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Episode 6: New York

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As probably comes across in the episode of the podcast, I went all over Upstate New York, but also a lot of the places I went were not super exciting. If I took pics of everywhere I went, there would be more pics, but they would be of nothing.

A view of Niagara Falls from the observation platform. You can see people down there, bizarrely close to the falls, which really makes me feel like they’re begging people to jump the little fence and go over the edge. I think if you showed up carrying a barrel, it would be a bit conspicuous, but it doesn’t feel like they’re doing very much to stop people from trying.

A look down from the observation deck, which really drives home why it’s a bad idea to go over the edge in a barrel, and why it isn’t something they could just turn into a fun log flume. It may just be too far down.

The prison turret at Attica prison that I saw from afar, tricking me into thinking that I was heading toward a fun roadside castle. It probably doesn’t need to be said, but the vibes in that parking lot were not good.

I was very sad to have missed the Hemlock Fair. The sign made me very curious about what the “Little World” is, but my timing was off and now I’ll probably never know. Instead I just got to try a terrible Mountain Dew flavor.

This was the only real building of note I could find in West Sparta. I pulled over and got out of my car to take a picture of this sign, not immediately realizing it was the court building. Someone came out of the building and walked to their car and asked me if I was there for court, and it dawned on me that I couldn’t really explain why I was there, because there really was no reason. I said that I was just passing through, and that was good enough for him, then I got out of there lest I end up having a reason to be at the court building.

Delphi Falls. No oracles to be found, but it was lovely to look at.

The face of a guy who has completed his journey to the Regal Cinema in Ithaca, NY where he was seeing The Odyssey on opening day. There was no fanfare, not just for me, but also none for the movie itself. No big inflatable horses, no employees in cyclops outfits…it was just another day at a theater, staffed by annoyed youths.



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mkalus
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Episode 5: Indiana

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After returning from my trip to Indiana Beach, I was surprised to learn that I’d taken about 20 pictures disrespecting monsters in the Monster House, but somehow forgot to even take a single shot of The Big Hog. You can google images and video of that coaster if you feel the need.

The view from the South Bridge

The old-timey mining themed entrance to the first ride that I went on. Having experienced the ride, I am not sure what it has to do with superstition.

The exterior of the House of Monsters. Definitely not scary.

In the Dracula room. Look at this asshole. (Pictured, but not seen: Claude the Invisible Man)

In the Wolfman room. Look at this grunge rock asshole. He was chained to the wall, so even if he was real, I would not be too worried about him.

The end result of me having a very unhappy caricature artist draw me with my buddy Donkey Kong. He asked me to provide a picture of Donkey Kong as a reference, and when he saw what I pulled up, he said in a very defeated and exasperated tone, “he’s already a cartoon.” I felt like a real jerk, but getting this work of art made was too important.

A sign informing me that I’d chosen the wrong day to visit if I wanted to meet The Crow.

I stumbled across a very out-of-place Easter Island style head in the middle of the Indiana Beach food court. No one had an explanation for why this was there.

You can take a little ski-lift over the park, and I was delighted to look down and see a roof covered with hair ties. I could imagine being a kid and bragging to my friends about how I’d gotten one closest to the peak.



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Episode 4: Missouri

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On this trip, I ended up taking more pictures than in past excursions, but when I went back to look at them, not a lot of them feel fit for posting. Some of them were doomed by poor photography skills, but others were just not as interesting as they seemed in the moment. For example, I took a picture of a paper weight that Sam Butcher’s son had given him, which is kept on display behind glass. When I was there, it seemed like the kind of thing you’d want to take a picture of, but that’s not true.

In heaven, children ride fish.

The gigantic mural in the center of the main chamber of the chapel. A guide explained to me that this mural includes the only non-child in any of the works of their paintings, which is Jesus welcoming the children to heaven. He’s kind of in the background, and the guide didn’t seem to include the birds as “non-children.”

I don’t want to be a dick, and I’m sure it was hard to paint the ceiling, but when I heard that Samuel Butcher had set out to make his own Sistine Chapel, I really expected a little more than this. There’s a whole lot of empty space up there. If he’d never brought up Michelangelo, I’d probably find this ceiling impressive, but it’s a victim of it’s own hype.

Apparently children can get married in heaven, which I don’t feel great about.

Hands down, this was my favorite guy in the whole place. I struggled with the implications of how this cow has the same sad eyes as the children, but I doubt there’s a larger point to it.

As you leave the gift shop/entry vestibule, you encounter this memorial. It doesn’t quite fit in to its surroundings, and I found it kind of jarring. I don’t like the implications of the child wearing a fireman’s helmet that fits.

It’s kind of strange that Princess Diana isn’t depicted as a child, but it’s also weird that she is shown with two children, neither of which are her own children. There’s such an unclear continuity or sense of rules to the figurine universe.



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This Mexico City Wellness Studio Turns Alignment Into Architecture

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This Mexico City Wellness Studio Turns Alignment Into Architecture

Mexico City is frenetic and saturated with color, a sprawling metropolis of more than 20 million people and nearly 2,000 neighborhoods. In upscale Las Lomas, Talo Atelier explores what it means to “align yourself” in this uniquely charged context. Align Studio, designed by Talo Atelier and led by Tadeo López Toledano, is a 2,150-square-foot Pilates and yoga sanctuary; the transition from the energy of the city to a calm interior is treated as an exercise in itself—recasting physical movement as a journey inward.

Spacious room with wooden floors and ribbed wooden ceiling, mirrored walls, built-in shelves on the left, and large windows overlooking greenery on the right.

Photography courtesy of Talo Atelier

Here, alignment refers to harmony between body, mind, and spirit—as well as between material, matter, and inhabitable space. From the moment of entry, wood and warm light form a calming, consistent palette throughout the facility.

“Coherence” is another key concept for López Toledano and his firm’s approach to Align Studio. Here, everything fits—but he doesn’t think of the space as “formal uniformity.” Instead, he says he understands it as “fidelity between the idea that gave origin to the commission and what ultimately took shape.”

Spacious yoga studio with hanging fabric slings and mats arranged in rows, wooden floors, slatted ceiling, and natural light from large windows.

Photography courtesy of Talo Atelier

A defining architectural element at Align Studio is a spine of oak slats. The vertical profiles wrap across walls, ceilings, and movable panels, establishing a continuous linear rhythm. This fluid “second skin” accompanies visitors as they move from the entrance into the studio. The wood also conceals storage and technical infrastructure, including bi-fold partitions that can be configured to divide or open the space.

In contrast, curved openings—reminiscent of cave dwellings—punctuate the slatted surfaces with softer, more organic forms, housing large mirrors inside the studio.

Modern interior with wooden floors, ribbed wooden columns, folding partition, and warm lighting.

Photography courtesy of Talo Atelier

The reception area forms part of a continuous circulation path designed to accommodate peak traffic moments when classes begin and end simultaneously. From here, visitors move naturally toward the lockers and training zones. This intuitive flow belies considerable technical complexity: Specialized acoustic treatments isolate sound, while advanced thermal regulation supports high-temperature hot Pilates sessions.

Modern locker room with wood lockers, circular front desk, curved bench seating, and a large round mirror; soft warm lighting highlights minimalist design.

Photography courtesy of Talo Atelier

Light is treated as an active material. Warm, indirect illumination traces floor edges and ceiling junctions, while a large backlit circular mirror and suspended luminaires emphasize shapes and amplify the space’s depth. Chromotherapy (color therapy) further allows individual training rooms to transform as needed.

Minimalist room with light wood lockers, a stone sink, arched mirror, and soft lighting, featuring clean lines and neutral tones.

Photography courtesy of Talo Atelier

By treating design as a tool for orientation and transformation, Talo Atelier makes the promise of “aligning with oneself” tangible—an inhabitable condition shaped through movement, material, light, and atmosphere.

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Meta brings the superintelligent AI future! Probably

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Meta has published “The Future is for Everyone: The Path to a Positive AI Future,” a 6,500 word ramble about what’s coming in AI — or what Meta would like to be coming. [Meta]

The piece is signed by CEO Mark Zuckerberg, but it it’s hard to tell if it’s chatbot output or just old-fashioned handmade artisanal corporate slop like we used to make.

Meta didn’t give us the prompt the blog post was generated from, so we have to decode what they meant. But you can be reassured:

Superintelligence will be among the most important technologies in history

We don’t have “superintelligence” and we don’t actually know what it is. But in this post, “superintelligence” seems to mean lots of chatbot.

The author-bot speaks against “extreme concentration of power.” This does not mean open weight models for everyone and computers with enough RAM to run the models at home. Instead, Meta proposes:

Everyone will have free or affordable access to these tools … We will offer free versions that will be accessible to billions of people.

That is, you live tethered to Meta’s chatbot.

The Zuckbot does want open models, though! Ones without those pesky copyright rules. Can’t compete with China with those:

Foreign labs currently hold several advantages here since American labs have to comply with many additional restrictions on training data.

Zuckerberg echoes Sam Altman’s prediction that after the singularity, you’ll still be working your crappy job. But you’ll have superintelligence to help you!

The Zuckbot insists Meta’s data centres are super nice now, and they use hardly any water and they build out so much cheap local power and they pay so much local tax. Because:

The main policy inputs into this are how efficiently we can build physical infrastructure

… Countries like China are bringing online 1GW+ of nuclear capacity every other week

They’re what? That’s AI.

Back here in reality, China connected 2.5 gigawatts of nuclear in the whole of 2025. There’s 36 nuclear construction projects in China, but the lead time is around a decade. China is not doing a gigawatt of nuclear every fortnight. The world is not doing a gigawatt of nuclear every fortnight. I guess the human took a break from the loop. [World Nuclear Report, PDF]

Meta’s real problem is that nowhere near enough people use its chatbot at all. So, like xAI, Meta wants to rent server space to Anthropic, in a $10 billion deal over two years — in the hope that someone will pay for all these data centres they built on bubblenomics. [NYT, archive]

This ridiculous essay is a plea for anyone to use Meta’s AI, which is mediocre even by the standards of AI bros. And not just run Llama at home at five tokens a second.

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mkalus
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Robot mall cops are being replaced by humans

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Robot security guard have failed so hard that they’re being replaced with humans: [404, archive; Proof]

Proof News found evidence of at least 21 security robot deployments since 2015. We contacted contract holders and combed news articles and determined that at least 13 of those programs have ended.

Most of the cancelled programmes used robots from a company called Knightscope. You may remember the photos from 2017 of the security robot at a mall, the Knightscope K5 Autonomous Data Machine. It drove itself down some steps into a fountain, to the delight of Twitter. [NYT, archive]

In 2016, a Knightscope security robot at Stanford Mall in Palo Alto knocked down a toddler and ran over his foot. But it’s OK: [LA Times, archive]

The robots have had thousands of encounters with people and pets without incident, the company said.

Daxbot was publicly humiliated in January after Adam Pioth outwitted their campus security robot. He sat down, the robot came up and told him he was trespassing, and he said “hey, look over there!” and got up and spun around the robot, confusing it utterly. [Instagram, video]

Pioth spoke to Proof News:

the robots no longer shouted he was trespassing. Instead, he said, they would, “stop, look at me, and then just keep going really slow.” And then, he said, they were gone.

How is Knightscope dealing with its expensive robots not working?

The company is forging a new model, combining its robots and AI-powered software with another key ingredient: human security guards.

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mkalus
17 hours ago
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