Update documentation

act1/chapter1.html

@@ -443,7 +443,7 @@ <h2>General<a class="headerlink" href="#general" title="Permalink to this headin
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-<p><span class="caption-number">Fig. 5 </span><span class="caption-text"><em>Genius: Shaka was a Fluke, &gt;3<span class="math notranslate nohighlight">\(\sigma\)</span></em>. The Red Queen presents rather fascinating scenarios to us.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 3 </span><span class="caption-text"><em>Genius: Shaka was a Fluke, &gt;3<span class="math notranslate nohighlight">\(\sigma\)</span></em>. The Red Queen presents rather fascinating scenarios to us.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
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 <p>The brand takes genius and renders it legible, scalable. The odds of a successful brand are long but not as improbable as genius itself. The Nazis mastered this transition from genius to brand, transforming a radical idea into a mass movement through iconography, slogans, and rituals. The swastika, the torch-lit rallies, the propaganda—all of it was the branding of an ideology. In the modern era, Trumpism followed a similar trajectory, crystallizing into a MAGA brand that could be worn, displayed, and repeated in simple slogans. The strength of a brand is its ability to outlive its genius. Beethoven is dead, but the idea of Beethoven remains powerful. Trump may fade, but MAGA as a concept will persist. Branding ensures that the energy of genius does not dissipate—it codifies it, but it also simplifies it. And it is in this simplification that tribe begins to form.</p>
@@ -486,7 +486,7 @@ <h3>The Final Cycle<a class="headerlink" href="#the-final-cycle" title="Permalin
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-<p><span class="caption-number">Fig. 6 </span><span class="caption-text"><em>Genius: 27yo Robert Kelly</em>. Something Dantean about this song. We have a Beatrice in Aaliyah. And a Dante in Kells. But our protagonist doesn’t quite make it beyond <em>Purgatorio</em>. This is the antithesis of a Victorian cadence, but not in the absurd manner of the Coen Brothers. This has a touch of <a class="reference external" href="https://en.wikipedia.org/wiki/Gospel_music">gospel music</a>, and therefore hope …</span><a class="headerlink" href="#id3" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 4 </span><span class="caption-text"><em>Genius: 27yo Robert Kelly</em>. Something Dantean about this song. We have a Beatrice in Aaliyah. And a Dante in Kells. But our protagonist doesn’t quite make it beyond <em>Purgatorio</em>. This is the antithesis of a Victorian cadence, but not in the absurd manner of the Coen Brothers. This has a touch of <a class="reference external" href="https://en.wikipedia.org/wiki/Gospel_music">gospel music</a>, and therefore hope …</span><a class="headerlink" href="#id3" title="Permalink to this image">#</a></p>
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 <p>The heir receives a world already in motion, inheriting both its constraints and its latent potential. The genius disrupts, introducing the unscripted, the unpredictable, the adversarial. The brand simplifies, compressing complexity into something digestible. The tribe iterates, reinforcing the brand, deepening its grooves into the collective psyche. And finally, religion hardens it into permanence, into faith, into an immovable structure awaiting its next reckoning.</p>
@@ -509,7 +509,7 @@ <h2>Ukubona<a class="headerlink" href="#ukubona" title="Permalink to this headin
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-<p><span class="caption-number">Fig. 7 </span><span class="caption-text">This moment, at <strong>5 hours, 56 minutes, and 44 seconds</strong>, is the very definition of <strong>“ukubona”</strong>—. To see beyond what is, to stand at the threshold of the unseen, where vision is not passive sight, but the force that bends reality to its will. It was there first —within— long before stone met stone, before hands shaped the world to match the mind.</span><a class="headerlink" href="#id4" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 5 </span><span class="caption-text">This moment, at <strong>5 hours, 56 minutes, and 44 seconds</strong>, is the very definition of <strong>“ukubona”</strong>—. To see beyond what is, to stand at the threshold of the unseen, where vision is not passive sight, but the force that bends reality to its will. It was there first —within— long before stone met stone, before hands shaped the world to match the mind.</span><a class="headerlink" href="#id4" title="Permalink to this image">#</a></p>
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 <p>He sat in his weakened state, staring at the image, and then, for the first time in his life, he asked: <em>Who is this man?</em></p>
@@ -625,7 +625,7 @@ <h2>Ukubona<a class="headerlink" href="#ukubona" title="Permalink to this headin
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-<p><span class="caption-number">Fig. 8 </span><span class="caption-text">How now, how now? What say the citizens? Now, by the holy mother of our Lord,
+<p><span class="caption-number">Fig. 6 </span><span class="caption-text">How now, how now? What say the citizens? Now, by the holy mother of our Lord,
 The citizens are mum, say not a word. Indeed, indeed. When Hercule Poirot predicts the murderer at the end of Death on the Nile, he is, in essence, predicting the “next word” given all the preceding text (a cadence). This mirrors what ChatGPT was trained to do. If the massive combinatorial search space—the compression—of vast textual data allows for such a prediction, then language itself, the accumulated symbols of humanity from the dawn of time, serves as a map of our collective trials and errors. By retracing these pathways through the labyrinth of history in compressed time—instantly—we achieve intelligence and “world knowledge.”</span><a class="headerlink" href="#id5" title="Permalink to this image">#</a></p>
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act1/chapter2.html

@@ -413,7 +413,7 @@ <h1>Ecosystem</h1>
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-<p><span class="caption-number">Fig. 9 </span><span class="caption-text"><em>Isaiah 2:2-4 is the best quoted &amp; also misunderstood article on the conditions of social harmony. Putnams discomforts with the data tells us that he was surprised by what the UN knew half a century earlier and what our biblical prophet articulated several millenia ago</em>. Putnam published his data set from this study in 2001 and subsequently published the full paper in 2007. Putnam has been criticized for the lag between his initial study and his publication of his article. In 2006, Putnam was quoted in the Financial Times as saying he had delayed publishing the article until he could “develop proposals to compensate for the negative effects of diversity” (quote from John Lloyd of Financial Times). In 2007, writing in City Journal, John Leo questioned whether this suppression of publication was ethical behavior for a scholar, noting that “Academics aren’t supposed to withhold negative data until they can suggest antidotes to their findings.” On the other hand, Putnam did release the data in 2001 and publicized this fact. Source: <a class="reference external" href="https://en.wikipedia.org/wiki/Robert_D._Putnam#Diversity_and_trust_within_communities">Wikipedia</a></span><a class="headerlink" href="#blackrock-ceo-larry-fink" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 7 </span><span class="caption-text"><em>Isaiah 2:2-4 is the best quoted &amp; also misunderstood article on the conditions of social harmony. Putnams discomforts with the data tells us that he was surprised by what the UN knew half a century earlier and what our biblical prophet articulated several millenia ago</em>. Putnam published his data set from this study in 2001 and subsequently published the full paper in 2007. Putnam has been criticized for the lag between his initial study and his publication of his article. In 2006, Putnam was quoted in the Financial Times as saying he had delayed publishing the article until he could “develop proposals to compensate for the negative effects of diversity” (quote from John Lloyd of Financial Times). In 2007, writing in City Journal, John Leo questioned whether this suppression of publication was ethical behavior for a scholar, noting that “Academics aren’t supposed to withhold negative data until they can suggest antidotes to their findings.” On the other hand, Putnam did release the data in 2001 and publicized this fact. Source: <a class="reference external" href="https://en.wikipedia.org/wiki/Robert_D._Putnam#Diversity_and_trust_within_communities">Wikipedia</a></span><a class="headerlink" href="#blackrock-ceo-larry-fink" title="Permalink to this image">#</a></p>
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 <p><strong>Heir</strong> is a coin toss, a dice roll, a roulette spin. The odds are fixed before the wheel even turns. The British monarchy, corporate dynasties, political legacies—all of them follow this logic. A Bush, a Kennedy, a Murdoch, a Windsor—they do not fight for power; they inherit it. Inheritance does not reward merit, only survival. The heir can be competent or useless, a transformative figure or a footnote, but the seat is already theirs. Nations, too, are heirs—Germany after Versailles did not <em>choose</em> its burden; it was dealt a losing hand. The heir stands at the precipice, but it is the genius who decides whether to accept the hand or burn the table.</p>
@@ -508,7 +508,7 @@ <h1>Ecosystem</h1>
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-<p><span class="caption-number">Fig. 10 </span><span class="caption-text">So we have a banking cartel, private ledgers, balancing payments, network of banks, and satisfied customer. The usurper is a public infrastructure, with open ledgers, digital trails, block-chain network, and liberated customer</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 8 </span><span class="caption-text">So we have a banking cartel, private ledgers, balancing payments, network of banks, and satisfied customer. The usurper is a public infrastructure, with open ledgers, digital trails, block-chain network, and liberated customer</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
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act1/chapter3.html

@@ -412,7 +412,7 @@ <h1>Resilience 🗡️❤️💰</h1>
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-<p><span class="caption-number">Fig. 11 </span><span class="caption-text"><em>Neural Anatomy of Music: What Exactly Is It About</em>? Might it be about fixed odds, pattern recognition, leveraged agency, curtailed agency, or spoils for further play? <a class="reference external" href="https://abikesa.github.io/dailygrind/act1/chapter2.html#spoils-for-further-play-personal-redistribution-and-emergent-creativity">Grants</a> certainly are part of the spoils for further play. And perhaps bits of the other stuff.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 9 </span><span class="caption-text"><em>Neural Anatomy of Music: What Exactly Is It About</em>? Might it be about fixed odds, pattern recognition, leveraged agency, curtailed agency, or spoils for further play? <a class="reference external" href="https://abikesa.github.io/dailygrind/act1/chapter2.html#spoils-for-further-play-personal-redistribution-and-emergent-creativity">Grants</a> certainly are part of the spoils for further play. And perhaps bits of the other stuff.</span><a class="headerlink" href="#id2" title="Permalink to this image">#</a></p>
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 <p>At the base of this structure lies the first layer, the immutable laws of physics, represented by the gray nodes: particles and vibrations. This is the substrate upon which all music is built, and it is shared universally across species. No culture dictates the behavior of these particles; their compression and interaction produce sound waves in accordance with laws that govern both human and avian song, both orchestral harmonies and the calls of the wild. These vibrations create the harmonic series, the raw material from which all melodic structures emerge. This layer exists beyond agency—it is nature’s given, the fabric of reality upon which all music is drawn. In this sense, it is not merely the foundation of music but the foundation of auditory existence itself.</p>
@@ -511,7 +511,7 @@ <h1>Resilience 🗡️❤️💰</h1>
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-<p><span class="caption-number">Fig. 12 </span><span class="caption-text"><em>Resources, Needs, Costs, Means, Ends</em>. This is an updated version of the script with annotations tying the neural network layers, colors, and nodes to specific moments in <em>Vita è Bella</em>, enhancing the connection to the film’s narrative and themes:</span><a class="headerlink" href="#id3" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 10 </span><span class="caption-text"><em>Resources, Needs, Costs, Means, Ends</em>. This is an updated version of the script with annotations tying the neural network layers, colors, and nodes to specific moments in <em>Vita è Bella</em>, enhancing the connection to the film’s narrative and themes:</span><a class="headerlink" href="#id3" title="Permalink to this image">#</a></p>
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act1/part1.html

@@ -410,7 +410,7 @@ <h1>Prophet, -kσ ☭⚒🥁</h1>
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-<p><span class="caption-number">Fig. 4 </span><span class="caption-text"><em>Commodification</em>. Dave Chappelle’s battle with a network that sought to commodify his name and essence “in perpetuity throughout the universe” is a modern allegory of alienation. This is not merely a legal dispute over contractual terms; it is a clash over the soul of artistry, the interplay of identity, morality, and meaning. Chappelle’s insistence that the integrity of an artist—their soul, mind, and body—cannot be separated reflects a rejection of the capitalist reduction of human creativity into an alienated product. Through the lens (yellow node) of neural network, we believe a person should own their autobiography, since art is essentially autobiography in its <a class="reference external" href="https://www.gutenberg.org/files/174/174-h/174-h.htm#chap00">perspective</a>. See also <span class="xref std std-ref">language</span></span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
+<p><span class="caption-number">Fig. 2 </span><span class="caption-text"><em>Commodification</em>. Dave Chappelle’s battle with a network that sought to commodify his name and essence “in perpetuity throughout the universe” is a modern allegory of alienation. This is not merely a legal dispute over contractual terms; it is a clash over the soul of artistry, the interplay of identity, morality, and meaning. Chappelle’s insistence that the integrity of an artist—their soul, mind, and body—cannot be separated reflects a rejection of the capitalist reduction of human creativity into an alienated product. Through the lens (yellow node) of neural network, we believe a person should own their autobiography, since art is essentially autobiography in its <a class="reference external" href="https://www.gutenberg.org/files/174/174-h/174-h.htm#chap00">perspective</a>. See also <span class="xref std std-ref">language</span></span><a class="headerlink" href="#id1" title="Permalink to this image">#</a></p>
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