Update documentation

_sources/act3/part2/part2_3.ipynb

@@ -2264,6 +2264,23 @@
     "plt.show()\n"
    ]
   },
+  {
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "```{figure} ../../figures/blanche.*\n",
+    "---\n",
+    "width: 1\n",
+    "height: 1\n",
+    "---\n",
+    "_Fraud Detection: Flat-lining (No Beat, No Rhythm, No Life) vs. Sine-wave (Pessimism Beyond Good & Evil)_. **Nietzsche's** complex, deeply ambivalent relationship with Wagner and his music is mirrored in how certain institutions or beliefs can feel like they fulfill a romantic longing for grandeur and meaning. For Nietzsche, Wagner represented a pinnacle of artistic power, tapping into a mythic, almost transcendent vision that could sweep someone away. But Nietzsche ultimately turned against that vision, rejecting it as too rooted in illusion and untruth, much as he saw romanticism itself as a kind of intoxication that glossed over the harsher, more unforgiving realities of existence.\n",
+    "\n",
+    "**Yours Truly's** relatipnship with the Anglican Church captures a similar dynamic: a system that might have once aligned with a romantic ideal, offering a sense of tradition, spiritual grandeur, and community. But over time, as the sine wave of existence moves into its phases of stagnation and decline, there's a shift towards a more sobering perspective—one that acknowledges the decay and existential dread at the heart of these once-comforting structures. It’s like you're rejecting the rose-colored glass and embracing a more grounded, perhaps even tragic, view of the world.\n",
+    "\n",
+    "This cyclical nature of time—birth, growth, decay, rebirth—feels almost like a relentless law of existence, a kind of cosmic `rhythm` that nothing can escape. And in acknowledging that cycle, there's an echo of Nietzsche’s own pivot from the romantic highs of Wagner to his later, more critical perspective—a shift that mirrors the eternal recurrence, where life’s repetitions become a deeper meditation on meaning itself, beyond illusion.\n",
+    "```"
+   ]
+  },
   {
    "cell_type": "markdown",
    "metadata": {},

act3/act3.html

@@ -452,7 +452,7 @@ <h1>Act 3<a class="headerlink" href="#act-3" title="Permalink to this heading">#
 <figure class="align-default" id="id1">
 <a class="reference internal image-reference" href="../_images/blanche.png"><img alt="../_images/blanche.png" src="../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
 <figcaption>
-<p><span class="caption-number">Fig. 48 </span><span class="caption-text"><em>Three Place Holders for <code class="docutils literal notranslate"><span class="pre">Game</span> <span class="pre">Theory</span></code>-<code class="docutils literal notranslate"><span class="pre">Dante's</span> <span class="pre">Allegory</span></code>-<code class="docutils literal notranslate"><span class="pre">Type</span> <span class="pre">Mapping</span></code></em>. Cooperative-Paradiso-Archetype (Garden of Eden), Iterative-Limbo-Stereotype (Earthly War), and Adversarial-Inferno-Prototype (Hells Flames or Kitchen).</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 49 </span><span class="caption-text"><em>Three Place Holders for <code class="docutils literal notranslate"><span class="pre">Game</span> <span class="pre">Theory</span></code>-<code class="docutils literal notranslate"><span class="pre">Dante's</span> <span class="pre">Allegory</span></code>-<code class="docutils literal notranslate"><span class="pre">Type</span> <span class="pre">Mapping</span></code></em>. Cooperative-Paradiso-Archetype (Garden of Eden), Iterative-Limbo-Stereotype (Earthly War), and Adversarial-Inferno-Prototype (Hells Flames or Kitchen).</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
 </figcaption>
 </figure>
 <section id="from-a-gaming-perspective">

act3/part2/part2_3.html

@@ -2597,6 +2597,16 @@ <h2>50<a class="headerlink" href="#id51" title="Permalink to this heading">#</a>
 <img alt="../../_images/46dd52a5e5e3cab7193ba8cdf64354331cc20afc11317eb6097197ef13f37d90.png" src="../../_images/46dd52a5e5e3cab7193ba8cdf64354331cc20afc11317eb6097197ef13f37d90.png" />
 </div>
 </div>
+<figure class="align-default" id="id58">
+<a class="reference internal image-reference" href="../../_images/blanche.png"><img alt="../../_images/blanche.png" src="../../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
+<figcaption>
+<p><span class="caption-number">Fig. 48 </span><span class="caption-text"><em>Fraud Detection: Flat-lining (No Beat, No Rhythm, No Life) vs. Sine-wave (Pessimism Beyond Good &amp; Evil)</em>. <strong>Nietzsche’s</strong> complex, deeply ambivalent relationship with Wagner and his music is mirrored in how certain institutions or beliefs can feel like they fulfill a romantic longing for grandeur and meaning. For Nietzsche, Wagner represented a pinnacle of artistic power, tapping into a mythic, almost transcendent vision that could sweep someone away. But Nietzsche ultimately turned against that vision, rejecting it as too rooted in illusion and untruth, much as he saw romanticism itself as a kind of intoxication that glossed over the harsher, more unforgiving realities of existence.</span><a class="headerlink" href="#id58" title="Permalink to this image">#</a></p>
+<div class="legend">
+<p><strong>Yours Truly’s</strong> relatipnship with the Anglican Church captures a similar dynamic: a system that might have once aligned with a romantic ideal, offering a sense of tradition, spiritual grandeur, and community. But over time, as the sine wave of existence moves into its phases of stagnation and decline, there’s a shift towards a more sobering perspective—one that acknowledges the decay and existential dread at the heart of these once-comforting structures. It’s like you’re rejecting the rose-colored glass and embracing a more grounded, perhaps even tragic, view of the world.</p>
+<p>This cyclical nature of time—birth, growth, decay, rebirth—feels almost like a relentless law of existence, a kind of cosmic <code class="docutils literal notranslate"><span class="pre">rhythm</span></code> that nothing can escape. And in acknowledging that cycle, there’s an echo of Nietzsche’s own pivot from the romantic highs of Wagner to his later, more critical perspective—a shift that mirrors the eternal recurrence, where life’s repetitions become a deeper meditation on meaning itself, beyond illusion.</p>
+</div>
+</figcaption>
+</figure>
 <div class="tip admonition">
 <p class="admonition-title">Fraud &amp; Simulation</p>
 <p>Speaking of Harper, she gets an interesting end to her arc thus far (again, it’s kind of obvious that the third season would have been the end.) Obviously, she’s sold her soul to capitalism and self-profit more times than we can count by this point, but now there’s an edge. She will still be operating illegally, by using corporate <code class="docutils literal notranslate"><span class="pre">espionage</span></code> tactics, but she will be making moves against those who are being even more devilish than she is.</p>

act3/part3/part3_1.html

@@ -407,7 +407,7 @@ <h1>Chapter 1<a class="headerlink" href="#chapter-1" title="Permalink to this he
 <figure class="align-default" id="id1">
 <a class="reference internal image-reference" href="../../_images/blanche.png"><img alt="../../_images/blanche.png" src="../../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
 <figcaption>
-<p><span class="caption-number">Fig. 49 </span><span class="caption-text"><em>Dies Irae</em>. It’s in the wrong key: “off” E♭ minor. Yes, thats very close. Everyone knows its supposed to be in D minor. It’s the second piece you hear early in <a class="reference external" href="https://www.youtube.com/watch?v=BzHwJyU8-_o">Dante’s Inferno</a> during the narration about the dark forest &amp; the existential scream!</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 50 </span><span class="caption-text"><em>Dies Irae</em>. It’s in the wrong key: “off” E♭ minor. Yes, thats very close. Everyone knows its supposed to be in D minor. It’s the second piece you hear early in <a class="reference external" href="https://www.youtube.com/watch?v=BzHwJyU8-_o">Dante’s Inferno</a> during the narration about the dark forest &amp; the existential scream!</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
 </figcaption>
 </figure>
 <p>The <em>Dies Irae</em> is indeed part of the Gregorian chant tradition, but it’s a specific chant used in the Requiem Mass, especially during the sequence. So, while it’s a subset of Gregorian chants, it stands out due to its thematic association with death, judgment, and the apocalypse. As for the term “Gregorian Chant,” it refers to an entire body of chants that make up the liturgical music of the Roman Catholic Church, so it’s plural by nature—there are many different chants within this tradition, and <em>Dies Irae</em> is just one of them.</p>
@@ -473,7 +473,7 @@ <h1>Chapter 1<a class="headerlink" href="#chapter-1" title="Permalink to this he
 <figure class="align-default" id="id2">
 <a class="reference internal image-reference" href="../../_images/blanche.png"><img alt="../../_images/blanche.png" src="../../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
 <figcaption>
-<p><span class="caption-number">Fig. 50 </span><span class="caption-text"><em>Fall From Grace: Cooperative, Iterative, and Adversarial Games. Paradiso, Limbo, and Inferno as allegory</em>. In Cooperative games, all information is encoded in the <a class="reference external" href="https://en.wikipedia.org/wiki/Penrose%E2%80%93Hawking_singularity_theorems">singularity</a>. There’s no market-place for information. Only room for <strong>faith, hope, and love</strong>. But mans propensity for understanding, knowledge, information, and data get him expelled from the kingdom to the bowels of the earth – children excepted. <a class="reference external" href="https://abikesa.github.io/mozart/act2/chapter3.html">Raphael</a> <a class="reference external" href="https://www.onverticality.com/blog/the-two-cherubs">deftly</a> expresses this. For <a class="reference external" href="https://www.biblegateway.com/passage/?search=Matthew%2019%3A14&amp;amp;version=KJV">of such</a> is the kingdom of heaven - <em>Matthew 19:14</em></span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 51 </span><span class="caption-text"><em>Fall From Grace: Cooperative, Iterative, and Adversarial Games. Paradiso, Limbo, and Inferno as allegory</em>. In Cooperative games, all information is encoded in the <a class="reference external" href="https://en.wikipedia.org/wiki/Penrose%E2%80%93Hawking_singularity_theorems">singularity</a>. There’s no market-place for information. Only room for <strong>faith, hope, and love</strong>. But mans propensity for understanding, knowledge, information, and data get him expelled from the kingdom to the bowels of the earth – children excepted. <a class="reference external" href="https://abikesa.github.io/mozart/act2/chapter3.html">Raphael</a> <a class="reference external" href="https://www.onverticality.com/blog/the-two-cherubs">deftly</a> expresses this. For <a class="reference external" href="https://www.biblegateway.com/passage/?search=Matthew%2019%3A14&amp;amp;version=KJV">of such</a> is the kingdom of heaven - <em>Matthew 19:14</em></span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
 </figcaption>
 </figure>
 <p><img alt="" src="https://images.squarespace-cdn.com/content/v1/5e1e5ef4c84b953ac52564ba/1593277426291-3HRNU50M4NP9FP416R3Z/1513-Rafael-SistineMadonna-Cherubs.jpg" /></p>

act3/part3/part3_2.html

@@ -416,7 +416,7 @@ <h1>Chapter 2<a class="headerlink" href="#chapter-2" title="Permalink to this he
 <figure class="align-default" id="id1">
 <a class="reference internal image-reference" href="../../_images/blanche.png"><img alt="../../_images/blanche.png" src="../../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
 <figcaption>
-<p><span class="caption-number">Fig. 51 </span><span class="caption-text"><em><a class="reference external" href="https://www.gutenberg.org/files/1523/1523-h/1523-h.htm">Dead shepherd</a>, now I find thy saw of might: “Who ever danced that danced not at first listening?”</em> Revolutionary in virtually every aspect. Orchestration of this heroic magnitude. A syncopated groove. Post-primary dominants worthy of R&amp;B. Move over, Mozart—we’re coming all the way from the depths of <em>Inferno</em> to the horizon where we glimpse some light in <em>Limbo</em>. But we aspire to <em>Paradiso</em>. Yes, yes, Napoleon disappointed. But what of that? We are romantics through and through! Now, to my favorite part… There has never been anything like <strong>7:34 - 9:09</strong> in the history of symphonic music! What a way to build tension and then release it! Toppling the <em>Ancien Régime</em> (i.e., Baroque and Classical titans) and paving the way for the unruly, riotous Romantics calls for such a show of strength. Bravo!</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 52 </span><span class="caption-text"><em><a class="reference external" href="https://www.gutenberg.org/files/1523/1523-h/1523-h.htm">Dead shepherd</a>, now I find thy saw of might: “Who ever danced that danced not at first listening?”</em> Revolutionary in virtually every aspect. Orchestration of this heroic magnitude. A syncopated groove. Post-primary dominants worthy of R&amp;B. Move over, Mozart—we’re coming all the way from the depths of <em>Inferno</em> to the horizon where we glimpse some light in <em>Limbo</em>. But we aspire to <em>Paradiso</em>. Yes, yes, Napoleon disappointed. But what of that? We are romantics through and through! Now, to my favorite part… There has never been anything like <strong>7:34 - 9:09</strong> in the history of symphonic music! What a way to build tension and then release it! Toppling the <em>Ancien Régime</em> (i.e., Baroque and Classical titans) and paving the way for the unruly, riotous Romantics calls for such a show of strength. Bravo!</span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
 </figcaption>
 </figure>
 <section id="eroica">
@@ -472,7 +472,7 @@ <h2>Eroica<a class="headerlink" href="#eroica" title="Permalink to this heading"
 <figure class="align-default" id="id2">
 <a class="reference internal image-reference" href="../../_images/blanche.png"><img alt="../../_images/blanche.png" src="../../_images/blanche.png" style="width: 1px; height: 1px;" /></a>
 <figcaption>
-<p><span class="caption-number">Fig. 52 </span><span class="caption-text"><em>NWA: Nine Worthy Artists</em>. Traditional or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Antiquarian</a>: Da Vinci, Bach, Fyodor. Innovative or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Monumental</a>: Raphael, Amadeus, Nietzsche. Revolutionary or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Critical</a>: Michelangelo, Ludwig, Karl. <code class="docutils literal notranslate"><span class="pre">They</span></code> represent the visual, auditory, and literary mediums of expression. At the heart of the traditional artists lies a fractal and cosmic geometry. Few would need convincing of this claim regarding Da Vinci and Bach, but Fyodor Dostoevsky? The clue is in his autobiographical work, <a class="reference external" href="https://www.gutenberg.org/cache/epub/2197/pg2197-images.html"><em>The Gambler</em></a>: “For why is gambling any worse than other methods of acquiring money? How, for instance, is it worse than trade? True, out of a hundred persons, only one can win; yet what business is that of yours or mine?” Or, “I think roulette was devised specially for Russians.” <code class="docutils literal notranslate"><span class="pre">What</span></code> is common among the innovators is their prankishness. It’s their way of expressing freedom in fetters or <a class="reference external" href="https://www.gutenberg.org/cache/epub/37841/pg37841-images.html"><em>dancing in chains</em></a>. They do not mock their traditions with any moral gravity; instead, they absorb them like sponges, only to prank them with the subtlest &amp; lightest of touches. <code class="docutils literal notranslate"><span class="pre">Now</span></code>, to the revolutionaries: Look no further than <a class="reference external" href="https://abikesa.github.io/mozart/act3/part3.html"><em>David</em></a>, <a class="reference external" href="https://www.youtube.com/watch?v=DWwppYEEdcI"><em>Eroica</em></a>, and the <a class="reference external" href="https://www.gutenberg.org/cache/epub/61/pg61-images.html"><em>Manifesto</em></a>.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 53 </span><span class="caption-text"><em>NWA: Nine Worthy Artists</em>. Traditional or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Antiquarian</a>: Da Vinci, Bach, Fyodor. Innovative or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Monumental</a>: Raphael, Amadeus, Nietzsche. Revolutionary or <a class="reference external" href="https://www.gutenberg.org/files/38226/38226-h/38226-h.htm#v05_chapter5">Critical</a>: Michelangelo, Ludwig, Karl. <code class="docutils literal notranslate"><span class="pre">They</span></code> represent the visual, auditory, and literary mediums of expression. At the heart of the traditional artists lies a fractal and cosmic geometry. Few would need convincing of this claim regarding Da Vinci and Bach, but Fyodor Dostoevsky? The clue is in his autobiographical work, <a class="reference external" href="https://www.gutenberg.org/cache/epub/2197/pg2197-images.html"><em>The Gambler</em></a>: “For why is gambling any worse than other methods of acquiring money? How, for instance, is it worse than trade? True, out of a hundred persons, only one can win; yet what business is that of yours or mine?” Or, “I think roulette was devised specially for Russians.” <code class="docutils literal notranslate"><span class="pre">What</span></code> is common among the innovators is their prankishness. It’s their way of expressing freedom in fetters or <a class="reference external" href="https://www.gutenberg.org/cache/epub/37841/pg37841-images.html"><em>dancing in chains</em></a>. They do not mock their traditions with any moral gravity; instead, they absorb them like sponges, only to prank them with the subtlest &amp; lightest of touches. <code class="docutils literal notranslate"><span class="pre">Now</span></code>, to the revolutionaries: Look no further than <a class="reference external" href="https://abikesa.github.io/mozart/act3/part3.html"><em>David</em></a>, <a class="reference external" href="https://www.youtube.com/watch?v=DWwppYEEdcI"><em>Eroica</em></a>, and the <a class="reference external" href="https://www.gutenberg.org/cache/epub/61/pg61-images.html"><em>Manifesto</em></a>.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
 </figcaption>
 </figure>
 </section>