[Fis] Book Presentation
Mariusz Stanowski
stanowskimariusz at wp.pl
Mon Apr 4 08:51:09 CEST 2022
Dear Francesco,
Thank you very much for your response and I am glad you found my
presentation inspiring. Your thoughts broaden my area of reflection.
Best regards
Mariusz
W dniu 2022-04-04 o 07:28, Francesco Rizzo pisze:
> Caro Mariusz,
> la Tua piattaforma paradigmatica è interessante e coinvolgente. Essa
> s'in-centra su una legge del contrasto che implica la
> differenziazione crescente o decrescente di diversi campi di forma
> della realtà osservata o pensata, I sistemi complessi non
> lineari e lontani dall'equilibrio, come ad es. le strutture
> dissipative di Ilya Pirigogine, creano ordine dal disordine mediante
> fluttuazioni o instabilità. Una forma più complessa è più
> neg-entropia, Man mano che si riduce questa complessità
> la neg-entropia si riduce fino a sparire lasciando il posto
> all'entropia: come accade quando si arriva ad uno stato di
> mortalità. In senso generale.
> Io ho insegnato economia prima nella Facoltà di Ingegneria e dopo,
> anche, nella Facoltà di Architettura. Lavorando e studiando
> con gli architetti, soprattutto con i teorici del restauro, la
> conoscenza e la valutazione dei beni culturali, mi ha stimolato a
> creare una nuova teoria del valore fondata sulla combinazione creativa
> di informazione e energia, O meglio: dato che l'energia
> è un modo di essere dell'informazione, si può affermare che il valore
> economico dipenda esclusivamente dall'informazione.
> D'altra parte non avrebbe avuto senso dire, come ancora molti
> utilitaristi pensano, che un'opera d'arte vale perchè è utile. Poi ho
> esteso o generalizzato il mio approccio al valore a tutti i beni,
> dalle patate alla "Gioconda", alla musica, alla poesia e così via.
> Il passaggio dalle forme meno semplici a quelle più complesse di un
> sistema o di sistemi diversi attua un contrasto armonioso, creativo
> e musicale. Difatti la musica, con la dinamica dei tempi e la forza
> delle note, può assumersi come paradigma della scienza.
> Tu hai fatto bene a parlare di economia della percezione, ma avresti
> fatto ancor meglio se avessi usato l'espressione
> percezione dell'economia. Sai perché? Perchè, l'economia del pensiero
> o il pensiero dell'economia, è imprescindibile per la
> ricerca del migliore mondo (esistenziale, scientifico e della fede
> religiosa) possibile.
> Mi congratulo con Te e Ti ringrazio per questa bella lezione di
> onto-epistemo-logia che ci ha dato.
> Un saluto affettuoso.
> Francesco Rizzo
>
>
> Il giorno sab 2 apr 2022 alle ore 19:22 Mariusz Stanowski
> <stanowskimariusz at wp.pl> ha scritto:
>
> *Book Presentation*
>
> *“Theory and Practice of Contrast: Integrating Science, Art and
> Philosophy.”*
>
> *Mariusz Stanowski*
>
> *Published June 10, 2021 by CRC Press (hardcover and eBook).*
>
> Dear FIS list members,
>
> Many thanks for the opportunity to present my recent book in this
> list.
>
> Our dispersed knowledge needs an underlying structure that allows
> it to be organised into a coherent and complex system.
>
> I believe “Theory and Practice of Contrast” provides such a
> structure by bringing the considerations to the most basic,
> general and abstract level. At this level it is possible to define
> *contrast as a tension between common and differentiating features
> of objects. It grows in intensity as the number/strength of
> differentiating and common features of contrasting
> structures/objects increases*. Contrast understood in this way
> applies to any objects of reality (mental and physical) and is
> also an impact (causal force) in the most general sense. Contrast
> as a common principle organises (binds) our knowledge into a
> coherent system. This is illustrated by a diagram of the
> connections between the key concepts:
>
> Below are brief descriptions of these connections.
>
> *Contrast—Development *When observing a contrast, we also observe
> the connection between contrasting objects/structures (resulting
> from their common features) and the emergence of a new, more
> complex structure possessing the common and differentiating
> features of connected structures. In the general sense, the
> emergence of a new structure is tantamount to development.
> Therefore, it may be stated that contrast is a perception of
> structures/objects connections, or experience of development. The
> association of contrast with development brings a new quality to
> the understanding of many other fundamental concepts, such as
> beauty, value, creativity, emergence. (Similarly, /contrast as
> development /is understood in Whitehead’s philosophy).
>
> *Contrast—Complexity *In accordance with the proposed definition,
> when we consider the contrast between two or more
> objects/structures, it grows in intensity as the number/strength
> of differentiating and common features of contrasting
> structures/objects increases. Such an understanding of contrast
> remain an intuitive criterion of complexity that can be formulated
> as follows: *a system becomes more complex the greater is the
> number of distinguishable elements and the greater the number of
> connections among them*/. /If in definition of contrast we
> substitute “differentiating features” for “distinguishable
> elements” and “common features” for “connections”, we will be able
> to conclude that *contrast is the perception and measure of
> complexity.*
>
> Note: Two types of contrasts can be distinguished: the sensual
> (physical) contrast, which is determined only by the force of
> features of contrasting objects and the mental (abstract) contrast
> which depends primarily on the number of these features. (This
> contrast can be equated with complexity). (The equation of
> contrast with complexity is an important finding for the
> investigations in: cognitive sciences, psychology, ontology,
> epistemology, aesthetics, axiology, biology, information theory,
> complexity theory and indirectly in physics).
>
> *Complexity—Information Compression *Intuition says that the more
> complex object with the same number of components (e.g. words) has
> more features/information (i.e. more common and differentiating
> features), which proves its better organization (assuming that all
> components have the same or similar complexity). We can also say
> that such an object has a higher degree of complexity. The degree
> of complexity is in other words the brevity of the form or the
> compression of information. Complexity understood intuitively (as
> above) depends, however, not only on the complexity degree (that
> could be defined as the ratio of the number of features to the
> number of components) but also on the (total) number of features,
> because it is more difficult to organize a larger number of
> elements/features. In addition, the more features (with the same
> degree of complexity), the greater the contrast. Therefore, in the
> proposed /Abstract Definition of Complexity /(2011), we multiply
> the degree of complexity by the number of features. This
> definition defines the complexity (C) of the binary structure
> (general model of all structures/objects) as the quotient of the
> square of features (regularities/substructures) number (N) to the
> number of components or the number of zeros and ones (n). It is
> expressed in a simple formula: C = N²/n and should be considered
> the most general definition of complexity, among the existing
> ones, which also fulfils the intuitive criterion. (This relation
> explains what compression of information in general is and what
> role it plays as a complexity factor. This allows to generalize
> the notion of information compression and use it not only in
> computer science, but also in other fields of knowledge, such as
> aesthetics, axiology, cognitive science, biology, chemistry, physics).
>
> **
>
> *Information compression—Development *Our mind perceiving objects
> (receiving information) more compressed, saves energy.
> Compression/organization of information reduce energy of
> perception while maintaining the same amount of information (in
> case of lossless compression). Thanks to this, perception becomes
> easier (more economical) and more enjoyable; for example, it can
> be compared to faster and easier learning, acquiring knowledge
> (information), which also contributes to our development.
> Compression of information as a degree of complexity also affects
> its size. Complexity, in turn, is a measure of contrast (and vice
> versa). Contrast, however, is identified with development. Hence,
> complexity is also development. This sequence of associations is
> the second way connecting the compression of information with
> development. Similarly, one can trace all other possibilities of
> connections in the diagram. (The association of information
> compression with development brings a new, explanatory knowledge
> to many fields including cognitive science, aesthetics, axiology,
> information theory).
>
> **
>
> *Development—Value *Development is the essence of value, because
> all values (ethical, material, intellectual, etc.) contribute to
> our development which is their common feature. It follows that
> value is also a contrast, complexity and compression of
> information because they are synonymous with development. (The
> relation explains and defines the notion of value fundamental to
> axiology).
>
> *Value—Abstract Value *About all kinds of values (with the
> exception of aesthetic values) we can say, what they are useful
> for. Only aesthetic values can be said to serve the development or
> be the essence of values, values in general or abstract values.
> This is a property of abstract concepts to express the general
> idea of something (e.g. the concept of a chair includes all kinds
> of chairs and not a specific one). It follows that *what is
> specific to aesthetic value is that it is an abstract value*
> (although it is difficult to imagine). (This is a new
> understanding of aesthetic value, crucial for aesthetics and
> axiology).
>
> **
>
> *Contrast—Being *Contrast or interaction is a concept prior to the
> concept of being because without interaction there is no
> existence. It follows that the basic component of being must be
> two objects/elements/components (creating a contrast) having
> common and differentiating features. (Understanding of being as a
> contrast is fundamental to ontology and metaphysics and worth
> considering in physics).
>
> **
>
> *Contrast—Cognition *The object of cognition and the subject
> (mind) participate in the cognitive process. The object and the
> subject have common and differentiating features, thus they create
> a contrast. Cognition consists in attaching (through common
> features) differentiating features of the object by the subject.
> In this way, through the contrast, the subject develops. It can
> therefore be said that cognition is a contrast of the object with
> the subject. (This is a new definition of cognition important for
> epistemology and cognitive science).
>
> **
>
> *Cognition—Subjectivity *The above understanding of cognition
> agrees all disputable issues (present, among others, in
> psychology, cognitive science and aesthetics) regarding the
> objectivity and subjectivity of assessments (e.g. whether the
> source of beauty is the observer's mind, whether it is a specific
> quality from the observer independent), because it shows that they
> depend on both the subject and the object, i.e. depend on their
> relationship—contrast.
>
> **
>
> *Compression of information—Beauty *Beautiful are objects with
> high information compression (a large degree of
> complexity/organization). Thanks to the compression of
> information, perceiving beauty, we save energy, the perception
> becomes more economical and pleasant which favours our development
> and is therefore a value for us. The example is golden division.
> Counting features (information) in all possible types of divisions
> (asymmetrical, symmetrical and golden) showed that the golden
> division contains the most features/information (an additional
> feature is well known golden proportion) and therefore creates the
> greatest contrast, complexity and aesthetic value.(This explains
> the previously unknown reasons for aesthetic preferences, key to
> aesthetics, art theory, psychology, cognitive science and
> neuroaesthetics).
>
> **
>
> *Development—Beauty *Beauty contributes to development thanks to
> the economy of perception. Perception of beauty is accompanied by
> a sense of development or ease and pleasure of perception. (This
> explains the causes of aesthetic preferences).
>
> **
>
> *Abstract Value—Beauty, Art *Only beauty and art have no specific
> value but they express/have value in general (an abstract value).
> The objects that make up a work of art are not important, but
> their contrast-interaction, which results from the complexity of
> the artwork. (If we see a single object in the gallery, then the
> art is its contrast with the context - as in the case of Duchamp's
> "Urinal" or Malevich's "Black Square"). One can say that beauty
> and art are distinguished (defined) by two elements: abstract
> value and a large contrast.(This is a new and only definition of
> beauty/art that indicates the distinctive common features of all
> aesthetic/artistic objects, it is crucial for the theory of art,
> aesthetics, axiology and epistemology).
>
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