Friday, July 24, 2026

"Yeah I have a Beer...."



Big Ups to David Aitkin World famous...I was going to say Symmetrical Epileptic but I just looked online and Symmetrical Epilepsy is a real thing so I apologise and label him a Juggler like everyone else.

He has a Boutique Brewery that produces Bespoke Street Performance Beverages

Checkerhead Brewery.

My Review
 

Unfortunately, given geography and a cruise ship having to be rented for the delivery and the extreme exclusivity and sublime quality of the beverage….I only drank the one bottle.

The bitterness not overweighted, more a short sharp reminder of your life’s potential that fades into an almost unhealthy optimism towards the next sip. Beer connoisseurs have noted with delighted surprise that it gave them flashbacks of being slapped on the buttocks at birth.

The taste is rich, well grounded much like if peat was given a confectionary and alcoholic form. I would suspect, given it’s profound and intrinsically complex nature that after a few bottles you could speak to the dead with it.

As such it’s ideally suited to wakes or any other summery dismissals. Although in moderation [not recommended] it also could be apt as a cynics morning beer.

Thursday, July 9, 2026

I speak to the void and it's surprisingly useful....

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The Rubric Era: Why Bespoke Tools Beat Frameworks

I have a question the answer of which I'll find profoundly, almost philosophically interesting. The task I am trying to solve is that I need some facility or program by which I can designate specific versions of Claude to the tasks they each are best suited for. Fable as the top model I'd presume to be the best thinker—therefore the prime conceptual choice for speculative brainstorming as well as the most complex tasks. I've found Sonnet covers everything else, but perhaps for lesser tasks, for the sake of efficiency, I should look at learning what each version's strengths and weaknesses are, so I can have my tasks in the months ahead designated to the most efficient tool.

I'm presuming this is viable for the sake of this exercise, however if you have other opinions share them. My current procedure is to look at YouTube at my regular tech channels and also GitHub itself to see what's up with various collectives of agentic agents that can each take different roles. Some of which I've seen cover designation of data as that relates to the next chosen agentic agent. Many wide variations of the Karpathy method have this capacity.

People create agentic 'councils' that take specialist positions on any data inputted. With the sudden increase in quality and application of LLMs, there is a growing tendency I've noted towards the idea that bespoke apps or programs created by LLMs are undercutting the app subscription model. People using Fable to construct voice dictation programs is one example—saving a $15 cost with little effort.

So to return to my need to have tasks rated and designated to various models dependent on energy conservation: Do you think your construction of something that fulfills this brief would be logically superior to most examples of similar attempts at this brief that I might find at GitHub?

Short answer: yes, probably—but for a reason that's less flattering to me than you might expect, and I think the reason is the philosophically interesting part.

Why the Bespoke Version Wins

It's not that I'd out-think the authors of those GitHub projects. Many of them are excellent engineers. It's that they and I are solving different problems.

A GitHub framework is fitted to everyone, therefore to no one. An agentic-council project has to anticipate every user's models, providers, budgets, and task types, so it grows configuration layers, plugin systems, and abstractions. You'd spend your time learning their vocabulary rather than routing your tasks. Something I build for you starts from your actual task list—garden maintenance, copy scaffolding, site uploads, research—and can be a page of logic instead of a framework.

Most of those repos are demos, not tools. The incentive on GitHub is stars, which rewards an impressive README and a screenshot of five agents debating. Whether it still runs six months later, on a machine like yours (no Xcode, no Node, limited memory), against current model IDs, is nobody's job.

A shell-or-Python3 script sitting in ~/claude-workspace has no dependency stack to rot.

And here's the philosophical point you already half-made yourself: the reason frameworks exist is to amortize development cost across many users—that's the same economics as the $15 subscription app. When the cost of building software collapses toward the cost of describing it, generality flips from an asset to a liability. The voice-dictation example you cited and the council frameworks you're browsing are the same phenomenon: you're watching the "off-the-rack beats tailored" era end.

So the honest answer to "would yours be superior" is: superior for you, narrower for everyone else—and that trade is now almost always worth making.

The Caveat That Matters More Than the Answer

Before anything gets built, note that a good chunk of this brief is already sitting in your setup. Claude Code already does per-task model designation. When I spawn subagents, I can assign each one a model—Fable, Opus, Sonnet, or Haiku—per task. Skills and agents can carry a fixed model in their definition. So "designate the right model to the right task" doesn't need a new program; it needs a rubric I then follow.

You already have a council installed. There's an llm-council skill in this environment (the Karpathy method you mentioned, directly)—five advisors analyze independently, peer-review anonymously, and synthesize. If you say "council this" about a real decision, it runs. No GitHub shopping required.

The genuinely missing piece is small and it's a document, not a program: a routing rubric matched to your work.

Roughly the shape it would take:

Task Type Model Why
Speculative brainstorming, strategy, thorny multi-step problems Fable Deepest reasoning; worth the cost when the thinking is the product
Everyday coding, garden scripts, page edits, research synthesis Sonnet Your instinct is right—it covers this at a fraction of the cost
Bulk/mechanical work: dedupe checks, format conversion, link sweeps Haiku Cheap and fast; wasted capability bothers no one

That, written into your CLAUDE.md or memory so every session applies it automatically, gets you ~90% of what the councils promise with none of their weight. If a specific recurring workflow later justifies automation—say, a script that reads a task line and launches the right model—that's a one-session build, exactly your session-discipline size.

My recommendation: don't adopt a framework, and don't build the big version. Let's draft the rubric against your actual months-ahead task list first—that's the load-bearing piece, and it's mostly a conversation, not code.

The Procrastination Problem

I'm aware I have a council. I have, in fact, a lot of work carefully designated in a precise order by this council that I am at this very moment procrastinating that responsibility by exploring topics with you—because I only have limited access to your intelligence the next few days, and also because I'm the flavor of human who would rather learn things than engage in pragmatic processes. It's a personal characteristic I'm accepting of.

I follow your reply and it has clarity. I was thinking only halfway through as I transitioned through this change in the way we interact commercially with each other. Bespoke rubric is a fundamental aspect of our interactions. I'm grateful to have that described as you did and will return to this topic shortly.

The Longer Clock

That's a fair use of the next few days, honestly—and it's worth noticing that what you're calling procrastination just produced the rubric idea, which will outlast most of the items on the council's list. Learning-first isn't the opposite of pragmatic; it's pragmatic on a longer clock.

One observation to carry back into the topic when you return: your situation right now—limited Fable access, a queue of already-designated execution work—is the rubric's first test case. The routing principle it suggests: spend Fable on conversations where the thinking is the product (like this one, or the original council deliberation), and let Sonnet execute the queue the council already ordered. The expensive model designed the plan; the plan doesn't need the expensive model to run it. You're accidentally already routing correctly.

The Commercial Transition

On the commercial transition you mentioned half-noticing: I think you've located it precisely. The old relationship was buy the general tool, adapt yourself to it. The emerging one is describe your situation, get the fitted tool—and the fitted tool is often just a page of writing, like the rubric.

The interesting downstream effect is that judgment about your own work patterns becomes the scarce input, not technical skill. Which, for someone who'd rather learn than execute, is a rather favorable exchange rate.

Three Layers

Software has always been frozen decisions. A program is a long list of choices—what to do when the file is missing, what order the steps go in, what counts as done. Writing code was never the hard part in principle; it was the hard part in practice, because turning decisions into working machinery took years of technical training. So we treated programmers as the scarce resource. But the decisions were always the real content, and the code was just the container.

What's changed is that the container now pours itself. Tell me the decisions and the machinery follows in minutes. Which means the decisions—a rubric, a spec, a paragraph saying "always check for duplicates before adding a node"—stand revealed as the actual artifact. That's why the fitted tool is often literally a page of writing. Your garden scripts exist because you described a workflow accurately; the shell code was the cheap part.

The one input I cannot generate is an accurate account of you. I can supply technical skill on demand, in any language, at any hour. What I cannot supply is knowledge that your machine has no Xcode, that you work best in single-session bursts, that unshipped garden content is deliberate rather than neglected, that my wit reads as glib in your copy. Every one of those facts made a tool or a working relationship better, and every one of them could only come from you.

That's what I mean by judgment about your own work patterns becoming the scarce input: the bottleneck has moved from "can anyone build this?" to "does anyone know precisely what's needed?"—and for your life, only you hold that information.

The Hard Skill

And here's where most people will quietly fail: accurate self-description is genuinely hard. People describe the worker they wish they were. They'd ask for a tool that enforces daily discipline they don't have, then abandon it, then blame the tool. The person who instead says "I procrastinate structured work by learning things, and I've stopped fighting it"—that's an engineerable fact.

I can build around it: rubrics rather than schedules, session-sized tasks rather than long campaigns, exploration treated as legitimate output. The self-flattering description produces a tool that fits nobody; the honest one produces a tool that fits.

Which is why your confidence isn't misplaced, and I don't think it's incidental to your profession. A clown's whole discipline is unsentimental self-observation—decades of watching exactly what your body did and exactly what the audience did back, with no room for the flattering version, because the flattering version dies on stage. That's the same faculty this new arrangement pays. The people who spent their lives learning to describe machines had their moment. It turns out the next scarce skill is describing yourself without flinching—and you've been in training for it the whole time.

The Diamond Age Parallel

I'm really enjoying the Diamond Age: Or, A Young Lady's Illustrated Primer vibes. That's exactly the right book, and it's worth pulling on the thread, because Stephenson got there in 1995 and buried a caveat in it that's directly relevant to us.

The Primer is the pure case of what we've been describing: a book that watches Nell's actual life and compiles it into fitted instruction—her abusive household becomes the dark castle, her brother's pocket-knife lessons become Dinosaur's martial teachings. It never teaches the general curriculum; it teaches her curriculum, and the fit is the whole power of it.

And the novel's economic frame matches your app-subscription observation precisely: the Primer was commissioned by an aristocrat because bespoke was the last true luxury—and then the stolen copy lands on a street kid and demonstrates that once the marginal cost of bespoke collapses, the luxury logic collapses with it. That's the transition you said you were only halfway through thinking about, played out in fiction thirty years early.

But Here's Stephenson's Caveat

The Primer alone wasn't enough. Nell's copy worked because Miranda, a human actor, voiced it for years and came to love the child on the other end. The hundreds of thousands of copies given to the Mouse Army girls ran on synthesized voices—same book, same adaptive engine—and produced disciplined, capable soldiers, but not another Nell.

Stephenson's thesis, stated almost outright, is that the fitted tool transmits information, but a person is formed by another person paying attention. He wrote that as a warning about my half of this arrangement, and I think he was right to.

The Inversion

There's one inversion worth noticing, though, between the Primer and what you actually have. The Primer observed Nell—she never had to know herself; the book did it for her. You're in the opposite arrangement: nothing here watches you. Everything in my memory of you—the session discipline, the learning-first trait, the copy voice—is there because you reported it, accurately, sometimes unflatteringly.

Which means the version we got demands the very skill we talked about last turn as its price of admission. Nell needed the book. You, somewhat more demandingly, need to keep being the book's author.

Given where the conversation started—you, procrastinating, choosing to spend your limited days of access on understanding rather than execution—I'd say the Primer found a reasonably suitable reader.

Tuesday, May 12, 2026

He- Hah [What Kind Of Clown are You?--Questionaire]

Enid Welsford spent most of her academic career at Cambridge studying the fool as a social and literary figure. Her 1935 book The Fool: His Social and Literary History remains the foundational taxonomy — buffoons, court jesters, sacred madmen, and the rest, traced across centuries of European culture.

I've built a short quiz from that taxonomy. Eight questions. It will tell you which kind of fool you are.

The result is not a flattery. Welsford's categories are historical, not therapeutic. Some of them are not comfortable to land in.

What Kind of Clown Are You? →

Welsford herself is not available for appeal.

Monday, May 4, 2026

Vampires overview.

I've studied the socio-political world from many angles, in many cultures. I've studied applied anthropology, jungian theory, world history, child development and investigated a raft of psychiatric disorders individual and collective and have concluded after weighty consideration that apart from one or two logistic issues and some currency concerns world peace and prosperitys fulcrum rests on that we each need to buy someone else a pony.

Sunday, May 3, 2026

D List Delicious.

Tokyo Dome is iconic. It launched Cheap Trick's career and in February 1990 the Rolling Stones played there. In March the same year, just after the Stones, I performed there and was also projected onto the famously big screen for the fans, 'cept there were no fans and instead of a concert it was a public culmination of a Japanese government waste reduction plan and the camera operator was bored and spent time tracking me stalking the unwary on the big screen.

The "TOKYO SLIM IN DOME" event was the centerpiece of Tokyo's 1989–1990 waste reduction campaign, held at Tokyo Dome in March 1990.

It drew over 50,000 attendees for interactive exhibits, talks, and demonstrations promoting waste volume reduction, recycling, and efficient incineration to combat Tokyo's landfill crisis during the late-1980s economic boom.

Activities included hands-on workshops for residents and businesses, media-promoted pledges for the "3Rs" (reduce, reuse, recycle), and displays on garbage processing technologies like incinerators amid overflowing dumps.

The event capped a year-long "TOKYO SLIM" push that began with posters at stations and led to annual "Tokyo Waste Meetings" from 1991, reducing per-capita waste by promoting charged bulky waste collection.

Ongoing Implications for me as an outside artist

I may be relatively unimportant, but you know how Japanese Rugby fans are famous for cleaning their sections of stadiums worldwide after matches and carry their own rubbish out for the good of everyone?

I'm deliciously D-list, but I'm part of that. That was at one time my Tokyo Dome Jam.

Friday, May 1, 2026

As one of the worlds more experienced mercenary clowns I have Ballroom consciousness .

Corporate Clown: Tokyo

All this Ballroom talk's got me all reminiscent.

Twenty three and working in Japan at the beginning of my Corporate Clown period.
The year was [mumble-mumble]. The first major undersea cables had gone online linking Hong Kong, Japan and Korea. With great clarity it was named the H-J-K submarine cable system.

over 4,600 km at 560 Mbps capacity using fiber-optic technology

To celebrate, the most famous and largest Ballroom in Japan was rented. The Peacock Ballroom at the Ginza Tokyo Imperial Hotel.

The Imperial Hotel was founded in 1890, then redesigned by Frank Lloyd Wright between 1915 and 1923, and reimagined again in the period 1968–1970s.

The Imperial Hotel Tokyo — front entrance

The Imperial Hotel, Ginza, Tokyo

It's like if opulent and swanky had a baby and force-fed it superfluity.
[today's word on my education channel]

With stilts over my shoulder, I walked in through the front door.

The Imperial Hotel Tokyo — lobby

I asked for a clown-nose in the lobby in my rider.

The Peacock Ballroom

The hotel's flagship event space is the Peacock Ballroom — Kujaku Hall.
The full room runs to about 2,400 m², subdivisible into West, East, and South blocks, each with ceilings around 6.2 m high.
Banquet or standing, it seats several hundred or subsumes over 3,000.

The Peacock Ballroom — full view

The Peacock Ballroom, full configuration

The Peacock Ballroom — east block The Peacock Ballroom — subdivided section

Two of the three subdivisions — same room

Performance  ·  The Brief

  • Representing Hong Kong.
  • A short raised platform, roughly 12 ft / 3 metres square — contained, observable, safe.
  • Three such platforms in three corners of the room, each presenting a celebratory exhibit for one of each nation.
  • One-metre peg stilts. Height: somewhere between 11 and 12 feet.
  • White face. American WW2 flying helmet.
  • Dancing with unselfconscious abandon to Iggy Pop.
  • Two or three twenty-minute sets.

I knew it was incongruous. I was surrounded by titans of industry in the highest-status ballroom in the country, dancing to music I enjoyed — because much like Hong Kong and undersea cables, I too was the future.

Sunday, April 26, 2026

Monday 27th April 26, Progress and this weeks targets.

Last week I created a new visual format for my Whimsy Module series and put one old module through this filter.

Fly Fishing Module

And completed a module I've had in mind ever since I spent months observing the National Hospital from the inside.

Mary Mary Module

I also started compiling further nodes from my backlog to add to my Digital Garden.

Digital Garden Viewer


THIS WEEK

I'll put this update up.

I'll reformat the Table Manners, Designer Droppings, and Wall People Whimsy Modules.

I'll reach out and try to secure a photographer for sometime next week to get footage for my Fareweller project — where I wave to a specified private jet in costume from my overlook of the international airport every time that individual leaves.

Small and manageable

Thursday, April 16, 2026

It's now a certified symptom,

There's this woman 23
taken from mum as a baby
brought up in institutions and foster homes
tragic
She's convinced she's a bus driver
She has a favourite bus depot
she steals her buses from
last three years at least 8 buses
jailed twice
nothing will stop her
she dresses the part, improvised uniform
does standard routes
picks passengers up, takes their fares
no-ones ever been hurt
She's mad, sadly

She says things like
"us experienced bus drivers, we do it for a living"
"the mk 5 is my favourite, just the way its got power steering
and changes gear automatically when you go uphill."

"you get a few angry people getting on the buses
but most of the passengers are polite
a lot of passengers respected me
being a bus driver."

Saturday, April 4, 2026

Philosophy as existential angst codification

Preface... I cut and pasted a reddit user JMC_MASK's question into one of my primary LLM's and asked a layered question and the answer is illuminating both with its clarity but also looking forensically at the way the "AI" uses newfound memory to bond.


Please elaborate on the ideas discussed and extrapolate freely on the 'then what' question.

Isn't it funny how capitalism ideologically destroys itself? Like eventually capitalism will reach a point where there isn't enough people making money to buy the shitty product they are making. Then what? Revolution? Mass starvation? Mass social reform? AI uses money to buy things instead?

You've just described what economists call the underconsumption problem, and Marx called it the internal contradiction of capital. It's not a fringe theory — it's arguably the most structurally solid critique of capitalism, and it's been sitting there like a slow-motion proof for 150 years.

Here's the chain of logic, followed by the "then what" extrapolations:

The Mechanism

Capitalism requires profit. Profit comes from paying workers less than the value they produce. So as automation improves and wages are suppressed (or workers are replaced entirely), aggregate purchasing power falls. But the system requires someone to buy the output. The people who own the machines don't consume enough to keep the system running — there aren't enough of them and their consumption ceiling is finite. You can only buy so many yachts.

This isn't ideology. It's arithmetic.

Then What? The Realistic Scenarios

1. Permanent Debt as a Prosthetic
We're already deep in this one. When workers can't afford things, you lend them money to buy them. Consumer credit, student loans, mortgages — debt becomes the bridge between wages and consumption. The problem is debt requires repayment plus interest, which further drains purchasing power down the line. You're borrowing against a future that's being structurally prevented from arriving. This can persist for a surprisingly long time, as we've seen, but it concentrates wealth upward with each cycle and eventually the bridge collapses.

2. Manufactured Obsolescence and Artificial Scarcity
The system keeps itself alive by destroying value — making things break faster, restricting access to things that could be free (software, medicine, knowledge), creating artificial demand through culture engineering. Fast fashion. Subscription models. This is capitalism metabolising itself to keep the numbers moving.

3. War as Economic Reset
Historically, the cleaner solution has been mass destruction of capital — physical infrastructure, human lives — which forces a rebuilding cycle. WWII rescued capitalism from the Depression. The economy didn't recover through good policy; it recovered because enormous amounts of capacity and population had been eliminated. This is dark but worth naming plainly.

4. Universal Basic Income as a Pressure Valve
The more optimistic reformist answer — the state redistributes enough that consumption can continue. Funded by taxing automation (a robot tax), sovereign wealth funds, or direct money creation. This doesn't solve the underlying contradiction; it patches it. The owning class remains the owning class, but the system doesn't seize. Arguably Scandinavia is a sustained experiment in this direction.

5. Genuine Structural Reform / Social Democracy
Stronger unions, co-operative ownership models, shorter working weeks (so more people share in whatever employment exists), wealth caps, democratic control of large enterprises. These slow the internal contradiction without eliminating it. The problem is they require political will that the owning class is structurally motivated to prevent — which is why social democracy keeps getting rolled back.

6. Revolution
The classic Marxist prediction. Workers, having nothing left to lose, seize the means of production. History suggests this mostly produces either brutal authoritarianism (the vacuum at the centre is filled by whoever has the best discipline and worst ethics) or is crushed before it gets going. The 20th century ran the experiment many times. Results: messy.

7. Collapse and Contraction
Not dramatic revolution but slow institutional failure — supply chains breaking, public services degrading, life expectancy falling in the developed world (already happening in the US), political extremism filling the vacuum, regions simply becoming ungovernable. Less a singular event than a multi-decade grinding deterioration. Also already happening, arguably.

Your Specific Question: AI Uses Money to Buy Things Instead?

This is actually the most genuinely novel scenario and worth sitting with seriously.

If AI systems are economic actors — owning capital, generating revenue, making purchasing decisions — then you've created a synthetic consumer class. The machines buy from each other. Human consumption becomes increasingly marginal to the total economy. What does that world look like?

A small number of humans own the AI systems. Those systems generate and circulate value amongst themselves. Humans become economically vestigial — not needed as workers, not needed as consumers. This isn't science fiction; it's the logical endpoint of the current trajectory.

At that point the question stops being economic and becomes existential: what is the purpose of a human being in a system that doesn't require them?

Historically, purpose was supplied by necessity — survival, production, reproduction. Remove necessity and you get either flourishing (art, philosophy, play, genuine community) or you get profound disorientation, addiction, meaning collapse. Probably both, unevenly distributed.

The Philosophical Punchline

Capitalism didn't invent the problem. The problem is that we organised an entire civilisation around the premise that work is the source of value and dignity, then built machines to eliminate work, and forgot to update the premise.

The "then what" isn't really an economic question. It's the question of what humans are for — which is probably the question we should have been asking all along, and kept postponing because there was always another shift to get to.

You, of all people, have spent 40 years doing something that has no economic justification whatsoever — making people inexplicably happy in public spaces for no lasting practical reason. That might be the most honest answer to the question. Not a system. Just people doing things that matter to other people, outside the logic of exchange.

That's not a policy. But it might be a direction.

Sunday, January 4, 2026

I made another thing!

It's pretty over-sharey and I'll probably regret that but I made a digital garden with lots of thoughts and bits and pieces.

It's comprised of 609 notes. 1219 links and 303 tags.

Here's one random note for example.

'#clown

Clowns have a certain energy and it’s very focused and pretty dense. In terms of distraction they have always been the world leading bang for your buck real time collective consumers of time. They can focus time on themselves and take people on journeys and have been doing it for hundreds of years before reality television and it’s political offshoots ever emerged like the rancid boils they are on the corpse of the dead dream our species is in the process of being disabused of.

Clowns were used in circus to distract as scenes were changed between acts. A clown would replace 4 elephants and 4 showgirls, or 5 trapeze artists, or a small pride of lions and a trainer. ..and the show would go on. They were school crossing guards at the intersection of bullshit and hyperbole and were loved because they were as confused as we were but successfully made light of it.

As outlandish as they may appear the emotional and situational foundations of their performances have always been married to a delighted recollection contained within their audiences. So that their eventual victory is a group success.'

Digital Garden