diff --git a/_sources/act3/part2/part2_3.ipynb b/_sources/act3/part2/part2_3.ipynb index 400ff49..1e50469 100644 --- a/_sources/act3/part2/part2_3.ipynb +++ b/_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": {}, diff --git a/act3/act3.html b/act3/act3.html index ed3f55d..95e4845 100644 --- a/act3/act3.html +++ b/act3/act3.html @@ -452,7 +452,7 @@
Fraud & Simulation
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 espionage
tactics, but she will be making moves against those who are being even more devilish than she is.
The Dies Irae 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 Dies Irae is just one of them.
@@ -473,7 +473,7 @@