Preface#
Dante’s Commedia
Adversarial (Inferno) vs. Cooperative (Paradiso)
Le Nozze di Figaro
It would be a strange entertainment which consisted altogether of the imitations of hatred and resentment – Adam Smith
Industry S3E8
In between last season and this one, “the central question that we were asking was, ‘Are you able to be vulnerable in a place like this where it isn’t valued?’” Down tells me.
We highlight a tension that aligns perfectly with the cooperative (Paradiso) vs. adversarial (Inferno) game metaphor. The notion of vulnerability in a competitive, high-stakes environment, like finance (as depicted in Industry), raises the question of whether cooperation or adversarial strategies dominate in such settings. Vulnerability is often seen as a weakness in adversarial contexts, where survival depends on keeping up appearances of strength and control—an Inferno where everyone fights for dominance. In contrast, a Paradiso-like cooperative game would embrace vulnerability as a form of mutual trust, leading to collective growth.
However, most industries—especially finance—lean heavily toward the adversarial model. But if you frame it strategically, vulnerability might be a form of authenticity that can turn adversarial contexts on their head. It’s a bit like playing the long game in game theory—taking risks to open yourself up might lead to higher payoffs through cooperation in the future, even in a competitive environment. It’s all about how you balance that tension and decide which game you’re really playing.
The Starks in Game of Thrones are a perfect example of attempting to maintain a cooperative, Paradiso-like stance in a brutally adversarial Inferno world. Their honor, integrity, and loyalty—their vulnerability in a sense—often seem like weaknesses in the cutthroat political landscape of Westeros. Ned Stark, for instance, acts with honesty and a sense of duty, but that gets him killed in a world where others, like the Lannisters, are playing an entirely different game, one that’s far more strategic, manipulative, and adversarial. The Starks’ cooperative values don’t seem suited for the adversarial Inferno of Westerosi politics—at least not at first. However, by the end of the series, it’s clear that these values do eventually pay off in the long run. While the adversarial players cannibalize each other, the Starks endure and rise. So, their vulnerability becomes their strength over time. This kind of tension—whether cooperation can thrive in a hostile environment—fits perfectly with the theme you’re exploring, where sometimes sticking to a cooperative game even in adversarial settings can lead to unexpected victories.
Warning
This is the imposthume of much wealth and peace,
That inward breaks, and shows no cause without
Why the man dies. - Hamlet A4S4
Strategies, Payoffs, Equilibria in Le Nozze di Figaro#
Let’s now move to the world of Opera. We see how the Countess’s emotional arc parallels the themes of this book. Her strategy involves a profound inner reflection on the high and low points of her marriage, a 7-year itch, akin to the oscillation of the “sine wave” of the history of empires, races, and peoples described in Walden:
Tip
How long shall we sit in our porticoes practising idle and musty virtues, which any work would make impertinent? As if one were to begin the day with long-suffering, and hire a man to hoe his potatoes; and in the afternoon go forth to practise Christian meekness and charity with goodness aforethought! Consider the China pride and stagnant self-complacency of mankind. This generation inclines a little to congratulate itself on being the last of an illustrious line; and in Boston and London and Paris and Rome, thinking of its long descent, it speaks of its progress in art and science and literature with satisfaction. There are the Records of the Philosophical Societies, and the public Eulogies of Great Men! It is the good Adam contemplating his own virtue. “Yes, we have done great deeds, and sung divine songs, which shall never die,”—that is, as long as we can remember them. The learned societies and great men of Assyria,—where are they? What youthful philosophers and experimentalists we are! There is not one of my readers who has yet lived a whole human life. These may be but the spring months in the life of the race. If we have had the seven-years’ itch, we have not seen the seventeen-year locust yet in Concord. We are acquainted with a mere pellicle of the globe on which we live. Most have not delved six feet beneath the surface, nor leaped as many above it. We know not where we are. Beside, we are sound asleep nearly half our time. Yet we esteem ourselves wise, and have an established order on the surface. Truly, we are deep thinkers, we are ambitious spirits! As I stand over the insect crawling amid the pine needles on the forest floor, and endeavoring to conceal itself from my sight, and ask myself why it will cherish those humble thoughts, and hide its head from me who might, perhaps, be its benefactor, and impart to its race some cheering information, I am reminded of the greater Benefactor and Intelligence that stands over me the human insect.
Each high represents moments of love and connection, while each low reflects betrayal and emotional distance. Her eventual payoff (or lack thereof) hinges on the Count’s eventual recognition of his wrongdoings, though the equilibrium may never fully shift in her favor. The sine wave metaphor in this book becomes a fitting representation of the Countess’s inner emotional state, fluctuating between hope and despair, seeking a return to harmony that may never arrive.
Show code cell source
import numpy as np
import matplotlib.pyplot as plt
# Create x values representing the six stages, and create y values using a sine function
x = np.linspace(0, 2 * np.pi, 1000)
y = np.sin(x)
# Define the stages
stages = ["Birth", "Growth", "Stagnation", "Decline", "Existential", "Rebirth"]
# Define the x-ticks for the labeled points
x_ticks = np.linspace(0, 2 * np.pi, 6)
# Set up the plot
plt.figure(figsize=(10, 6))
# Plot the sine wave
plt.plot(x, y, color='blue')
# Fill the areas under the curve for each stage and label directly on the graph
plt.fill_between(x, y, where=(x < x_ticks[1]), color='lightblue', alpha=0.5)
plt.text(x_ticks[0] + (x_ticks[1] - x_ticks[0]) / 2, 0.5, "Birth", fontsize=12, ha='center')
plt.fill_between(x, y, where=(x_ticks[1] <= x) & (x < x_ticks[2]), color='lightgreen', alpha=0.5)
plt.text(x_ticks[1] + (x_ticks[2] - x_ticks[1]) / 2, 0.5, "Growth", fontsize=12, ha='center')
plt.fill_between(x, y, where=(x_ticks[2] <= x) & (x < x_ticks[3]), color='lightyellow', alpha=0.5)
plt.text(x_ticks[2] + (x_ticks[3] - x_ticks[2]) / 2, 0.5, "Stagnation", fontsize=12, ha='center')
plt.fill_between(x, y, where=(x_ticks[3] <= x) & (x < x_ticks[4]), color='lightcoral', alpha=0.5)
plt.text(x_ticks[3] + (x_ticks[4] - x_ticks[3]) / 2, 0.5, "Decline", fontsize=12, ha='center')
plt.fill_between(x, y, where=(x_ticks[4] <= x) & (x < x_ticks[5]), color='lightgray', alpha=0.5)
plt.text(x_ticks[4] + (x_ticks[5] - x_ticks[4]) / 2, 0.5, "Existential", fontsize=12, ha='center')
plt.fill_between(x, y, where=(x_ticks[5] <= x), color='lightpink', alpha=0.5)
plt.text(x_ticks[5] + (2 * np.pi - x_ticks[5]) / 2, 0.5, " Rebirth", fontsize=12, ha='center')
# Set x-ticks and labels
plt.xticks(x_ticks, ["1", "2", "3", "4", "5", "6"])
# Label x axis
plt.xlabel("Phases")
# Remove y-axis, top, and right borders
plt.gca().spines['top'].set_visible(False)
plt.gca().spines['right'].set_visible(False)
plt.gca().spines['left'].set_visible(False)
plt.gca().get_yaxis().set_visible(False)
# Title
plt.title("Tragical Historical Fractal")
# Show the plot
plt.savefig('figures/logo.png', bbox_inches='tight', transparent=True)
plt.show()
1. Strategies, σ#
The essence of strategy, in any realm, is a choice—one that is informed by past experiences, expectations of the future, and the interplay between self and environment. Strategies are the frameworks upon which we act, and in each iteration of life, whether it’s a personal, societal, or historical context, we witness the shaping of these frameworks.
Consider the sine wave, symbolic of life’s natural oscillation between peaks and valleys. Each peak marks the realization of a strategy, where the forces at play achieve a temporary victory. But strategies are not static; they adapt, evolve, and sometimes fail. Much like a modal interchange in music, where the shift between modes creates new harmonic landscapes, strategies must be fluid, allowing for shifts in response to the evolving game of life.
For Nietzsche, the concept of the übermensch embodies the pinnacle of strategy—the individual who rises above conventional morality and societal constraints. Similarly, Dostoevsky’s antihero represents the darker side of human nature, a strategy rooted in rebellion and despair. Marx, on the other hand, frames strategies as collective action, emphasizing the importance of class struggle and solidarity. The strategy, whether individualistic, rebellious, or collective, ultimately aims to influence the equilibrium that defines existence.
Each strategy, represented by σ, is a bet—one that shapes the trajectory of the individual or society toward a potential payoff. These bets are informed by internal and external forces, creating a dynamic system of actions and reactions. Some strategies lead to growth, others to stagnation, but all are part of the same cyclical process of existence.
Subsection 1.1: The Strategic Fractal#
In music, strategies are akin to melodic motifs, recurring but varied with each appearance. Like modal-chordal grooves, life’s strategies create patterns that repeat in different forms, embodying the fractal nature of history. The Nietzschean bridge, stretching from one peak to another, represents the constant striving inherent in human nature—strategies driving us toward the next iteration of life’s sine wave.
2. Payoffs, Ψ#
Strategies, however, are only as good as their payoffs, and the question of payoff is one of value—both immediate and existential. What do we gain from our strategies, and at what cost? Payoffs, represented by Ψ, are the rewards and consequences of our strategic actions. In a biological sense, the payoff might be survival or reproduction; in a societal sense, it might be power or wealth; in a personal sense, it could be meaning or fulfillment.
Nietzsche’s will to power suggests that the ultimate payoff lies in the assertion of one’s power and creativity. For Dostoevsky’s characters, the payoff is often existential—a confrontation with the limits of freedom, morality, and self-destruction. Marx, meanwhile, sees payoff in terms of liberation from oppression, where the collective action of the proletariat leads to a society free from exploitation.
Yet payoffs are not guaranteed. They hinge on the equilibrium, ε, that governs the interaction of forces within the system. If the equilibrium shifts unfavorably, even the most carefully calculated strategy may fail to deliver the expected payoff. This is the tragic element inherent in life, as seen in Shakespeare’s plays: the hero’s strategy falters not because of incompetence but because the equilibrium—the very nature of the system—shifts unpredictably.
Subsection 2.1: Modal Chordal Payoffs#
In music, we experience this dynamic in the form of modal interchange. A payoff in one mode may lead to unexpected dissonance when shifted to another. Likewise, in life, what seems like a winning strategy in one context may lead to discord in another. This modal flexibility mirrors the fluidity of life’s payoffs, which are often more complex than they appear on the surface. The sine wave peaks only to fall into a new, unpredictable equilibrium, where payoffs are recalibrated.
3. Equilibria, ε#
The concept of equilibrium is where strategies meet reality. Every system, whether personal, societal, or universal, seeks balance. Equilibria, represented by ε, are the points at which forces reach a temporary state of harmony—only to be disrupted by new strategies, payoffs, and shifts in the game. Much like the sine wave, life’s equilibria are cyclical. There is no permanent balance; rather, there are cycles of stability followed by disruption, crisis, and eventually, rebirth.
The tragic heroes of classical literature often find themselves at the mercy of shifting equilibria. Hamlet, for instance, cannot reconcile his strategic indecision with the shifting forces around him, leading to his downfall. This is the tragic element in life: even the most carefully considered strategies cannot control the unpredictability of the system. Yet, as Nietzsche emphasizes, tragedy is not failure—it is an invitation to strive again, to reach the next peak.
The sine wave model provides a visual metaphor for this process. Each cycle represents a new equilibrium, a new iteration of life’s tragic narrative. Just as modal interchange in music allows for harmonic variation, life’s equilibria allow for shifts in strategy, leading to new payoffs and, inevitably, new disruptions. The sine wave, with its constant oscillation, reflects this eternal recurrence.
Subsection 3.1: NexToken and the Arc of Rebirth#
Equilibrium is not the end; it is the setup for the next iteration. The concept of NexToken, τ, represents the transitional point between equilibria. In life, just as in machine learning, the next token is informed by the preceding patterns. It is a prediction, an expectation, but never a certainty. Life’s arcs, Ω, emerge from this process. Whether they are tragic, heroic, or comedic, these arcs are shaped by the interplay of strategies, payoffs, and equilibria.
In music, this is analogous to the movement between chords in a progression. Each chord suggests the next, but the final resolution—whether it is a satisfying tonic or an unexpected modulation—depends on the strategies employed and the equilibria that shift throughout the piece. The arcs we experience, whether personal or societal, are the result of these forces in constant play.
The Tragical-Historical Fractal#
Life, much like music, follows a cyclical pattern. Strategies are developed, payoffs are pursued, equilibria shift, and the cycle repeats. Each iteration of this process forms a fractal—an endless, self-similar structure that plays out in different scales and contexts. Whether it is the rise and fall of civilizations, the ebb and flow of personal fortunes, or the evolution of societies, the sine wave captures the tragic and eternal recurrence of existence.
Just as in Nietzsche’s philosophy, the path from peak to peak requires long legs—an endurance of spirit that carries us through the oscillations of life. Each strategy, payoff, and equilibrium is part of the larger arc, the sine wave that defines the human experience. And at the heart of it all lies the notion of rebirth, the modal interchange that offers new possibilities, new strategies, and new arcs.
This is the essence of the tragical-historical-pastoral narrative: the understanding that every decline contains the seed of rebirth, and every equilibrium is merely a pause before the next strategy unfolds. Whether in literature, music, or life, this cyclical process is what defines the human experience. It is a dance between strategies, payoffs, and equilibria—a dance that is both tragic and eternal.
Fig. 1 Le Nozze di Figaro (The Marriage of Figaro) is one of Mozart’s most celebrated operas, and the scene referenced occurs during the latter half when the Countess, Susanna, and Figaro conspire to expose the Count’s infidelities. In this moment, the Countess reflects on the highs and lows of her relationship with the philandering Count. Her aria, “Dove sono i bei momenti,” poignantly captures her nostalgia for their lost love, representing a strategy of emotional reflection as a way to confront the reality of her situation and attempt to restore equilibrium in her marriage. In terms of this book’s framing, the Countess’s aria mirrors a strategy rooted in psychological resilience. To explore this further, we can juxtapose Tyler Perry alongside Mozart. Perry’s Diary of a Mad Black Woman can be framed as a fractal of game theory’s progression from adversarial to cooperative dynamics, mapped onto Dante’s Commedia. Initially, the heroine’s marriage appears cooperative, aiming for Paradiso, but betrayal and infidelity push the narrative into adversarial terrain—akin to the bottom rung of Inferno, where treachery reigns. The heroine’s journey iterates through Purgatorio, where, much like in iterative games, she repeatedly confronts moral and emotional challenges. Unlike the iterative schemes and tricks of The Marriage of Figaro, Perry’s framework insists on a Marxist-style revolution: the patriarchy must fall. Equilibrium is thus with the Black community and church rather than the husband. The heroine is invariably a strong Black Christian woman, resilient and perhaps forgiving. This contrasts with an antagonist-husband-betrayer who, by divine judgment, has been emasculated. Mr. Perry’s success comes from pastoral-comical relief through Madea, and in this way, he finds common ground with Mozart. His audiences engage with visual, literary, and historical cues, experiencing a pastoral-comical-tragical-historical fractal, blending personal redemption with broader cultural narratives.#