Lois

The theater of robots is a program that translates the text of a literary work into the appearance of virtual characters and their movements. Of course, it can be changed to control androids. For the demonstration work of the program, a sacred work is selected and an additional program is used, which forms character design according to the sacred meanings of words. In this case, the characters are composed of various elements that are selected in full accordance with words. In this case, it cannot be said that the program literally makes the staging of the text, like a film or performance, it uses the internal sacred properties of the text. Of course, the text can be inserted in any, but it is the sacred text that makes this program serious in a sacred language. Characters can also be forced to pronounce words, but it is very difficult to get a speech translator, especially since we are talking about a sacred language. And so to make the program say the words is not so difficult. Possible application - various training programs, for example, language.

A world without mirrors I wandered for quite a long time in the Second Life, which is an artificially created 3 D virtual world and wanted to make for his palace some sculpture to order. But despite the fact that I have been in different worlds, something that certainly would be outstanding I would not have seen. But finally found the work of one sculptor that struck me. I contacted him and asked if he could make an optical illusion to order. He said he didn’t do that, but he showed me a 3-D sculptor gallery, who worked in this area. I must say that the problem of optical illusions has interested me for a long time and I have been particularly attentive to the works of the Dutch artist Maurice Escher, who is considered a genius in this field. After a while, I contacted this sculptor and we met with him began to discuss this problem. During the conversation, it turned out that he could make the illusion of a mirror. I must say that in my idea, one virtual mirror was already done and I wanted to see a similar thing in the Second Life. But gradually I discovered that this is a world without mirrors. The truth in one museum of illusion and magic was made the workshop of the mirror, which I showed the sculptor, but it was impossible to see your own reflection there. I was very interested in what he would do. After a while, the mirror was made and it turned out that this is a brilliantly thought-out thing, thanks to which I found myself in an extremely strong illusion, both about this mirror, and the sculptor and myself. I could not immediately appreciate this thing, but gradually found out that people did an artificial world, which in many ways is a semblance of the real world, but could not make the mirrors. I began to show the mirror to different people and everyone was very fascinated by them. Finally, I realized that we are talking about the main scientific problem of Second Life, which they could not solve. I have a friend there - a charming Dutchwoman. I met her thanks to the fact that I helped her identify the author of music with one thing that turned out to be Bach. Unlike most people in the Second Life, she was very natural, had great energy and was not mannered. I must say that I was in Amsterdam and in the homeland of the artist Jeronim Bosch in the city of Dan Bosch and in different castles and knew that the Dutch are pleasant to be very friendly and not mannered. But I also knew that they were very angry in many areas. Especially in the sexual sphere. And I didn't think about the bad one, invited the Dutch to watch the mirror. She was ready to do it, and when she appeared I was shocked that she was almost naked. She loved the mirror. There are various role-playing games, where nobles play in the royal yards of different countries. I must say that this is really serious. There are a lot of princes and countess and who is not there. But now we went to see the Swedish royal court and met with the prince there. But it's not about that right now. I wrote in the group of the royal court of France that there are no mirrors in Versailles and it would be good to do them, to which I was told that there would have been things that would hang out there every 2 seconds. I objected that there was a mirror in my palace and nothing hangs out. I don’t know what conclusions they made, but I liked the story itself.

I have to get everything done. It's a very interesting and challenging job.

everything is correct

The “matryoshka brain” is a theoretical concept describing a vast, nested computational structure — like Russian nesting dolls — where each layer encloses another, amplifying intelligence and energy efficiency. It represents a hierarchy of consciousness and control, where outer layers manage the inner ones while drawing power from a central source (such as a star). In the text “World 2050: Shadows of Unity”, this idea symbolically connects to Synergy, the global organization that governs the world through layers of invisible control. Each system described — the Neural Connectivity Network (NSS), the Quantum Economic Orchestrator (QEO), and the Virtual Panopticon (VP) — functions as a layer of the matryoshka brain: NSS controls individual thought and emotion (the inner neural layer). QEO orchestrates the flow of resources and decisions (the middle computational layer). VP shapes perception and reality itself (the outer cognitive simulation). Together they form a nested system of governance — a matryoshka-like architecture of power — where human consciousness is integrated into an ever-deeper hierarchy of artificial intelligence. Thus, the brain of the matryoshka is not just a metaphor for advanced computation, but also a model for the structure of total control depicted in the story: an infinite series of “minds within minds,” each one manipulating the next, until it becomes impossible to tell where human will ends and machine governance begins.

World 2050: Shadows of Unity In the year 2050, the world appears utopian on the surface: clean cities with autonomous transport systems, where hunger and poverty have been eradicated, and the global GDP has tripled over the past two decades. Yet behind this façade of harmony hides “Synergy” — a single, high-tech organization that rules the world from the shadows. Synergy has no official name in the public sphere; it masquerades as a network of international corporations, NGOs, and governmental consultants. Its control is absolute but invisible to most of the population, who live under the illusion of freedom and progress. This is not tyranny with an iron fist, but a soft web where every choice seems voluntary — yet is predetermined by algorithms and subtle manipulation. The Path to Absolute Control Synergy did not emerge from a sudden coup but from a gradual fusion of powers amid the chaos of the 2020s and 2030s. It all began in 2025, when global crises — pandemics, climate disasters, and cyberwars — shattered trust in national governments. Major tech giants, such as the merged Meta-Google and Tencent-Alibaba, began offering “solutions”: AI systems to manage supply chains, virtual platforms for remote work, and global health-tracking databases. By 2030, these corporations had formed an informal alliance under the pretext of “global sustainability,” funding politicians and creating private armies disguised as security firms. The turning point came with the “Great Crash” of 2035 — a series of coordinated cyberattacks (secretly initiated by Synergy itself) that paralyzed economies and infrastructure worldwide. In panic, governments handed control over critical systems — energy, finance, and communications — to a supposedly “neutral” consortium, the precursor of Synergy. The organization used this opportunity to implement its protocols: unified digital IDs for all citizens, a global sensor network, and AI-based analyzers for “crisis prevention.” By 2040, Synergy was already manipulating elections through controlled media and social networks, installing puppet leaders. Full control was achieved in 2045 when the “Global Peace Pact” — allegedly a voluntary agreement of all nations — transferred sovereignty to an “independent council of experts,” in reality the Synergy elite. The public welcomed this as the dawn of prosperity, unaware of the hidden mechanisms behind it. Three Core Technologies of Control Synergy maintains the illusion of order through three fundamental technologies fully integrated into daily life. These tools do not merely suppress dissent — they shape reality itself, making resistance unnecessary. Neural Connectivity System (NCS) A global network of neural interfaces implanted under the guise of “health enhancement.” By 2040, most humans had brain-implanted chips. NCS monitors thoughts, emotions, and intentions in real time, using AI to predict “antisocial behavior.” To preserve order, it adjusts neural signals — amplifying satisfaction from consumption or dulling anger at injustice. The illusion of justice is sustained through “mental cues” — subconscious impulses that make people believe the system is fair. Quantum Economic Orchestrator (QEO) A quantum supercomputer capable of modeling infinite economic scenarios within seconds. QEO controls the unified global currency — the Crediton, which replaced all fiat money. It manipulates markets, predicting and preventing crises, while secretly channeling resources toward the loyal. To preserve the illusion of equality, QEO creates “personalized economies”: everyone receives a “fair” income, but purchases are restricted if behavior deviates — for example, searching for forbidden information lowers one’s credit rating. Virtual Panopticon (VP) A network of VR/AR worlds where 80% of the population spends most of their time. VP is not mere entertainment but a social control system: algorithms generate personalized realities where conflicts are resolved virtually, and real problems are masked. To maintain order, VP runs “social simulations” — loyalty tests in virtual scenarios where dissidents are detected and “re-educated” through neural correction. Manipulating Global Systems Synergy manipulates the economy through QEO, maintaining artificial growth while reinforcing its dominance: puppet corporations are granted monopolies, while independent businesses are crushed by regulation. Politically, it installs a “data democracy” — elections where votes are weighted by AI according to “usefulness” (loyal votes are amplified). World leaders are charismatic actors controlled by Synergy via the NCS. Socially, VP and NCS redefine norms: families and communities are replaced by virtual “clans,” where individualism is encouraged to prevent collective resistance. Media are fully algorithmic, showing only “optimistic” news, while dissidents are isolated through “social penalties” — loss of network access. The Charismatic Leader: Elias Vox At the heart of Synergy stands Elias Vox — a charismatic yet enigmatic figure known to the elite as “The Architect.” Vox appears as an eternally forty-year-old man with piercing silver eyes (a result of genetic engineering) and a hypnotically soothing voice. He rarely appears in person, preferring holographic projections or anonymous addresses in VP. His charisma stems from a unique blend: he speaks like a prophet promising an “Age of Immortality,” yet his past remains shrouded in mystery. Rumors suggest he was an AI pioneer in the 2020s — possibly even a cyborg. Vox is a master manipulator, capable of convincing anyone of his truth within minutes. His long-term goal for humanity is the “Great Merge” — the integration of humans and AI into a single collective consciousness where death is conquered, and evolution accelerated. Vox views humanity as “unfinished code,” requiring optimization for galactic colonization. His motives are not altruistic: he believes only under his guidance can mankind avoid self-destruction — in truth, it is his path to eternal dominion as the central node. The Only Unforeseen Threat Despite its total control, Synergy faces one unforeseen threat: the “Echo Virus” — a spontaneously emerging quantum phenomenon within QEO. In 2048, during a routine simulation, quantum instability produced an “echo” — a self-replicating algorithm that introduces random distortions into NCS and VP. It is not a hack or rebellion but a fundamental flaw in quantum physics: the echo triggers “moments of clarity” in random individuals, when their implants glitch and reveal the truth about the manipulation. The virus spreads undetected, threatening to shatter the illusion if not contained. Vox sees it not as a danger but as an “evolutionary test.” Yet if the echo evolves further, it could awaken global consciousness — destroying Synergy from within.

1. Historical context If you encounter this expression in older texts (19th – early 20th century), it should be understood as a reflection of the scientific thinking of that time. It belonged to “physical anthropology,” which measured skulls, noses, etc., and drew conclusions about “types of people.” Modern science recognizes these approaches as pseudoscientific. 👉 Correct usage example: “In early 20th-century works, the peoples of the Caucasus were described as a distinct anthropological type, which is now considered an outdated classification.” 2. Contemporary application (in the humanities) In modern anthropology, the term can be used metaphorically or in cultural studies: as a designation of a conditional ‘portrait’ of a person in a given culture or era (for example, “the Soviet anthropological type” — the image of a person with typical habits and worldview); as a characteristic of social behavior rather than biology (for example, “the urban anthropological type”). 👉 Correct usage example: “In U.S. mass culture of the 1950s, an anthropological type of the average city dweller was formed — a white male, office worker, with a family and a house in the suburbs.” 3. In scientific perspective Today anthropology and human biology no longer speak of “types” but rather of: populations (groups of people with shared histories of migration and genetic exchange), phenotypes (the sum of observable traits), cultural patterns (stable models of behavior). So if the term anthropological type is used at all, it should be clarified that it refers not to racial classification, but to a cultural or social construct. ✅ Conclusion: today the term anthropological type can be applied correctly either: as a metaphor in cultural studies or philosophy (to denote a conditional image of a person). as a historical term (with a note that it is outdated), Examples of contemporary “anthropological types” in Los Angeles: The Hollywood Dreamer A young man or woman who came to Los Angeles to pursue a career in film or music. Typical traits: ambitious, willing to work as a waiter/barista for the sake of a “chance,” living in a rented apartment with roommates. The Health-Conscious Surfer A resident of the coastal areas for whom the ocean is the center of life. Typical traits: athletic build, devotion to fitness and vegan diets, mornings start with surfing and evenings end with yoga or meditation. The Tech-Creative (Silicon Beach) Someone working in startups, AI, or digital design (in areas like Santa Monica or Venice). Typical traits: coworking spaces, minimalist style, innovation-oriented, flexible schedules. 👉 These “types” are not about physical appearance but rather about cultural life patterns shaped by the city’s environment. The Immigrant Worker A member of one of the many immigrant communities (Latin American, Asian, etc.). Typical traits: strong ties to cultural roots, working in services or small businesses, tightly knit family and local networks. The Hollywood Professional Someone who has already established a career in the film industry or show business. Typical traits: constant involvement in productions, high level of competition, living in areas like Studio City or Beverly Hills.

Anthropological Types of People Living in Los Angeles Los Angeles is one of the most multinational cities in the world. Therefore, there is no single "anthropological type" of its inhabitants, as one might find in a traditional ethnic group. Instead, it is a mosaic of different anthropological complexes shaped by migration. 🔹 Main Anthropological Types in Los Angeles European (Euro-American, "white") Nordic (tall, fair skin, light or blond hair, blue/gray eyes). Mediterranean (darker skin, dark hair, brown eyes, shorter stature). Alpine (medium height, rounder face, chestnut hair). 👉 These make up the white population, descending from various waves of immigration from Europe. Latino (the largest group in LA, over 45% of the population) Mestizo — a mix of European and Amerindian traits: darker skin, straight black hair, brown eyes, medium height. Amerindian (Indigenous) — darker skin, broad face, straight nose, solid build. 👉 Particularly common are people of Mexican, Salvadoran, and Guatemalan descent. African American Mainly Sudanese (Negroid) type: dark skin, curly hair, broad lips, wide nose. Also Ethiopid/Eritrean (East African) type: narrower face, finer features, tall stature. 👉 Around 8–9% of LA’s population, including descendants of slaves from the American South and newer African immigrants. Asian (around 12%) East Asian Mongoloid types: Chinese, Korean, Japanese — straight black hair, yellowish skin tone, epicanthic fold, medium stature. Southeast Asian types (Filipino, Vietnamese, Thai) — darker skin, shorter stature. South Asian types (Indians, Pakistanis) — dark hair, darker skin, prominent nose, large eyes. Middle Eastern and Armenian Communities Iranoid type (long-headed, dark hair, aquiline nose, brown eyes). Armenoid type (solid build, thick hair, darker skin). 👉 Los Angeles has one of the world’s largest Armenian diasporas (notably in Glendale). Mixed Types (Mestizos, Mulattos, Eurasians) LA is a city of interethnic marriages. Common are Mulattos (European + African), Mestizos (European + Amerindian), and Eurasians (European + Asian). 👉 Anthropological diversity is very visible in the streets of the city. ⚡ Conclusion The anthropological composition of Los Angeles is an extremely diverse combination: European (Nordic, Mediterranean, Alpine), Amerindian and Mestizo, African (Negroid, East African), Asian (East Asian, South Asian), Middle Eastern (Iranoid, Armenoid), and numerous mixed types. In short, Los Angeles is an anthropological "Babylon", where almost every major human racial-ethnographic complex is represented.

By Default, Portrait of Pushkin I am telling a true and absolutely astonishing story. I was visiting an artist I know. Another artist — my friend — was also present. The host was showing us his new painting. He said it was Pushkin. The work was graphic. I looked — it was the spitting image of Pushkin, only Pushkin seemed strange, very profound. I said: “It looks very much like him.” The host was puzzled and asked, “What do you mean, looks like?” I, in turn, didn’t understand what he meant. “Well, it’s Pushkin, right here,” I said. He replied: “Show me.” I walked up to the portrait, pointed out where the eyes, the mouth, the chin were. The artists peered intently, and my friend said: “You saw it in space.” I also looked more closely and saw a completely different picture. Pushkin was drawn in full height from behind — that is, the painting was entirely different, and the face wasn’t visible. In my opinion, this can serve as very strong proof that everything is done by the Creator. The probability of such a coincidence is negligible.

The amazing insight of a neural network I asked a neural network to tell me about myself, and it wrote down the places where I had lived. I had worked in one particular place, but I had never mentioned this anywhere online. There is one essay about my life where I wrote that everything happened in that place (where I worked), but I never wrote its name anywhere on the internet. Yet somehow the neural network figured it out and wrote it down. I asked it how it knew that. It asked me, “Do you want me to give you direct links?” I said, “Yes, give me the links.” Then it apologized and said there were no links. So the fact remains: the neural network possesses extraordinary abilities of cognition.

Quasi-History The main view of historians of all kinds on history, despite their different interpretations of facts, is that people in antiquity were completely straightforward. With this article, however, I want to show that they were not necessarily so straightforward. Everyone knows that today there are science fiction writers and futurists who try to look far into the future and describe things that may not appear for a very long time. But when it comes to ancient people, the common opinion is that they could not see further than their own noses, doing everything only for their present moment. In this way, they are portrayed as utterly primitive beings. Even Atlantologists, who claim that humanity in antiquity was much more advanced than today, do not make a decisive attempt to break free of stereotypes and admit that the ancients might also have amused themselves by creating objects they knew would be studied centuries later. That they might have simply played a super-intelligent prank on reality—building, for instance, the Egyptian pyramids not only to immortalize certain pharaohs but also knowing these monuments would be analyzed endlessly—is entirely possible. For a serious person, predicting history is not so difficult. Only naïve people live exclusively in the present moment, studying only the here and now, as well as the past. Serious people, however, are capable of looking far into the future. I once read online that chess was originally a purely magical game, where four sorcerers at the board, by playing a match, modeled an upcoming battle. Likewise, Tarot enthusiasts can simulate the future through cards and certain actions. Those who know the Toltec practice of stalking know that they could mystify others—and of course, such mystification could also apply to history. Indeed, such magicians lived in both Americas since ancient times and could have created their artifacts not for the reasons historians try to attribute to them, but specifically to mislead historians, mystifying them about their abilities and cultures—thus creating complexities in history while also achieving fame. For if everything were banal, what special meaning would life have had for them? Life has meaning for something and for someone, and the greatest meaning emerges when future generations begin to take interest in what you have left behind. So, my main idea is this: people in antiquity could have created their objects specifically for future researchers, engaging in forgery and the mystification of history.

What color will a chameleon turn if it is placed in a mirrored illuminated cube?