Thirdly, although I’ve been talking about the “value” of a position as if it’s a well-defined concept, it mostly isn’t. Stockfish’s value calculations are grounded in the likelihood of it winning from that position when playing itself. But there’s no clear way to translate from that to the likelihood of winning against one’s actual opponent, which is what we’re interested in. I won’t discuss this further here, but trying to pin down how to estimate a position’s value in that sense seems potentially fruitful.
I’ll take a shot. If is the expected return (1 for win, 0.5 for draw and 0 for loss) for Alice given that she’s playing Bob, she knows Bob’s source code, and the moves have been played so far, then the value of a position for Alice is where is the set of programs that Alice’s opponent is drawn from.
This vocalized some thoughts I had about our current culture. Stories can be training for how to act and bad melodramatic tropes are way too common. Every sad song about someone not getting over their ex or a dark hero movie where the protagonist is perpetually depressed about something that happened in the past conditions people the wrong way.
There is an annoying character in the recent Nuremberg film. He’s based off a real person but I don’t know how accurate that portrayal is.
He’s a psychiatrist manipulated by Goering. He’s supposed to prevent the jailed Nazis from killing themselves but he also wants to write a book about the Nazis. In the process he becomes sympathetic to Goering and ferries letters between him and his spouse. When he becomes aware of Goering’s crimes the psychiatrist tells Goering off and slams his cell door. It was ridiculous in the face of the scale of the Holocaust and also because the anger seemed to originate more from the feeling of being lied to. The psychiatrist is portrayed as selfish and has a redemption arc but I don’t think that the writers realized just how selfish that character was.