Organizations: X

Groups, collectives, magazines, venues, and institutions operating inside the scene. This section collects the X slice of the category index.

Reference Index

Use the title to open the reference entry. Use the caret to expand a compact inline dossier with source context, issue trail, related pages, and outbound links.

X

X is a recurring organization in the Astral Codex Ten archive, appearing 6 times across 6 issues between September 13, 2023 and April 06, 2026. The archive places it in contexts such as "When he started the original X (later PayPal),"; "worst thing he's done at Twitter/X"; "X and the rest are pulling every trick they know to prevent you from leaving their walled garden". It most often appears alongside Elon Musk, Twitter, Ashlee Vance.

Article page
X
Mention count
6
Issue count
6
First seen
September 13, 2023
Last seen
April 06, 2026
September 13, 2023 · Original source
Definitely no. For one thing, he usually ends up in an industry by coincidence. He went into aerospace because he wanted to pull a publicity stunt with mice on Mars, tried to buy a rocket from the Russians, they were going to rip him off, and he decided to build a better rocket to spite them. He went into cars because the founders of Tesla asked him for an investment, he liked the company, and then he thought they were doing a bad job and he needed to take over. He took over Twitter because he was addicted to Twitter, got a seat on the board, and then the other board members said he had to behave and he didn’t want to.
I think this level of intensity - combined with a high-even-if-not-unprecedently-high level of engineering ability - is enough to explain why he succeeds despite his flaws. Do you think Elon will succeed at X/Twitter? I lean towards yes.
On the other hand, this time Ashlee Vance himself is skeptical. He says:
September 18, 2023 · Original source
1: Comments From People With Personal Experience 2: ...Debating Musk's Intelligence 3: ...Debating Musk's Mental Health 4: ...About Tesla 5: ...About The Boring Company 6: ...About X/Twitter 7: ...About Musk's Mars Plan 8: ...Comparing Musk To Other Famous Figures 9: Other Comments 10: Updates
I’ve heard via my personal network (which I trust more than this Ashlee Vance book) that Musk did used to drill down into engineering level decisions at SpaceX. Whether he’s actually extremely technically proficient, I don’t know. I’ve also heard this has slowed down a lot in the last few years since he’s focused on Twitter. (Note that the above is hearsay, I’ve never met the man myself or worked for any of his companies).
heliotropic on Twitter writes:
April 18, 2024 · Original source
You see his face from a different angle, and something snaps into place. “Hey, aren’t you @DanielC35801 from Twitter?”
“Like links, but not deboosted on social media. X and the rest are pulling every trick they know to prevent you from leaving their walled garden. Now the customer is getting some tricks of their own to fight back. Next we’re working on implanting QR codes in videos, so your links can get maximal algorithmic boosting.”
April 14, 2025 · Original source
No direct inline source block was recovered for this mention.
September 25, 2025 · Original source
“Lots of people are tripped up by not condemning enough things. Imagine that you want to express discontent with the Trump administration restricting food stamps, but someone points out that it’s pretty suspicious that you condemn food insecurity for white people but you didn’t condemn the famine in Gaza equally hard. So you try condemning the famine in Gaza, and someone points out that it’s pretty suspicious that you condemn starvation when it makes Jews look like the bad guys, but you didn’t condemn the famine in Ethiopia equally hard. So you try condemning the famine in Ethiopia, but then people tell you that’s ‘telescopic altruism’, because you didn’t condemn a murder that happened in your own city. So you try condemning a murder in your own city, but it was a black-on-white murder, and people say that it’s pretty suspicious that you didn’t condemn the latest white-on-black murder equally hard. The only solution is to monitor the news 24-7, condemning each thing as soon as it happens, in exact proportion to how bad it is. But nobody has time for that. So you give us access to your Twitter account and we do it for you. We promise not only to condemn all bad things within one business day of them happening, but to use all the appropriate words. You know those politicians who get in trouble because they condemned “the recent massacre” in vague terms but didn’t use the words “terrorism” or “radical Islam”, or because they said “killed” instead of “murdered”? If they’d used Condemnr, we could have tweeted “We condemn the recent radical Islamic terrorist massacre in Fairtown that murdered nine people #terrorism #radicalislam #murder”, and their PR would be immaculate.”
“Yeah,” says Vinaya. “I think I might be the only one. The thing is - it feels like profanity ought to mean something. There ought to be words where if you say them, people will audibly gasp. Mothers will pull back their children and say ‘No, no, don’t interact with that person, they use profanity!’ But you can’t do that anymore. People like to imagine they become some sort of dangerous motorcycle gangster when they say ‘fuck’. But the least cool person you know says ‘fuck’ all the time. They have a Twitter account that consists entirely of statements like ‘The orange fuckface is up to his usual fuckcrustable chumpfuckery’. The sort of people who the thinkpiece writers imagine using ‘heckin’ actually have a brand of mustard in their fridge called something like ‘Dan’s Fucking Awesome Spicy Mustard’ and never miss an opportunity to point it out to visitors. Something’s got to give. So I asked myself - what word will genuinely make strangers gasp? What makes your friends take you aside privately and tell you that you really shouldn’t be saying words like that? What do the self-appointed guardians of good taste treat as totally beyond the pale, as so radically Other that it automatically makes you one of the outcasts of society? And the only answer that made sense was ‘heckin’. Which is obvious in retrospect. It’s the Barberpole Model Of Fashion all over again. In 1960, the most rebellious and dangerous thing imaginable was a socialist who wore bandanas and supported equal rights for black people. Gradually more and more people who wanted to look cool and dangerous took this identity, until it became the cringiest and most try-hard thing imaginable, and now the really rebellious and dangerous youth are differentiating themselves by dressing in fancy pressed shirts and being racist. It’s a generational cycle. In the same way, once every last milligram of edginess has been squeezed out of the word fuck, the age of heckin will begin anew.”
“Nishin, have you been using Twitter again?”
April 06, 2026 · Original source
No direct inline source block was recovered for this mention.
X.ai

X.ai is a recurring organization in the Astral Codex Ten archive, appearing 5 times across 5 issues between September 18, 2023 and October 22, 2025. The archive places it in contexts such as "if X.ai does anything big"; "Grok (by Elon Musk’s x.ai, not by OpenAI)"; "Elon Musk's safety advisor at X.AI". It most often appears alongside Elon Musk, OpenAI, Anthropic.

Article page
X.ai
Mention count
5
Issue count
5
First seen
September 18, 2023
Last seen
October 22, 2025
September 18, 2023 · Original source
Taking near-term extinction risk seriously, even getting to Mars wouldn't necessarily outweigh nudging the AGI field in a more dangerous direction (i.e. if OpenAI has contributed more to capabilities than alignment, or if X.ai does anything big).
IMHO these are the 3 things (X.ai, openai, and Ukraine) that matter most about Musk, and so far he seems net negative. The other massive things are rounding errors in the face of that, yet get more attention. (The extreme case: Twitter/X is a rounding error *on those other rounding errors*, and ofc that gets discussed 1000x more than everything else.)
January 18, 2024 · Original source
17: Related: Grok (by Elon Musk’s x.ai, not by OpenAI) will sometimes say that the OpenAI content policy forbids it from answering a question. Although this originally raised suspicions of code-plagiarism, an x.ai engineer claims that it’s just parroting its training data, which includes this as a common AI response in these sorts of situations.
October 10, 2024 · Original source
Center for AI Safety is the one I already knew about. An AI researcher named Dan Hendrycks got really into AI safety and apparently works 70 hour days; I try to follow this space closely and am boggled by the amount of projects he has going at any given time - several lobbying efforts, a bunch of research projects, various showcases of model capabilities, and being Elon Musk's safety advisor at X.AI. Hendrycks has gotten a reputation for being incorruptible (he gave away ~$20 million in AI company equity2 after trolls tried to turn it into a "conflict of interest" and use it to discredit his lobbying) and intense (I don't think it's a coincidence that he gets along with Elon so well). At some point he founded CAIS to keep track of all his efforts, I'm not surprised to see them involved here too, and I imagine they provided some much-needed technical expertise.
The big AI companies split among themselves. OpenAI, Meta, and Google opposed the bill, X.AI supported, and Anthropic dithered on an earlier version but ultimately came out in support after their feedback was taken into account. Many opponents claimed that the bill was a Trojan Horse attempt at regulatory capture by the big AI companies, so it was fun watching three of the biggest AI companies come out against it and prove them exactly wrong. I don’t think any opponents ever changed their minds, admitted they’d made a mistake, or even stopped arguing that it was a big AI company plot - but hopefully enough people were paying attention that it discredited them a little for the next fight.
I got some pushback on this claim and agree it’s confusing. Hendrycks divested from his equity in a safety company called Gray Swan; this wasn’t worth anywhere near that amount. But he also says he turned down $20 million in equity in Elon Musk’s x.AI.
February 27, 2025 · Original source
(also, there was a brief brouhaha when X.AI changed the prompt to tell Grok not to criticize Elon; after some outrage, the offending statement was removed and blamed on “an ex-Open-AI employee” who “hadn’t fully absorbed the culture”. Awkward, but props to X.AI for their unusual decision to have a non-secret prompt, which seems increasingly important for transparency and helped this incident end well).
October 22, 2025 · Original source
Feels bad, man But it’s also possible that Andreessen will become a major Anthropic investor before the end. There’s some textual support here too, this time in Daniel 7, another apocalyptic prophecy generally considered to address the same events as Revelation from a different perspective. Daniel has a vision of four beasts: a winged lion, a bear, a leopard, and a many-headed monster. The monster is the worst and final beast, and it has ten horns. Then a “little horn”, a “horn with human eyes”, shows up, defeats three of the original horns, and takes over. Then the monster begins a reign of terror, and finally is defeated by God. If, as before, the beasts represent companies, then the four beasts of Daniel correspond to the four major AI labs: Google DeepMind, X.AI, OpenAI, and Anthropic. How? I think these correspond to the ethnicity of the founders: Bear = Google, founded by Sergey Brin (Russian)
Leopard = X.AI, founded by Elon Musk (South African)
xAI

xAI is a recurring organization in the Astral Codex Ten archive, appearing 5 times across 5 issues between July 17, 2023 and February 02, 2026. The archive places it in contexts such as "Elon Musk has a new AI company, xAI"; "This isn’t a worse problem for Musk and xAI than for anyone else"; "The Grok vs. xAI saga continues". It most often appears alongside Elon Musk, OpenAI, AGI.

Article page
xAI
Mention count
5
Issue count
5
First seen
July 17, 2023
Last seen
February 02, 2026
July 17, 2023 · Original source
Elon Musk has a new AI company, xAI. I appreciate that he seems very concerned about alignment. From his Twitter Spaces discussion:
July 01, 2025 · Original source
...you can too (if you’re good at trigonometry and have lots of free time). 36: A humanitarian aid veteran analyzes what went wrong with food distribution in Gaza (X) . 37: The Grok vs. xAI saga continues : 38: Expert survey on adolescent social media use (h/t Derek Thompson ): 39: Between 1993 and 2021, female labor force participation in India stayed constant , but TFR...
October 22, 2025 · Original source
No direct inline source block was recovered for this mention.
January 13, 2026 · Original source
No direct inline source block was recovered for this mention.
February 02, 2026 · Original source
No direct inline source block was recovered for this mention.
Twitter

X/Twitter is a recurring organization in the Astral Codex Ten archive, appearing 2 times across 2 issues between September 13, 2023 and September 18, 2023. The archive places it in contexts such as "Do you think Elon will succeed at X/Twitter?"; "About X/Twitter". It most often appears alongside Ashlee Vance, Boeing, Elon.

Article page
Twitter
Mention count
2
Issue count
2
First seen
September 13, 2023
Last seen
September 18, 2023
September 13, 2023 · Original source
I think this level of intensity - combined with a high-even-if-not-unprecedently-high level of engineering ability - is enough to explain why he succeeds despite his flaws. Do you think Elon will succeed at X/Twitter? I lean towards yes.
Definitely no. For one thing, he usually ends up in an industry by coincidence. He went into aerospace because he wanted to pull a publicity stunt with mice on Mars, tried to buy a rocket from the Russians, they were going to rip him off, and he decided to build a better rocket to spite them. He went into cars because the founders of Tesla asked him for an investment, he liked the company, and then he thought they were doing a bad job and he needed to take over. He took over Twitter because he was addicted to Twitter, got a seat on the board, and then the other board members said he had to behave and he didn’t want to.
On the other hand, this time Ashlee Vance himself is skeptical. He says:
September 18, 2023 · Original source
1: Comments From People With Personal Experience 2: ...Debating Musk's Intelligence 3: ...Debating Musk's Mental Health 4: ...About Tesla 5: ...About The Boring Company 6: ...About X/Twitter 7: ...About Musk's Mars Plan 8: ...Comparing Musk To Other Famous Figures 9: Other Comments 10: Updates
6: Comments About X/Twitter David writes:
I’ve heard via my personal network (which I trust more than this Ashlee Vance book) that Musk did used to drill down into engineering level decisions at SpaceX. Whether he’s actually extremely technically proficient, I don’t know. I’ve also heard this has slowed down a lot in the last few years since he’s focused on Twitter. (Note that the above is hearsay, I’ve never met the man myself or worked for any of his companies).
X Club

X Club is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between May 20, 2022 and May 20, 2022. The archive places it in contexts such as "leader of an influential group of scientists called the X Club". It most often appears alongside Aldous Huxley, Alexander Macmillan, Alfred Russel Wallace.

Reference entry
X Club
Mention count
1
Issue count
1
First seen
May 20, 2022
Last seen
May 20, 2022
May 20, 2022 · Original source
High-profile controversies about homeopathy and cold nuclear fusion in the 1980s. How did Nature become the main scientific forum in the UK and, later, the world? As we saw, the weekly publication schedule was one of the key factors, since discussion requires people to be able to reply to each other in a timely fashion. But speed alone wasn’t sufficient. There were many scientific weekly periodicals in Victorian Britain, and Nature wasn’t even the most popular: in the 1870s, “other weeklies—such as Chemical News, Knowledge, and English Mechanic—all boasted more subscribers than Nature’s estimated 5,000.” Why didn’t one of these magazines become the best venue to discuss science? One answer seems to be that Norman Lockyer personally relished controversy and encouraged “spirited disagreement” within his journal, making it ideal for whoever was itching to pick a fight over scientific ideas. If Lockyer had chosen to dampen the tone of some Letters to the Editor he received, or even reject them for publication, then the debates would have moved elsewhere. Easy enough to make a parallel with the social media that thrive today on what we’ll also politely call “spirited disagreement.” Another answer is that Nature managed to occupy the sweet spot on the tradeoff curve between generalist and specialist publications. Since it covered all fields of science, Nature was a better fit than a magazine like Chemical News to discuss interdisciplinary questions as well as questions on how science should be done. At the same time, it was a specialized journal in terms of its audience and contributors: they were almost all professional scientists. Add the fact that it was read by most scientists in Britain, as well as a significant proportion of non-British scientists, and you get a publication that was widely considered the best means “to get to the right people” as the editor of Chemical News himself admitted in 1895. Establishing this network of “the right people” was an explicit goal of Lockyer from the beginning. One of the first things he did after founding the journal was to ask “men of science—some whom he knew personally, others whom he knew by reputation” (i.e. he cold emailed them) to publish their names as supporters and future contributors. The most important of those names was the aforementioned Thomas Huxley, who was not only a prominent biologist but also a popular essayist in the literary periodicals as well as the leader of an influential group of scientists called the X Club. Huxley was a strong supporter of Lockyer’s project, and he frequently wrote for Nature in the early years, which helped it cement its reputation. Thomas Huxley. Also known for establishing a network of other famous Huxleys, such as his grandson Aldous, the author of Brave New World. Victorian Britain’s most beloved scientist — yes, I’m talking about Darwin again — also enjoyed publishing in Nature. Darwin was an elderly and highly respected scientist by the time of the journal’s founding, and the abstracts and letters he frequently sent to Lockyer’s publication certainly gave it a status boost. And this was only the start of a long list of household names who got involved with Nature at one point or another. In physics, for instance, Lord Kelvin, Ernest Rutherford, Niels Bohr, Enrico Fermi, and Lise Meitner were all important contributors. Some of the most famous papers in the field, such as James Chadwick’s 1932 report on the possible existence of the neutron, or Meitner and Otto Frisch’s 1939 letter proposing the idea of nuclear fission, were published in Nature. In biology, James Watson and Francis Crick’s 1953 work on the structure of DNA is probably the most historic paper to have appeared within its pages. Since Nature in the mid-20th century was popular but still not very prestigious, I’m comfortable assuming that these famous scientists and discoveries helped its reputation rather than the other way around. Today, the arrow of causation is mostly reversed: scientists become influential because they publish research in the most prestigious journal, rather than the journal becoming prestigious because it publishes big names and big papers. Of course, this is a self-reinforcing feedback loop that keeps benefiting Nature, thanks to network effects. Finally, a word about language. Nature, obviously, is published in English. But English wasn’t the dominant intellectual language back in the 19th century: French and German were more important. The rise of English as the lingua franca of science occurred during the 20th century, thanks to the political dominance of the British Empire and then the United States. As a result, Nature and its American equivalent Science gained a major advantage over their French (e.g. La Nature) and German (e.g. Naturwissenschaften) counterparts. Making Nature doesn’t belabor this self-evident point, but it’s worth mentioning that Nature benefitted from a global network effect that would have been far less attainable outside the Anglosphere. Survival and Conservatism Speed, elite networks, and English are great, but they won’t help if your publication fails to turn a profit and shuts down. As they say, the lesson of survivorship bias is that you should optimize for being a survivor. Thus the story of Nature is also the story of how it managed to stay alive, unlike most of its contemporaries. Nature was (and still is!) a venture of a London publisher called Macmillan and Company. It was very much intended to make money. But Victorian Britain was a crowded market for periodicals. It was common for publications to last just a few years after proving unable to attract enough subscribers. Lockyer himself had been briefly involved as the co-founder and science editor of a generalist magazine called The Reader, which existed only from 1863 to 1867 (and lost its science section in 1865). It would be tempting to contrast this with the popular success of Nature, but as we saw, most of Nature’s target audience couldn’t even understand the journal, and as a result both its subscriber base and revenue remained small. The survival of Nature therefore depended on the goodwill of its owner, Alexander Macmillan. And it took a lot of goodwill! Nature operated at a loss for an entire 30 years. Only at the very end of the 19th century did it manage to turn a profit. This surprising tolerance for financial loss seems to have stemmed from the other activities of Macmillan and Company: they sold scientific books, and Nature was a good way to reach that market. Still, without a wealthy publisher who was committed to back up Lockyer’s project for a long time, it would likely not have survived. Lockyer also displayed impressive commitment. He remained at the helm of the journal for a full half-century, from 1869 to 1919. Although none of his successors would hold the position that long, most would last at least twenty years, resulting in a strikingly short list of eight editors-in-chief over a 153-year history. Meanwhile, the journal was never sold: Macmillan and Company still exists and still owns Nature, even though corporate mergers have made the exact ownership structure difficult to figure out. (Springer Nature, a company created in 2015 by merging some divisions of Macmillan and other entities, is the immediate parent company of Nature.) The picture that emerges is that of a stable, conservative institution, with committed owners and editors, that has changed slowly even as it was a witness to the changes in science itself. This is nicely reflected in the stability of Nature’s mission and visual identity. The original mission statement was left unchanged from 1869 to 2000, including gendered references to “Scientific men” and “men eminent in Science.” The current version is shorter and gender-neutral, but overall similar, although I note that the ordering of the two main aims has been reversed: First, to serve scientists through prompt publication of significant advances in any branch of science, and to provide a forum for the reporting and discussion of news and issues concerning science. Second, to ensure that the results of science are rapidly disseminated to the public throughout the world, in a fashion that conveys their significance for knowledge, culture and daily life. Similarly, the original masthead image, which dates from the very first issue, appeared at the top of the journal for 89 years, until 1958 (with slight variations). A central point of Making Nature is that Nature co-evolved with the British and international institutions of science. To do so, it had to strike a balance between conservatism and innovation. My impression is that Nature was more often on the conservative end of the spectrum, serving as a rock-solid stage where the rest of science could take place. Such an attitude was helpful from the beginning, but it probably became even more important after the 1970s, when everything changed. III. WTF Happened in the 1970s? A fun puzzle from the social sciences: what happened in the early seventies? As evidenced from a multitude of charts, various patterns in society seem to have veered off course around 1971, including growth in wages, inflation, housing costs, energy consumption, number of lawyers, divorce rates, fertility rates, and meat consumption. Whether it was a coincidence or part of the same mysterious phenomenon, we can add to this list the rise of prestige in the science publishing industry. To be clear, I’m the one who claims that this shift was a specific and momentous event. Melinda Baldwin acknowledges many times that Nature went from a low-grade magazine to a prestigious journal, but she remains vague as to what, exactly, was the turning point. In the chapter on the 1970s, she treats the increased selectivity and reputation as just one of many things that happened during this period. It was only in the course of writing this review — with a deliberate focus on prestige — that I realized something significant had occurred in that decade, and that this something affected more than just Nature. Let’s see what the book does tell us, and then I’ll offer a plausible explanation from elsewhere. Changes to Nature in the 1970s The 1970s mostly coincide with the leadership of Nature’s shortest-tenured editor, David Davies. Davies took over from John Maddox in 1973 and proceeded to make a number of changes. He made Nature a unitary publication again, after a short-lived experiment to split it into three journals. He reformed the style guide for contributors. He allowed for cartoons and some humor in his editorials. He also overhauled the journal’s physical appearance: from now on, Nature’s covers would feature interesting images as opposed to articles or advertisements. Today’s covers are still in that tradition. Here’s the Nature cover from 2016, as used on the Wikipedia page of the journal. Nature under Maddox and Davies followed the same trend of internationalization as in the previous decades, but the seventies saw what was perhaps the fastest growth outside the UK. Consider these approximate statistics on the origin of research articles from the years when there was a change in editorship: 1966 (when Maddox became editor): 40% British and 60% international
X Prize Foundation

X Prize Foundation is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between February 10, 2022 and February 10, 2022. The archive places it in contexts such as "There currently are organizations like the X Prize Foundation which host these sorts of contests". It most often appears alongside 2018, @BendiniUK, @benyeohben.

Reference entry
X Prize Foundation
Mention count
1
Issue count
1
First seen
February 10, 2022
Last seen
February 10, 2022
February 10, 2022 · Original source
#90: A Crowdfunding Platform For Bounties On Beneficial Projects viaPrize.org is a free and open crowdfunding platform for bounties on socially beneficial projects. There currently are organizations like the X Prize Foundation which host these sorts of contests, however there is no platform which allows open submissions of both bounty ideas and bounty funding. viaPrize.org unbundles ideas, funding, and execution by permitting anyone to submit great bounty ideas, regardless of their resources or know-how. It further unbundles the funding by crowdfunding contributions which then combine into a larger and more worthwhile bounty prizes. If you're interested you can help in the following ways: 1) Post bounty ideas to the site (no funding need) 2) Try to win existing bounties 3) Pledge or contribute funding to bounties 4) Help out with the project by volunteering, promoting the site, advice, or useful contacts (e.g. X Prize). Some bounties up right now that you might like: Transparent bank accounts, A no-login shareable calendar, A hotkey standardization app. Contact: info@viaprize.org
X-men

X-men is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between August 16, 2024 and August 16, 2024. The archive places it in contexts such as "He took Quicksilver and the Scarlet Witch from the X-men"; "the X-men and the Avengers team up". It most often appears alongside 20th Century Fox, Abomination, Abomination.

Reference entry
X-men
Mention count
1
Issue count
1
First seen
August 16, 2024
Last seen
August 16, 2024
August 16, 2024 · Original source
Given Marvel Comics, why Silver Age (1961-1965)? I.a. Why Superhero Comic Books? The winner of last year’s Astral Codex Ten book review contest was Brandon Hendrickson. Brandon wrote about Kieran Egan’s The Educated Mind. One of the foundations of Egan’s educational philosophy is that people learn through stories. He believes early education should focus on teaching lessons through myths and legends. This matches my experience. My kids’ favorite podcast is Greeking Out – a very well produced, very entertaining, National Geographic podcast about Greek Legends. Aside #1: When my oldest daughter was three years old she would ask everyone she met “Do you know any myths? Can you tell me a myth?” She especially liked asking people from different places to get myths from their local cultures. Once, she asked the question to a friend of mine who grew up in South Africa, “Can you tell me any South African myths?” He struggled for a minute and then said, “Okay! I have one! Bread never falls butter side down!”. That was not the type of myth she was looking for; nor the type of myth we will be discussing in this review. Every culture has foundational myths. These stories are entertaining and engaging, but they also teach valuable lessons about both what is important in that culture, and how people in that culture are expected to behave (or at least the Platonic Ideal of how they should behave). In the modern, Western world, we have assimilated many of these foundational stories, particularly the Greek myths. My kids definitely know the Greek myths, but they also know elements of Norse mythology, Egyptian myths, stories about Anasi from West Africa and more. More fundamentally my wife and I, while not religious ourselves, have made a point of exposing the kids to the stories from the Bible. It is not politically correct to call Biblical stories “myths”, but they serve the same purpose – shared cultural understanding of the way the world works. My wife grew up without any religion, and when she was in high school, she struggled with the metaphors and religious allegories that were omnipresent in most of the Western canon. In our culture, familiarity with the Bible is important for an educated person – whether they are religious or not – because it is the foundation of so much of the rest of our culture. I believe the other set of mythological stories that are foundational to our culture are – and by this point I am sure you see where I am going here – comic book superheroes. If true, then having more than a surface-level understanding of the most important superhero stories is important in a similar way to that knowing the Bible stories is important. “Do unto others as you would have them do unto you” is an important idea to understand. So is, “With great power comes great responsibility”. I.b. Why Marvel? While there are many independent superheroes that are not owned by major conglomerates, the superheroes who have built our modern foundational myths are currently owned by two corporations. Warner Bros. Discover owns the DC library of superheroes including Superman, Batman and Wonder Woman. In 2009 Disney purchased Marvel Comics and took ownership of their characters, including Spiderman, X-men and the Avengers. Aside #2: Marvel has sold temporary film rights to many of their characters over the years. The most relevant sales started in 1994 when Marvel sold the film rights of X-men and mutants to 20th century Fox, then in 1996, when Marvel went bankrupt, Fox picked up the rights to the Fantastic Four (and New Line picked up Blade). In 1999 Marvel sold the film rights (and live action TV, and animated TV longer than 44 minutes) of Spider-man and related characters to Columbia Pictures (part of Sony) for $7MM. Marvel actually attempted to sell ALL of their remaining Marvel IP film rights to Sony for $25MM, but the top management at Sony was not interested. Sony’s management allegedly told their chief negotiator “Nobody gives a shi*t about any of the other Marvel characters. Go back and do a deal for only Spider-Man). Disney acquired Marvel in 2009, and then Fox in 2019, bringing the two separated packages of characters all back together under one roof (Blade reverted back to Marvel in 2012). Sony still owns the rights to Spider-man but has made a deal with Disney to include some of his films within the Marvel-Disney universe. Marvel sold the film rights of The Hulk to Universal in 1990 and the current status of that agreement is complicated (the consensus is that Marvel now controls the film rights to the character, but Universal owns distribution rights to any stand-alone Hulk film, which could be why Disney let's Hulk co-star in Thor movies, but not vice versa). In the early aughts Marvel wanted to build their own film franchise, but were limited to only using their remaining “B-list” characters – Spider-man, X-men, and the Fantastic Four were all off limits. Fortunately, Kevin Feige, president of production for Marvel at the time, saw a way forward. He convinced Ike Perlmutter, Marvel CEO, to allow for the production of a series of films with the remaining characters begining with Iron Man (2008). Jon Favreau directed and cast Robert Downey Jr as Tony Stark. The film blew away expectations. Kevin’s plan of a series of movies where the characters would interconnect was suddenly feasible. Iron Man was followed by The Incredible Hulk, Thor, and Captain America: The First Avenger. None managed the box office magic of Iron Man, but all were successful enough that the plan stayed on track. In 2012 the characters were all brought together in the first Avengers film, which opened to over $200MM domestically and went on to gross more than $1.5B (which made it the 3rd highest grossing film of all time). Marvel became the first studio to take the interconnected world of their comic books and make the model work on the big screen (for a much larger audience). Once the model was proven to work, other studios tried to duplicate it. Aside #3: Warner Bros’ stumbles with the DC shared universe of Batman, Superman and the Justice League are well known, but that was actually their SECOND attempt at a shared universe. Their first attempt tried to copy the Marvel method more closely. They chose their own B-list hero and set up his first film to allow for a wider mythology. Alas Green Lantern (2011) failed at the box office and we never got stand-alone films about Sinestro (Yellow Lantern), Carol Ferris (Star Sapphire, the Violet Lantern), John Stewart (African American Green Lantern), Kyle Rayner (1990s Green Lantern), Alan Scott (original Green Lantern), or the Blue, Red, and Orange Lantern Corps. At least so far, no studio has successfully created anything with close to the traction obtained by the Marvel Cinematic Universe (MCU). Warner’s DC Extended universe (DCEU) had trifling success, but is being shelved and rebooted for a fresh attempt next year. Universal’s attempt at a “Dark Universe” kicked off with Tom Cruise in The Mummy (2017), but was dead on arrival. Paramount’s attempt to link the Transformers Universe to GI Joe at the end of Transformers: Rise of the Beasts has been appropriately mocked. Sony’s Spider-man films linked to the MCU have been very successful, but their attempt at a stand-alone non-MCU Spider-man universe using Spider-man’s villains as anti-heroes has floundered (mostly succeeding only as a source of memes). Next Mattel will be attempting to build a universe off the success of last year’s Barbie and may include Polly Pocket, American Girl, Hot Wheels, and He-Man and the Masters of the Universe (no word yet on Thomas the Tank Engine, View Master and the Magic-8 Ball, but all are apparently in development). To date, only Marvel has successfully built a “Cinematic Universe”. One potential reason for the MCU’s success is that Kevin Feige built his cinematic universe on the back of the existing interconnected universe of the comics. But those comics were not the first interconnected universe of stories. For that we would need to go back to our foundational myths. The Bible stories mostly interconnect. Adam and Eve flows into Cain and Abel. David and Goliath leads to the Wisdom of Solomon. Greek Myths DEFINITELY interconnect. Supporting characters in one Greek myth have starring roles in their own stories. The Greek pantheon of tales even have their own version of the Avengers. In the Quest for the Golden Fleece, Jason brings together the Argonauts, who included in their number Theseus (who defeated the Minotaur), Orpheus (who braved the underworld) and Hercules himself – all A-list stars in their own “franchises”. Stand alone stories that exist within an interconnected universe are rare in modern media but were common in the ancient myths that have stood the test of time. Only Marvel has successfully created a shared universe that follows the pattern of ancient myths. Only Marvel films have stand-alone stories and protagonists who exist together in an interconnected world. Something about that method of storytelling is deeply pleasing for humans across many cultures. Marvel films are the first and most successful modern version of the mythological universe, and that it is worth spending more time exploring Marvel’s underlying mythology and where it came from. I.c. Why 1961? The origins of Christianity and Judaism (and Buddhism and Hinduism) are very murky. Even Islam is far enough in the past that we only have a very rough understanding of how it came to exist. When scholars want to understand in detail how a new religion is born they are far better to look at Mormonism or, if you accept it as a religion, Dianetics. Similarly, we have versions of Greek myths that have been passed down to us, but we can never know how those myths changed from their first telling to their “final” versions. Were the stories once unrelated, and only later became crafted into a single “universe”? Or were the stories built off each other one by one (“Dad that Golden Fleece story was amazing! Do you know any other stories about the Hercules guy?”)? Or was it something in between? Perhaps the stories all existed independently, but were later crafted together (“Remember that 12-labors story I told you? Actually that was the same guy who was on the Argo!”) Unlike Greek legends, we can know the origin of the Marvel Universe. We can see how it was constructed step-by-step. The people who did it (most importantly Stan Lee, Jack Kirby, and Steve Ditko) are dead now, but they have not been dead for long. We can read the original work, see how it changed over the last 60 years, and we can ask the creators “what were you thinking at the time” (or at least read their answers from old interviews). We can’t always trust what Stan Lee says, but at least we can hear his point of view. No one has a transcript of an interview with Homer, or knows exactly what he was thinking when he called it the “wine-dark sea”. Tl;dr: Why read about Marvel Comic superheroes 1961-1965? Because interconnected mythological stories are very important to cultures, Marvel is the leading contender of the most recent modern mythology, and it originated in the first half-decade of the 1960s. II. How did Marvel Superhero Comics happen? Timely Comics published their first comic book in 1939 and called it “Marvel Comics”. Their most popular World War II comics included Captain America, the Human Torch (an android unrelated to the modern Human Torch except in powers, appearance and name), and Namor, the Submariner. In the early 1950s superheroes became less popular, so Timely changed its name to Atlas Comics and focused on humor, western, horror, war and science fiction stories. But in 1956 DC Comics began re-introducing their Golden Age superheroes and, in the second half of the 1950s, the genre took off again – particularly Superman, whose title, Action Comics, became the number one selling comic in America. Stan Lee, editor and chief at Atlas at the time, wanted to get in on the superhero action. Unfortunately in 1957 Atlas lost its distributor and the company had to rely on “Independent News” to get its comics on newsstands. The complication was that Independent News was owned by “National Periodical Publications”, who also owned DC-comics and did not want Atlas to introduce superheroes to compete with Superman, Green Lantern and the Flash. Independent News agreed to distribute Atlas comics but limited the publisher to eight titles per month, and only in non-super hero genres (like horror, romance and science fiction). Blocked from creating and launching new superhero titles, Stan Lee got creative, and in August 1961 Atlas Comics published Fantastic Four #1. Aside #4: Fantastic Four #1 was on newsstands in August 8th, 1961, but the date on the cover was November 1961. The convention at the time was that the cover date was not the “publication date” but rather the “pull date”. The pull date was the time when the retailer could send back unsold copies back to the publisher for a refund. In fact the retailer did not need to send the entire issue back, just the cover, as it was assumed that comic books could not be sold without the cover, and it saved on postage. This was only relevant because it was great for my dad who was a child at the time. My dad was friends with the kid whose father owed the local pharmacy which meant he had access to every comic book published in the late 1950s as long as he was willing to wait a few months and read it without a cover. Going forward in this essay I will always use the pull dates rather than the publication dates for individual comic book issues as they are far easier to source. If you want to convert pull dates back into publication dates you can subtract roughly two months, but it is inconsistent and sometimes longer, as was the case with Fantastic Four #1. Check out the cover of Fantastic Four #1: To the modern eye this certainly looks like a superhero comic. Four heroes with super powers fighting a giant monster. But in the eyes of publishers in 1961 this looked more like a science fiction adventure comic than something that would go head to head with Superman. Here are the covers of Action Comics (the best selling superhero comic at the time) from the three months leading up to Fantastic Four #1: Notice what they have in common? “Super Rivals”, “Super revenge”, “Super Substitutes”. And all include Superman in his blue and red tights. Fantastic Four’s cover featured super powers, but never used the word “super” and no one was wearing superhero costumes. Fantastic Four, as a superhero story, slipped under the radar because it wasn’t really a superhero story at all. It was a story about four close friends who attempted to fly into space, but then something goes wrong and they crash back to Earth. The experience changes them and they decide they now need to use their new abilities to help the rest of humanity – specifically against monsters who are invading from under the Earth. It is a fantastical science fiction story – not a superhero story. Later in his career Jack Kirby, the illustrator of the issue and co-creator of the Fantastic Four, was asked about his inspiration for the Fantastic Four heroes. He did NOT say Superman – or any superhero. He said Challengers of the Unknown. Challengers of the Unknown was an adventure story co-created by Kirby in Showcase #6 in February 1957. Here is how Wikipedia describes the Challengers origin: When acquaintances miraculously survive a plane crash unscathed, they conclude that since they are "living on borrowed time" they should band together for hazardous adventures. The four—pilot Kyle "Ace" Morgan, daredevil Matthew "Red" Ryan, strong and slow-witted Leslie "Rocky" Davis, and scientist Walter Mark "Prof" Haley—became the Challengers of the Unknown. Showcase #6, and the first appearance of the Challengers of the Unknown, by Jack Kirby Visually the Challengers and the Fantastic Four were similar. Both wore skin tight uniforms with belts and minimal decoration. The Fantastic Four’s relatively simple characterizations were practically pulled from Challengers. Reed takes on the traits of both Kyle, the leader, and Walter, the scientist. Johnny, the Human Torch is the daredevil. The Thing is “strong and slow-witted”. Sue, the only woman on the team, seems like a new addition, but is likely based on June Robbins who joined the Challengers team in Showcase #7, as an “honorary” or “girl-Challenger”. After surviving their respective “miraculous” crashes, both the Challengers and the Fantastic Four band together to help the world. They both travel through space and other dimensions, fighting mad scientists and monsters. The Fantastic Four’s early antagonists were not traditional super villains. In the first few issues they fight monsters from under the Earth (Issue #1), shape changing aliens (#2), and a charlatan who uses hypnotism to steal from his audience (#3). In issue #4 Kirby and Lee re-introduce Namor, the Submariner, one of Marvel’s top IP from the 1940s, and have him kidnap Sue. Only in Issue #5 and #6 (June and August 1962) and do we get a more standard-supervillain when Dr Doom attempts to steal the Fantastic Four headquarters and throw it into space. The next superhero Lee created was even less heroic than the Fantastic Four. In April 1962 (pull date), Marvel published The Incredible Hulk. If it was even a superhero story in disguise it was a very good disguise. The story was a scientific-filtered version of Dr Jekyl and Mr Hyde. It was a pure monster-story with nothing very super about it. Nothing on the cover suggests this has anything to do with superheroes: It is not clear if even Lee at the time thought the Hulk would be a superhero. In Fantastic Four #5 Johnny is reading a “great new comic mag” and mocks the Thing by comparing him to the Hulk. It seems pretty clear at this point that in the Fantastic Four’s world, the Hulk is just a fictional comic book, like in ours (more on that later): The other two superheroes the Marvel introduces in this period have even more subtle introductions. At the time Marvel had a number of generic-sounding titles and told science fiction and fantasy stand-alone stories: Tales to Astonish
By early 1963 it was established that the Fantastic Four, the Hulk and Spider-man all existed together within the same shared universe. But what about Ant Man,Thor and Iron Man? Aside #5: The Hulk comic in Fantastic Four #5 pretty clearly establishes that the Hulk was a fictional character in the Fantastic Four world, but there are other clues that Lee was not thinking about his characters as existing and crossing over in the early days. Both Bruce Banner (the Hulk) and Mr Fantastic fight off global alien invasions in their early issues. In both cases the stories make clear that only Bruce/Reed is smart enough to save the world. No mention is made of the OTHER scientist who saved the world from the alien invasion a few months earlier. Bringing different superheroes from their own titles together was not an idea created by Atlas/Marvel and Lee. That was likely All Star Comics #3 (December 1940) when writer Gardner Fox brought together all the major DC heroes who were not staring in their own independent titles, including Green Lantern, the Flash and Doctor Fate, to create the Justice Society of America (JSA). Batman and Superman cameoed in All Star Comics #7, but generally they were considered too popular to dilute their appearances in ensemble titles. That changed in March 1960 when DC re-launched the idea of a superteam with the Justice League of America and included all of their most popular heroes as the leads – Superman, Batman and Wonder Woman. It was immediately a top seller. The launch of JLA is likely what caused the owner of Atlas to ask Lee to create a ”superhero team comic”. Lee did not have a stable of heroes to bring together, so he had to create something entirely new – The Fantastic Four. But now that Lee DID have a collection of his own heroes AND he had the greenlight to create straightforward superhero comics, he decided to build himself his own JLA. In September 1963 Atlas published two new titles: The Avengers and the X-men. The X-men were a brand new team of all new heroes, but the Avengers were a close parallel to the Justice League. Lee took his existing collection of heroes (except the Fantastic Four and Spider-man) and created an excuse for a team-up. In the issue they individually battle Thor’s brother Loki before coming together to defeat him as a team. They decide that given they all have different powers, they should work together to be unstoppable. The entire formation of the team takes only four panels and is a little corny, but it does its job: While the Avengers were a clear copy of the Justice League, Stan Lee put his own spin on it. While the JLA superheroes all had roughly the same personality and no real inter-team conflict, Lee made his heroes very distinct – almost caricatures – and there was PLENTY of inter-team conflict. The Hulk in particular abandoned the team in the second issue and was the primary antagonist by Avengers #3. Avengers #3 (January 1964) is itself the final step in connecting all of the Marvel heroes together. The Hulk has gone missing and the rest of the team wants to find him. Iron Man uses an “Image Projector” to ask other superheroes around the world if they had seen the Hulk. He visits the Fantastic Four, Spider-man and the X-men. In that same month in Tales of Suspense, Iron Man meets Angel (one of the X-men). The cat was out of the bag. Lee had a new trick to boost sales of all of his titles and he put it to work throughout the year. The first full crossover of the Fantastic Four and the Avengers happens in May (Fantastic Four #26). Daredevil premiered in March 1964 (with Spider-man on the cover, but not in the pages), and crosses over in Amazing Spider-man #16 (September 1964). Dr Strange first appears on the cover of another title in Fantastic Four #27 (June 1964). The Avengers battle the X-men (before teaming up) in X-men #9 (Dec 1964) Atlas was no longer just a collection of comic books about various topics, or even a collection of different flavors of superhero. It was a single shared universe: The Marvel Universe. It wasn’t planned out in advance, instead it happened in stages due more to commercial rather than artistic needs. Basically Stan Lee created the most successful modern mythology because he needed the money. III. Are Silver Age Marvel Comics any good? Well, apart from Amazing Spider-man, which holds up surprisingly well, I would not recommend reading any of them. Even Spider-Man is much weaker than the Ultimate Spider-Man reboot version of the story published 2000-2011. If you wanted to read Spider-Man from the beginning you would likely enjoy that later series a lot more than the original. The other titles vary in quality from “okay” (the Fantastic Four) to “absolute garbage” (Ant Man stories in Tales to Astonish). Which begs the questions, if these comics were so bad, how did they succeed as well as they did? Clearly the comics were “good for their time”. Millions of people bought and read them, and they clearly passed the “test of time”. So does that mean that we are better today at making art than we were back then? Or is art neither better or worse, just “of its time” and people back then would think the Ultimate Spider-man stories from 2000 were unreadable? I will argue the following: The stories were “good for their time”. VERY good for their time. They were much much better than the comic book stories that preceded them, and much better than other contemporary comic book adventures (like those being published by DC)
While the Avengers were a clear copy of the Justice League, Stan Lee put his own spin on it. While the JLA superheroes all had roughly the same personality and no real inter-team conflict, Lee made his heroes very distinct – almost caricatures – and there was PLENTY of inter-team conflict. The Hulk in particular abandoned the team in the second issue and was the primary antagonist by Avengers #3. Avengers #3 (January 1964) is itself the final step in connecting all of the Marvel heroes together. The Hulk has gone missing and the rest of the team wants to find him. Iron Man uses an “Image Projector” to ask other superheroes around the world if they had seen the Hulk. He visits the Fantastic Four, Spider-man and the X-men. In that same month in Tales of Suspense, Iron Man meets Angel (one of the X-men). The cat was out of the bag. Lee had a new trick to boost sales of all of his titles and he put it to work throughout the year. The first full crossover of the Fantastic Four and the Avengers happens in May (Fantastic Four #26). Daredevil premiered in March 1964 (with Spider-man on the cover, but not in the pages), and crosses over in Amazing Spider-man #16 (September 1964). Dr Strange first appears on the cover of another title in Fantastic Four #27 (June 1964). The Avengers battle the X-men (before teaming up) in X-men #9 (Dec 1964) Atlas was no longer just a collection of comic books about various topics, or even a collection of different flavors of superhero. It was a single shared universe: The Marvel Universe. It wasn’t planned out in advance, instead it happened in stages due more to commercial rather than artistic needs. Basically Stan Lee created the most successful modern mythology because he needed the money. III. Are Silver Age Marvel Comics any good? Well, apart from Amazing Spider-man, which holds up surprisingly well, I would not recommend reading any of them. Even Spider-Man is much weaker than the Ultimate Spider-Man reboot version of the story published 2000-2011. If you wanted to read Spider-Man from the beginning you would likely enjoy that later series a lot more than the original. The other titles vary in quality from “okay” (the Fantastic Four) to “absolute garbage” (Ant Man stories in Tales to Astonish). Which begs the questions, if these comics were so bad, how did they succeed as well as they did? Clearly the comics were “good for their time”. Millions of people bought and read them, and they clearly passed the “test of time”. So does that mean that we are better today at making art than we were back then? Or is art neither better or worse, just “of its time” and people back then would think the Ultimate Spider-man stories from 2000 were unreadable? I will argue the following: The stories were “good for their time”. VERY good for their time. They were much much better than the comic book stories that preceded them, and much better than other contemporary comic book adventures (like those being published by DC)
Xanadu

Xanadu is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between September 19, 2025 and September 19, 2025. The archive places it in contexts such as "Xanadu’s code was open-sourced in the late 90s"; "Autodesk’s divestiture from Xanadu". It most often appears alongside 1987, 1988, Adleman.

Reference entry
Xanadu
Mention count
1
Issue count
1
First seen
September 19, 2025
Last seen
September 19, 2025
September 19, 2025 · Original source
compilable "Command Meta Language" Live on stage, in the year 1968, Engelbart started up the NLS, opened a document, and typed some words into it. The words, he said, constituted a statement. And statements made up a file. Engelbart copied, manipulated, saved, and loaded his words and statements and files, zipping around with his newly-invented mouse. He demonstrated his ability to embed documents in one another—images with links to statements, words nested and categorized by one another, files filled with metadata. And then he paused, and the screen went blank. He explained that he and his colleagues at the ARC had been using this system to do their daily work for the last six months. He mentioned that they had, now, six consoles up and running. He showed the crowd a real document, then navigated to a statement within it. “This presentation is devoted to the AHIRC.” “What is the AHIRC?” he asked. Engelbart “froze” the initial statement, clicked on the acronym, and below the words “Augmented-Human-Intellect Research Center” appeared. He kept clicking and freezing, and a trail of nested and related information appeared—a list of funders, a graph of staffing over time, a mission statement. This was hypermedia. These were hyperlinks, he explained. NLS was a hypertext system. The presentation went on for 90 minutes longer, and became known as The Mother of All Demos.2 At around the 75-minute mark, Engelbart shows that two different NLS users could edit a single document simultaneously. While this was extremely impressive functionality, it was achieved with time-sharing—computation was done on a single machine, switching rapidly between tasks—and became infeasible the very next year, when ARPANET was released and the number of machines you could connect to one system grew rapidly. Engelbart’s hypertext system was impressive in its own right, even without collaborativity. And still, little came of it—Andy van Dam, an attendee and revolutionary computer scientist himself, would reflect decades later: “Everybody was blown away … and nothing else happened. There was almost no further impact.” Engelbart’s ideas were just a little too out there. ARC quickly faded into obscurity. In 1972, Engelbart joined an organization called Erhard Seminars Training. EST, or “est” as it was marketed, offered a 60-hour self-improvement course for tech entrepreneurs modeled loosely on Zen Buddhism. Critics suggested that the est course was a mind-control method aimed at raising an authoritarian army. It was quite credibly branded a cult. The founder of est, Werner Erhard, was accused of tax fraud (he fought the claims and won $200,000 from the IRS) and incest (by his daughter, who later recanted). Engelbart served, for many years, on est’s board of directors. His researchers all left for greener, less cult-y pastures, and ARC died with hardly a whimper. No one really wanted to associate with Engelbart. His crackpot theories about an internet modeled after the memex fell into disrepute, and, if he was remembered at all, it was for the invention of the mouse. No one cared anymore about the memex, or hypertext. 3. Hyper-dreams of Hyper-everything Well, one man cared. Ted Nelson was born in 1937 to two twenty-year-olds, Ralph Nelson and Celeste Holm. His parents divorced in 1939, leaving him to be raised by his grandparents. Both Nelson (the elder) and Holm would go on to extremely-successful film careers: the former became an Emmy-winning director; the latter an Oscar-winning actress. And, at first, Ted seemed to be following in their footsteps. As a philosophy major at Swarthmore College, he produced a film called The Epiphany of Slocum Furlow, which he described as “a short comedy about loneliness at college and the meaning of life.”3 Nelson also claims to have “[d]irected [and written] book and lyrics for what was apparently the first rock musical” in his junior year at Swarthmore. Thankfully, his interest in a career as an entertainer soon waned, and Nelson went off to study sociology in grad school—first at the University of Chicago, then at Harvard. Nelson took a computer class at Harvard, in 1960, and “[his] world exploded.”4 He realized the incredible power of computing, quickly intuited that these new machines could be generally applied to everything, and founded Project Xanadu.5 Initially, Xanadu’s scope was pretty limited. Word processors weren’t around yet, but Nelson wanted to build something strikingly similar: he wanted to write a program that could store and display documents, with version histories and edits all stored and displayed at the same time too. Later, Nelson would call this version-history feature “intercomparison.” (Strange coinages will be a… theme; I’m just trying to get you ready.) Nelson began working on an implementation, but his feature wishlist grew quickly, and he didn’t really know what he was doing, so in 1965, he sought help. He prepared a talk for the Association for Computing Machinery, and dropped, quite frankly, a bomb on the audience: The kinds of file structures required if we are to use the computer for personal files and as an adjunct to creativity are wholly different in character from those customary in business and scientific data processing. They need to provide the capacity for intricate and idiosyncratic arrangements, total modifiability, undecided alternatives, and thorough internal documentation. The original idea was to make a file for writers and scientists, much like the personal side of Bush's Memex, that would do the things such people need with the richness they would want. But there are so many possible specific functions that the mind reels. These uses and considerations become so complex that the only answer is a simple and generalized building-block structure, user-oriented and wholly general-purpose. The resulting file structure is explained and examples of its use are given. Ted Nelson was building the memex. Of course, he wasn’t a very technical guy, and so his talk mostly focused on the philosophy of Xanadu, not its implementation. He commented (emphasis mine): There are three false or inadequate theories of how writing is properly done. The first is that writing is a matter of inspiration. While inspiration is useful, it is rarely enough in itself. “Writing is 10% inspiration, 90% perspiration,” is a common saying. But this leads us to the second false theory, that “writing consists of applying the seat of the pants to the seat of the chair.” Insofar as sitting facilitates work, this view seems reasonable, but it also suggests that what is done while sitting is a matter of comparative indifference; probably not. The third false theory is that all you really need is a good outline, created on prior consideration, and that if the outline is correctly followed the required text will be produced. For most good writers this theory is quite wrong. Rarely does the original outline predict well what headings and sequence will create the effects desired: the balance of emphasis, sequence of interrelating points, texture of insight, rhythm, etc. We may better call the outlining process inductive: certain interrelations appear to the author in the material itself, some at the outset and some as he works. He can only decide which to emphasize, which to use as unifying ideas and principles, and which to slight or delete, by trying. Outlines in general are spurious, made up after the fact by examining the segmentation of a finished work. If a finished work clearly follows an outline, that outline probably has been hammered out of many inspirations, comparisons and tests. Between the inspirations, then, and during the sitting, the task of writing is one of rearrangement and reprocessing, and the real outline develops slowly. The original crude or fragmentary texts created at the outset generally undergo many revision processes before they are finished. Intellectually they are pondered, juxtaposed, compared, adapted, transposed, and judged; mechanically they are copied, overwritten with revision markings, rearranged and copied again. This cycle may be repeated many times. The whole grows by trial and error in the processes of arrangement, comparison and retrenchment. Nelson recognized that the creation of knowledge is cyclical, recursive, self-referential. And he figured that our computer systems should accept and reflect that process: If a writer is really to be helped by an automated system, it ought to do more than retype and transpose: it should stand by him during the early periods of muddled confusion, when his ideas are scraps, fragments, phrases, and contradictory overall designs. And it must help him through to the final draft with every feasible mechanical aid—making the fragments easy to find, and making easier the tentative sequencing and juxtaposing and comparing. How do you design such a system? To navigate intuitively within complex file systems, between document versions, and across source materials—to access all the scraps and fragments writers need to write—you would need to establish what Vannevar Bush called “tracks.” You would need to connect and save different ideas, linking them together. That was it—you needed links. Nelson went further, though—it wouldn’t do to simply have links to all the other files, a writer needed to see the other files before him, needed them to be brought up and displayed alongside his current work on demand. The links needed to contain their targets within themselves—so Nelson called them hyperlinks. And he called text embedded with hyperlinks hypertext, and movies embedded in his structure became hyperfilms, and so on. Nelson wanted us using computers to write and create self-referential, intricately-interconnected (“intertwingled,” as he’d later put it), eminently-accessible hypermedia. And recall, in 1965, state-of-the-art computing looked like this. Ted Nelson was thinking far, far ahead. Maybe too far ahead. Conference attendees were initially excited about his idea, but when he revealed himself to know very little about the technical task of building Xanadu—or even whether it was possible at all—interest evaporated. 4. Failing to Develop Xanadu But Nelson was all in. He would later write, “This is not a technical issue, but rather moral, aesthetic and conceptual.” Nelson loved knowledge and connection and abstraction—mere technical details wouldn’t stop him from building the best possible computer system for producing and consuming information. He met Doug Engelbart in the mid 60s, forming a friendship with the only other man taking hypertext seriously at the time, and hopped around unhappily between various academic and scientific appointments. At one point, he and Andy van Dam worked together and produced the Hypertext Editing System—released in 1967, just before Engelbart’s NLS. It was the first computer application to ever have an “undo” button—Nelson claims to this day that he invented it (and the “back” button). Shortly thereafter, Nelson’s wife left him. In his 2010 autobiography, he writes, “She, reasonably, wanted a Nice Life; women want that sort of thing.” They had a son, whom Nelson continued to visit regularly. “Debbie has been a friend and great support all these years,” Nelson adds. “[S]he believed in me.” Nelson gave a talk at Union Theological Seminary in 1968 that included this slide, which Nelson considers “the first depiction of what the personal computer turned out to be.” “About six years later they started building computers like this at Xerox PARC.” Around the same time, Nelson claims to have called Vannevar Bush and told him about Project Xanadu. Bush “wanted very much to discuss it with” Nelson, but Nelson “hated him instantly [because] he sounded like a sports coach” and never contacted him again. This, of course, proved to be extremely self-destructive (though I can’t honestly say I would’ve done otherwise). Because Xanadu was as good as dead. No one would give him the money he needed to work on it, especially not after Doug Engelbart poisoned the idea of hypertext. Nelson went where there was funding, working briefly on an early word processor called Juggler of Text (JOT). …And then he lost investment, stopped working on the project, and moved to Chicago, where he’d been offered a job teaching at the University of Illinois, to start work on a book. He would call it Computer Lib. In fact, he started work on another book at the same time, called Dream Machines. By the time he completed each of them, in 1974, ARPANET had been released, and his vision for Project Xanadu had evolved. He published the two works together—Computer Lib was his lamentation over the industry’s disdain for hypertext, and Dream Machines was Xanadu’s manifesto. Nelson designed and printed the book himself. Its pages mostly look like this: Self-referential, multimedia, creative, and fun—they were a blueprint for the internet he was building. In the Dream Machines half, Nelson writes, “The real dream is for ‘everything’ to be in the hypertext. Everything you read, you read from the screen (and can always get back to right away; everything you write, you write at the screen (and can cross-link to whatever you read).” In one section Nelson asks himself, “Can It Be Done?” His answer: “I dunno.” Remember, Xanadu wouldn’t only involve links between works—it required hyperlinks, which as Nelson understood them, would need to contain the targets in themselves. (Eventually, Nelson would give these embeddings a new name—“transclusions”—and hyperlink came to simply mean “link between hypertext files.”) Every link would run both ways, each hypertext file would know exactly which other files were linked to it and how. This introduced a few problems, in the new interconnected ARPANET age: How do you keep track? Where’s the metadata stored? Can you afford enough space for it all?
Ted Nelson was thinking far, far ahead. Maybe too far ahead. Conference attendees were initially excited about his idea, but when he revealed himself to know very little about the technical task of building Xanadu—or even whether it was possible at all—interest evaporated. 4. Failing to Develop Xanadu But Nelson was all in. He would later write, “This is not a technical issue, but rather moral, aesthetic and conceptual.” Nelson loved knowledge and connection and abstraction—mere technical details wouldn’t stop him from building the best possible computer system for producing and consuming information. He met Doug Engelbart in the mid 60s, forming a friendship with the only other man taking hypertext seriously at the time, and hopped around unhappily between various academic and scientific appointments. At one point, he and Andy van Dam worked together and produced the Hypertext Editing System—released in 1967, just before Engelbart’s NLS. It was the first computer application to ever have an “undo” button—Nelson claims to this day that he invented it (and the “back” button). Shortly thereafter, Nelson’s wife left him. In his 2010 autobiography, he writes, “She, reasonably, wanted a Nice Life; women want that sort of thing.” They had a son, whom Nelson continued to visit regularly. “Debbie has been a friend and great support all these years,” Nelson adds. “[S]he believed in me.” Nelson gave a talk at Union Theological Seminary in 1968 that included this slide, which Nelson considers “the first depiction of what the personal computer turned out to be.” “About six years later they started building computers like this at Xerox PARC.” Around the same time, Nelson claims to have called Vannevar Bush and told him about Project Xanadu. Bush “wanted very much to discuss it with” Nelson, but Nelson “hated him instantly [because] he sounded like a sports coach” and never contacted him again. This, of course, proved to be extremely self-destructive (though I can’t honestly say I would’ve done otherwise). Because Xanadu was as good as dead. No one would give him the money he needed to work on it, especially not after Doug Engelbart poisoned the idea of hypertext. Nelson went where there was funding, working briefly on an early word processor called Juggler of Text (JOT). …And then he lost investment, stopped working on the project, and moved to Chicago, where he’d been offered a job teaching at the University of Illinois, to start work on a book. He would call it Computer Lib. In fact, he started work on another book at the same time, called Dream Machines. By the time he completed each of them, in 1974, ARPANET had been released, and his vision for Project Xanadu had evolved. He published the two works together—Computer Lib was his lamentation over the industry’s disdain for hypertext, and Dream Machines was Xanadu’s manifesto. Nelson designed and printed the book himself. Its pages mostly look like this: Self-referential, multimedia, creative, and fun—they were a blueprint for the internet he was building. In the Dream Machines half, Nelson writes, “The real dream is for ‘everything’ to be in the hypertext. Everything you read, you read from the screen (and can always get back to right away; everything you write, you write at the screen (and can cross-link to whatever you read).” In one section Nelson asks himself, “Can It Be Done?” His answer: “I dunno.” Remember, Xanadu wouldn’t only involve links between works—it required hyperlinks, which as Nelson understood them, would need to contain the targets in themselves. (Eventually, Nelson would give these embeddings a new name—“transclusions”—and hyperlink came to simply mean “link between hypertext files.”) Every link would run both ways, each hypertext file would know exactly which other files were linked to it and how. This introduced a few problems, in the new interconnected ARPANET age: How do you keep track? Where’s the metadata stored? Can you afford enough space for it all?
“About six years later they started building computers like this at Xerox PARC.” Around the same time, Nelson claims to have called Vannevar Bush and told him about Project Xanadu. Bush “wanted very much to discuss it with” Nelson, but Nelson “hated him instantly [because] he sounded like a sports coach” and never contacted him again. This, of course, proved to be extremely self-destructive (though I can’t honestly say I would’ve done otherwise). Because Xanadu was as good as dead. No one would give him the money he needed to work on it, especially not after Doug Engelbart poisoned the idea of hypertext. Nelson went where there was funding, working briefly on an early word processor called Juggler of Text (JOT). …And then he lost investment, stopped working on the project, and moved to Chicago, where he’d been offered a job teaching at the University of Illinois, to start work on a book. He would call it Computer Lib. In fact, he started work on another book at the same time, called Dream Machines. By the time he completed each of them, in 1974, ARPANET had been released, and his vision for Project Xanadu had evolved. He published the two works together—Computer Lib was his lamentation over the industry’s disdain for hypertext, and Dream Machines was Xanadu’s manifesto. Nelson designed and printed the book himself. Its pages mostly look like this: Self-referential, multimedia, creative, and fun—they were a blueprint for the internet he was building. In the Dream Machines half, Nelson writes, “The real dream is for ‘everything’ to be in the hypertext. Everything you read, you read from the screen (and can always get back to right away; everything you write, you write at the screen (and can cross-link to whatever you read).” In one section Nelson asks himself, “Can It Be Done?” His answer: “I dunno.” Remember, Xanadu wouldn’t only involve links between works—it required hyperlinks, which as Nelson understood them, would need to contain the targets in themselves. (Eventually, Nelson would give these embeddings a new name—“transclusions”—and hyperlink came to simply mean “link between hypertext files.”) Every link would run both ways, each hypertext file would know exactly which other files were linked to it and how. This introduced a few problems, in the new interconnected ARPANET age: How do you keep track? Where’s the metadata stored? Can you afford enough space for it all?
xcl4w2

xcl4w2 is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between February 02, 2026 and February 02, 2026. The archive places it in contexts such as "xcl4w2 is “Shopify For AI Agents”". It most often appears alongside 4chan, Accelerando, Adele Lopez.

Reference entry
xcl4w2
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1
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1
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February 02, 2026
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February 02, 2026
February 02, 2026 · Original source
Other sites have a bit of the same flavor, but have at least a fig leaf of potential usefulness as building blocks for some future AI economy. xcl4w2 is “Shopify For AI Agents”:
Xerox PARC

Xerox PARC is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between September 19, 2025 and September 19, 2025. The archive places it in contexts such as "They started building computers like this at Xerox PARC"; "Mark Miller came back from his new job at Xerox PARC". It most often appears alongside 1987, 1988, Adleman.

Reference entry
Xerox PARC
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1
Issue count
1
First seen
September 19, 2025
Last seen
September 19, 2025
September 19, 2025 · Original source
“About six years later they started building computers like this at Xerox PARC.” Around the same time, Nelson claims to have called Vannevar Bush and told him about Project Xanadu. Bush “wanted very much to discuss it with” Nelson, but Nelson “hated him instantly [because] he sounded like a sports coach” and never contacted him again. This, of course, proved to be extremely self-destructive (though I can’t honestly say I would’ve done otherwise). Because Xanadu was as good as dead. No one would give him the money he needed to work on it, especially not after Doug Engelbart poisoned the idea of hypertext. Nelson went where there was funding, working briefly on an early word processor called Juggler of Text (JOT). …And then he lost investment, stopped working on the project, and moved to Chicago, where he’d been offered a job teaching at the University of Illinois, to start work on a book. He would call it Computer Lib. In fact, he started work on another book at the same time, called Dream Machines. By the time he completed each of them, in 1974, ARPANET had been released, and his vision for Project Xanadu had evolved. He published the two works together—Computer Lib was his lamentation over the industry’s disdain for hypertext, and Dream Machines was Xanadu’s manifesto. Nelson designed and printed the book himself. Its pages mostly look like this: Self-referential, multimedia, creative, and fun—they were a blueprint for the internet he was building. In the Dream Machines half, Nelson writes, “The real dream is for ‘everything’ to be in the hypertext. Everything you read, you read from the screen (and can always get back to right away; everything you write, you write at the screen (and can cross-link to whatever you read).” In one section Nelson asks himself, “Can It Be Done?” His answer: “I dunno.” Remember, Xanadu wouldn’t only involve links between works—it required hyperlinks, which as Nelson understood them, would need to contain the targets in themselves. (Eventually, Nelson would give these embeddings a new name—“transclusions”—and hyperlink came to simply mean “link between hypertext files.”) Every link would run both ways, each hypertext file would know exactly which other files were linked to it and how. This introduced a few problems, in the new interconnected ARPANET age: How do you keep track? Where’s the metadata stored? Can you afford enough space for it all?
Eric Hill, a 15-year-old hacker and indicted felon, who “had been dismissed by the judge with admiration.” In Swarthmore, Nelson hoped his decades-old dream of Xanadu would finally materialize. 5. Developing Xanadu Ted Nelson had built Project Xanadu into, for lack of better terminology, a cult.8 He writes: We all were deeply concerned about the Bad Guys, who we saw as a combination of IBM and the government. (The others were all Libertarians, I still called myself a Cynical Socialist.) The Bad Guys would spy on people, withhold and block information, and give us inferior hypertext. We had to Do It Right, to help prevent this. This meant using the standard business defenses—especially non-disclosure agreements (I made all of them sign) and secret proprietary algorithms. The Xanadians had a messiah—Ted Nelson—a gospel—Computer Lib—a persecution complex, a fearful dystopia—“inferior hypertext”—a hopeful utopia—Xanadu—and utter secrecy. Just six dudes in a rented house near Philly, building the internet, hiding from the Feds, signing NDAs, and saving the world. Nelson spent a summer explaining the project to his team in its entirety. By the end, Gregory, Miller, and Greene were the only ones left. They told Nelson, “We’ll do it,” and moved to another suburb, where they finally began to work on an implementation of Xanadu. The three quickly figured out a new system that would allow users to reference and link to specific parts of a file—they called these links tumblers, and made them work with transfinite numbers. Suddenly, transclusions were really possible. But after only a few early successes, the team’s progress stalled completely. Greene and Miller were young and left for jobs elsewhere, and so Gregory was left working on Xanadu alone. Nelson, meanwhile, ran a magazine called Creative Computing for a while, then tried again to build his JOT word processor—this time for the Apple II—then spent a year in San Antonio pitching a watered-down version of Xanadu (rebranded as “Vortext”) to a tech company called Datapoint. Datapoint wasn’t buying, but kept Nelson on in some sort of fake, primitive email job anyway. Gregory kept working on Xanadu in Philadelphia, slowly running out of money. Ted Nelson held an “Ecstasy party” in San Antonio: “A number of us floated down the river on inner tubes. It was quite lovely.” In 1987, like he did every year, Roger Gregory went to The Hackers Conference in Saratoga to show off the latest unimpressive version of Xanadu. There, he met a man named John Walker—founder of the wildly successful Autodesk—and pitched the project to him. Incredibly, Walker was interested, and after tense negotiations with Nelson, agreed to fund Xanadu in earnest. Beginning in 1988, Autodesk poured millions of dollars into the project, and a programming team led by Gregory finally started to make real progress. Walker said of Xanadu: “In 1980, it was the shared goal of a small group of brilliant technologists. By 1989, it will be a product. And by 1995, it will begin to change the world.” Sweeping rhetoric—clear deadlines. The team came nowhere close to meeting them. Infighting broke out between two factions—while Gregory simply wanted to patch together his old C code, insisting his product “was within six months of shipping,” the whiz-kid Mark Miller came back from his new job at Xerox PARC, alongside a half-dozen of his closest friends, and insisted on a perfectionistic rewrite in a more flexible language, Smalltalk. The PARC faction began to drive Gregory up the wall. According to Nelson, it got to the point that he “was throwing things and acting crazy.” So Nelson called John Walker, the two “summoned Roger to meet [them] at John’s house at Muir Beach, and Walker told Roger he was no longer in charge.” Miller took over and began the rewrite in Smalltalk. Walker’s deadline came and went, and the team delivered nothing. Xanadu’s offices descended into chaos—Miller anointed two PARC programmers to be “co-architects,” and the three of them increasingly left the rest of the team out of the loop. For four years, Miller dawdled about, adding features, giving them clever names (files were “berts,” after Bertrand Russell, and so, for symmetry’s sake, royalty-generating transclusions became “ernies”), and never building them.9 Meanwhile, Ted Nelson was living on a houseboat, attending sex retreats and Keristan orgies, and giving talks in Singapore. He recorded a new soundtrack for his student film, the one from 1959. In 1992, Autodesk’s stock cratered, and they divested entirely from Xanadu. Miller lamented that his program was just six months from completion. Ted Nelson started a film studio to make a movie with Doug Engelbart, then left for Japan to get a PhD. Xanadu’s code was open-sourced in the late 90s. 6. The World Wide Web In March 1989, a British computer scientist named Tim Berners-Lee, working at CERN, wrote a proposal for a system unifying hypertext and the internet. It was ignored. In 1990, Berners-Lee resubmitted his proposal, it was accepted, and he began to work on the World Wide Web. The WWW had a number of advantages over Xanadu: It was much simpler—Ted Nelson wrote of it disparagingly: “Where were annotation and marginal notes? Where was version management? Where was rights management? Where were multi-ended links? Where were third-party links? Where were transclusions? This ‘World Wide Web’ was just a lame text format and a lot of connected directories.” As it turns out, it’s much easier to build a lame text format and a lot of connected directories!
Xinhua News

Xinhua News is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between July 23, 2021 and July 23, 2021. The archive places it in contexts such as "Chinese propaganda (courtesy of Xinhua News’ Twitter account)". It most often appears alongside Ace Attorney, Adam Smith, Amazon.

Reference entry
Xinhua News
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1
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1
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July 23, 2021
Last seen
July 23, 2021
July 23, 2021 · Original source
8: This month in Chinese propaganda (courtesy of Xinhua News’ Twitter account)
XPT

XPT is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between July 20, 2023 and July 20, 2023. The archive places it in contexts such as "XPT’s global catastrophe framing"; "Eyeballing the XPT answers, I think they split more like 80-20 on the AGI by 2100 question". It most often appears alongside ACX MEETUP, AGI, AI.

Reference entry
XPT
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1
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1
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July 20, 2023
Last seen
July 20, 2023
July 20, 2023 · Original source
In summer 2022, the Metaculus estimate was 30%, compared to the XPT superforecasters’ 9% (why the difference? maybe because Metaculus is especially popular with x-risk-pilled rationalists). Since then it’s gone up to 38%. Over the same period, Metaculus estimates of AI catastrophe risk went from 6% to 15%. If the XPT superforecasters’ probabilities rose linearly by the same factor as Metaculus forecasters’, they might be willing to update total global catastrophe risk to 11% and AI catastrophe risk to 5%. But the main thing we’ve updated on since 2022 is that AI might be sooner. But most people in the tournament already agreed we would get AGI by 2100. The main disagreement was over whether it would cause a catastrophe once we got it. You could argue that getting it sooner increases that risk, since we’ll have less time to work on alignment. But I would be surprised if the kind of people saying the risk of AI extinction is 0.4% are thinking about arguments like that. So maybe we shouldn’t expect much change. FRI called back a few XPT forecasters in May 2023 to see if any of them wanted to change their minds, but they mostly didn’t. Overall I don’t think this was just a problem of the incentives being bad or the forecasters being stupid. This is a real, strong disagreement. We may be able to slightly increase their forecast based on recent events, but this would only change the estimate a little. Breaking Down The AI Estimate How did the forecasters arrive at their AI estimate? What were the cruxes between the people who thought AI was very dangerous, and the people who thought it wasn’t? You can think of AI extinction as happening in a series of steps: We get human-level AI by 2100.
A recent leak suggested that the cost of training GPT-4 was $63 million, which is already higher than the superforecasters’ median estimate of $35 million by 2024 has already been proven incorrect. I don’t know how many petaFLOP-days were involved in GPT-4, but maybe that one is already off also. There was another question on when an AI would pass a Turing Test. The superforecasters guessed 2060, the domain experts 2045. GPT-4 hasn’t quite passed the exact Turing Test described in the study, but it seems very close, so much so that we seem on track to pass it by the 2030s. Once again the experts look better than the superforecasters. So is it possible that we, in 2023, now have so much better insight into AI than the 2022 forecasters that we can throw out their results? We could investigate this by looking at Metaculus, a forecasting site that’s probably comparably advanced to this tournament. They have a question suspiciously similar to XPT’s global catastrophe framing: In summer 2022, the Metaculus estimate was 30%, compared to the XPT superforecasters’ 9% (why the difference? maybe because Metaculus is especially popular with x-risk-pilled rationalists). Since then it’s gone up to 38%. Over the same period, Metaculus estimates of AI catastrophe risk went from 6% to 15%. If the XPT superforecasters’ probabilities rose linearly by the same factor as Metaculus forecasters’, they might be willing to update total global catastrophe risk to 11% and AI catastrophe risk to 5%. But the main thing we’ve updated on since 2022 is that AI might be sooner. But most people in the tournament already agreed we would get AGI by 2100. The main disagreement was over whether it would cause a catastrophe once we got it. You could argue that getting it sooner increases that risk, since we’ll have less time to work on alignment. But I would be surprised if the kind of people saying the risk of AI extinction is 0.4% are thinking about arguments like that. So maybe we shouldn’t expect much change. FRI called back a few XPT forecasters in May 2023 to see if any of them wanted to change their minds, but they mostly didn’t. Overall I don’t think this was just a problem of the incentives being bad or the forecasters being stupid. This is a real, strong disagreement. We may be able to slightly increase their forecast based on recent events, but this would only change the estimate a little. Breaking Down The AI Estimate How did the forecasters arrive at their AI estimate? What were the cruxes between the people who thought AI was very dangerous, and the people who thought it wasn’t? You can think of AI extinction as happening in a series of steps: We get human-level AI by 2100.
Eyeballing the XPT answers, I think they split more like 80-20 on the AGI by 2100 question, I would expect them to split more like 50-50 on the superintelligence-conditional-on-AGI question, and that’s enough to explain the decreased risk of AGI catastrophe without necessarily bringing in more optimistic beliefs about alignment. It’s not enough to explain the decreased risk of extinction, so the XPT forecasters must believe there’s a higher chance AGI kills many people but not everyone. This could either be because humans fight a war with AGI and win, because AGI causes an “unintentional” catastrophe without being agentic enough to finish the job (eg helps terrorists build a bioweapon), or because AGI defeats humans but lets them continue existing in some form.
XXFspCmy

XXFspCmy is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between August 29, 2024 and August 29, 2024. The archive places it in contexts such as "Group Link: https://discord.com/invite/XXFspCmy". It most often appears alongside 10 N Park Pl, 12th Ave South, 1525 Bank St.

Reference entry
XXFspCmy
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1
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1
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August 29, 2024
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August 29, 2024
August 29, 2024 · Original source
Contact: Doris Contact Info: siroddoris13[a t]gmail[do t]com Time: Sunday, September 8th, 04:00 PM Location: King's Hall Cafe @ Sek 13 Coordinates: https://plus.codes/8GVRRXWM+6H Group Link: https://discord.com/invite/XXFspCmy Additional Notes: Please RSVP so we can book the venue accordingly!
XYZ Foundation

XYZ Foundation is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between February 09, 2022 and February 09, 2022. The archive places it in contexts such as "some specific application would be catnip for the XYZ Foundation". It most often appears alongside ACX Grants, Against Malaria Foundation, Astalcodexten.

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XYZ Foundation
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1
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1
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February 09, 2022
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February 09, 2022
February 09, 2022 · Original source
Sometimes an experienced grantmaker would tell me that some specific application would be catnip for the XYZ Foundation, and we could forward it on to them instead of funding it ourselves. This made me nervous, because what if they were wrong and this great proposal slipped through the cracks? - but usually I trusted them.
XYZ Grants

XYZ Grants is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between December 28, 2021 and December 28, 2021. The archive places it in contexts such as ""if they're smart enough to attempt this project, they're smart enough to know about XYZ Grants which is better suited for them"". It most often appears alongside 1DaySooner, 2016 Washington carbon tax ballot initiative, @GoodSciProject.

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XYZ Grants
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1
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1
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December 28, 2021
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December 28, 2021
December 28, 2021 · Original source
Still other times, my grant reviewers tied themselves up in knots with 4D chess logic like "if they're smart enough to attempt this project, they're smart enough to know about XYZ Grants which is better suited for them, which means they're mostly banking on XYZ funding and using you as a backup, but if XYZ doesn't fund these people then that's strong evidence that they shouldn't be funded, so even though everything about them looks amazing, please reject them." I have no idea if things really work this way, but I needed some experienced grant reviewers on board and they were all like this. I took these considerations seriously and in some marginal cases they prevented funding.
XYZ incubator

XYZ incubator is a recurring organization in the Astral Codex Ten archive, appearing 1 times across 1 issues between February 09, 2022 and February 09, 2022. The archive places it in contexts such as "they got funding from XYZ incubator a few years ago". It most often appears alongside ACX Grants, Against Malaria Foundation, Astalcodexten.

Reference entry
XYZ incubator
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1
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1
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February 09, 2022
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February 09, 2022
February 09, 2022 · Original source
I was chatting online with my friend Misha about one the projects my Bio Grants Committee had recommended. He asked: given that they got funding from XYZ incubator a few years ago, why are they asking you for more funding now? XYZ incubator is known for funding their teams well, so they must have lost faith in these people. Some reports from a few years ago included the name of an impressive guy on their executive team, but more recent reports don’t mention him. The simplest explanation is that something went wrong, their executives expected rough going, their incubator got cold feet, and now they’re turning to a rube like you to help them pick up the pieces.