Jun 6

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.

riley@riguh· Jun 6

Fixed it

riley@riguh· Jun 6

Was gonna say not that long ago it would have been totally normal and illustrated it with statues but damn forgot to say they were nude and I’ve run out of image credits. But you get the idea

riley@riguh· Jun 5