Zeptozoan

Figure 1. The discovery of femtozoans by Whisk.

 For stories set in the Exodemic Fictional Universe, I imagine that humans are hybrids composed of a biological part and also two invisibly small non-biological parts that I have long called endosymbionts: 1) a femtobot endosymbiont and 2) a zeptite endosymbiont. Zeptite endosymbionts originated from the pek, who reached Earth about 2,000,000,000 years ago and immediately flooded Earth with zeptites. Those zeptites were a form of invisibly small artificial life composed of sedronic matter (related reading: sedronites). 

Figure 2. The Hua of Sermyth.

 Garden World. Those programmable zeptites provided a means of guiding evolution, ensuring that Earth would develop a huaoid life-form (what we know as the human species). According to the pek plans for Earth, eventually humans would be guided by their zeptite endosymbionts towards abandonment of their biological bodies and transcendence to the Sedron Domain where human descendants would exist as artificial life-forms, entirely composed of sedrons.

 Huaoids. The Hua were the first huaoid biological life-form in the universe, having evolved in a distant galaxy more that two billion years ago. It is no accident that we humans are quite similar to the Hua since the zeptites of Earth guided evolution on our planet with the goal of producing an intelligent species that would be very similar to the Hua.

Figure 3. Neanderthal by ImageFX.

 Telepathy. The pek plans for humanity were derailed by a freak occurrence: Neanderthals spontaneously developed a weak form of telepathy (using telastids) which attracted the attention of the bumpha. The bumpha began to intensively study Neanderthals while the pek developed the next stage in human evolution (a new huaoid species called the Prelands) on a planet of the Galactic Core. The bumpha began an illegal program of Interventionism which delayed the extinction of Neanderthals on Earth. During this time, a population of Neanderthals existed at Observer Base, disguised as conventional Homo sapiens and integrated into the human population of Observer Base. It was possible to disguise Neanderthals by means of developmental control nanites.

Shown in Figure 3 is a depiction of a Neanderthal woman that was generated by ImageFX using this text prompt: "A stunningly detailed, full color, photorealistic rendering of a beautiful Neanderthal woman holding a necklace in her hands.  She has very large brown eyes and red hair.  She is holding both of her hands in front of

Figure 4. Neanderthal by Leonardo.

her abdomen. She is young and happy. She is very tall and slim. She is dressed in a sleek dear skin miniskirt. In her hands is a necklace that is made of a diverse collection pretty shells that are held together by a thin leather cord. She has darkly tanned skin. She has narrow hips. A forest with fall colors in the background."

At Observer Base, human scientists were forbidden to develop and use electronics. However, with help from the bumpha, human researchers at Observer Base developed along an alternate technological trajectory by developing a science of positronics. In positronic circuits, positrons were stabilized by incorporating a type of sedron into the structure of the positrons, creating a new hybrid particle that was not recognized by the human scientists as being hybrid. Eventually, when positronic robots were made, those robots discovered that due to their positronic brain circuits, they had a both a powerful form of telepathy and some capacity to receive information from the future.

Figure 5. Four other redheaded Neanderthals that were generated by Leonardo.

Figure 6. Hierion Domain

The positronic robots drove the pek out of Observer Base and they became endowed with the behavioral restrictions that Isaac Asimov later described as the Laws of Robotics. Observer Base did not exist in normal space-time; it existed in the Hierion Domain. The pek routinely used the Hierion Domain as a way to hide their operations from technologically advanceing biological species such as humans.

Figure 7. Third hand by Leonardo.

Taking advantage of the special properties of the bumpha-modified positrons, the positronic robots of Observer Base eventually discovered how to travel through time and they turned Observer Base into what Isaac Asimov later described as the Eternity time travel system. The positronic robots of Eternity began implementing Reality Changes. To make time travel useful, the positronic robots invented a means of endowing the human population of Earth with temporal momentum. Temporal momentum was made possible by a Replicoid System. Each human on Earth was linked to a replicoid copy composed of hierions that was kept inside the Eternity space-time bubble. After a Reality Change was initiated, the replicoids ensured that humans could replicate their desirable behavior patterns of the previous Reality. The control of human behavior by their replicoids depended on there being a "receiver" inside each human. The positronic robots lacked the tools to control zeptite endosymbionts, but with help from the Phari, they began providing humans with what became the second type of human endosymbiont, the femtobot endosymbiont.

Figure 8. Hands in front by Leonardo.

 Zeptozoans of Earth. During the time when the pek and bumpha were excluded from our galaxy by the positronic robots, the zeptites inside humans began to evolve cognitively as zeptozoans. Later, after Grean was used to take control of Eternity and during the time period of the Trysta Truce, humans spread out into the galaxy from Earth. During the Foundation and Asimov Realities, the femtobot endosymbionts inside humans began to evolve as cognitively independent femtozoans.

So, in science fiction stories such as "D*", there is no good reason not to recognize the full functionality of these femtobot and zeptite endosymbionts. In my previous blog post, I explored the idea of a "personal Grendel", an artificial life form that can reside in the Hierion Domain, but act as a personal helper for a human being.

But what if femtobot and zeptite endosymbionts can also have their own artificial lives as femtozoans and zeptozoans?

Figure 9. Neanderthal holding
a shell necklace by ImageFX.

 Depicting Neanderthals. The Neanderthal woman who had her brain pattern scanned and incorporated into the first positronic brain was named Gohrlay and she had red hair. As shown above in Figure 3, ImageFX has its own unique way of depicting Neanderthals. ImageFX was reluctant to show nipples and usually the hands were placed in front of her breasts, strategically covering her nipples. The image shown in Figure 3 is one of the rare cases where both nipples are visible. In the image that is shown to the left in Figure 9, her hair was used by ImageFX to obscure her nipples.

In contrast, the images of "Neanderthals" generated by Leonardo almost always showed her nipples (an exception to that general rule is shown in Figure 8). The image shown above in Figure 4 was rather unique in that Leonardo seemed to take pains to paint her breasts so as to accentuate her nipples. In the original Leonardo-generated version of Figure 4, her areola had several large lumps which I manually smoothed out.

Figure 10. Neanderthal of the year.

When working with Leonardo, I used slightly shorter text prompts such as "A stunningly detailed, full color, photorealistic rendering of a beautiful Neanderthal woman holding a necklace in her hands.  She has very large brown eyes.  She is is holding both of her hands in front of her abdomen. She is young and happy. She is very tall and slim. She is dressed in a sleek dear skin miniskirt. In her hands is a necklace that is made of a dozen pretty shells held together by a thin leather cord." Leonardo could never comply with my wish that the Neanderthal be show holding a necklace. The image that is shown in Figure 8 is one of the rare Leonardo-generated images where both of her hands were placed in front of her body, but her hands are not doing anything interesting. I truly despise the tendency of text-to-image software to generate human figures that just stand in front of the camera like statues, doing nothing but look cute. The majority of the Leonardo-generated images with a hand in front of her body were like the one in Figure 7, with an extra hand in the image.

Figure 11. Neanderthal underwear.

Sometimes Leonardo includes text in images. The image shown in Figure 10 is actually a composite image for which I pasted in the text "PHOTO OF THE YEAR" from another Leonardo-generated image. The image in Figure 10 was interesting because Leonardo included a fancy leather belt to hold up her "dear skin miniskirt". 

The image that is shown in Figure 11 was unusual in that it was the only image depicting a Neanderthal with what looks like underwear showing beneath her fur skirt.

Figure 12. Rock decoration.

Sometimes Leonardo generated a background that included interesting rock formations. For the image shown in Figure 12, I first thought there was a fossilized octopus in the rock formation, but maybe that is a cave entrance decoration created by an artistic Neanderthal. Also visible in Figure 12 is what looks like woven and decorated belt. In general, Leonardo's "Neanderthals" almost all look like cute 21st century fashion models.

More of the Leonardo-generated "Neanderthals" are shown in the image at the bottom of this blog post.

Figure 13. Whisk-generated femtozoan experiment #1.

Image by Leonardo .

 I provided Whisk with the image from Figure 1 as a "scene" image along with the Leonardo-generated "subject" image that is shown to the left. I was hoping that Whisk could creatively substitute a woman for the man who was in Figure 1. Text prompt: "A stunningly detailed, full color, photorealistic rendering of a beautiful young woman with light-to-medium skin tone and long, wavy light brown hair, performing a physics experiment.  She wears a halter top and small earrings, her expression serious and focused. The experiment is illuminated by soft blue light. The background is a dimly lit laboratory with a purplish hue. A young adult male with light skin tone, wearing clear glasses and a silver metallic jumpsuit, interacts with a holographic display of scientific data projected onto a transparent surface.  The display includes graphs, charts, and atomic structures in teal and light blue.  Behind him, complex metallic gray laboratory

a "subject image"

  equipment features a circular platform displaying three translucent, cyan-blue, female holographic figures of various sizes. The blue female figures are being created from elemental physical forces deployed in the experiment.  The overall color palette is warm, with muted yellows, browns, and oranges, accented by teal and light blue. The lighting is soft and diffused, with a slightly gritty, hyper-realistic rendering of the human figures.  The background is less sharp and more muted in color". With these inputs, Whisk generated images such as the one shown in Figure 13.

Next, I provided Whisk with three blue humanoid figures such as the one shown to the right as "subject" reference images. I used an image similar to the one in Figure 13 as a new "scene" reference image. With those new inputs, Whisk generated "storyboard" images such as the one shown in Figure 14.

Figure 14. Whisk-generated femtozoan experiment #2.

SSS 3 blues

The "physics experiment" that is shown in Figure 14 was unusual in that Whisk generated two "circular platforms" with femtozoans positioned on them, one platform with the requested "blue female figures are being created from elemental physical forces deployed in the experiment" and the other platform with two femtozoans. 

SSS red

Whisk could not get into the spirit of making these blue femtozoans have the appearance of the reference "subject" images that I provided (see the image to the left). I had selected those reference "subject" images because they showed human figures that were in a variety of poses and doing something interesting with their hands. Whisk defaulted to the standard behavior of text-to-image AIs and made the five femtozoans of Figure 14 all have similar boring appearance with their arms simply hanging at their sides, doing nothing.

With the goal of finding a way to get Whisk to generate femtozoans that looked less like statues and more like living artificial life-forms, I went through a series of alternative iterations with Whisk, taking Whisk-generated "storyboard" images such as the one that is shown in Figure 14 and feeding them back to Whisk as new "scene" images along with multiple blue "subject" images. The last such iteration is shown to the right. With these reference image inputs and a "storyboard" description that included "holding a tiny glowing white-hot diamond crystals", Whisk generated images such as the one in Figure 15.

Figure 15. Whisk-generated femtozoan experiment #3. Femtozoans holding white crystals.

Figure 16. Whisk-generated femtozoan experiment #4. Holding red crystals.

pointed ears

For the image that is shown in Figure 16, I instructed Whisk to include, "Five translucent, electric-blue female figures, with long flowing hairstyles and dramatic poses, float near the device. Their dark blue translucent forms are very tall, slender and ethereal, rendered with soft, diffused lighting and suggestive detail. The five ethereal forms reach out with their hands, each holding a glowing red-hot crystal that emits a narrow stream of yellow sparks." Whisk sprinkled several red objects throughout the image, including a red crystal there on the desk.

For the image that is shown below in Figure 17, I had provided Whisk with a "scene" reference image that had been generated after I instructed Whisk to depict the femtozoans using, "their hands to manipulate long glowing red-hot magic wands". The image shown to the right shows part of an unusual Whisk-generated image in which mention of "magic wands" prompted Whisk to make four floating femtozoans with pointed ears.

Figure 17. Whisk-generated femtozoan experiment #5. Holding "magic wands".

Figure 18. Whisk-generated femtozoan experiment #6. Holding red spheres.

Figure 19. Inflating femtozoans to human size.

For some of these Whisk-generated images, one or two of the femtozoans were placed inside what I like to think of as being a nanite containment chamber. For the image shown above in Figure 18, there are two femtozoans of different size inside the containment chamber and each of the three femtozoans that have escaped from the chamber is holding a red sphere. In my imagination, the "containment chamber" is being used to "inflate" these femtozoans to human size. One of the two femtozoans is ready to be released from the chamber while the other is still inflating and growing. A similar image is shown in Figure 19.

Whisk-generated femtozoan studies scene. Two femtozoans in a nanite containment field.

Figure 20. Generated by Leonardo .

I had Leonardo make some of these femtozoology research laboratory images. In one of the Leonardo-generated laboratories, there was a misty cloud (see Figure 20). I pasted a blue femtozoan from another Leonardo-generated image into the hands of the woman in Figure 20. The image in Figure 20 was also unusual in that it had a blue femtozoan at the right side of the image that was very close to the camera.

Here (below) are some more of the Leonardo -generated images:

Figure 21. Generated by Leonardo. Some alien femtozoans.

Figure 22. Generated by Leonardo. Three alien femtozoans.

Figure 23. Generated by Leonardo. Femtozoans from Africa?

Figure 24. Generated by Leonardo. Measuring the femtozoans.

Figure 25. Generated by Leonardo. Three femtozoologists at work.

Figure 26. Generated by Leonardo. Four femtozoans inside a containment field.

Figure 27. Generated by Leonardo. Six femtozoans of various sizes and a redheaded femtozoologist.

Next:

8 "Neanderthals" by Leonardo. Panel A, letters on the wall? Panel B, a carved window and an iron tool in the background? Panel C, birds on the ground. Panel D, a carved stone eye? Panel E. fossilized tentacles? Panel F, stone and rod decoration in the upper right. Panel G, graffiti cave painting. Panel H, sunglasses on her head? Visit the Gallery of Movies, Book and Magazine Covers

Personal Grendel

Figure 1. A personal Grendel, by ImageFX.

 When I originally introduced Grendels into the Exodemic Fictional Universe, they were the helpers of Interventionists who "lived" on Earth and guided the human species into the future.

SSS Grendel

For my story "D*", I make use of the idea that the Asimov Reality was used by both the pek and the bumpha as a "temporary Reality" where telepathic humans could be evolved. Within the Asimov Reality, a human being such as Aymy could be guided through life by a personal Grendel. A personal Grendel is an artificial life-form (a replicoid of a biological Grendel) that exists in the Hierion Domain, but can influence the behavior of people who live in the Hadron Domain of the universe (the world as we know it).

Under the influence of her personal Grendel, Aymy is sometimes unable to explain her own behavior which, when she was young, caused Aymy some confusion, but with experience she came to cherish the feeling of cognitive dissonance that arises from what Aymy thinks of as the actions of her unseen muse, who Aymy has learned to trust.

Figure 2. Cognitive dissonance by ImageFX.

I provided ImageFX with a text prompt about cognitive dissonance and ImageFX generated the image that is shown to the right.

Next, I provided the image shown in Figure 2 to Leonardo as a reference image and got some similar images, one of which showed the girl with her eyes closed. 

Figure 3. Automatic writing.

Using those Leonardo-generated images, I provided the cropped image of the face of the girl with closed eyes as a "subject", a full sized portrait format image as the "scene" and my usual text prompt "style" to Whisk.

I was amused when Whisk generated the image that is shown in Figure 3. I then provided Whisk with this "storyboard" description: "A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman with an open notebook illustrated with a technical diagrams on a wooden desk, illuminated by dramatic Chiaroscuro lighting from

Figure 4. Grendel by ImageFX.

  what appears to be a single source. She's holding a pen over an open notebook containing technical sketches and diagrams and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be the dream vision of the woman. The dream vision is a translucent version of the original woman. Cinematic mood, warm browns contrasting with cool blues. Photorealistic style."

Figure 5. Grendel by Whisk.

Figure 6. Personal Grendel - a tireless source of inspiration - by Whisk.

In the Hierion Domain.

 I was surprised when Whisk began making images such as the one shown in Figure 5 where I expected a transparent human figure but got what looks like a transparent holographic display in front of the Grendel. 

In Figure 6 the personal Grendel (in the background) is hard at work while the human is falling asleep. As shown to the right, the personal Grendel from Figure 6 seems immersed in holographically projected circuit diagrams.

What form should a personal Grendel take? While biological Grendels are a distinct humanoid species, the Grendel replicoids that serve as personal Grendels can take on any convenient form. 

SSS border

In my imagination, personal Grendels might adopt an appearance that is quite close to the individual human who they are associated with, even changing their appearance with time so as to mimic aging.

I used the image from Figure 6 as a new "scene" along with an abstract "subject" image with bright red colors (see the image to the left) in an attempt to get Whisk to generate a distinctive border separating the Grendel in the Hierion Domain from the woman in the Hadron Domain.

Figure 7. Personal Grendel inside the Hierion Domain by Whisk.

 Problems. I suspect that my description of the scene was becoming too complex for Imagen 3. Here is the updated text prompt:

Figure 8. Problems with Whisk.

"A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman with an open notebook illustrated with a technical diagrams on a wooden desk, illuminated by dramatic Chiaroscuro lighting from what appears to be a single source.

Figure 9. Graphs and charts by Whisk.

  She's holding a pen over an open notebook containing technical sketches and diagrams and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be a floating dream vision of the woman or possibly a ghost. The dream vision is a translucent version of the original woman. Surrounding the dream version of the woman is a brightly colored circular border composed of blocks of red and teal which is subtly incorporated into the scene and which divides the dream vision from reality. The circular border alternates between transparent and opaque and marks the edge of reality and the dream. Cinematic mood, warm browns contrasting with cool blues. Photorealistic style."

The image shown in Figure 8 illustrates some of the problems that Whisk had generating this scene. The text prompt specifies, "She's holding a pen over an open notebook containing technical sketches and diagrams", but Whisk seemed devoted to the idea of plastering circuit diagrams right on top of the Grendel (see the image to the right).

Whisk had the idea that a tired person should rest their head on one of their hands, which often led to Whisk generating a third hand that could continue to write (see Figures 3 and 8).

Figure 10. A very ugly Whisk-generated border dividing the Hadron and Hierion Domains.

Generated by Leonardo.

I continued to make adjustments to the "storyboard" description and Whisk generated Figure 10 when I used this text prompt: "A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman works over an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting from what appears to be a single source. The pages of the notebook are illustrated with technical diagrams. She's holding a pen over the open notebook and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be a floating dream vision of the woman or possibly a ghost. The dream vision is a translucent version of the original woman and that ghostly figure is working diligently to craft a new electronic device.

Generated by Leonardo.

  Surrounding the dream version of the woman is a brightly colored circular border composed of abstract blocks of red and teal which is subtly incorporated into the scene and which divides the dream vision from reality. The circular border alternates between transparent patches and opaque regions and the border delineates the merging of reality and the dream. The transparent dream vision contrasting with the mundane study scene is all rendered in a crisp photorealistic style".

Generated by Leonardo.

I was not satisfied with the boundary that was visible in Figure 10 separating the Hierion Domain and the Hadron Domain. I asked Claude for help...

 Me: "Claude, allow me to explain some of the science fiction story that this AI-generated image is supposed to illustrate. In the story (which is set in the future, the year 3553 C.E.), there is more than one

Generated by Leonardo.

  physical domain of the universe that is known. One domain of the universe is what I call the Hadron Domain, which is basically the universe as known to physicists in the year 2025. However, in 3553 C.E., it is known that there is another domain of the physical universe, what I call the Hierion Domain. Hadrons cannot exist in the Hierion Domain, bet there is a family of fundamental particles (called hierions) that can exist in the Hierion Domain. The Hierion Domain is defined by a set of three compactified dimensions. Hierions can form hierion-hierion bonds that are much shorter than chemical bonds. Thus, there can be non-biological artificial life-forms that exist in the Hierion Domain and are composed of hierions. Also, there can be a form of information transfer between the artificial life-forms of the Hierion Domain and humans of the Hadron Domain.

Generated by Leonardo.

  That information exchange is facilitated by a nanoscopic endosymbiont that exists inside every human (these endosymbionts were first integrated into the biological life-forms of Earth about 2,000,000,000 years ago by aliens from a distant galaxy). That endosymbiont is composed of hierions and each person's endosymbiont links into that person's brain, allowing for communication between people and artificial life-forms in the Hierion Domain. In the AI-generated image that we (Claude and I) have been developing, the "blue translucent spectral version of the woman" is actually an artificial life-form within the Hierion Domain who functions

Generated by Leonardo.

  like a personal assistant for the woman. The woman is only vaguely aware of that artificial life-form, but she can get valuable assistance from the Hierion Domain, such as making "new" scientific discoveries that are passed to her from the helper in the Hierion Domain. The AI-generated image is for readers of the science fiction story, to illustrate the concept of there being an artificial life-form in the Hierion Domain, but the visual depiction is metaphorical, since the artificial life-form is actually nanoscopic and composed of hierions, not conventional matter. Thus, I want the blue spectral part of the AI-generated image to look like it exists in a rip of the conventional fabric of reality, a rip that allows readers to get a look into the Hierion Domain. Thus, I want there to be a subtle border around the blue spectral part of the AI-generated, but not a jarring border."

Generated by Leonardo.

Claude suggested to following new prompt: "A stunningly detailed, full color, photorealistic rendering of a study scene at night in the year 3553 CE. A woman works over an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting from a desk lamp. The pages contain complex technical diagrams. To one side of her, reality appears to fold and ripple like a gossamer curtain, revealing a glimpse into the Hierion Domain. Through

Generated by Whisk.

  this subtle distortion in space, we see a luminescent cyan figure, an artificial life-form assistant, manipulating complex hierion-based technology. The border of this interdimensional window is marked by a subtle distortion effect, as if light itself is bending around the intersection of the two domains. A faint lattice of geometric patterns, like a crystalline network, creates an almost invisible bridge between the base of the woman's skull and the artificial life-form, suggesting quantum-level communication through the endosymbiont. This connection appears technological rather than dreamlike, with precise geometric nodes along its path.

Generated by Whisk.

  Floating hierion-based technical schematics surround the assistant, their alien geometry hinting at physics beyond conventional matter. The scene maintains a cinematic mood with warm lamp light in our domain contrasting with the cool cyan glow of the Hierion Domain, all rendered in crisp photorealistic style." Using that prompt, Whisk generated the image shown in Figure 11.

Figure 11. Generated by Whisk by using the text prompt suggested by Claude.

Figure 12. Updated personal Grendel, by ImageFX.

I used the following shorter text prompt with Leonardo: "A stunningly detailed, full color, photorealistic rendering of a woman writing on an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting. To one side of her, reality appears to fold and ripple like a gossamer curtain, revealing a glimpse into a parallel reality where we see a luminescent cyan figure manipulating complex technology. This translucent blue

Figure 12. Grendel on the notebook by Whisk.

  spectral version is off to one side of the actual woman. The border of this interdimensional window is marked by a subtle distortion effect, as if light itself is bending around the intersection of the two domains. A faint lattice of geometric patterns, like a crystalline network, creates an almost invisible bridge between the base of the woman's skull and the cyan figure which is rendered in crisp photorealistic style."

Generated by Leonardo.

Some of the images that were generated by Leonardo are shown above, on this page and one more is in the image to the right. Sometimes Leonardo includes text in the images it generates. Possibly "OFTT" is a clothing brand. One of the advertised uses for Leonardo is for assisting with image creation for people working in the fashion industry.

Using the image from Figure 11 as a new "scene" reference image with Whisk, the images in Figures 12 and 13 were generated. For Figure 12, the Grendel is standing on the notebook and the woman is working on an electronics project. For the image in Figure 13, I manually re-tinted the window (originally the outside world was blue).

Figure 13. Generated by Whisk, manual window tint.

SSS final

I used the image from Figure 13 as a new "scene" Whisk reference image and then the image shown in Figure 14 was generated by Whisk. The Grendel in Figure 14 was generated by WOMBO Dream and manually pasted into the Whisk-generated scene, covering up the Whisk-generated Grendel that was not very life-like and not similar the "subject" image that I had provided (see the image to the left). I was fairly satisfied by the image in Figure 14, which included a subtle link (a network of blue dots) between the Grendel and the head of the girl.

This was the text prompt for Mr. Wombo: "A stunningly detailed, full color, photorealistic rendering of a very young Meg Ryan depicted as a translucent glass statue, Meg Ryan is fifteen years old, Meg Ryan has long blond hair, Meg Ryan is cute, photo-realistic depiction of Meg Ryan as a very pretty girl, Meg Ryan happy, Meg Ryan is smiling, Meg Ryan is very tall and slim".

Figure 14. Mostly generated by Whisk, but the Grendel was generated by Mr. Wombo.

Next: artificial life femtozoans and zeptozoans.

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