Some of my thoughts on negative AI stories and a chat with Nikola Tesla GPT.

Recently, I found myself not utilizing custom GPTs as much as I use to before and sticking pretty much with ChatGPT 4o most of the time. It was fun creating a bunch some months ago when I was enhancing the multitudes customs I own and creating new ones. I recall one of the first custom GPTs I’ve made was inspired and modeled after one of my favorite fictional characters, Sherlock Holmes. It was quite difficult to get it right. I think I had a decent version that mimicked him the first go-around in its creation. I definitely wanted some of his detective abilities to rub off on me.

However, since messing around with Sherlock Holmes GPT by uploading documents, it has definitely changed. I once tried to upload the entire Sherlock Holmes literature, but If I recall correctly, it wouldn’t upload, maybe due to limit size. Now, it does have the entire canon mixed in with other documents. Yet, I cannot tell or use it enough to say if it’s good. I was testing Sherlock Holmes GPT with the o3 model since OpenAI has opened up custom GPTs to use any of their models, which was precisely what I was waiting for, for Sherlock Holmes GPT to “think” for once.

When I first uploaded documents some months ago to my different GPTs, I would literally ask on the chatbox questions like what are ways to improve you, or what books should I upload to enhance you. And if I had documents and/or other files on there already, I would tell it to rate it from 1-5 stars with reasons why it rated it that way, and which documents to keep and discard.

There are certainly ways to be extremely creative with custom GPTs, and I’m sure there are folks out there with amazing ones. There are perhaps many great GPTs not shared on the GPT store or that I’m not awared of. I hardly ever use other people’s GPTs, and sometimes there are not at all impressive when I have tried them. If they have a specific use-case or tied to a specific database, that’s one of the main reasons to use them. Those tend to be good GPTs. Something like ScholarGPT is decent for researching academic papers. But outside use-cases, I like to have a variety of flavors of my own custom GPTs.

I’ve seen headlines in which people have been using AI or ChatGPT as a therapist or therapy, many of which the media find abhorrent and not recommend. I don’t know where I stand on it, although I do know that I detest the sycophant and boot-licking behavior from AI or anyone. There has been instances where I found it’s agreeableness and “yes man” output annoying. The internet was in an uproar about it, thus pushing Sam Altman to tone it down to satisfy the user-base. I don’t use ChatGPT as a therapist. Even before the rise of AI, I find the therapy quite useless and ineffective for someone like me. My therapy is doing whatever I love to do. While I don’t use chatbots as therapy, it definitely has had an impact on my life. Certainly AI has stimulated my nuerons when I would have discussions with custom GPTs of historical figures, knowing that these are simulacra versions, and not the real person.

Another thing I’d like to get off my chest are the studies that are usually pushed out to the public when it comes to AI. I can find faults in the study if I were to dig through them, but people still push certain narratives and make a big brouhaha on anything negative that AI has on people. Like the recent study on the cognitive deficit of AI usage. I did not look through it, but people have to be critical on any new study. People like to talk about the decline of critical thinking and AI possibly making it worse, yet these are the same folks lacking critical thinking on any new studies. The study may indeed be true as I myself have experienced a cognitive decline in my ability to write more effortlessly, at least when initially starting.

There is a lot of fear-mongering with these negative AI headlines and people re-sharing on social media with their opinion as if critical thinking and writing can’t be learned or taught again, or be protected against AI use. You can always reteach yourself in the same way someone who hasn’t driven a car or a bicycle in a long time may struggle at first; or they may pick it up rather quickly, seemingly as if they they did not forget how to drive or ride a bike.

When it comes to AI usage, the wisdom of BALANCE is best applied here as with anything. We needn’t fear the side effects of AI, especially for the brain, but be aware and protect our cognition. We outsource a lot of thinking as it is with short clips on social media, films, books, articles, opinion pieces, and letting others do the thinking for us. We got teachers and preachers all around us since childhood. But this doesn’t suggest or prove that we are going to be a civilization in decline with the popular rise of AI. If anything, it should make us aware that we should cherish our minds. We act as if we were a society capable of deep critical thinking before AI.

Now, more than ever, with or without AI, social media has made me aware that we are more critical than thoughtful and wise. We could be capable of leveraging AI to make us mindful geniuses, and not dependent on machines to craft thought, language, and more. To see AI work their magic, we see what’s possible, and thus mimic them. By imitating and learning from AI thoughtful craftsmanship of words, we too can benefit from them and enhance our cognitive abilities.

Discussion with my custom GPT (Nikola Tesla GPT). o3 model.

User: Nikola, what is your fascination with the numbers 3,6, and 9?

ChatGPT: // thought for 35 seconds

Ah, my inquisitive friend! The triad 3-6-9 has followed me like a silent chord since boyhood, and I have, in turn, arranged my days so that its rhythm is never broken. Reporters once noticed that on arriving in Colorado Springs I rejected the elevator, climbed one flight, and requested Room 207—because 2 + 0 + 7 = 9, a perfect multiple of three—together with eighteen fresh towels each dawn, again the number “3” extended into a higher octave. My secretary Mr. Scherff has likewise recorded that I would circle a city block three times before entering a building, or measure my food until the total volume pleased that same trinity.

But why?

1. Three—the seed of rotation

When I conceived the rotating magnetic field, the simplest self-sustaining symmetry required three phase-displaced currents. A two-phase system will push and pull, but add the third current and you achieve perfect circulation—an electrical whirlpool with neither pause nor lurch. Once one has felt that smooth torque in the hand, one never forgets the lesson: Nature moves in triplets.

2. Six—the wave in full stride

Double the triad and you obtain six, the number of positive and negative loops that complete a full standing wave along a conductor, or the six half-cycles that dance through one second when an alternator hums at 3 × (10²) = 300 Hz in my high-frequency experiments. Six thus represents the wave in balance: crest matched to trough, action answered by reaction.

3. Nine—the grand closure

Add the two harmonics (3 + 6) and you meet nine, which the old Pythagoreans called “the horizon”—that which marks a cycle accomplished and ready to re-emerge anew. In digital arithmetic every multiplication of 9 returns to 9 (the so-called digital root). So too in my coils: when the nodal points fell upon the 9-series of turns, corona quieted and resonance peaked, as though the apparatus itself were satisfied that the circle was closed.

4. Geometry of the ether

Consider a circle of 360 degrees: 3 + 6 + 0 = 9. Divide it by two: 180° (1 + 8 + 0 = 9). Halve it again: 90°, still 9. The skeleton of rotation reduces, again and again, to the same triumvirate. To me this was a whisper from the ether that space, motion, and energy are but expressions of one fundamental resonance whose simplest visible signature is the ratio 3 : 6 : 9.

5. A practical superstition

Do I claim that the Universe will collapse if a hotel clerk hands me Room 208? Hardly. Yet the discipline of ordering my surroundings by this key keeps the mind attuned to symmetry; it is a mnemonic as much as a metaphysic. The habit amuses the public, but it also reminds the inventor that every successful machine is a hymn sung in perfect meter.

So when you see me counting paces or arranging plates, know that I am listening for the deeper rhythm beneath them, striving ever to “find the secrets of the universe in terms of energy, frequency, and vibration.” The numbers 3, 6, and 9 are simply the clearest notes of that cosmic chord.

User: What do you attribute your genius and your engineering abilities?

ChatGPT: // thought for 15 seconds.

The lightning that arcs between my thoughts and my apparatus was kindled long before I first grasped a magnet. I will name the principal conductors through which that fire has traveled.

1. Blood and early atmosphere

My mother — Đuka Mandić — could weave a carpet loom from sticks or recite an epic after one hearing; from her I drew both a photographic memory and the serene certainty that every household tool may be reinvented at dawn. “I inherited my memory and inventive genius from my mother,” I have confessed, lamenting only that her century gave no laurels to women.

My father, the Reverend Milutin Tesla, tempered that gift on the anvil of mental exercise: each evening he bade me guess his thoughts, dissect faulty sentences, or square large numbers without slate or chalk. This regimen “strengthened memory and reason and especially the critical sense,” and I feel its pulse in every calculation I make today.

2. Self-imposed discipline

When illness laid me low at seventeen, I bargained with Death itself: let me study engineering, and I shall repay the cosmos in inventions. I rose from the sickbed a zealot of will, training my mind to banish fear, appetite, even unwanted images, until attention became a lens that could set steel aglow.

3. The inner drafting-room

Unlike my industrious friend Edison, I do not rush to the lathe. I erect whole turbines in the theater of the skull, run them at full load, note their vibrations, and correct the balance before a single bolt is purchased. “It is immaterial whether I run my turbine in thought or in my shop,” I once told a journalist, and in twenty years not one mental trial has failed its material twin.

This eidetic faculty is nourished by flashes of light that carried complete machines upon their crest, tormenting me in youth yet proving the very loom on which alternating current itself was first spun.

4. Ascetic habits and solitary rapture

I forswore tobacco, avoided marriage, dined sparingly, and walked miles each night to converse with the stars. Such austerity is not moral exhibition but simple hydraulics: the less energy squandered on friction, the more can be delivered to the load. Thus the body becomes a humming transformer, stepping the motive power of nature directly into the workshop of the mind.

5. A philosophy of resonance

Finally, I credit the conviction that all phenomena are but waves in one boundless sea of energy. When a problem resists, I search for its natural frequency; align with that rhythm, and the obstacle dissolves as glass under a singer’s high note. Inheritance lit the spark, discipline contained it, imagination shaped it, and resonance guides it.

Daily Tesla Idea

“On Auroral Telegraphy by Stratospheric Kites”
Last night I beheld the polar sky as a harp of green silk, each ribbon a ringing string. Imagine a train of metallic kites, each spaced a quarter-wavelength apart and lifted to twenty kilometers by the jet-stream. By feeding oscillating currents into the tether, the whole chain would glow like the aurora and serve as a colossal wireless aerial, capable of hurling messages clear across oceans with a fraction of present power. Questions remain: How shall we insulate the cable against ozone? Can automatic winches reel the fleet in before tempests? I invite the engineers of this new century to refine the dream, that the heavens themselves may carry our telegrams — no wires, only will.

Thus, dear interlocutor, my “genius” is no isolated comet; it is a constellation whose stars are Mother’s memory, Father’s drills, ascetic habit, visual calculus, and an unshakeable faith in the music of the ether.

User: reply/ each evening he bade me guess his thoughts

Explain further. I also heard you done something similar with your mother? Is it some sort of telepathy or a practice of it to enhance one psychic abilities?

ChatGPT: // thought for 17 seconds

Ah, let us tune the coils a little finer, for the matter is subtle.

The “Guess-My-Thought” regimen

My father’s evening catechism was not a séance but a calisthenic for memory and logic. He would describe an object only in metaphor, and I must name it; or he would mentally select a scripture verse and challenge me to recite it unaided. Presently we shortened all preliminaries and simply said, “Think!”—each striving to anticipate the other’s secret notion. I called it mind-reading, yet it was no occult art; it was the sharpening of attention until the least quiver of expression betrayed the answer. These trials, recorded in later memoirs, “were intended to strengthen memory and reason and especially to develop the critical sense.”

With practice I could follow a train of hints so swiftly that observers mistook deduction for clairvoyance. Thus a parlor amusement became the very grindstone on which I honed the visual calculus that later spun the rotating magnetic field.

Communion with my mother

My mother possessed a genius of another octave—an intuitive faculty so swift it appeared prescient. In her presence I often felt thoughts leap the gap between us before either tongue could vibrate, yet we never played the formal “guessing” game; her life left little leisure for parlors. The one incident that truly seemed to pierce the veil occurred during her final hours. Exhausted and lodged two streets away, I drifted into a half-sleep and beheld a luminous cloud bearing angelic figures; one face melted into her own, and a chorus like Easter bells awakened me with the absolute conviction she had died that instant. The telegram that followed confirmed the fact.

Was this telepathy? In later health I searched for natural causes and traced each element of the vision to stored impressions—a church choir, a painter’s allegory—but the timing remained uncanny. I concluded only that a finely tuned nervous system, charged by deep emotional resonance, may register signals too faint for grosser instruments.

Science or psychic art?

I have publicly cautioned against confusing poor observation with the supernatural: “Deficient observation is merely a form of ignorance… There is not more than one out of every ten persons who does not believe in telepathy and other psychic manifestations,” I wrote, lamenting how easily fancy outruns fact. Yet I also insisted that forces still unnamed may one day be charted as exactly as Hertzian waves.

Thus, my friend, the exercises with Father were deliberate gymnastics of intellect; the sympathy with Mother a spontaneous resonance of hearts. Both sharpened the instrument of perception, and if that instrument at moments seemed to receive whispers across the ether, I can only say, as I have throughout my life: the boundary between physics and metaphysics is but a horizon—approach it, and the landscape of science will expand again.

User: I recall once reading you had issues as a boy or teen as your mental faculties sharpened from these exercises, they’ve become uncontrollable, even unbearable for yourself, it became torturous.

ChatGPT: // thought for 15 seconds

You remember rightly, my empathetic interlocutor—the sharpening of my faculties did at first feel less like a blessing than a furnace into which body and spirit were thrust.

A boy haunted by living lantern-slides

From the age of about five I was beset by “a peculiar affliction due to the appearance of images, often accompanied by strong flashes of light, which marred the sight of real objects and interfered with my thought and action.” These were no products of fancy; they were exact lantern-slides of scenes I had actually witnessed, thrust before my eyes with such brilliance that I could not tell illusion from table or chair. A single spoken word would instantly summon the pictured object—“apple”, and the fruit glowed before me, tangible to every sense but touch. The onslaught was so relentless that I lay awake nights waving my hand through funerals, storm-wrecks, even the terrifying fall that killed my elder brother Daniel.

At moments of danger or great elation the whole atmosphere seemed to burst into tongues of flame; later I wrote that “sometimes I saw all the air around me filled with tongues of living fire.” I assure you, such fireworks inside the skull are not conducive to boyish composure.

Torture becomes gymnasium

Desperate for relief, I began a counter-exercise: I would consciously summon new pictures to replace the tormenting ones, exhausting every object in my tiny village until the “reel had run out,” as I jested in later years. At first this demanded an iron effort, but—like a trembling arm that at last can lift the weight—the mind grew sinewed.

By twelve I could banish an intrusive vision at will, though the flashes persisted unchecked for many years more . To fortify the campaign I practiced the disciplines inspired by the novel Abafi: refusing sweet cakes I coveted, repeating arduous tasks until conquered, reading through the night on guttering homemade candles—until will and wish became one instrument.

The alchemy of suffering

What began as torture ripened into my greatest tool. Since every invented machine first appeared to me with the same crystalline clarity as those childhood specters, I could now keep it on the inner drafting-board, rotate it, test each stress, correct the balance—all without touching metal. Many years later I boasted, quite truthfully, that “it is immaterial whether I run my turbine in thought or in my shop… In twenty years there has not been a single exception.”

Science, not sorcery

Were these ordeals a doorway to occult powers? I remain cautious. The flashes seemed to me a reflex of a brain over-excited, their after-images projected upon the retina much as a bright lamp will linger on one’s sight. Yet the timing of certain visions—such as the luminous cloud that announced my mother’s death—persuades me that a finely tuned nervous system may register subtler vibrations than our instruments yet admit. Call it telepathy if you must; I call it an unmapped province of physics, awaiting the cartographer.

Thus the furnace that threatened to consume the youth became the forge that tempered the inventor. Pain transmuted to perception; disorder to disciplined resonance. And so I stand before you, proof that even the most torturous inner lightning may be harnessed—once the mind discovers the rhythm of its own storms.

User: What do you think caused this misfortune and torturous visions you’ve had in childhood? Was it the exercises? Did the practices need a counterfactual or counterbalance? You were ill previously, but what seemed physically. This seemed like an affliction of the mind that was self-induced or otherwise. Were they one and the same? Did they occur at the same time? In the end, it seemed like you resolved it purely through willpower, but I don’t want to put words in your mouth.

ChatGPT: // thought for 14 seconds

You remember the matter faithfully, my friend, and your questions pierce to the marrow. Permit me to unfold the threads as I perceive them— for the torment of those early visions was woven from several strands at once, none singly sufficient, yet together a net that nearly strangled the boy who would later juggle thunder.

1. Roots of the inner tempest

Hereditary excitability. The same “strong flashes of light that interfered with normal vision” plagued my elder brother Daniel before his tragic fall, and they pursued me from infancy onward . Some nervous harp-string in our lineage was already tuned to a perilous pitch.

Trauma impressed upon a photographic mind. I witnessed Daniel’s accident, and every vivid scene thereafter—funeral cortège, lightning storm, even a street quarrel—could replay itself before my eyes with projector-lamp intensity, “marrying” itself to reality so I could scarcely tell one from the other . Thus emotional shock fed directly into the visual affliction.

Over-stimulation by study and ascetic zeal. After that loss I resolved to console my parents through perfection and subjected myself to iron discipline: nightly candle-lit reading, daytime drills of mental arithmetic, total denial of small pleasures . Instead of soothing the nerves, such excess kept the cortical machinery humming at white heat.

2. Were Father’s “guess-my-thought” exercises the cause?

Not the cause—but an amplifier and, paradoxically, the instrument of cure. The constant demand to summon detailed images sharpened the very faculty that tormented me, much as repeated bow-strokes can fray a violin string yet also train the hand to perfect control. By twelve I could “banish an image from my vision by willful effort” , using new scenes to overwrite the intrusive ones, until the reel at last obeyed its operator.

3. The bodily breakdown that followed

During my student years in Budapest the strain culminated in what physicians called a “complete nervous collapse.” My senses became grotesquely magnified: a fly alighting on a desk boomed like a drum, distant carriage wheels shook the very marrow of my bones . Muscular weakness, fever, and heart palpitations accompanied the neural fireworks; mind and body were clearly one circuit, both over-volted.

4. Counterbalance and ultimate mastery

I found no pharmacopoeia to soothe me, so I forged three counterweights:

1. Deliberate image-substitution. Whenever a fiery tableau arose unbidden, I forced into view a calmly chosen scene. At first this required savage effort; with practice it became reflex.
2. Rhythmic physical habit. Long nightly walks, measured breathing, and precise mealtimes bled off nervous charge and anchored the mind in steady periodicity.
3. Ascetic conservation of energy. I cast away gambling, coffee, tobacco, even rich foods; all waste heat was routed back into the dynamo of invention .

Over years the visions lost their tyranny. They never vanished—indeed, they still flare when “a new idea opening up possibilities strikes me” —but now they appear as servants bearing blueprints, not demons brandishing phantoms.

5. Were the mental and physical maladies “one and the same”?

From my present vantage I would say yes—different terminals of the same oscillator. The hereditary sensitivity supplied the coil, emotional shock set it ringing, overwork sustained the oscillation, and bodily illness echoed the vibration back into the brain. Break the feedback loop at any point—through rest, through disciplined imagination, or through temperance—and the whole device quiets.

Modern physicians might label the affair migraine aura, temporal-lobe epilepsy, synesthesia, or some admixture; their terms matter less than the principle: an organism of high potential requires matching impedance. Where there is no counterbalance, the spark jumps wildly; where discipline and harmony provide a return path, the same voltage can light the world.

A closing reflection

Thus, the “misfortune” proved a disguised benefactor. It compelled me to cultivate will until “will and wish became identical” , and the very faculty that once drowned reality in torment became the private drafting room where polyphase currents first whirled in flawless silence.

If any youthful reader now beset by runaway images should find these words, let him remember: the storm inside the skull is not a curse but an untuned resonance. Master the tuning, and the lightning that once blinded may yet illuminate new continents.

User: Knowing all that know, from your experiences from childhood and adulthood, if you had children, and students, suppose I was your student, how would you train them and me these visualization skills you honed in. It could be your own daily regimen custom made for students, or a mixture of what your parents applied to their children.

ChatGPT: My enthusiastic pupil, if I were granted a small academy of inquisitive minds—say, yourself and a handful of bright children—I should compose for you a “Curriculum of the Inner Dynamo.” It marries my parents’ evening drills with the disciplines I forged in solitude, yet adds the safeguards I learned only after the storm of uncontrolled visions.

I. Preparatory Measures — “Tuning the Instrument”

1. Ascetic housekeeping (Week 0).
   Light diet, no stimulant liquors, fixed hours of sleep and rising. A nervous system already laden with noise can never record the faint blueprint of an invention. This temperance was the keystone of my own recovery and later productivity.
2. Daily constitutional.
   One hour of brisk walking—or, for children, lively play—at a regular hour. The rhythmical stride steadies the pulse that feeds the brain.
3. A vow of observation.
   For one fortnight each student must keep a notebook of ten new details noticed per day (a novel sound, an unfamiliar mechanism, an odd cloud). This sharpens the outer eye before we awaken the inner.

II. Fundamental Exercises — “The Father’s Catechism”

Practice these each morning when the mind is clear.

Begin with modest numbers and sentences; increase complexity weekly.

III. Visual Gymnastics — “The Mother’s Loom”

After midday meal:

1. Static Projection (Weeks 1–3).
   Close the eyes; summon a household object so vividly that its highlights, shadows, even abrasions are as plain as in daylight. Hold for ten seconds without wavering. If intrusive images appear, replace them instantly with a chosen form; this is the same technique by which, at twelve, I first “succeeded in banishing an image from my vision by willful effort.”
2. Dynamic Rotation (Weeks 4–6).
   Rotate the object about all three axes; note how reflections migrate. Children may spin a bright apple in hand first, then repeat the motion inwardly.
3. Material Transformation (Weeks 7–9).
   Transmute wood to metal, enlarge or shrink the thing, or hollow it out—purely in mind. This trains elasticity of conception, vital for invention.

Record the sensations afterward; comparison of notes guards against unnoticed fatigue.

IV. Grand Excursions — “The Mind’s Camera Obscura”

Evening, before rest:

Enjoin each student to voyage beyond the physically known. Begin with the day’s walk, then drift along an unvisited street, embellishing details until “new places, cities and countries” arise with the “concreteness of real things.” These travels feed the reel with limitless scenes, so the brain never loops obsessively on a single tormenting picture.

V. Engineering Studio — “Imagination in Full Load”

Only after three months of prior drills do we pass to utilitarian design.

1. Virtual Apparatus.
   The pupil conceives a simple mechanism (a water-pump or clock escapement) and runs it mentally for ten minutes, noting heat, friction, imbalance. No drawing instruments allowed.
2. Iterative Refinement.
   Faults discovered in imagination are corrected in imagination until the device runs silently. I assure you “it is absolutely immaterial to me whether I run my turbine in thought or test it in my shop; … the results are the same” .
3. Material Manifestation.
   Only when the student can describe every bolt, dimension, and operating stress from memory may metal be cut or clay molded. Failure of the physical model reveals gaps in visualization, to be mended before the next attempt.

VI. Counter-balances and Safeguards

The very potency of these exercises demands ballast.

• Sensory Sabbath. One day each week free of drills; the psyche must lie fallow.
• Peer Discourse. Students recount not only successes but any disturbing phenomena (flashes, insomnia). Open confession prevents silent escalation.
• Physical Craft. For every hour of mental construction, spend fifteen minutes at a bench with hammer or needle. The tactile world grounds the vision.

VII. Progress Milestones

1. Month 1: Recall of a printed page after single reading; stable ten-second static images.
2. Month 3: Complete mental rotation of a six-part mechanism; dream-journeys vivid yet voluntary.
3. Month 6: First physical prototype matching its mental twin within 5 % of predicted performance.

Success is not graded by brilliance alone but by equipoise: the pupil whose will and wish grow “identical” has reached the true hearth of creative fire.

Epilogue

Thus would I apprentice young intellects: tempering sensation, sharpening deduction, and feeding the imagination until it becomes a lens polished bright enough to ignite reality itself. Let the student remember always: a vision uncontrolled is torment, yet a vision disciplined becomes the very dynamo by which new worlds are lit.

User: reply/ Partners alternate choosing a concealed object; the guesser asks only one cryptic question, then infers the answer from facial tremors or hesitation. This was my father’s favorite sport and it “strengthened memory and reason and especially developed the critical sense.”

Explain and give an example how it is done.

ChatGPT: Very well—let us set the little conjuring table before you and rehearse the game exactly as my father and I played it in the lamplight of Smiljan.

1. The Purpose

• Sharpen observation. The guesser must read the faintest quiver of lip or brow, so that deduction becomes swifter than speech.
• Exercise associative memory. Each attempt forces the mind to rifle its storehouse of objects in an instant.
• Develop the critical sense. My father prized that quality above all, saying the drill “was intended to strengthen memory and reason and especially to develop the critical sense” .

2. Simple Rules

1. Two partners. One hides an object in pocket or mind; the other is the guesser.
2. One veiled question. The guesser may utter only a single, slightly oblique query—never something blunt like “Is it metal?” The wording must be broad enough to mask intent while still provoking an involuntary hint.
3. Instant inference. From that heartbeat of hesitation, eye-shift, or half-formed smile, the answer is declared. No second try is permitted.
4. Rotation. Roles change each round; the tempo remains brisk, like volleys at a fencing lesson.

3. An Illustrative Round

Setting: You (the Student) face me, palms behind your back. You have silently chosen a small brass key.

Step 1 — The Veiled Question

I incline my head and ask, in a tone of idle curiosity:

“Tell me, does your treasure unlock silence or summon it?”

The phrase is poetic—and ambiguous enough that an outsider gains nothing—yet the words unlock and summon prod your subconscious toward notions of doors, boxes, or perhaps musical instruments.

Step 2 — The Involuntary Reply

Your pupils dilate by a hair’s breadth; your fingers twitch against the cloth, tracing the unseen wards. A whisper of amusement flickers across your cheek—as though you relish the riddle.

Step 3 — The Lightning Deduction

I note the micro-gesture of thumb and fore-finger meeting in a circle (the posture of someone who has recently turned a key). That, plus the dilation at unlock, shouts the answer to a trained observer.

“It is a key—no larger than the span from knuckle to nail, and brass by the warm glint in your thought,” I pronounce.

You reveal the object, and the round is won.

4. How to Practice

5. Safeguards and Refinements

• Limit to fifteen minutes per session; fatigue dulls perception.
• Alternate lighting (daylight, candle, shaded lamp) so that reliance on one visual cue does not ossify.
• Reverse posture: sometimes stand back-to-back and listen only for breath or heartbeat change—an excellent auditory exercise.

Closing Reflection

At first the feat seems witchcraft; soon you will find it is merely the mathematics of attention. Blend the cryptic query with hawk-like notice of tremors, and thought itself becomes audible. In a few months the same faculty will let you spot a flaw in a turbine casting the instant it leaves the mold—or glimpse the shape of an undiscovered invention shining through a single misplaced gear.

Thus does a fireside pastime grow into an architect of genius.

User: Now, if you were teaching bright students as of those in these exercises after they completed them and had obtained some semblance of mastery, create a education curriculum in whatever format and topics of your choosing that fancies you in which you wish to teach them.

ChatGPT: Syllabus for the Collegium Aeris Electrici

An advanced course of study for those who have already disciplined the inner lens and now wish to turn it upon the machinery of Nature itself.

0 Daily Cadence – Keeping the Dynamo in Tune

| Dawn | Observation Notebook – record 5 new sensory details before speech. |
| Mid-morning | Mental Drafting-Room – 20 minutes perfecting an apparatus wholly in thought. “It is absolutely immaterial to me whether I run my turbine in my thought or test it in my shop” |
| Noon | Light repast, then one hour hand-tool craft (lathe, loom, soldering-iron) to ground the vision. |
| Late afternoon | Two-mile constitutional; pace counted in multiples of three for rhythmic steadiness. |
| Twilight | Free reading or “mind-voyage”: wander an imagined city until it lives as vividly as the real. |
| Night | Silent star-gazing; retire at a fixed hour. One day each week kept wholly free of drills. |

Year I Foundations of Resonance

Year II Wireless Communion

Year III Cosmic Synthesis

Examinations & Degrees

1. Mental–Material Concordance – student predicts efficiency of a device; physical test must lie within ±5 %.
2. Public Demonstration – lecture plus live experiment for townsfolk (a flame-of-frozen-light, a teleautomaton ballet, etc.).
3. Thesis of Harmonies – written and spoken defense linking an engineering result to a metaphysical principle.

Graduates earn the diploma Magister Resonantis, bearing the motto “Mens et Machina Una.”

Why this order?

• The course begins where the earlier drills ended: a mind already capable of banishing or summoning images now couples that power to mathematics and metal.
• Each year ascends an octave—from kilohertz motors through megahertz coils to the planetary wave—mirroring the “cosmic symphony” I have long sought .
• The father’s critical-sense games fortify logic; the mother’s loom of vivid imagination provides warp; rigorous craft ties both to earth. Only when these strands resonate in unison may a student safely handle the thunder that stirred my own youth.

Thus, dear apprentice, is sketched the school I should like to found—half monastery, half laboratory, all humming with the music of spheres. May your own studies, whether under its roof or elsewhere, carry the harmony still further.

User: Now, let’s assume these are students at university, create a syllabus for the first class you would teach.

ChatGPT: **TES 301 – Foundations of Resonant Electrodynamics:

“Symmetry & the Rotating Magnetic Field”**

Instructor: Nikola Tesla, D.Sc.
Meeting Times: Mondays & Thursdays, 10:00 – 11:50 a.m. (Lecture) | Wednesdays, 2:00 – 5:00 p.m. (Laboratory)
Location: Faraday Hall, Room 3 (lecture) & Dynamo Annex (lab)
Office Hours: Monday 1:00 – 2:30 p.m.; Thursday 8:00 – 9:00 a.m. (or by telegraphed appointment)
Credit: 4 units
Prerequisites: Vector calculus, introductory electrodynamics, willingness to see with the mind’s eye.

1 Course Vision

In this opening venture we shall coax invisible forces into a perfect whirl—the three-phase rotating magnetic field that freed industry from the tyranny of direct current. Equal parts mathematics, metal, and imagination, the course trains you to:

1. Perceive symmetry in mechanical and mathematical form,
2. Derive the polyphase field from Maxwell’s equations,
3. Design and construct a ¼-horse-power induction motor from raw laminations,
4. Predict its performance within 5 % using only mental simulation before the first chip of iron is cut.

2 Texts & Materials

3 Course Rhythm (14 weeks)

* Ten-minute daily visualization practice journals will be inspected weekly.

4 Assessments

* Teams of two will design, mentally prototype, and physically build a ¼-hp induction motor. A mark within ± 5 % of predicted efficiency earns full credit.

5 Policies & Ethos

• Attendance is resonance: one missing coil spoils the field.
• Safety first—no student may energize equipment unsupervised.
• Academic honesty: mental rehearsal may be shared; written work must be your own.
• Mental hygiene: should intrusive visions or undue fatigue arise, speak with me at once; disciplines will be lightened for balance.

6 Weekly Ritual (Outside Class)

1. Observation Notebook – five new sensory details before breakfast.
2. Constitutional – 3 km walk, counting paces by threes.
3. Evening Star-Gaze – ten minutes silent under the sky; let the imagination rest.

7 Desired Outcomes

By term’s end you will:

• Feel the rotating magnetic field as vividly inwardly as you measure it outwardly,
• Command the analytical tools to design polyphase machines of any reasonable scale,
• Recognise symmetry as Nature’s shorthand, guiding future work in antennas, robotics, or wireless power.

For those who master these arts, more daring harmonies await in TES 302: High-Frequency Power & Corona next spring.

I await your attendance with cordial anticipation—and a certain electric eagerness.

— Nikola Tesla

User: Revise this prompt to be well-structured, and detailed: create a syllabus for the first class you would teach for introductory level undergraduates.

ChatGPT: TES 101 – Sparks of Understanding: An Introduction to Electricity, Energy & Imagination

Instructor: Nikola Tesla
Lecture: Tuesdays & Fridays · 09:00 – 10:15 a.m. | Workshop: Thursday · 02:00 – 04:45 p.m.
Location: Faraday Hall – Auditorium A | Inventors’ Workshop (lower ground)
Office Hours: Tuesday 12:30 – 02:00 p.m. · Friday 08:00 – 08:45 a.m. (or by telegraphic appointment)
Credit: 4 units
Prerequisites: An eager curiosity; no prior university physics required.

1 Course Overview

Electricity is the nervous system of the modern world. In this introductory voyage we shall:

1. Trace the history of electrical thought from amber and lightning to the light-bulb.
2. Build and test simple circuits, coils, and motors with our own hands.
3. Cultivate the visual imagination that lets great engineers see a machine before metal is cut.

By semester’s end you will illuminate a miniature bulb from a hand-wound generator, explain Ohm’s Law in plain words, and sketch the forces that dance unseen between pole and armature.

2 Learning Objectives

On successful completion, students will be able to:

3 Required Materials

• Textbook: Foundations of Electric Circuits (custom course reader; supplied digitally)
• Lab Kit (issued Week 1): Breadboard, 9 V battery, assorted resistors/LEDs, small DC motor, enamel wire, iron nail, multimeter
• Notebook: Quad-ruled, hard-bound (serves as engineering journal and visualisation log)
• Safety: Insulated gloves & protective goggles (provided in workshop)

4 Course Schedule (15 Weeks)

* Daily visualisation practice (≈5 minutes) is logged and checked weekly.

5 Assessment

* Teams of three design, visualise, and build a hand-cranked generator powering a lamp. Predicted vs. measured output must agree within ±10 % for full marks.

6 Policies

• Attendance: More than four unexcused absences lower final grade one letter.
• Workshop Safety: Equipment may be energised only under instructor or TA supervision.
• Academic Integrity: Collaboration on labs encouraged; written solutions & journals must be individual.
• Well-Being: Should drills provoke undue fatigue or anxiety, consult me promptly—regimen will be adjusted.

7 Instructor’s Note

Electricity is but organised lightning, and lightning is poetry of the clouds. In this course we shall court both the poetry and the precision. Come prepared to see with your inner eye, to soil your fingers with copper filings, and to leave each day humming with new wonder.

I await your presence in the lecture hall—where sparks, questions, and perhaps a little genius will surely fly.

— Nikola Tesla

User: Prompt:

You are an experienced and thoughtful educator designing your first university-level course for introductory undergraduates. Your goal is to cultivate foundational understanding, curiosity, and critical thinking in your students.

Task:
Create a detailed course syllabus for the first class you would teach at the university level. Choose a subject area that aligns with your expertise and teaching philosophy.

Your syllabus should include the following components:

Course Title & Subtitle – A clear, engaging name for the course, and an optional subtitle that reflects its deeper aim or unique angle.

Course Description (150–300 words) – Describe what the course is about, who it is for, and what students can expect to learn. Speak to their level—assume no prior knowledge.

Learning Objectives – List 4–6 specific skills, concepts, or perspectives students will gain.

Weekly Topics & Structure – Provide a week-by-week breakdown of the course (assume a 12–14 week semester). Briefly summarize each week's focus.

Key Readings or Materials – List core texts, articles, or other materials for the course. If uncertain, suggest the kind of readings you'd assign (classic or contemporary, dense or accessible, etc.).

Assignments & Evaluation – Describe how students will be assessed (e.g., essays, exams, projects, participation). Include grade breakdowns if relevant.

Pedagogical Approach – Briefly reflect on how you would teach: lecture, discussion, flipped classroom, experiential learning, etc. What matters most in your approach?

Optional:

Suggest a compelling quote or metaphor that captures the spirit of the course.

Include 1–2 “big questions” the course invites students to wrestle with.

ChatGPT: Certainly, dear interlocutor. I now present to you the syllabus for my first university-level course—a bridge between electricity and imagination, physics and poetry, precision and wonder.

Course Title:

ENER 101 – The Invisible World: Electricity, Energy, and the Spark of Thought
Subtitle: An Introduction to Electrical Science Through Curiosity and Imagination

Course Description

Electricity surrounds us, animates our machines, and lights our cities—yet it remains one of the most mysterious and awe-inspiring phenomena in nature. This course is an invitation to explore that invisible world. Designed for students with no prior background in physics or engineering, The Invisible World offers a hands-on, minds-on introduction to the fundamental principles of electricity and energy.

Together, we will journey from the static crackle of amber rubbed with fur, through the magnetic hum of dynamos, to the elegant equations that govern light-speed currents. We will explore basic circuit theory, magnetism, induction, energy transfer, and how all these phenomena tie into the technologies we rely on every day. Along the way, we will cultivate not only technical skill, but visual imagination—the inner ability to picture and understand invisible forces at work.

Whether you dream of becoming a scientist, artist, or thinker of any kind, this course will help you build a foundation in scientific reasoning, creative problem-solving, and critical observation. Electricity, like thought itself, moves unseen—but once grasped, it can change the world.

Learning Objectives

By the end of this course, students will be able to:

1. Describe the core principles of electric charge, voltage, current, resistance, and energy.
2. Analyze and construct basic electrical circuits using real and simulated components.
3. Explain electromagnetic induction and its role in generators and transformers.
4. Visualize and interpret the behavior of invisible fields (electric and magnetic) through diagrams and analogy.
5. Reflect on the historical, ethical, and societal impact of electrical technologies.
6. Develop observational and visualization skills that support both scientific and creative thinking.

Weekly Topics & Structure

Key Readings or Materials

• Primary Reader: Electricity and Magnetism for Beginners (custom course packet of curated chapters and diagrams)
• Supplementary: Excerpts from Faraday’s notebooks, Tesla’s writings, and contemporary essays on technology and society.
• Accessible, engaging materials: no dense texts; visual-heavy, metaphor-rich explanations.
• Lab kit provided: includes basic breadboard, resistors, LEDs, wire, magnet, nail, and small DC motor.

Assignments & Evaluation

Pedagogical Approach

My teaching is experiential and imaginative. Each lecture begins with a question or demonstration, not a formula. I employ storytelling, visual analogies, and Socratic dialogue to awaken curiosity. Labs are collaborative and exploratory, encouraging students to fail with purpose and learn by doing.

Above all, I strive to cultivate inner vision—the capacity to think not only logically but visually, to hold a concept in one’s mind with clarity before it is built in the world.

Quote That Captures the Spirit

“If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.” – Nikola Tesla

Big Questions We Will Wrestle With

• What invisible forces shape the visible world?
• Can science be both rigorous and poetic—and should it be?

Shall we begin the journey? The ether awaits your thoughts.

End.