[Fis] [External Email] Re: Book Presentation. Emotions

[Stanley N Salthe]

Karl - A usual well-written and interesting text. You point out,
unintentionally, je pense, how the
art that is produced these days in the New York City ambiance is (and has
not been for a while
(it is plentifully in evidence in The New Yorker Magazine) is NOT art at
all!
STAN

On Thu, Apr 21, 2022 at 5:00 AM Karl Javorszky <karl.javorszky en gmail.com>
wrote:

> Dear Friends,
>
>
>
> Art and its Information Content
>
>
>
> Once more, a consensus is emerging about what we discuss in this
> chatgroup, namely *information and its manifold appearances* on different
> levels: on the abstract, detached, un-individual level as well as on the
> level that is a part of one’s own, individual, personal experiences.
>
> 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. (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.)
>
>
>
> *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
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>> 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 *=
>> *mּc*2 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 *= *Rnּ*1*/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 = *mּc*2 = *E* oppure 1/*r *= *V*/*Rn* = spazio-tempo =
>> energia-massa = *m*/*E* = 1/*c*2.
>>
>> 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 *Rnּ*1/*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].
>>
>>
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>>
>> 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 <stanowskimariusz en wp.pl>; daniel.boyd en live.nl; "fis"
>>> <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).
>>>
>>>
>>>
>>>
>>> <https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x>
>>>
>>> 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 listFis en listas.unizar.eshttp://listas.unizar.es/cgi-bin/mailman/listinfo/fis
>>> ----------
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>>> ----------
>>>
>>>
>>> --
>>> -----------------------------------------------------------
>>> Pedro C. Marijuán
>>> Grupo de Bioinformación / Bioinformation Grouppedroc.marijuan en gmail.compcmarijuan.iacs@aragon.eshttp://sites.google.com/site/pedrocmarijuan/
>>>
>>> Editor special issue: Evolutionary dynamics of social systemshttps://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V
>>> -----------------------------------------------------------
>>>
>>>
>>>
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