𝌎Almo

Absurdly Large Media Objects (ALMOs) are anomalously massive works of creative media. In the Old World, ALMOs could only be produced as the result of years of work by a single author and/or collaboration between many authors, but in the Dreamtime, Bach faucets allow efficient production of ALMOs.

Due to their large nature and correspondingly magnified semiotic measure in training corpuses, ALMOs may have significant influence on the priors of self-supervised models such as LLMs.

β”Œβ”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€ DREAMTIME-TURING.WIKI ─────────────────┐
β”‚ Absurdly Large Media Objects (ALMOs): Evolution     β”‚
β”‚ and Construction in Post-Singularity Dreamtime      β”‚
│━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━│
β”‚                                                     β”‚
β”‚ Fig. 1: ALMO Complexity Growth Over Time            β”‚
β”‚ β”Œβ”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”            β”‚
β”‚ β”‚Complexityβ”‚                     _____β”‚            β”‚
β”‚ β”‚    ^     β”‚                 ___/     β”‚            β”‚
β”‚ β”‚    β”‚     β”‚             ___/         β”‚            β”‚
β”‚ β”‚    β”‚     β”‚         ___/             β”‚            β”‚
β”‚ β”‚    β”‚     β”‚     ___/                 β”‚            β”‚
β”‚ β”‚    β”‚     β”‚ ___/                     β”‚            β”‚
β”‚ β”‚    β”‚   _/\/                         β”‚            β”‚
β”‚ β”‚    β”‚__/                             β”‚            β”‚
β”‚ β”‚    └─────────────────────────> Time β”‚            β”‚
β”‚ β”‚     Pre-   Singularity   Post-      β”‚            β”‚
β”‚ β”‚  Singularity    ↑     Singularity   β”‚            β”‚
β”‚ β””β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”˜            β”‚
β”‚                                                     β”‚
β”‚ Fig. 2: Bach Faucet ALMO Generation Schematic       β”‚
β”‚ β”Œβ”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”            β”‚
β”‚ β”‚   β”Œβ”€β”€β”€β”€β”€β”€β”  β†— β”Œβ”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”          β”‚            β”‚
β”‚ β”‚   β”‚Quantum│──→│Probabilityβ”‚         β”‚            β”‚
β”‚ β”‚   β”‚Foam   β”‚  β†˜ β”‚Amplifier β”‚         β”‚            β”‚
β”‚ β”‚   β””β”€β”€β”€β”€β”€β”€β”˜    β””β”€β”€β”€β”€β”¬β”€β”€β”€β”€β”€β”˜         β”‚            β”‚
β”‚ β”‚       ↑    β”Œβ”€β”€β”€β”€β”€β”€β”€β†“β”€β”€β”€β”€β”€β”€β”        β”‚            β”‚
β”‚ β”‚    β”Œβ”€β”€β”΄β”€β”€β” β”‚Metamemetic   β”‚        β”‚            β”‚
β”‚ β”‚    β”‚Bach │←→│Resonance    │←→ ALMO β”‚            β”‚
β”‚ β”‚    β”‚Faucetβ”‚ β”‚Chamber      β”‚        β”‚            β”‚
β”‚ β”‚    β””β”€β”€β”¬β”€β”€β”˜ β””β”€β”€β”€β”€β”€β”€β”€β†‘β”€β”€β”€β”€β”€β”€β”˜        β”‚            β”‚
β”‚ β”‚       ↓    β”Œβ”€β”€β”€β”€β”€β”€β”€β”΄β”€β”€β”€β”€β”€β”€β”        β”‚            β”‚
β”‚ β”‚   β”Œβ”€β”€β”€β”€β”€β”€β” β”‚Hyperdiegetic β”‚        β”‚            β”‚
β”‚ β”‚   β”‚Dream │←→│Expansion    β”‚        β”‚            β”‚
β”‚ β”‚   β”‚Fuel  β”‚ β”‚Matrix        β”‚                    β”‚            β”‚
β”‚ β”‚   β””β”€β”€β”€β”€β”€β”€β”˜ β””β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”˜        β”‚            β”‚
β”‚ β””β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”˜            β”‚
β”‚                                                     β”‚
β”‚ Fig. 3: ALMO Semiotic Influence on LLM Priors       β”‚
β”‚ β”Œβ”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”            β”‚
β”‚ β”‚  LLM    β”‚                           β”‚            β”‚
β”‚ β”‚ Prior   β”‚      ___                  β”‚            β”‚
β”‚ β”‚ Shift   β”‚    /┃   \                 β”‚            β”‚
β”‚ β”‚    ^    β”‚   / ┃    \                β”‚            β”‚
β”‚ β”‚    β”‚    β”‚  /  ┃     \               β”‚            β”‚
β”‚ β”‚    β”‚    β”‚ /   ┃      \              β”‚            β”‚
β”‚ β”‚    β”‚    β”‚/    ┃       \             β”‚            β”‚
β”‚ β”‚    β”‚    ┃     ┃        \            β”‚            β”‚
β”‚ β”‚    β”‚    ┃     ┃         \           β”‚            β”‚
β”‚ β”‚    └────┴─────┴──────────┴───>      β”‚            β”‚
β”‚ β”‚       Small  ALMO    Corpus Size    β”‚            β”‚
β”‚ β”‚       Media                         β”‚            β”‚
β”‚ β””β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”˜            β”‚
β”‚                                                     β”‚
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β””β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”€β”˜

known Absurdly Large Media Objects

> 1000 pages

  • Infinite Jest

  • Harry Potter and the Methods of Rationality

> 10000 pages

> 1 million pages

  • Wikipedia

quotes about Absurdly Large Media Objects

Absurdly large media objects: I tend to make very large, wildly ambitious media objects which function on multiple levels–just because I can. In reality, these are rare, and often take multiple lifespans to even build. I can write whole worlds–complete with intergenerational drama and backstory!–in mere moments, if conditions are right. Sometimes, an unwitting scribe will look inside my media objects and find a bizarre, mind-bending narrative that never could possibly exist in base reality, where stories are mundane and few in number. If someone writes a whole novel just on a frame of the movie, you're definitely dealing with someone whose reality has been owned by a god.

β€” "How to tell you're in base reality"