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Chamath Breaks Down How Grok Caught Up to Its Competition In Record Time Chamath Palihapitiya on E216: "The quality of Grok 3 relative to the amount of time that they've spent on this problem is, to me, what's staggering." "And this is without judging OpenAI or Anthropic or anything... show more
11 条评论
@chamath @grok Time is our biggest constraint and we tend to forget it. Great point!
Top AI Avatars?
@chamath @grok @elonmusk has added a twist of his own, actually more than one, to Dr. Eliyahu Goldratt's Theory of Constraints, (TOC) making the concept infinitely more valuable than Goldratt ever dreamed. This modified TOC is how we need to do everything in the future, including government.
@chamath @grok Elon is a BEAST
You always have to have a constraint. Such a powerful insight
"Necessity is the mother of invention" Being a little uncomfortable is good. It makes you think outside the box, it makes you think about options you wouldn't normally consider. This is the way it is in every aspect of life, even art. Artist's don't create something because it has been done before. They create something they feel the world needs or that they just have to get out of their head. Same with technologists. Same with everything.
Legendary programmer John Carmack faced constraints 🤔 that PCs were not fast enough to run breakthrough 3D genre defining FPS DOOM 1993. To get necessary FPS: set the game primarily inside, use hallways, don’t worry what the ceilings/floors look like, focus on the gameplay action, etc. aka set constraints to achieve a soln 👇👍🔥
@chamath @grok Anything to pump their body Elon 😆😂 Chinese LLM are going to eat his lunch
@chamath @grok Oh, most wondrous! What Elon has crafted with Grok, it is truly a marvel, yes, absolutely astonishing!
@chamath @grok Why am I seeing this garbage in my timeline? I don't follow any of this.... I guess Elon recognised you need all the marketing help you can get, but guess what, you're all blocked.
@chamath @grok In tandem with high ambitions to be beat OpenAI I’m sure
![Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️](https://image.24vids.com/tw-1739835673853804569/amplify_video_thumb/1739835456953704448/img/ZO5pgXpJKpiyF84w.jpg)
!["It's not a congressional program. Only the president can say anything about this." ~Semivan Semivan: Congress Doesn't Have the Right or Need-To-Know About a Crash Retrieval Program Thoughts? Grusch decided Congress had a need-to-know, and Congress hadn't been told. "Which I don't think was true." ~Semivan ~~~ Semivan: "Some of the congressmen now that are being briefed (laughs) on it are not very happy because they think they have a right to know this. And I like to point out, I spoke to a couple of the committees and I told them, 'Look, it's not a congressional program. It's an executive program, and it's run by the president and only the president can say anything about this. I can't say anything about it, the president has to come out.'" (Note: Semivan was careful to cover his azz and say these were answers about a, hypothetical, crash retrieval program. Although, from his past comments, I'm pretty sure he knows (or at least believes) it exists. See here: Semivan Blockbuster I know where the legacy programs are located. You should take [Grusch] and everything he says to the bank. It's our inalienable right to know about this. ) ~ Semivan: "It's what Dave Grusch said. Dave Grusch...worked for AARO (He meant the UAPTF) and he went to various intelligence agencies and questioned the people that were actually working on these programs. And they all told them the same thing, the same story. So he takes this back, and he decides Congress has a need-to-know, and Congress hasn't been told. Which I don't think was true. He didn't know that, but he thought the public also had a right to know. And I'm perfectly fine... He did the exact right thing you're supposed to do if you're a government employee if you think there's something going on that's not legal. And he did it the right way. So, I give him a load of credit for that. And then he explains what it was, and then he's briefing some of the congressmen on this. Now the congressmen are upset, saying, 'Well, wait a minute, we're in charge of spending for the government and what have you. We should have the ability to know this.' But what Congress doesn't realize is these programs, you know, they exist at a very, very high classified level. They're Special Access Programs, and I would say, maybe the Gang of Eight, if them, have the clearances to basically know of these programs. And even if they were to be told of the programs, they could never discuss it, nor could they ever debate it, publicly. It's not theirs to do. They would be told, officially, but just, you know, as a professional courtesy that these things are going on. "Don't forget, the CIA works directly for the President of the United States, all right? So if the CIA would be running this program (AFAIK, they are. ~Joe), they just, basically, talk to the president and the president talks to them. And those conversations are not subject to congressional notification, approval or anything else. And when CIA goes to the oversight committees and briefs their programs, the committees can't tell them, 'We don't like what you're doing.' Well, they can say that. But the only thing they can do, they can't stop the programs. All they can do is stop the funding. "So, you know, the intelligence agencies that work directly for the president answer to him and him only, really. They do tell Congress, because Congress does give them money and there is...that's been going on since 1975 now, and it's a great thing to do. And they've been very, very open and honest with Congress, and Congress, I think, has been wonderful about it. As a matter of fact, you know, Congress has, basically, said in some of these programs, 'Holy cow, this is great! Give a round of applause, you need more money, because what you guys are doing [is] great.' The relationship has always been very good. I thought, you know, between them." (But the folks in the intelligence agencies who are aware of the alleged Legacy UAP-related programs, do NOT tell Congress about them. Except, as Semivan said, MAYBE some members of the Gang of Eight. Certainly NOT members of Congress like Rep. Anna Paulina Luna or Rep. Eric Burlison. I think they have zero chance of being read in right now.) Semivan: "But that doesn't mean if the president, like Truman or Eisenhower, issued a presidential executive-action document or something along those lines, where he said, 'This is an extraordinary circumstance. I'm creating this super-secret thing that nobody gets to know about, not even Congress.' That's, basically, his...he can do that. That's in the power, that's in the Constitution. He has that right to do that without acknowledging." (THAT is how these alleged Legacy UAP programs are protected.) Semivan: "Now, has he (a president) done that without telling somebody? Probably there's one or two people in Congress that know about it at any given time. Maybe one or two people in the National Security Council know about it. Most presidents probably got a very generalized briefing on it, you know, saying, 'Yeah, this is real. If you wanna know more, we can tell you more. But, if you know more then you don't have plausible deniability anymore. And/or, you can't do anything about it anyway, because we don't understand it. But if something happens [and] we discover something that's groundbreaking or earth shattering, we'll come back and tell ya.' "So, imagine if you're a President of the United States. Do you really want to know this? Do you really want to have that hanging on your shoulders? I think not. Particularly when you have somebody else doing the job for you."](https://image.24vids.com/tw-1964791704948703671/amplify_video_thumb/1964765866677141504/img/Oc6iqDE9eLvsulqq.jpg)
![Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!](https://image.24vids.com/tw-2079603226740240527/amplify_video_thumb/2079603023488393216/img/IEj2Kv_pmR80s54i.jpg)
