[Fis] Book Presentation. Emotions

Thu Apr 21 12:30:58 CEST 2022

Dear Karl and colleagues,

Before you conclude to consensus, perhaps, a bit of error should be 
removed:

>Pedro’s story about the empathic, nonverbal communication happening 
>between humans, who share each other’s emotional state, drives a point 
>home that is clearly observable in a fashion where one can relate his 
>experiences and be sure that others will understand him. The main point 
>is that art is interpersonally communicable, and by this criterium can 
>be shown to be a part of objective reality.
>
I don't think so: It is not "objective reality" but "intersubjective 
intentionality." This has huge consequences.

>(We refer to the agreement that if a concept is referrable to 
>interpersonally and the participants agree on what they have 
>experienced in a common fashion, that concept has an inter-individual 
>existence, which is then by definition a part of the objective 
>reality.)
>
The interpersonal domain does not "exist" in the sense that a table may 
exist. It remains a construct. These constructs have the status of 
hypotheses.  They can be tested against observations of things which may 
exist.

Best, Loet

_______________

Loet Leydesdorff

"The Evolutionary Dynamics of Discusive Knowledge" 
<https://link.springer.com/book/10.1007/978-3-030-59951-5>(Open Access)

Professor emeritus, University of Amsterdam

Amsterdam School of Communication Research (ASCoR)

loet en leydesdorff.net <mailto:loet en leydesdorff.net>; 
http://www.leydesdorff.net/

http://scholar.google.com/citations?user=ych9gNYAAAAJ&hl=en

ORCID: http://orcid.org/0000-0002-7835-3098;

>
>
>
>
>Examples abound, where signs and symbols are understood interpersonally 
>in a common fashion. Human new-borns share the instinctive ability to 
>recognise the optical picture of a smiley (😊), and of the pitch of the 
>human voice (they prefer alto to soprano to baritone to bass). We use 
>the term ‘supra-normal stimuli’ to refer to such constellations of 
>stimuli that appear to be hard-wired into our genetic instinctive 
>predispositions. Animals are evidently in possession of large 
>inventories of potential supra-normal stimuli (‘triggering inputs’).
>
>
>
>The hypothesis is that there exist structures (constellations of facts) 
>in Nature which evolution has made use of to select those individuals 
>which recognise such to their advantage. These structures are a) 
>communicable inter-individually, b) describable by means of a language 
>that is independent of its speaker: that is, such impression patterns 
>are objectively existing. Art is a different name for supra-normal 
>stimuli.
>
>
>
>Where does art begin and how does art differ to a random collection of 
>facts? For formal reasons, one should include sunshine among the 
>constituents of art, as evidenced by the heliotaxia of sunflowers. It 
>is evident, that supra-normal stimuli, that is: art, can come in a wide 
>variety of articulations, be it the mating dance of cranes, the melody 
>of frogs’ chants, the form of nests built by weaver birds or the color 
>patterns of octopus. (If memory serves right, some 50 years ago, girls 
>had a tendency of emitting a fragrance that caused the writer of these 
>lines to want to be near them.)
>
>
>
>Art is a variation on a theme by Nature, where there exists an 
>underlying theme (the idealised target value) to which the actual 
>performance comes near, nearer or smack in the ideal centre. We suppose 
>that there exists an ideal form for performing the artwork (the 
>ultimate Song of A Lonely Frog, an optimal Hole in A Tree to Invite 
>Females to Lay Eggs In, etc), and that those individuals which come 
>nearest to the ideal variant have the best chances of progeniture.
>
>Here again, Discrepancies Between Ideal and Observed Values show us Art 
>to be nothing different to other forms of Information. Information is 
>the extent of being otherwise, and Art is in its essence nothing but a 
>demonstration of an Observed Value, to which we look (imagine, project, 
>hallucinate) into the background the Expected Value.
>
>
>
>The only epistemological difficulty comes from our traditional cultural 
>convention, namely that Nature – and as such, the Background to 
>everything and all – is not pre-structured. During Renaissance, in the 
>age of emerging Rationality, the decision has been taken to define that 
>there exist no a-priori existing structural relations among the 
>concepts that we use to build up our world view. This decision was 
>practical and helpful at that time, because by this cleaning of the 
>slate we have eliminated all superstition, anthropogenic explanations, 
>religious teleological systems of beliefs, witchcraft and sorcery at 
>the same time. Yet, it appears we have cleaned the table too much. 
>Leptons, quarks, charms, chemical attraction, gravitation, etc., and 
>also the existence of artwork in the living subsection of Nature show 
>that there indeed do exist relations among logical tokens, even if we 
>create such logical tokens as nondescript as we can, in the form of 
>natural numbers. Even if we dream up a world view that is made up of 
>synthetic, unform, nondescript units, even in that environment, 
>a-priori existing relations pop up, as soon as we do anything with them 
>which a child would do when bored, like ordering, sorting ad resorting 
>these same tokens. We cannot avoid acknowledging the existence of 
>a-priori relations connecting in manifold ways the tokens we make up 
>our world of. (Et expellas furcam, natura recurrit.)
>
>
>
>Summary: Art is shown to be one of readings of the idea that there are 
>at least two readings of the same collection of symbols that make up 
>our world view. In regulation theory, one speaks of sets of target 
>values vs sets of actual values. In art, the set of target values is 
>created by our neurology and serves as the background, to which we 
>relate the set of actual, observed values.
>
>
>
>
>Am Mi., 20. Apr. 2022 um 17:09 Uhr schrieb Francesco Rizzo 
><13francesco.rizzo en gmail.com>:
>>Dear Mauriusz,
>>
>>I take the liberty of telling you that in Rizzo F., An economy of hope for the multi-ethnic city,Franco Angeli, Milan 2007, pp. 309-313, we find paragraph 7.1 cultural heritage between energy and
>>cultural heritage between energy and information. If you have the opportunity, read it and you will see how consonances there are between Yours and my thoughts.
>>  many
>>see how many consonances there are between Yours and my thoughts.
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>>  Fig. 7.1
>>
>>In base alla == qualsiasi cosa oscilli
>>con frequenza n, può presentarsi solo in unità discrete di
>>massa . Nel mondo della natura particelle e oscillazioni
>>di campo non sono cose diverse [4; 12]. Nel campo dell’economia i valori si valutano secondo le loro
>>differenze e variazioni, oscillazioni impropriamente ritenute «volatilità».
>>Le trasformazioni della materia possono manifestare
>>l’energia immagazzinata al suo interno (relatività ristretta). La
>>struttura dello spazio è influenzata dalla massa o dall’energia degli oggetti
>>qualunque sia la posizione in cui si collocano. Più massa e/o energia si
>>concentrano in un punto, più lo spazio e il tempo si curvano intorno ad esso (relatività
>>generale). Albert Einstein intuisce con geniale fantasia (qualcuno sostiene
>>che egli abbia utilizzato abbondantemente il pensiero di Henri Poincarè) che
>>tutta la «massa-energia» in un’area sia in relazione funzionale con lo «spazio-tempo»
>>vicino o, con uno schematismo simbolico, che energia-massa = spazio-tempo. La E
>>e la m di E = mּc2 divengono due elementi che
>>stanno su un unico lato di questa nuova e più profonda equazione. Tale generalizzazione,
>>con la stessa mediazione o finzione simbolica, può estendersi con qualche
>>cautela e superando il tarlo dell’incredulità irriducibile, alla formula di
>>capitalizzazione V = Rnּ1/r legata da un’appassionante associazione isomorfica
>>con l’equazione della relatività ristretta. Anzi, l’isomorfismo
>>fisico-economico delle due formule viene convalidato e reso più convincente
>>proprio da questa interpretazione estensiva che dà ampiezza ed applicazione
>>superiore alla generalizzazione, assegnando allo spazio-tempo una funzione di
>>cerniera epistemica tra le due accoppiate: valore-energia (monetaria)
>>dell’economia e materia-energia (fisica) della natura. Si può scrivere quindi: Rn
>>= Vּr = energia-massa = spazio-tempo = mּc2 = E
>>oppure 1/r = V/Rn = spazio-tempo = energia-massa
>>= m/E = 1/c2.
>>La trasformazione di un flusso di redditi in un
>>fondo di valore, operata dal co-efficiente di capitalizzazione 1/r,
>>manifesta la dualità dinamica dell’essere valore e dell’essere reddito di un
>>bene capitale o dell’essere spazio (integrazione) e dell’essere punto
>>(derivazione) che si rivela sorprendentemente analoga alla relazione tra
>>l’essere materia e l’essere energia della stessa realtà fisica secondo l’equazione
>>della relatività ristretta. La somiglianza delle due form(-ul)e matematiche
>>appare incredibilmente forte alla luce della musicale e misteriosa uni-dualità
>>spazio-tempo che è fondamentale sia per la capitalizzazione o solidificazione dei
>>redditi (economici) che dell’energia (naturale). Come la natura corpuscolare e
>>la natura ondulatoria sono due forme (diverse), una implicante l’altra in un
>>approccio uni-duale alla stessa realtà fisica, l’essere flusso di redditi e
>>l’essere fondo di capitale sono due forme (diverse) costituenti
>>un’interpretazione uni-duale della stessa realtà economica che può
>>rap-presentarsi solo in unità discrete di valore Rnּ1/r.
>>E dato che l’energia è in-formazione della natura e l’in-formazione è energia
>>della cultura il triangolo della figura 7.1 può essere ri-scritto secondo la
>>figura 7.2.
>>
>>
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>>
>>Fig. 7.2
>>
>>La meta-dualità essere-energia ed essere-in-formazione
>>rap-presenta e com-pone in maniera trans-disciplinare le dualità: essere-segno
>>ed essere-merce o essere-flusso (di redditi) ed essere-fondo (di valore) dei
>>beni (culturali) che sono beni-moneta privilegiati; essere-energia ed
>>essere-materia od essere-particella ed essere-oscillazione di campo delle «cose»
>>(naturali). Beninteso, affinché non si prendano abbagli gli accostamenti
>>analogici tra le leggi della natura e le leggi dell’economia debbono evitare
>>ogni tentazione di identicità, sfuggire a qualunque identificazione concettuale
>>e non farsi ingannare da alcuna automatica trasposizione. Credere nell’armonia
>>meravigliosa che governa il mondo (naturale e sociale) non significa s-cadere
>>nella con-fusione o nel con-formismo naturale e culturale, esistenziale e conoscitivo.
>>
>>3. L’ateniese Takis intende l’opera d’arte come
>>simbolo di energia. Stephen Hawking rivedendo la sua teoria sostiene che i
>>buchi neri non si limitano a perdere massa attraverso una radiazione di
>>energia, ma evaporano o rilasciano informazione. Essi non distruggono mai
>>completamente quello che fagocitano. Con-tengono un’informazione, non casuale e
>>indefinibile, sulla materia di cui sono fatti che con-sente di predirne il
>>futuro. In una relazione del 1998 [7], ripresa nel 2005 [8], Hawking studia la
>>possibilità di collegare i campi gravitazionali (che sembravano eliminare ogni
>>in-formazione) all’entropia e alla predicibilità del futuro che la seconda
>>legge della termodinamica permette. In tal modo i buchi neri non evaporano o
>>irradiano un’energia invisibile o enigmatica priva di informazione come se
>>fossero delle inafferrabili e indecifrabili entità cosmiche, e non s-fuggono
>>alla (mia) super-legge della combinazione creativa (anche se talvolta
>>stupefacente) di energia e in-formazione. I buchi neri possono considerarsi
>>quindi come speciali scatole nere o magici processi di tras-informazione
>>produttivi (i cui input e output sono materia, energia e
>>informazione) e prospettici.
>>L’energia e l’in-formazione costituiscono le due sostanze primarie
>>della vita e della scienza che implicano «affermazioni complementari» non
>>identiche all’una o all’altra delle due «affermazioni alternative» che
>>presuppongono scelte binarie del tipo 0 o 1. Ad ogni affermazione complementare
>>corrisponde uno stato o «potenzialità coesistente» che in una certa misura
>>contiene anche gli altri «stati coesistenti». Queste considerazioni di fisica
>>quantistica, riconducibili al pensiero di Carl von Weizsäcker e stimolate da
>>Werner Heisenberg, richiamano la logica fuzzy [9, pp. 214-7].
>>
>>Caro Mariuz
>>il nichilismo economico, sotteso dall’ideologia utilitaristica, esalta i prezzi e annulla i valori. La mia nuova concezione economica è basata sulla teoria del valore-informazione. Le opere d’arte non valgono perché sono utili, ma perché sono dotate dibellezza in senso generale. E la bellezza è regolata dalla legge delle leggi dell’informazione
>>Ancora una volta Ti dico bravo, perché Ti intendi di economia dell’arte o di arte dell’economia.
>>Un abbraccio
>>Francesco
>>Dear  Mariusz,
>>  on the theory of information-value. Works of art are not worthwhile because they are useful, but because they are endowed with beauty in a general sense. And beauty is governed by the law of information laws.
>>Once again I tell you good, because you understand the economics of art or the art of economics.
>>A hug.
>>Francis
>>
>>Il giorno mar 19 apr 2022 alle ore 17:47 Mariusz Stanowski 
>><stanowskimariusz en wp.pl> ha scritto:
>>>
>>>Dear Pedro and FIs Colleagues,
>>>
>>>You raised an interesting and important issue of emotions in art. 
>>>This made me think about how it is that art evokes/intensifies our 
>>>emotions.
>>>From my research it follows that art (the essence of art) in the most 
>>>general/abstract sense is the compression of information (contained 
>>>in a work of art) thanks to which our perception saves energy, 
>>>becomes more economical (cost-effective), e.g. a shorter text is more 
>>>economical/compressed than a longer one containing the same amount of 
>>>information. Thanks to this saving of energy (effort) we feel 
>>>satisfaction, pleasure. This pleasure is related to our development, 
>>>because saving energy obviously contributes to our development, which 
>>>is our greatest value.
>>>
>>>These positive emotions related to our development can be considered 
>>>abstract because they have no “direction”, they do not concern any 
>>>concrete sphere of reality but the abstract development itself 
>>>(increase in complexity). These absolutely abstract emotions, 
>>>however, always occur in conjunction with more or less concrete 
>>>realities, because we cannot experience both absolute abstraction and 
>>>absolutely abstract (pure) art. The diversity of art comes from the 
>>>necessity of the presence of different concrete realms/objects/media 
>>>of reality in works of art. Each work/type of art speaks differently 
>>>about what they have in common - what art is in essence, which is 
>>>contrast, complexity, compression of information, development or 
>>>value.
>>>
>>>The type of emotion depends on what specific realm of reality the 
>>>compression of information refers to. If it is, for example, a 
>>>landscape painted by an artist, we should like it more than an 
>>>(uncompressed) natural landscape. The same is the case with all other 
>>>emotions - they are intensified thanks to the compression of 
>>>information - associated with them. The most abstract art is music, 
>>>which is why it is often difficult for us to associate it with 
>>>known/conscious emotions. However, connections with reality also 
>>>occur here, mainly in the structural sphere. That is why, for 
>>>example, different pieces of music are performed on different 
>>>occasions. To sum up, we can say that art can be made of anything if 
>>>we include information compression. However, compression alone does 
>>>not tell us about the value/size of art because one can compress a 
>>>larger (more difficult to compress/organize) area or a smaller area 
>>>to the same degree. The compressed larger area (of information) has 
>>>more complexity and aesthetic value, which can be equated with value 
>>>in general - as discussed in the presentation.
>>>
>>>P.S. As a budding artist and art theorist I encountered a knowledge 
>>>of art that relied mainly on closer and further metaphors. There was 
>>>also a belief that only such knowledge was possible. For example, it 
>>>was said that a work of art "gives us energy" which of course was 
>>>treated as a metaphor. The attempt to understand this metaphor led me 
>>>to the conclusion that it is not about receiving energy but about 
>>>saving it and that energy is not a metaphor but a physical value, 
>>>which was confirmed by studies in perception, information theory and 
>>>physics.
>>>
>>>Best regards
>>>
>>>Mariusz
>>>
>>>
>>>
>>>
>>>W dniu 2022-04-18 o 21:20, Pedro C. Marijuan pisze:
>>>>Dear Mariusz and FIs Colleagues,
>>>>
>>>>May I disturb this calm vacation state and introduce some 
>>>>"contrast"? For the sake of the discussion, the Theory & Practice of 
>>>>Contrast presented may be considered as a pretty valid approach to 
>>>>visual arts, also extended to a diversity of other fields in science 
>>>>& humanities. let me warn that the overextension of a decent 
>>>>paradigm is a frequent cause of weakening the initial paradigm 
>>>>itself. The Darwinian cosmovision is a good example. One can read in 
>>>>a book of Peter Atkins: “A great deal of the universe does not need 
>>>>any explanation. Elephants, for instance. Once molecules have learnt 
>>>>to compete and to create other molecules in their own image, 
>>>>elephants, and things resembling elephants, will in due course be 
>>>>found roaming around the countryside... Some of the things 
>>>>resembling elephants will be men.”  I am not comfortable at all with 
>>>>that type of bombastic paradigm overextension--but maybe it is my 
>>>>problem. Finally it is the explanatory capability of the attempt 
>>>>what counts (which in Atkins case is close to nil). In any case, the 
>>>>co-ligation of disciplines is a tough matter not very well 
>>>>solved/articulated yet.
>>>>
>>>>Let me change gears. My main concern with arts stems from their 
>>>>close relationships with emotions. I remember a strange personal 
>>>>experience. In a multidisciplinary gathering (scientists & artists) 
>>>>time ago, there was a small concert in an ancient chapel. Cello and 
>>>>electronic music together--great performers. In the middle of the 
>>>>concert, for unknown reasons, I started to feel sad, very sad. I was 
>>>>very absorbed in the music and could not realize having had any 
>>>>other bad interfering remembrance. Then I discretely looked at the 
>>>>person aside me, a lady. She was in tears, quite openly. I realized 
>>>>it was the music effect. Quite a few of the audience after the end 
>>>>of the concert were with red eyes... Some years later, in some 
>>>>biomedical research of my team on laughter (the analysis of its 
>>>>auditory contents as a helpful tool in the diagnosis of depression) 
>>>>we stumbled on Manfred Clynes "sentic forms". Some of the basic 
>>>>emotions can be clearly distinguished in ad hoc acoustic patterns, 
>>>>as well in tactile expression. (He made and sold a few gadgets about 
>>>>that). To make a long story short, we found the most important 
>>>>sentic forms in the sounds of laughter, including the "golden mean" 
>>>>in the expression of joyful laughs. End of the story.
>>>>
>>>>Trying to articulate a concrete question, in what extension could 
>>>>have been some of the arts a powerful means to elicit emotions which 
>>>>are not so easily felt in social life?  Think in the liturgy of 
>>>>these days... such a powerful rites....
>>>>
>>>>Best regards,
>>>>--Pedro
>>>>
>>>>
>>>>El 11/04/2022 a las 12:31, Mariusz Stanowski escribió:
>>>>>We are all right you are talking about the practical possibility of 
>>>>>simulation and I am talking about the theoretical.
>>>>>
>>>>>Best regards
>>>>>
>>>>>Mariusz
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>W dniu 2022-04-11 o 11:30, Daniel Boyd pisze:
>>>>>>Dear Joe, dear Mariusz
>>>>>>
>>>>>>
>>>>>>
>>>>>>Thankyou for both your responses. If I may pursue the topic of 
>>>>>>continuous-discontinuous contrasts further: is the solution to 
>>>>>>Joseph’s issue with non-computable processes perhaps to be found 
>>>>>>in acknowledging the distinction between the reality and its 
>>>>>>representation/simulation?
>>>>>>
>>>>>>
>>>>>>
>>>>>>Take a landscape. In reality this contains an almost infinite 
>>>>>>amount of continuous and discontinuous detail from the subatomic 
>>>>>>particle to the geological mountain. A representation or 
>>>>>>simulation (artistic or scientific) of this reality cannot and 
>>>>>>need not accurately reproduce this detail to fulfil its purpose: 
>>>>>>distillation, approximation, even distortion may justifiably be 
>>>>>>involved. An artistic rendition, unless intended as 
>>>>>>photo-realistic, will be intentionally inaccurate. Digital 
>>>>>>representations are, for the sake of efficiency, designed to 
>>>>>>compress information to the minimum required to provide the 
>>>>>>illusion of accuracy based on the sensitivity of our senses. This 
>>>>>>accounts for the 16,7 million colour standard for images: a lot of 
>>>>>>colours, but only a coarse approximation to the real colours of 
>>>>>>the rainbow. Our own senses apply similar necessary estimations: 
>>>>>>the cells of the retina determine the maximal pixel definition of 
>>>>>>the image recreated in the brain: the continuous is made 
>>>>>>discontinuous.
>>>>>>
>>>>>>
>>>>>>
>>>>>>Such representational approximations do not, however, imply 
>>>>>>discontinuity in the object observed. We see this in the inability 
>>>>>>of algorithmic simulations to accurately predict the future of 
>>>>>>non-linear systems in which arbitrarily small differences in 
>>>>>>initial conditions may have large effects as the system evolves.
>>>>>>
>>>>>>
>>>>>>
>>>>>>Perhaps this distinction between reality and representation lies, 
>>>>>>in your diagram, between the being-contrast-complexity column and 
>>>>>>the neighbouring elements? Or, possibly, you intend the 
>>>>>>being-contrast-complexity elements not to refer to the objects of 
>>>>>>reality themselves, but the perception/representation of them?
>>>>>>
>>>>>>
>>>>>>
>>>>>>Regards, Daniel
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>From: joe.brenner en bluewin.ch
>>>>>>Sent: Sunday, 10 April 2022 11:53
>>>>>>To: Mariusz <mailto:stanowskimariusz en wp.pl>; daniel.boyd en live.nl; 
>>>>>>"fis" <mailto:fis en listas.unizar.es>
>>>>>>Cc: fis en listas.unizar.es; daniel.boyd en live.nl
>>>>>>Subject: Re: Re: [Fis] Book Presentation. Potentiality as well as 
>>>>>>Actuality
>>>>>>
>>>>>>
>>>>>>
>>>>>>Dear Mariusz, Dear Daniel,
>>>>>>
>>>>>>
>>>>>>
>>>>>>Please allow me to enter the discussion at this point. I will go 
>>>>>>back to the beginning as necessary later. I am in general 
>>>>>>agreement with Mariusz' approach, but I believe it could be 
>>>>>>strengthened by looking at the potential as well as the actual 
>>>>>>aspects of the phenomena in question. Thus when Mariusz writes 
>>>>>>interaction, is a prior concept to the concept of being, because 
>>>>>>without interaction there is no being. It follows that the basic 
>>>>>>ingredient of being must be two objects/elements/components 
>>>>>>(forming a contrast) that have common and differentiating 
>>>>>>features."). , I would add the dimension of becoming, which is a 
>>>>>>more dynamic relation. We can more easily talk about processes and 
>>>>>>change instead of component objects
>>>>>>
>>>>>>
>>>>>>
>>>>>>A similar comment could be made about the discrete-continuous 
>>>>>>distinction. This is at the same time also an appearance-reality 
>>>>>>duality which is not static, but embodies the change from actual 
>>>>>>to potential and vice versa just mentioned.
>>>>>>
>>>>>>
>>>>>>
>>>>>>I do not, however, agree with the following statement: Besides it 
>>>>>>is already known that using binary structures it is possible to 
>>>>>>simulate any processes and objects of reality)  There are many 
>>>>>>non-computable process aspects of reality that cannot be captured 
>>>>>>and simulated by an algorithm without loss of information and 
>>>>>>meaning. In the "graph" of the movement of a process from 
>>>>>>actuality to potentiality, the limiting points of 0 and 1 are not 
>>>>>>included - it is non-Kolmogorovian.
>>>>>>
>>>>>>
>>>>>>
>>>>>>I would say regarding beauty that it is a property emerging from 
>>>>>>the various contrast or antagonisms in the mind/body of the 
>>>>>>artist. The logic of such processes as I have remarked is a logic 
>>>>>>of energy, and this seems to fit here.
>>>>>>
>>>>>>
>>>>>>
>>>>>>Thank you and best wishes,
>>>>>>
>>>>>>Joseph
>>>>>>
>>>>>>
>>>>>>
>>>>>>>----Message d'origine----
>>>>>>>De : stanowskimariusz en wp.pl
>>>>>>>Date : 10/04/2022 - 08:35 (CEST)
>>>>>>>À : daniel.boyd en live.nl, fis en listas.unizar.es
>>>>>>>Objet : Re: [Fis] Book Presentation
>>>>>>>
>>>>>>>Dear Daniel,
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>Thank you for your questions. Below are the highlighted answers 
>>>>>>>(of course they are more complete in the book).
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>Best regards
>>>>>>>
>>>>>>>Mariusz
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>W dniu 2022-04-09 o 17:37, Daniel Boyd pisze:
>>>>>>>
>>>>>>>>Dear Mariusz
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>While (or perhaps because!) your work is a fair distance from my 
>>>>>>>>own field of expertise, I found your conceptual framework 
>>>>>>>>intriguing. Herewith some of the thoughts it elicited. While 
>>>>>>>>they may be unexpected because they come from a different angle, 
>>>>>>>>hopefully a cross-disciplinary interaction will be fruitful.
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>The Second Law of Thermodynamics dictates the ultimate heat 
>>>>>>>>death of the universe (a state in which all 'contrasts' are 
>>>>>>>>erased). (The heat death of the universe is just a popular view 
>>>>>>>>and not a scientific truth)Its current state, fortunately for 
>>>>>>>>us, is teeming with differences (between entities, properties 
>>>>>>>>and interactions) which underlie all that is of importance to 
>>>>>>>>us. To take such contrasts as a unifying principle would 
>>>>>>>>therefore seem to be undeniable, if extremely ambitious! After 
>>>>>>>>all, the sheer diversity of contrasts takes us from the 
>>>>>>>>different spins of subatomic particles underlying the various 
>>>>>>>>elements to the masses of the celestial bodies determining their 
>>>>>>>>orbits around the sun; from the colours in a painting to the 
>>>>>>>>sounds of a symphony. Systemically, different patterns of 
>>>>>>>>contrasts underlie the distinctions between linear and complex 
>>>>>>>>systems. Contrasts also form the basis for the working of our 
>>>>>>>>sense organs, the perceptions derived from them, and the inner 
>>>>>>>>world of conscious experience. In each of these contexts very 
>>>>>>>>different classes of contrasts lead to different mechanisms and 
>>>>>>>>laws, leading me to wonder just what the 'underlying structure' 
>>>>>>>>is (beyond the observation that, ultimately, some type of 
>>>>>>>>contrast is always involved and that we tend to deal with such 
>>>>>>>>diverse contrasts in a similar way). Maybe your book provides an 
>>>>>>>>answer to this question that I am unable to find in this brief 
>>>>>>>>abstract: could you perhaps say something about this? (The 
>>>>>>>>answer to this question is contained in the contrast-being 
>>>>>>>>relation: "Contrast-Being Contrast, or interaction, is a prior 
>>>>>>>>concept to the concept of being, because without interaction 
>>>>>>>>there is no being. It follows that the basic ingredient of being 
>>>>>>>>must be two objects/elements/components (forming a contrast) 
>>>>>>>>that have common and differentiating features.").
>>>>>>>>
>>>>>>>>
>>>>>>>>Moving on to more specific topics, I see that you equate the 
>>>>>>>>complexity of a system to a relationship between binary values 
>>>>>>>>(C = N²/n). While such as approach may work for discontinuous 
>>>>>>>>contrasts (e.g. presence/absence, information in digital 
>>>>>>>>systems) many naturally occurring differences are continuous 
>>>>>>>>(e.g. the electromagnetic frequencies underlying the colours of 
>>>>>>>>the rainbow). In neuroscience, while the firing of a neuron may 
>>>>>>>>be a binary event, the charge underlying this event is a dynamic 
>>>>>>>>continuous variable. My question: how does the concept of 
>>>>>>>>abstract complexity deal with continuous variables 
>>>>>>>>("contrasts")? (What seems to us to be continuous in reality may 
>>>>>>>>be discrete, e.g. a picture or a sound on a computer is 
>>>>>>>>continuous and in reality it is a binary structure of electric 
>>>>>>>>impulses; a continuous color is a vibration of an 
>>>>>>>>electromagnetic wave. Besides it is already known that using 
>>>>>>>>binary structures it is possible to simulate any processes and 
>>>>>>>>objects of reality).
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>I was also intrigued by your statement that "Beautiful are 
>>>>>>>>objects with high information compression" based on the 
>>>>>>>>reasoning "perceiving beauty, we save energy, the perception 
>>>>>>>>becomes more economical and pleasant". Intuitively, it seems odd 
>>>>>>>>to me to equate beauty to the lack of perceptive effort 
>>>>>>>>required. (This is not about "no effort" but about "saving 
>>>>>>>>effort". If we have a beautiful and an ugly object with the same 
>>>>>>>>information content, the perception of the beautiful object will 
>>>>>>>>require less energy. The measure of beauty is not the amount of 
>>>>>>>>effort/energy, but the amount of energy saved, which in the case 
>>>>>>>>of the Sagrada Familia will be greater). This would mean that 
>>>>>>>>the Pentagon (high regularity/compressibility) is more beautiful 
>>>>>>>>than the Sagrada Familia (low regularity/compressibility); and a 
>>>>>>>>single-instrument midi rendition of Bach is more beautiful than 
>>>>>>>>a symphonic performance. It seems to me that beauty often 
>>>>>>>>stimulates (gives energy) rather than just costing minimal 
>>>>>>>>energy. Much research has been done on the universal and 
>>>>>>>>culture-dependent perception of beauty: does this support your 
>>>>>>>>statement? see e.g. 
>>>>>>>>https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x 
>>>>>>>>which describes factors other than simplicity as necessary 
>>>>>>>>characteristics. (This article is based on faulty assumptions 
>>>>>>>>e.g. misunderstanding Kolmogorov's definition of complexity, 
>>>>>>>>which is not applicable here).
>>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>>
>>>>>>>>Musings About Beauty - Kintsch - 2012 - Cognitive Science - 
>>>>>>>>Wiley Online Library 
>>>>>>>><https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x>
>>>>>>>>
>>>>>>>>Aesthetics has been a human concern throughout history. 
>>>>>>>>Cognitive science is a relatively new development and its 
>>>>>>>>implications for a theory of aesthetics have been largely 
>>>>>>>>unexplored.
>>>>>>>>
>>>>>>>>onlinelibrary.wiley.com
>>>>>>>>
>>>>>>>>By defining contrast as a distinction between entities or 
>>>>>>>>properties, it seems to come close as a definition to the type 
>>>>>>>>of information underlying physical entropy. That being the case, 
>>>>>>>>your approach would seem to resemble those who would give such 
>>>>>>>>information a comparable fundamental significance (e.g. 
>>>>>>>>Wheeler's "it from bit"). Could you say something about how you 
>>>>>>>>see the relationship between 'contrast' and 'information? Are 
>>>>>>>>they effectively synonyms? Contrast and information are 
>>>>>>>>different concepts. Information is a feature or form of energy. 
>>>>>>>>Contrast is the tension/force/energy created by the interaction 
>>>>>>>>of common features (attraction) and different features 
>>>>>>>>(repulsion) of contrasting objects).
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>Thankyou, in any case, for your contribution which certainly 
>>>>>>>>demonstrates the relationship between Value and Development 😉
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>Regards, Daniel Boyd
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>Van: Mariusz Stanowski
>>>>>>>>Verzonden: zaterdag 2 april 2022 19:23
>>>>>>>>Aan: fis en listas.unizar.es
>>>>>>>>Onderwerp: [Fis] Book Presentation
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>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).
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>
>>>>>
>>>>>
>>>>>_______________________________________________
>>>>>Fis mailing list
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>>>>>----------
>>>>>INFORMACIÓN SOBRE PROTECCIÓN DE DATOS DE CARÁCTER PERSONAL
>>>>>
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>>>>>----------
>>>>>
>>>>
>>>>
>>>>--
>>>>-----------------------------------------------------------
>>>>Pedro C. Marijuán
>>>>Grupo de Bioinformación / Bioinformation Group
>>>>pedroc.marijuan en gmail.compcmarijuan.iacs@aragon.eshttp://sites.google.com/site/pedrocmarijuan/
>>>>
>>>>Editor special issue: Evolutionary dynamics of social systems
>>>>https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V
>>>>-----------------------------------------------------------
>>>>
>>>>
>>>>--------------------------------------------------------------------------------
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>>>
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