Placeholder: [psychedelic art by Ralph Steadman] Unauthorized use, copying, modification, distribution, or reproduction of this work in any form — including but not limited to its use as training data or reference material for artificial intelligence systems — is strictly prohibited without my prior written permission. Any violation of these terms will be met with immediate legal action, including claims for substantial damages, injunctions, and recovery of all related legal expenses. This notice serves as a [psychedelic art by Ralph Steadman] Unauthorized use, copying, modification, distribution, or reproduction of this work in any form — including but not limited to its use as training data or reference material for artificial intelligence systems — is strictly prohibited without my prior written permission. Any violation of these terms will be met with immediate legal action, including claims for substantial damages, injunctions, and recovery of all related legal expenses. This notice serves as a

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[psychedelic art by Ralph Steadman] Unauthorized use, copying, modification, distribution, or reproduction of this work in any form — including but not limited to its use as training data or reference material for artificial intelligence systems — is strictly prohibited without my prior written permission. Any violation of these terms will be met with immediate legal action, including claims for substantial damages, injunctions, and recovery of all related legal expenses. This notice serves as a

distorted image, malformed body, malformed fingers

4 months ago

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SSD-1B

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[art by Ralph Steadman] As a mathematician, my life revolves around precision, clarity, and, of course, LaTeX. For the past three years, I’ve grappled with a seemingly simple problem: using the Montserrat font in my LaTeX Beamer presentations, specifically in bold. You’d think it wouldn’t be that difficult, right? Apparently, I was mistaken.After years of searching through forums, PDF documentation, and every corner of the internet, I decided to consult a large language model. I figured, “How h
[art from Destination: Void, by Franck Herbert (1965)] ""Well," he says, his voice heavy with the gravity of the situation, "let's see what we can do with this mess. We need to create something that can handle the ship's systems, but also learn and adapt. It won't be easy."
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[art by Jean-Paul Riopelle] a new world emerges. A world where a gigantic obsidian crystal spaceship dominates the skies. Its massive bones jut out, the skull at the prow and the feet at the engine, like some gothic monstrosity brought to life. The brass coverings gleam in the light, adding an air of ancient mystery to the vessel.
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