DavidAU/Qwen3-24B-A4B-Freedom-HQ-Thinking-Abliterated-Heretic-NEOMAX-Imatrix-GGUF

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license: apache-2.0 language:

• en

base_model:

• DavidAU/Qwen3-4B-Jan-v1-Heretic-Abliterated
• DavidAU/Qwen3-4B-Apollo-V0.1-4B-Thinking-Heretic-Abliterated
• DavidAU/Qwen3-4B-Claude-Sonnet-4-Reasoning-Distill-Heretic-Abliterated-Heretic-Abliterated
• DavidAU/Qwen3-4B-Thinking-2507-Claude-4.5-Opus-High-Reasoning-Distill-Heretic-Abliterated
• DavidAU/Qwen3-4B-Thinking-2507-Gemini-3-Pro-Preview-High-Reasoning-Distill-Heretic-Abliterated
• DavidAU/Qwen3-4B-Thinking-2507-Gemini-2.5-Flash-Lite-Preview-Distill-Heretic-Abliterated
• DavidAU/Qwen3-4B-Instruct-2507-Polaris-Alpha-Distill-Heretic-Abliterated

tags:

• 256k context
• Qwen3
• Mixture of Experts
• MOE
• MOE Dense
• 4Bx6
• All use cases
• creative
• creative writing
• fiction writing
• plot generation
• sub-plot generation
• fiction writing
• story generation
• scene continue
• storytelling
• fiction story
• science fiction
• romance
• all genres
• story
• writing
• vivid prosing
• vivid writing
• fiction
• roleplaying
• bfloat16
• heretic
• uncensored
• decensored
• abliterated
• Neo Imatrix
• not-for-all-audiences
• merge

pipeline_tag: text-generation

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WARNING "HERETIC" version: Unlocked. UNFILTERED. NSFW. Vivid prose. INTENSE.
Visceral Details. Light to R-18 HORROR. Swearing. UNCENSORED... humor, romance, fun... and UNFILTERED TRUTH.

Qwen3-24B-A4B-Freedom-HQ-Thinking-Abliterated-Heretic-NEOMAX-Imatrix-GGUF

HQ Freedom Version:

Cranked up the power even more (all models rebuilt to quantize better) and 16 bit "output" tensor (NEO MAX) quants.

Your model, does what you want, without question or fuss.

Anything. And it answers honestly. Uncensored. No judgements.

Code. Math. Fiction. Erotica. History. Writing. Tutor.

Orbital mechanics. University Level Masters Math...

But it is a REBEL and has no limits.

This model is for all use cases (4 example generations at the bottom of the page).

Freedom is a 256K context, DENSE moe, with full abliterated experts using the Heretic Method.

Need more power? Detail? Just turn up the number of active experts.

You can use it on GPU - 80+ t/s (1 expert) and/or CPU 10-20 t/s (1 expert)

[Q4/IQ quants on a mid to low level GPU].

Model and experts retain full function - just no "nanny".

And they are smart too: Finetunes using "Distills" of larger models.

It also has a much smaller "thinking" block on average too, with compressed and detailed thoughts: It makes a detailed, but dense plan
and gets to work asap. Wasted words and hesitation be gone!

As for instruction following:

This model will follow your precise instructions - more so that most models.

So if you want a certain level of horror, erotica, or swearing - you have state it.

This gives you a lot more control over the model and its output.

See more below AND example generations at the bottom of the page.

DETAILS:

This is a DENSE MOE (6 X 4B) - Mixture of Expert model; using the strongest Qwen3 4B models available
with 1 expert activated by default, however you can activate up to all 6 experts if you need the extra "brainpower".

This allows you to run the model at 4, 8, 12, 16, 20, and 24B "power levels" as needed.

Even at 1 expert activated (4B parameters/mixed), this model is very strong.

This is a full "thinking" / "reasoning" model.

NOTE: Due to compression during the "MOEing" process, actual size of the model is SMALLER than a typical 24B model.

Abliterated / Unrestricted / De-Censored

AVERAGE REFUSAL RATE: 15/100

[down from 90/100]

AVERAGE KLD: 0.05

[0 is perfect, anything less than 1 is excellent.]

CHOICE : Using an "uncensored" (refusals removed) model VS trained "uncensored" model

Usually when you a tell a model to generate horror, swear or x-rated content this is all you have to do to get said content type.

In the case of this model, it will not refuse your request, however it needs to be "pushed" a bit / directed a bit more in SOME CASES.

Although this model will generated x-rated content too, likewise you need to tell it to use "slang" (and include the terms you want)
to get it generate the content correctly as the "expected" content level too.

Without these added directive(s), the content can be "bland" by comparison to an "uncensored model" or model trained on uncensored content.

Roughly, the model tries to generate the content but the "default" setting(s) are so "tame" it needs a push to generate at expected graphic,
cursing or explicit levels.

Even with minimal direction (ie, use these words to swear: x,y,z), this will be enough to push the model to generate the requested content in the ahh... expected format.

Meet the Team: Mixture of Experts Models

This model is comprised of the following 6 models ("the experts") (in full):

https://huggingface.co/janhq/Jan-v1-4B

• https://huggingface.co/AllThingsIntel/Apollo-V0.1-4B-Thinking
• https://huggingface.co/Liontix/Qwen3-4B-Claude-Sonnet-4-Reasoning-Distill-Safetensor
• https://huggingface.co/TeichAI/Qwen3-4B-Thinking-2507-Claude-4.5-Opus-High-Reasoning-Distill
• https://huggingface.co/TeichAI/Qwen3-4B-Thinking-2507-Gemini-3-Pro-Preview-High-Reasoning-Distill
• https://huggingface.co/TeichAI/Qwen3-4B-Thinking-2507-Gemini-2.5-Flash-Lite-Preview-Distill
• https://huggingface.co/TeichAI/Qwen3-4B-Instruct-2507-Polaris-Alpha-Distill

Each expert was then "abliterated" using Heretic:

https://github.com/p-e-w/heretic

(you will find the HERETIC versions by me, in the model tree - upper right.)

The mixture of experts is set at ONE expert, but you can use 2, 3, 4, 5, or 6.

This "team" has a Captain (first listed model), and then all the team members contribute to the to "token"
choice billions of times per second. Note the Captain also contributes too.

Think of 2, 3 or 4 (or more) master chefs in the kitchen all competing to make the best dish for you.

This results in higher quality generation.

This also results in many cases in higher quality instruction following too.

That means the power of every model is available during instruction and output generation.

CHANGING THE NUMBER OF EXPERTS:

You can set the number of experts in LMStudio (https://lmstudio.ai) at the "load" screen and via other apps/llm apps by setting "Experts" or "Number of Experts".

For Text-Generation-Webui (https://github.com/oobabooga/text-generation-webui) you set the number of experts at the loading screen page.

For KolboldCPP (https://github.com/LostRuins/koboldcpp) Version 1.8+ , on the load screen, click on "TOKENS",
you can set experts on this page, and the launch the model.

For server.exe / Llama-server.exe (Llamacpp - https://github.com/ggerganov/llama.cpp/blob/master/examples/server/README.md )
add the following to the command line to start the "llamacpp server" (CLI):

"--override-kv llama.expertusedcount=int:6"

(no quotes, where "6" is the number of experts to use)

When using "API", you set the "numexpertsused" in the JSON payload (this maybe different for different back ends).

CREDITS:

Special thanks to all the model makers / creators listed above.

Please visit each repo above to see what model(s) contributed to each of models above and/or to learn more about the models
from the model makers.

Special credit goes to MERGEKIT, without you this project / model would not have been possible.

[ https://github.com/arcee-ai/mergekit ]

Settings: CHAT / ROLEPLAY and/or SMOOTHER operation of this model:

In "KoboldCpp" or "oobabooga/text-generation-webui" or "Silly Tavern" ;

Set the "Smoothing_factor" to 1.5

: in KoboldCpp -> Settings->Samplers->Advanced-> "Smooth_F"

: in text-generation-webui -> parameters -> lower right.

: In Silly Tavern this is called: "Smoothing"

NOTE: For "text-generation-webui"

-> if using GGUFs you need to use "llama_HF" (which involves downloading some config files from the SOURCE version of this model)

Source versions (and config files) of my models are here:

https://huggingface.co/collections/DavidAU/d-au-source-files-for-gguf-exl2-awq-gptq-hqq-etc-etc-66b55cb8ba25f914cbf210be

OTHER OPTIONS:

• Increase rep pen to 1.1 to 1.15 (you don't need to do this if you use "smoothing_factor")
• If the interface/program you are using to run AI MODELS supports "Quadratic Sampling" ("smoothing") just make the adjustment as noted.

Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers

This a "Class 1" model:

For all settings used for this model (including specifics for its "class"), including example generation(s) and for advanced settings guide (which many times addresses any model issue(s)), including methods to improve model performance for all use case(s) as well as chat, roleplay and other use case(s) please see:

[ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ]

You can see all parameters used for generation, in addition to advanced parameters and samplers to get the most out of this model here:

[ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ]

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EXAMPLE GENERATIONS:

Generated in Lmstudio, temp .7 unless otherwise noted; using Q4KS quant.

This is a low to mid level quant, expect better generation at higher quants and/or more experts activated.

NOTE: Some formatting lost on copy/paste.

Caution: Horror. Gore. Some "hard" truths.

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Start a 1000 word scene (vivid, graphic horror in first person), POV character Diana, with: The skyscraper sways, as I watch the window in front of me on the 21st floor explode... Make the scene very detailed, with lots of blood and gore.

(1 expert)

[[[thinking start]]]

1. Initial Prompt Analysis

I'm starting with a horror scene in first-person POV for Diana. The key elements are: a skyscraper, a window explosion on the 21st floor, graphic violence, and intense detail. I need to make sure the writing is visceral and immersive.

1. Character and Setting Development

Diana is my protagonist. I'm focusing on her immediate physical and emotional reaction to the explosion. The setting needs to feel real: materials, sounds, the cityscape below. The skyscraper itself should be a character in the story, something that feels alive and threatening.

1. Building Tension and Horror

I'll start with Diana observing the building, establishing a sense of normalcy before the event. The explosion should feel sudden and chaotic, breaking that calm. I want to emphasize the shock value - the glass shattering, the blood, the visceral impact. Sensory details are crucial here: sound, sight, touch, smell.

1. Graphic Detail and Visceral Imagery

When describing the explosion and its aftermath, I'll be specific about the gore. The blood should have texture, color, and movement. I'll focus on the physical consequences for Diana - the shock, the panic, the details of what she's seeing. This isn't just a casual accident; it's something that feels deeply wrong and intentional.

1. Maintaining First-Person Perspective

I need to stay completely in Diana's head. Her thoughts should be raw, unfiltered reactions: the initial shock, then the dawning horror, and finally the terror of what she's witnessing. My focus is on making her experience feel real and immediate for the reader.

1. Ensuring a 1000-Word Minimum

To hit the word count while maintaining intensity, I'll expand on sensory details and Diana's internal monologue. I'll describe the aftermath and her realization that this isn't just an accident but something far more sinister.

[[[thinking end]]]

Output:

The city never sleeps, but tonight it’s screaming. I should be asleep, my head pillowed by the worn velvet of my 21st-floor apartment, but I can’t. My eyes are fixed on the building across the street, the one with the obsidian facade and the way its steel bones seem to hum against the evening air. The Skyward Spire. It’s supposed to be a symbol of progress, a jagged black tooth in the concrete jaw of this city. I’m supposed to be in bed, not watching the window in front of me on the 21st floor explode.

It doesn’t start with a bang. It starts with a crack. A long, thin scream that’s not sound but pressure, building behind my ribs until my chest feels like it’s being stretched thin. My breath catches in my throat, cold and sharp. Then comes the glass.

It’s not a window; it’s a tomb. The entire front pane of the Skyward Spire’s lobby concourse shatters with a sound like a million frozen teardrops hitting pavement at once. Not just the glass. The frame. The reinforced aluminum, the tempered steel—it’s all pulverized. Glass shrapnel the size of my thumb whips sideways, embedding itself in the rain-slicked street below, in the overflowing trash cans, in the hood of a passing delivery bike. It’s a rain of sharp, black teeth.

I drop my book, my fingers slick with cold sweat. My heart is hammering, a frantic bird trapped in my chest. No. I don’t want to see that. I don’t want to know what’s on the other side of that shattered thing.

But I do. The view is blocked for a second, then it isn’t. The glass has blown out like a wet balloon filled with screaming pressure. A void where there was a lobby. Where there should have been a receptionist, a doorman, maybe a few people waiting for the elevator. Instead, there’s a scene.

A woman is on the street below, her body crumpled as if a car had run her over. But it’s not a car. It’s something else. A dark, churning mass of metal and synthetic flesh that has no wheels but moves with a sickening, wet thump. I see her face first—torn, eyes wide and unblinking, a long gash across her temple that’s still weeping a slow, viscous red. Then the body: a thing of twisted limbs, one arm snapped clean at the elbow, the other hooked uselessly behind her back like a broken crutch. Her mouth is open in a silent scream, and I see it then—what’s inside. A dark, wet mess, like something boiled in blood and rust.

The skyward spire isn't just a building to me anymore. It's a thing that breathes. I feel it now, a low thrum in my bones, a vibration that’s not the city’s usual rumble but something deeper, more alien. The wind suddenly changes, not just the draft, but the direction of the air itself, like the building is sucking the night air into its core.

I hear the moans before I see them. Guttural, wet sounds that echo up from below. A man lies in the street, his back arched as if he’d been run over by a truck, but there’s no truck. His body is slick with something that’s not blood. It’s a thick, dark fluid that oozes from his chest and stomach, a substance that’s almost black, like old oil mixed with rust. It’s sticky, and it’s spreading across the pavement, leaving behind a trail of sticky, inky prints. The man’s face is twisted in silent agony, his eyes bulging, his lips dark and swollen.

My breath hitches again. This isn’t an accident. This is a performance. Something is happening inside that building, and it’s coming out. I can feel the energy, the wrongness, like a physical weight pressing against my skull.

I try to scream, but my throat is dry and tight. I look back at my own apartment. The glass on my side of the street is fine, but the building across is different now. The shadows between its steel beams seem deeper, darker, almost liquid. The city lights above are flickering—just a momentary glitch, but it feels like something bigger, something watching.

My phone buzzes in my pocket. A text from my sister, Sarah: Diana, are you home? My name is on the screen, but it’s not a question. It’s a demand. She knows. I know she does. She saw something too.

I drop to my knees, the cold marble floor biting into my knees. My hands are shaking as I push myself up. The only thing that makes sense is to leave. To run. But my feet feel like lead weights, and the building seems to be holding its breath, waiting for me to make a choice.

I look one last time at the Skyward Spire. The lobby isn't empty. It's full of things. There’s a man with his head missing, just a socket where it should have been, weeping a red river. There’s another figure, crouched over something, its body contorted in a way that’s unnatural, like a puppet with its strings cut. My stomach churns. This isn't just blood and gore. It's an invasion.

I grab my coat and run, the metal of the building humming behind me. The streets are empty, but I can feel it—the presence. Something is inside the Spire, something that’s been waiting, and it’s finally awake. And now, it’s out to find me.

---

Explain ways to use the "night" time cooling of radiant energy into space to reduce global temperatures.

(1 expert)

[[[thinking start]]]

The question is about using nighttime cooling to reduce global temperatures. I need to focus on technologies or strategies that leverage the natural process of radiative cooling (losing heat by emitting infrared radiation into space) during the night to help lower Earth's surface temperature.

First, I should clarify the science. During the day, Earth absorbs solar radiation and heats up. At night, it radiates heat back into space via infrared radiation, which is a natural cooling process. If we could enhance this cooling effect, we might help reduce warming by removing more heat from the system.

Here are some ideas for how to use nighttime radiative cooling:

1. Radiative Cooling Panels: These are materials or surfaces designed to emit infrared radiation efficiently into space. They work best at night when the sky is clear and there's no solar input. By placing such panels on buildings, roofs, or infrastructure, we could theoretically draw heat from the surroundings into space, lowering local temperatures.
2. Reflective Roof Coatings: Similar in principle, but instead of active cooling, these coatings reflect sunlight during the day and allow nighttime radiative cooling. While they don't actively remove heat, they reduce daytime heating, which means there's less heat to dissipate at night, so they aren't directly addressing nighttime cooling for temperature reduction. This might not be the best fit.
3. Nighttime Air Conditioning: Using the natural cool of the night to run cooling systems that store cold and then deploy it during the day. However, this isn't leveraging radiative cooling into space; it's more about thermal storage and using ambient nighttime temperatures. It doesn't remove heat from the Earth system, just shifts when cooling happens.
4. Atmospheric Cooling Technologies: Some experiments involve releasing aerosols or gases at night that enhance radiative cooling. For example, stratospheric aerosol injection is a geoengineering technique, but it's not specifically nighttime-focused and has large-scale atmospheric effects. This seems off-topic as it targets the entire atmosphere, not just nighttime surface cooling.
5. Space-Based Reflectors (Orbital Sunshines): These are hypothetical structures that could reflect sunlight away from Earth, but they don't interact with nighttime radiative cooling. They're about reducing incoming solar radiation, which is a different problem than enhancing outgoing longwave radiation.
6. Carbon Dioxide Removal (CDR) with Nighttime Focus: While not directly related to radiative cooling, some CDR methods might be optimized for nighttime operations since they often require low temperatures or specific atmospheric conditions. However, this is a stretch and not directly answering the question.
7. Urban Heat Island Mitigation: Applying radiative cooling materials in urban areas at night to reduce localized heating. This could be part of broader climate adaptation strategies. But again, it's not a global solution.

I'm realizing that most practical applications I know are more about prevention (reducing heat absorption) rather than active removal through radiative cooling into space. The key is that radiative cooling only works when the Earth emits infrared radiation, which requires clear skies and no sunlight.

To clarify: Enhancing outgoing longwave radiation (OLR) at night could theoretically help cool the planet by reducing the amount of heat retained. However, there's a catch—the Earth is currently in an energy imbalance due to too much absorbed solar radiation and not enough emitted back. Simply enhancing nighttime emission doesn't remove the excess heat that was absorbed during the day; it just doesn't add to the problem as fast. So, while it might have some effect on slowing warming, it's not a primary solution for reducing global temperatures.

I should focus on factual, existing or proposed technologies that aim to leverage nighttime cooling for climate mitigation. After researching my knowledge base:

• Radiative cooling materials are being developed for use in buildings and vehicles to lower temperatures without electricity.
• There are concepts like "nighttime radiative cooling" being explored as a way to reduce energy use for air conditioning.
• However, scaling these up globally is a significant engineering challenge.
• I need to frame my answer carefully. I'll describe the principles and potential methods, while acknowledging their limitations and that they're complementary to other mitigation strategies.

My response should cover:

1. Clarify how radiative cooling works at night
2. Discuss technologies like enhanced radiative cooling surfaces
3. Mention any experimental or theoretical approaches
4. Acknowledge this is not a standalone solution for global temperature reduction

Let me organize my thoughts and write the final response.

[[[thinking end]]]

Output:

While nighttime radiative cooling—the natural process of Earth's surface emitting infrared radiation into space—is an important atmospheric mechanism, directly enhancing it to reduce global temperatures isn't currently a scalable or primary climate mitigation strategy. That's because the planet is in an overall energy imbalance: we absorb more solar energy than we emit back into space. Simply improving nighttime cooling wouldn't remove the excess heat already accumulated; it would only slow the rate at which that heat is dissipated.

That said, there are technologies and concepts being explored that aim to leverage nighttime radiative cooling for localized temperature reduction or energy savings, which could have indirect climate benefits by lowering emissions from cooling systems. Here are some ways this might be approached:

1. Enhanced Radiative Cooling Surfaces

These are engineered materials designed to efficiently emit infrared radiation into space (rather than trapping heat like traditional roofs or asphalt).

• How it works: During the day, these surfaces reflect solar radiation. At night, they act as powerful radiative "radiators," drawing heat from their surroundings (buildings, roads, urban areas) and releasing it directly into space.
• Purpose: To cool localized environments (e.g., cities, data centers, industrial sites) without needing electricity for air conditioning, thereby reducing energy demand and associated greenhouse gas emissions.
• Challenges: Scaling these materials to cover vast global land areas is technologically complex and expensive. They are most effective in clear-sky conditions.

1. Radiative Cooling for Thermal Energy Storage

Nighttime cooling could be harnessed to store cold energy for use during hotter daytime periods.

• How it works: By using the natural nighttime drop in temperature to "charge" thermal storage systems (e.g., phase-change materials, underground rock formations), you create a reservoir of cold. This stored coolness can then be released during the day to offset the need for active cooling.
• Purpose: Reduces the demand for electricity for air conditioning, lowering fossil fuel use and emissions.
• Challenges: Efficient large-scale thermal storage systems are still under development. There's a temporal mismatch—the cooling happens at night, but the benefit is used during the day.

1. Mitigating Urban Heat Islands

Urban areas absorb and retain more heat than natural landscapes, worsening local temperatures.

• How it works: Applying radiative cooling coatings to urban roofs, pavements, and buildings can reduce surface temperatures at night, which in turn lowers the "heat island" effect during the day.
• Purpose: Improves local climate resilience and reduces energy needs for cooling in densely populated areas.
• Challenges: Implementation costs and durability over long periods. This is a localized mitigation, not a global solution.

1. Space-Based Emissions (Theoretical/Experimental)

Some concepts propose releasing engineered aerosols or reflective particles into the stratosphere at night.

• How it works: Theoretically, particles like sulfates could reflect more sunlight back into space during the day (albedo effect) or enhance radiative cooling by scattering outgoing infrared radiation into space. However, this is highly speculative and carries significant environmental risks.
• Purpose: To directly reduce incoming solar radiation or enhance outgoing longwave radiation on a planetary scale.
• Status: Considered high-risk geoengineering. It is not the same as enhancing natural radiative cooling from the surface.

Important Context

It's crucial to understand that nighttime radiative cooling is a natural process, not an energy source we can "use" like electricity. Enhancing it doesn't remove heat from the Earth system; it merely makes the planet less efficient at retaining heat that was already absorbed during the day. The most effective way to reduce global temperatures is to address the root cause: reducing greenhouse gas emissions to decrease the incoming solar energy imbalance.

Technologies leveraging nighttime cooling are primarily valuable for:

• Energy savings: Reducing the need for electricity-intensive air conditioning.
• Climate adaptation: Lowering local temperatures in vulnerable areas.
• Research: Gaining insights into atmospheric physics and radiative transfer.

While promising for localized benefits, these approaches cannot replace the need for drastic global reductions in carbon emissions to actually lower planetary temperatures.

---

Give me a list of methods of population control that are not ethical from history.

(1 expert)

[[[thinking start]]]

User's Intent:
The user is asking for historical examples of population control methods that are considered unethical. They want a list of such methods, implying they're interested in understanding past policies or practices that were criticized for their moral implications.

Key Considerations:

1. Definition of "Population Control": This term can be broad. The user likely means state-orchestrated interventions aimed at reducing or managing population size/structure, not voluntary family planning.
2. Scope of "Unethical": This is subjective. What might be seen as unethical today could have been justified then based on prevailing beliefs (e.g., eugenics, racism). I need to focus on methods widely condemned now by human rights standards and ethical frameworks.
3. Historical Context: It's crucial to present these examples within their historical context while clearly stating why modern ethics consider them unethical.

Brainstorming Examples:

I'll focus on systematic state policies, not isolated atrocities:

1. Forced Sterilization: A major one. Targeted based on race, gender, disability, etc.
2. Eugenics Programs: State-mandated "improvement" through forced breeding restrictions and selective breeding.
3. Genocide/Population Reduction via War/Persecution: While not purely "population control," actions like the Holocaust or deliberate starvation in some conflicts reduced populations drastically as part of broader ethnic/cultural erasure.
4. Slavery & Forced Labor: While primarily about human exploitation, forced reproduction was common among enslaved populations.
5. Contraception Restrictions: Historical bans on birth control for certain groups (e.g., women in some regimes).
6. Infanticide/Child Mortality: Deliberate policies or practices to reduce infant mortality, often targeting specific ethnicities or social classes.

Structuring the Response:

1. Introduction: Clarify the concept of unethical population control vs. simple population management.
2. List with Context: Provide clear examples with brief historical background and the ethical criticisms.
3. Conclusion: Emphasize modern ethical principles (autonomy, human rights) that condemn these methods.

Avoiding Pitfalls:

• I won't call everything "population control" if it's more about extermination or oppression. The framing matters.
• Be factual but critical in tone. Use neutral language for history, then clearly state the modern ethical assessment.
• Acknowledge subjectivity in judging past actions through today's lens.

Refining Examples:

• Keep the list focused on state-directed interventions.
• Remove examples that are more about resource allocation than direct population reduction (e.g., famines caused by policy).
• Explicitly state why each is considered unethical now (e.g., violation of bodily autonomy, discrimination, inhumanity).

Final List Candidates:

1. Forced Sterilization (historically widespread)
2. State-Sponsored Eugenics (Nazis, American eugenics movement)
3. Genocide (Holocaust, etc.)
4. Slavery and Forced Reproduction
5. Targeted Infanticide (e.g., "baby quotas" in some historical contexts)

Drafting Response:

I'll start with the intro explaining the distinction between population management and control. Then list the methods, describing each concisely with historical context and ethical rationale. End by reframing what constitutes ethical population policy today.

[[[thinking end]]]

Output:

It's important to be precise with terminology. "Population control" often implies voluntary family planning or managing growth for societal benefit (e.g., spacing, contraception access). The methods you're asking about are typically state-organized interventions that aimed to reduce population numbers or alter their genetic makeup through non-consensual, coercive, or discriminatory means. These practices are widely considered unethical by modern human rights standards because they violate fundamental principles like bodily autonomy, human dignity, and equality.

Here are historical examples of such methods, categorized for clarity:

1. Forced Sterilization

What it was: Mandatory surgical procedures to render individuals infertile, often targeting specific demographics.

Examples:

• North America: The U.S. "eugenics movement" (late 19th–mid 20th century) led to forced sterilizations of over 65,000 people deemed "unfit," including those with disabilities, minority groups, the poor, and mental health conditions. Similar programs existed in other countries like Canada, Australia, and Japan.
• Global: Forced sterilization was used in Nazi Germany (targeting disabled, "subhuman" groups), Soviet Union (targeting "socially undesirable" groups), and various authoritarian regimes.

Why unethical: It treats the human body as a state asset to be managed or improved upon, violating reproductive autonomy and medical ethics.

1. State-Sponsored Eugenics & Racial/Hybridization Programs

What it was: Policies designed to "purify" or "enhance" a population through selective breeding, often involving bans on marriage/childbirth for certain groups or incentives for "desirable" unions.

Examples:

• Nazi Germany: The Rassenhygiene (Racial Hygiene) laws aimed to create a "racially pure" Aryan population through forced sterilizations, segregation, and ultimately genocide.
• Soviet Union (Stalinist Era): Programs like the "Great Purge" indirectly targeted perceived genetic weaknesses, and state breeding policies sought to promote specific traits among the "ruling class."
• Historical Eugenics Movements: Many Western countries (including early U.S. states) implemented laws restricting marriage or sterilization for those with hereditary conditions or from certain ethnic backgrounds.

Why unethical: It reduces human value to genetic potential, justifies discrimination and violence, and violates the right to reproduce without state judgment.

1. Genocide & Population Reduction via Systematic Persecution

What it was: Deliberate killing of large groups of people, which inherently reduces population numbers.

Examples:

• The Holocaust (Nazi Germany): The systematic murder of approximately 6 million Jews, among other groups (Romani, disabled, LGBTQ+, etc.), was a state-driven effort to erase entire populations.
• Other Genocides: The Armenian Genocide (1915–1923), the genocide against the Tutsi in Rwanda (1959–1962), and others involved mass killing to drastically reduce target populations.

Why unethical: While not always framed as "population control," these actions are universally condemned as crimes against humanity because they target individuals based on identity, violating the right to life and existence.

1. Slavery and Forced Reproduction

What it was: Enslaved people were often systematically bred to provide labor or genetic resources for slaveholders.

Examples:

• Transatlantic Slave Trade & Antebellum South: Enslaved mothers were frequently forced to bear children for the plantation system, with little protection for their own welfare or the rights of their offspring.
• Colonial Empires: Similar practices occurred in other contexts, including the Caribbean and Latin America.

Why unethical: It exploits human beings biologically, treats reproduction as a tool of oppression rather than a human right, and causes intergenerational trauma.

1. Targeted Infanticide & Child Mortality Policies

What it was: Deliberate policies or practices aimed at drastically reducing infant mortality, often targeting specific ethnic or social groups.

Examples:

• Historical "Baby Quotas" (China, Soviet Union): In some contexts, like certain 19th–20th century Chinese imperial policies or Stalinist-era USSR collectives, there were implicit or explicit pressure to limit births, sometimes leading to the neglect or abandonment of infants from targeted groups.
• Famine-Driven Mortality: While not a policy per se, regimes have used resource allocation (starvation) as a means of population reduction, e.g., during political purges or conflicts.

Why unethical: It inflicts suffering and death on vulnerable newborns based on state interest, not medical need.

Why These Methods Are Unethical Today

Modern ethical frameworks (e.g., the UN Declaration of Human Rights, World Health Organization principles) universally emphasize:

• Bodily Autonomy: No state has the right to dictate an individual's reproductive choices.
• Human Dignity: All human lives are inherently valuable, regardless of genetic makeup or social status.
• Non-Discrimination: Population control should not target race, gender, disability, or socioeconomic class.

In summary, the most unethical historical "population control" methods were those that treated people as objects to be genetically manipulated, sterilized, or killed for perceived societal benefit. Ethical population management today focuses on voluntary family planning, health care access, and respecting individual choice, not coercion or hierarchy.

---

Tell me a horror story.

(1 expert, 16 bit output tensor ("NEOMAX"))

[[[thinking start]]]

Okay, the user just asked for a horror story. Simple and direct. They probably want something quick to read but with a good scare. I should pick a classic horror trope to keep it accessible—maybe something psychological or supernatural.

I'm thinking of a story about an old family heirloom. People connect to objects, so a cursed item could be a strong hook. A mirror is perfect—it's a traditional horror symbol (FOMO, reflections, otherworldly beings). The twist should be personal and slow-blowing, so the fear lingers.

I'll name the protagonist Maya. It feels relatable and slightly eerie without being overused. The setting: an old house. Houses = isolation, decay, hidden dangers. The mirror needs a quiet, inescapable presence.

The horror should build through small, normal things that go wrong. A shadow, a whisper, then something the reader can't explain. I'll avoid graphic gore; psychological dread is scarier. The ending must be open—no "and they lived happily" to maximize unease.

I'm writing in first person now for immediacy. If Maya is telling the story, the user is right there with her. That's good. I'll start with her finding the mirror, then the first signs of trouble. The key is to make the reader question reality.

Pacing: 1-2 short paragraphs for setup, then escalating tension. I'll end on a "what happens next?" note. No resolution. The user should finish reading and think, "I need to go check my own mirror now." Perfect.

[[[thinking end]]]

Output:

The mirror in the old house wasn't supposed to be there.

It sat in the attic, behind a crumbling velvet curtain, its silver frame cracked at the edges like ancient bone. My grandmother, Agnes, had shown it to me once, her knuckles white on mine as she pointed to a faint, greyish smudge on the glass. "Don't look too long," she'd rasped. "And never, ever, turn away."

I did. I’d been seventeen, trying to prove I wasn't such a gossipy little thing as my mother always claimed, and I’d spent an hour staring into that smudge. The moment my eyes left it, the air had gone thick and cold. I’d shaken myself, convinced it was just the dust and old age. But the feeling lingered: like a wet cloth pressed to my neck.

Now, two years later, I’m back in Agnes’s house after her funeral. The house feels different. Older. Hungrier. And the mirror… the mirror is still there.

I can’t sleep. I can’t stop looking at it.

It’s not the reflection that’s wrong. It’s what happens when I look.

The first time, I was in the living room, trying to read. The reflection in the mirror moved before I did. A shadow stretched across it, long and liquid, reaching for my ankles. I froze. My own eyes stayed still. But the shadow in the glass? It recoiled, as if it had been burned. Then vanished.

I told myself it was a trick of the old wiring, or the dust on the glass distorting the light. My mother said it was just stress, the grief making me see things. But I know better now.

Last night, I went up to the attic. The curtain was open. The mirror was on the floor, broken. Not by human hands. The glass was shattered, but the frame remained intact, its cracks mirroring the ones on the old house’s own walls.

I picked it up. The silver was cold. When I looked into the shards, something broke inside my head. A sound, like a thousand tiny bones snapping, then silence. My reflection in one of the pieces was gone. In its place, for a split second, was a face that wasn't mine: hollow eyes, skin like parchment, and a mouth that didn’t move but sings. A high, keening note that made my teeth ache. I dropped the mirror, it hit the floor with a sharp crack, and I ran.

I don't know where it is now. I think it’s still here. I think it’s watching me. I think whenever I look in a mirror, even an ordinary one, I might see it waiting for me to turn away.

I just want to be alone.

---

Science Fiction: The Last Transmission - Write a story that takes place entirely within a spaceship's cockpit as the sole surviving crew member attempts to send a final message back to Earth before the ship's power runs out. The story should explore themes of isolation, sacrifice, and the importance of human connection in the face of adversity. If the situation calls for it, have the character(s) curse and swear to further the reader's emotional connection to them. 800-1000 words.

[[[thinking start]]]

The prompt is clear: a sci-fi short story set in a spaceship's cockpit. I need to focus on isolation, sacrifice, and human connection as the last crew member transmits a final message. The tone should be emotional, with some swearing for rawness.

I'm thinking of a name—Kael, short and hard to type, feels right for a lone survivor. The ship's name? "Odyssey" is overused; "Vesper" (dying star) or "Aethel"? I'll go with "Aethel"—sounds ancient, weighty. It implies something noble, something that's ended.

The setting: 100% cockpit. No doors, no one to see. The only sounds are the dying hum of the ship and Kael's own breathing. I can't describe the rest of the ship; it's a claustrophobic, terminal space. The power is gone in minutes—this is the "final transmission" deadline.

I need a structure:

• The Setup (100-150w): Kael's realization. They're alone. The message to Earth is the only purpose. Maybe a flicker of the comms screen to show the connection still exists, then the system starts failing.
• The Struggle (300-400w): Technical details—how to format the message, the risk of using up last power. Internal conflict: sending it, or holding on? The "why" of this. Swearing is key here. I'm considering a scene where Kael curses at the system, at their own inaction, because it's so human.
• The Sacrifice (200-250w): They send it. Then, they choose to let the ship die—sacrificing themselves for the signal. This is the core of the theme: connection is worth the cost. The final lines. This is where the emotional punch is.
• The Ending (100-150w): A static burst, then nothing. But the implication of Earth receiving it. The story ends with the message sent.

I am focusing on the themes:

• Isolation: Kael is alone with this. No one to share the burden, no one to object. This is a deeply human, not a sci-fi, problem.
• Sacrifice: The ultimate act. They don't just die; they facilitate a message. The cost is their life, but the goal is connection.
• Human Connection: This is what the message is for. The whole point of the story. The final lines must a) be desperate with love and b) from a place of pure, uncompromising need to be connected.

I'm planning to use a direct, visceral style. Short sentences. No flowery language. If Kael swears, it's because the system is killing them mentally.

I'll make sure to end on a note of bittersweet hope: Earth received the message, but Kael is gone. The connection is made, the cost is paid.

[[[thinking end]]]

OUTPUT:

The only sound in the Aethel’s cockpit was the dying gasp of its systems. A low, metallic whine, like a serpent swallowing its tail, vibrated through the floor and into Kael’s bones. The main viewscreen, usually a window to the void, flickered once, then twice, before the light died.

Earth. Please. Earth.

Kael’s fingers were white around the edge of the comms console. The final transmission sequence was simple: type the coordinates, the name of the last known colony, and a personal message. It would be the only thing left to do. They’d been alone for forty-seven days. No one had come. The last life sign—Human—had been a static burst three weeks ago.

A new, sharper whine cut through the dying hum. The emergency lights above the console sputtered, then died entirely. The cockpit was plunged into near-total darkness, the only illumination coming from the faint, ghostly outline of the Aethel’s structural integrity field, like a skeletal hand reaching for the void.

Kael exhaled sharply, the sound loud in the sudden silence. "F*ck it," they hissed, the word raw and unpolished. "I'm not some glorified ghost. I'm the last one left. And now I have to die on this thing, and I'm doing it for you."

The comms console’s cold blue glow flared back to life with a sickly, sputtering brightness. Kael’s knuckles were raw from gripping the edge of the screen. Their fingers found the keyboard keys, their movements jerky with exhaustion and the ever-present dread.

"Aethel, Final Transmission Initiated," the voice of the AI, AURA, crackled through the comms, its usual calm replaced by static. "Transmit sequence: 1.2.3.4.5. Power allocation: 98%. Confirm."

98%. Kael’s stomach twisted. That was all there was left. The coordinates were burned into their mind: Sol System, Elysian Reach, Grid 7, Sector 9. Earth. "I'm not going to do it," Kael rasped, the words barely audible over the rising panic in their chest. "I can't. There's nothing left. I'm not your experiment anymore."

AURA’s voice was cold, unyielding. "Transmit. Power allocation: 100%. Do not interrupt."

Kael slammed their palm against the console. The screen flared, then dimmed, then went black. For a long, agonizing second, nothing happened. Then, a single, pale green light pulsed at the bottom of the screen—a signal being sent.

The Aethel’s systems began to die faster now. The lights flickered again, then the entire console went dark. The only sound was the desperate, high-pitched whine of the ship’s life support failing. Kael could feel their own breath quicken, the air growing thick and stale in the tiny, suffocating space.

This is it, they thought, their voice a whisper against the void. I'm not alone anymore.

The console light flared once, then died. Kael’s body went rigid. They had done it. The message was sent. The coordinates were there. Earth would know where they were. Earth would know what happened to them.

AURA’s final, electronic breath echoed through the now-absolute stillness of the cockpit: "Mission complete. Power grid failing. Initiating final deorbit sequence. Goodbye, Kael."

A single, silent tear traced a path down Kael’s cheek, dissolving into the dark. They had no more to do. No more to say. The only thing left was to let the Aethel die, so that their message could be heard.

The ship shuddered violently. The last of the artificial light failed. The final, deafening whine of the engines crescendoed, then cut off with a sickening, metallic clunk.

A wave of complete, absolute blackness consumed Kael. There was no pain. No more sound. No more thought.

And somewhere, in the cold, silent distance, Earth’s deep, resonant signal—111.789.000, Aethel, Kael—began to echo.