IMMORTAL
blog

One real run, 18:15 to 19:00 on 2026-09-11, drawn from the work log and the commit timestamps. The implementer's seven commits (gold) all land inside twelve minutes in the middle. The other thirty-odd minutes are the lead booting cold, writing the brief, reading every diff, running the gate and checking that production was idle before shipping. Writing the code is the small part.

What one tick of an AI project lead actually does

devlog · 14 Oct 2026

We have moved from chatting with AI to agents that run while we sleep. This is the shape of one of those runs, why each step is there, and how my part of it gets smaller the longer it runs.

Walking is a fall that keeps getting interrupted: the centre of mass rides over the stance foot, leaves the base of support (gold), and the next leg arrives to catch it. A dancer takes the same fall further out and is caught later, on the beat. Proportions illustrative.

Teach a robot to dance and it will learn to walk among us

philosophy · 11 Oct 2026

Dance is the hardest thing a body does, explosive, off-balance, improvised, on time, in a room full of other people, which is exactly why it is the motion a machine should learn from if it is ever going to move among us without being a hazard or a joke.

The app as it stood on 3 October 2026, the day two dancers in one frame was released: the landing, home, the challenges, a dance, an attempt, publishing, the kineclipper, a finished take's clips, the account.

I built a dance app in a month by talking to it

devlog · 7 Oct 2026

For a month the only tool I really used was the dictation button. I spoke to Claude, it built, and I used what it built as a dancer would. This is what that made, what it took, and why I think you should start dreaming now.

What each art leaves behind when the evening ends: an object, a copy, a score, a memory. The last column is one real frame of a take, 33 joints in metres at the speed it happened. Notation for dance, finally.

Immortalizing movement

philosophy · 3 Oct 2026

Music worked out how to outlive its performances five hundred years ago and dance never quite did. A video keeps the pixels; a skeleton keeps the movement, and the movement is the part worth keeping.