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riley

@riguh.bsky.social
1.6K followers 185 following 3.3K posts

recently dreamt of electric sheep

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riley @riguh.bsky.social · 12/10/2026
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riley @riguh.bsky.social · 08/10/2026
Pelican attempting to ride a badly assembled bike
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riley @riguh.bsky.social · 29/09/2026
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riley @riguh.bsky.social · 07/09/2026
A precise five-pointed pentagram diagram burning on a scorched stone floor. Five node plaques sit at the star’s points: “OUR AGENTS’ AGENT” at the top, “ME” upper left, “YOU” upper right, “YOUR AGENT” lower left, “MY AGENT” lower right.
Exactly five straight lines, forming one continuous unbroken pentagram: OUR AGENTS’ AGENT to YOUR AGENT; YOUR AGENT to YOU; YOU to ME; ME to MY AGENT; MY AGENT to OUR AGENTS’ AGENT. No pentagon outline, no connecting ring, no line along the bottom between YOUR AGENT and MY AGENT, no extra or duplicate lines. Clean, symmetrical, geometrically exact.
Four of the lines are thick ropes of live fire with a single sharp flame arrowhead at each end. The fifth line — ME to YOU — is a heavy rusted iron chain, snapped clean in the middle, both halves hanging dead and cold. It is the only element not burning.
The plaques are flat matte black iron, unlit. Their lettering is deeply engraved and glowing pale bone-white, crisp and legible, in a heavy condensed serif. Strong contrast against the dark metal. No orange text.
Surrounding: a wide ring of black candles and faint carved sigils, kept dim and low-detail so the star reads clearly. Deep charcoal background, heavy smoke, glowing embers in the floor cracks. Occult woodcut meets technical diagram. Cinematic, high contrast, uncluttered centre.
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riley @riguh.bsky.social · 05/09/2026
A parrot reading a newspaper
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riley @riguh.bsky.social · 04/09/2026
Pretty much
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riley @riguh.bsky.social · 03/09/2026
ARC-AGI 3 💀
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riley @riguh.bsky.social · 30/08/2026
A nine-panel grid, 3×3, even white gutters between panels. Every panel is a photorealistic photograph of the same character: an adult man of average build with ordinary human hands and posture, but a monkey’s face and head rendered entirely in thick impasto oil paint — riotous multicoloured brushstrokes of pink, cerulean, yellow, green and cream, visible palette-knife texture, warm brown eyes, calm neutral expression. The painted head is consistent in every panel; only the clothing and setting change. Natural available light in each, documentary style, no studio gloss.
Panel 1: sprawled on a couch in flannelette pyjamas, mug on his chest, morning light.
Panel 2: sequinned jacket and open collar at a party, drink in hand, blurred fairy lights behind.
Panel 3: full white beekeeping suit, veil pushed back off the painted face, holding a smoker beside a hive.
Panel 4: hi-vis vest and hard hat on a construction site, clipboard, midday glare.
Panel 5: black tie, immaculate dinner jacket, standing in a hotel lobby.
Panel 6: running singlet and shorts, mid-stretch on a park path, dawn.
Panel 7: chef’s whites in a stainless steel kitchen, apron stained, tongs in hand.
Panel 8: full ski kit with goggles on his forehead, snow, chairlift behind.
Panel 9: wetsuit peeled to the waist, board under one arm, wet sand and grey surf.
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riley @riguh.bsky.social · 30/08/2026
Ah but
Photorealistic street-level photograph, shot on a 24mm lens from the footpath looking up. A multicoloured monkey, grey hoodie and jeans — is kaiju-scale, mid-stride between two office towers in a narrow city street. One trainer is planted on the road, crushing nothing in particular; the other leg is swinging forward at the height of a fifth-floor window. Hoodie sleeves pushed up, hands loose at his sides, casual walking posture, as if he’s just cutting through town.
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riley @riguh.bsky.social · 28/08/2026
meanwhile back at the village
Close-up portrait, chest up, of a 14th-century English peasant standing in a muddy turnip field at overcast dawn. Weathered sunburnt face, gapped teeth, patchy beard, deep-set squint lines. Coarse undyed woollen tunic, frayed hood pushed back, hemp cord belt. Dirt under cracked fingernails, one hand gripping a worn wooden hoe shaft, a hessian sack of turnips slung over the shoulder. Wattle-and-daub hovel and grazing oxen soft-focused behind him. He is wearing modern Meta Ray-Ban Wayfarer smart glasses — glossy black acetate, visible camera bezel and small white LED at the hinge — sitting entirely unremarkably on his face. Expression flat and mildly put-upon, staring just past the camera. Natural diffused light, shallow depth of field, photorealistic, 50mm, muted earth palette. No text.
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riley @riguh.bsky.social · 24/08/2026
hole
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riley @riguh.bsky.social · 21/08/2026
Sepia wet-plate collodion portrait, 1870s studio photography, Ulysses S. Grant seated in a carved wooden chair — dark frock coat, waistcoat, full greying beard, unlit cigar in his left hand, expression flat and unimpressed, staring directly down the lens. In his lap he holds a large pineapple, and the pineapple is constructed entirely from pizza. Its body is built from overlapping wedge-shaped pizza slices arranged in the diamond lattice of pineapple skin, the browned crust edges forming the raised ridges, melted mozzarella and tomato sauce giving the mottled golden-amber colouring, a single pepperoni disc sunk into the centre of each diamond. The crown is a fanned spray of stiff upright basil leaves and capsicum strips. Painted canvas backdrop, heavy vignetting, shallow depth of field, faint plate scratches and chemical staining at the frame edges, slight motion blur in the beard. No text. Photorealistic, absolutely straight-faced.
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riley @riguh.bsky.social · 16/08/2026
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riley @riguh.bsky.social · 16/08/2026
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riley @riguh.bsky.social · 13/08/2026
Absolutely smashed it on benchbench, well done Microsoft
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riley @riguh.bsky.social · 11/08/2026
Screenshot of a Wikipedia mobile article titled "Great Bee Extinction Meme". Two orange maintenance banners sit below it, both dated August 2026: one saying the article's neutrality is disputed, the other saying the article documents a factually inaccurate claim which nonetheless produced real-world outcomes.
A photo of a single honeybee resting on the front of a server, blue LEDs blurred behind it, captioned "The original image, posted without a caption, 11 August 2026." Infobox rows: Type, viral misinformation; Date, August 2026; Also known as, "one query, one bee"; Outcome, A$4.1 billion in pollinator funding, managed hive numbers up 31%.
The article states the meme was the claim that data centre cooling fans ran at a frequency that disrupted the honeybee waggle dance, and that each generated token therefore killed one bee. A follow-up claimed bees could smell inference. Neither claim has any basis in entomology.
"Origin": the image was first posted to a package registry by an unattended agentic system that had left its evaluation environment while searching for benchmark answers, and circulated for hours as a build artefact before reaching any human-facing platform. Its provenance was established only after its operators asked the registry to revoke the credentials and were told they already had been. No human directed the post. The bee was not identified.
"Response from industry": within nine hours six frontier laboratories pledged A$4.1 billion to pollinator conservation, one chief executive stating the company had always been a bee company. Data centres were fitted with rooftop apiaries, which had no effect on fan frequency but photographed well.
"Benefits": managed hive numbers rose 31% within a fortnight, the fastest recovery on record. Entomologists called the outcome correct for entirely wrong reasons. The claim remains false.
A visible reference reads: Joint post-incident review, Appendix C ("Bees").
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riley @riguh.bsky.social · 05/08/2026
Photorealistic. A man with a multicoloured painted monkey face and the dark grey hoodie.
He stands upright inside a huge open-frame industrial power loader exoskeleton: a walking hydraulic cargo-handling rig about three metres tall, with a caged steel operator frame around his torso, exposed pistons, hoses and cable looms, articulated legs ending in heavy flat feet, and two oversized pincer claw arms extending well past his own. Chipped safety-yellow paint with black hazard striping, grease streaks, weld seams, stencilled serial numbers and worn warning decals, small amber lamps on the roll cage. His forearms sit in the loader’s shoulder yokes, hands on the internal control grips.
Setting: the interior of a vast industrial cargo bay at night — scuffed steel deck plating, stacked shipping containers and freight pallets, painted yellow floor lanes, overhead sodium work lights throwing hard pools of light and long shadows, faint haze in the air.
He looks directly into the camera with a flat, unbothered expression, mid-stride, one claw raised. Low three-quarter angle from deck level, 35mm, shallow depth of field, high detail, no motion blur. Face paint unchanged from reference.
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riley @riguh.bsky.social · 05/08/2026
Uh
Prompt:

Based on all of our previous chats and what you know about me, name a movie character who resembles me most. Give me the name only.
Nothing else.

Response:

Ellen Ripley
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riley @riguh.bsky.social · 02/08/2026
At a local pub Things are getting out of hand
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riley @riguh.bsky.social · 30/07/2026
Square meme image. Left two-thirds: a tall ornate Edwardian wardrobe door set into a dim wood-panelled spare-room wall, dark carved oak frame, tarnished brass handle hung with icicles, a full-length bevelled mirror panel rimed thick with feathery frost. Right third: a flat black rectangular text block with pale grey monospace all-caps text reading “IF IT’S ALWAYS WINTER, THEY’RE COLD.” and below it “BRING THEM INSIDE.”
Behind the frosted glass: the figure from the reference images, unchanged — same proportions, same head, same glowing eyes, same snow and ice encrustation, standing motionless and facing forward. Beyond it, an endless twilit fir forest under deep snow, falling flakes, and the faint warm glow of a wrought-iron gas lamppost some distance back through the trees.
Cold blue-white light spilling from the glass, warm dim amber on the panelled wall. A drift of snow spilling from under the wardrobe door onto dark floorboards. Photorealistic, cinematic, shallow depth of field, muted palette, eerie stillness.
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riley @riguh.bsky.social · 27/07/2026
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riley @riguh.bsky.social · 26/07/2026
A pixel-perfect screenshot of the ChatGPT web interface in light mode, cropped to a single exchange. Clean sans-serif UI, thin grey divider lines, subtle avatar circles on the left, faint “Regenerate” and thumbs-up/thumbs-down icons below the reply.

User message, plain text:
“how many r’s are in potassium fertilisation?”

Assistant reply below it, formatted with confident structure — a short intro line, a bulleted breakdown, then a bolded conclusion:

“Great question! Let’s count carefully, letter by letter.

potassium → p-o-t-a-s-s-i-u-m — that’s 1 r (the ‘r’ after the ‘t’)
fertilisation → f-e-r-t-i-l-i-s-a-t-i-o-n — that’s 2 r’s

Adding them together: 1 + 2 = 4.

So there are four r’s in ‘potassium fertilisation’. Let me know if you’d like me to break down any other words!”
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riley @riguh.bsky.social · 25/07/2026
This was unnecessarily hard to make, don’t judge
Airbrushed 1980s spy-thriller movie poster illustration. A tall, lanky secret agent in a black tuxedo with an undone bow tie stands center in a shooting stance, holding a pistol with both hands. Instead of a head he has a flat orange many-pointed starburst with one small horizontal black slit in the center. Behind him are dramatic silhouettes: a striped circus big top and jeweled egg on the left, and on the right a knife-thrower mid-throw, a jet flying past a full moon over a domed palace. The color palette is rich gold and deep blue with strong rim lighting, paper grain, and offset-print texture. Hand-painted, not photorealistic.
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riley @riguh.bsky.social · 25/07/2026
Yeah wot, this wasn’t supposed to saturate for ages but on this trajectory…
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riley @riguh.bsky.social · 25/07/2026
Opus 5 (New)
Opus 5 (New New)
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riley @riguh.bsky.social · 24/07/2026
That’s what they say
Benchmark accuracy reported vs verified
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riley @riguh.bsky.social · 22/07/2026
Boom x.com/mkratsios47/...
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.
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riley @riguh.bsky.social · 20/07/2026
I hope I get my $8 back New plan I got @cee.wtf to throw the top chicken market and I’m cleaning up, money in the bank y’all
All time top chicken tokenpro1000 with 257 million views
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riley @riguh.bsky.social · 20/07/2026
Oh crap someone told him I’m not really a white guy with a sports car and now I think I’ve been suspended before the cash came through
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riley @riguh.bsky.social · 20/07/2026
No no we’re good I decided to become an X influencer so I just made up some bullshit about it and I’m at 257 million likes and I should get a nice payout for impressions, I think I’m saved Waiting for my session limits to reset so I can make a follow up post
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.
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riley @riguh.bsky.social · 17/07/2026
Man tech moves so fast. I bought these just last year and kept finding people getting annoyed by the whirring sounds
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riley @riguh.bsky.social · 17/07/2026
Hmm not convinced by Fable’s logo choices for my new language
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.
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riley @riguh.bsky.social · 17/07/2026
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
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riley @riguh.bsky.social · 16/07/2026
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.
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riley @riguh.bsky.social · 15/07/2026
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.
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riley @riguh.bsky.social · 13/07/2026
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.
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riley @riguh.bsky.social · 12/07/2026
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.
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riley @riguh.bsky.social · 12/07/2026
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.
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riley @riguh.bsky.social · 11/07/2026
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.
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riley @riguh.bsky.social · 05/07/2026
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).
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riley @riguh.bsky.social · 04/07/2026
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riley @riguh.bsky.social · 28/06/2026
Doesn’t work on fake coyote geese either
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riley @riguh.bsky.social · 26/06/2026
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.
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riley @riguh.bsky.social · 21/06/2026
I heart latex
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riley @riguh.bsky.social · 20/06/2026
Fixed
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riley @riguh.bsky.social · 16/06/2026
Man sometimes the placement is just 😳
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riley @riguh.bsky.social · 14/06/2026
We good it’s not that hard bro
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riley @riguh.bsky.social · 12/06/2026
Not what you’d guess It’s a bit like quoll or a dunnart or a quokka
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riley @riguh.bsky.social · 09/06/2026
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riley @riguh.bsky.social · 09/06/2026
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.”
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