[Fis] Fis Digest, Vol 129, Issue 35
Csáji László Koppány
csaji.koppany at gmail.com
Tue Jan 13 21:24:44 CET 2026
Dear Kate and Krassimir,
Thank you very much for sharing your insights into your thoughts on emotion
and art in a broader sense, even encompassing life. There were many
revelative information in your paper (Emotion: the Self-regulatory sense
2014) that I found only after I wrote my paper.
I think FiS has already given me so much (I mean the members, of course).
All of your new aspects and thoughts pushed me towards to start a
multidisciplinary study together with neuroscientists, informatic
scientists, and medical scientists, probably with laboratory (experimental)
testing, which would be a great chance to combine social scientists and
natural scientists in a joint research topic that is aimimg to give a
common denominator (or at least a conversation between disciplines - just
like as we do it now).
Pedro's, John Torday's, and of course, Krassimir's thoughts also provided a
great amount of new information and new perspectives for me. I am
extreemely grateful to Krassimir's elaborately argumented model that
applies my vectorial model to the field of General Information Theory
(GIT).
I am a new member of the FiS community, but it was really touching that you
took the topic of "art" seriously and added such an amount of new thoughts.
I think I must read (learn) more about those studies and theories you
suggested, which is why I waited a day with this answer.
I read Kate's and John's paper first, then Krassimir's paper on Digital Art
and Design, also on Features for Art Painting Classification, etc.
I do not want to write a detailed answer yet to Krassimir's contribution,
since I prefer thinking about it more first.
But I do want to express at least my deep gratefulness immediately, for
your inspiring and thought provoking aspects.
Best wishes,
Laszlo
Katherine Peil <ktpeil at outlook.com> ezt írta (időpont: 2026. jan. 12., H,
18:42):
> Dear Lazlo et al,
> I too find creative excellence in your anthropological analysis and vector
> approach to art. Well done Lazlo!
> I also heartily endorse Krasimir’s addition of binary logic to enhance
> the story, as it honors the complementarity and symmetry in the deeper
> physics, and more abstract maths concerning “form” and “identity”. (Enter
> Lou Kauffman’s iterative self-distinctioning as central to Triad of
> Creativity/Art.)
>
> The binary logic emphasizes the central role of emotional sentience -
> the hedonic or affective valence in living systems, what I argue to be
> the “fundamental semantic information bit” - its evaluative logic evident
> at the cellular level, stimulate by bioelectric patterns, and central to
> what Levin calls “basal intelligence”.
>
> With the help of AI, I have generated Krassimir’s Unit Cube, situating
> emotional sentience at or around location 101. Importantly, this situates
> the “information” (data) as existing in the “external” environment, akin to
> physical sensory stimulus before it has been transducing into “perception”
> proper. (With the grace of Pedro, maybe he can “twinkle” it into this
> post?….below)[image: ChatGPT Image Jan 12, 2026, 09_24_28 AM.jpeg]
>
> At nearly every turn in Lazlo’s paper, emotion is the key player, and the
> desire to "extend it to include emotion” will be fruitful. I agree with
> Paul about the scientistic dogma, toxicity, and competitive career building
> in The Academy, and I place primary “authority” back within subjective
> experiences afforded by the living embodiment.
>
> To that end, Lazlo, I offer the conceptual distinction between *cognition* and
> *emotion* - two separate yet interacting streams of information that
> remain traditionally confounded. (You cite Lisa Feldman Barrett, yet she
> makes this mistake by pointing only toward the complex emotions, the
> third level of information in emotional feelings (“knowledge" in your
> model), and ignoring the first level, the deeper
> binary “affective” evaluations (“data", in your model) - the feel good feel
> bad hedonic categories of experience).
>
>
>
> Emotion is a more ancient regulatory mechanism for adaptive behavioral
> control (at the cellular level), while cognition relies upon neural
> structures. Emotion concerns *physical **sensory stimulus out there in
> the external world (Data) - new self-relevant changes in the immediate
> environment, mismatches between mindful models and actual circumstances.* It's
> binary logic flows upward from mathematical symmetries, energy conservation
> laws, and complementary opposites in in EM and Gravitational forces - what
> John Torday calls The Logic of the Cosmos - thanks John). My point is that
> Art and Life need BOTH streams of information to function properly.
>
>
> Respectively, the dual categories *Cognition* and *Emotion* capture:
>
> 1) The *top-down* and *bottom-up* neural processing pathways; 2) the
> *fast *and *slow* brain rhythms; 3) the *syntactic* and *semantic *dimensions
> of language, and (loosely) 4), the distinct functions of *left *and
> *right *hemispheres of the prefrontal cortex; and at their deepest the
> *dual identity *structure that is simultaneously *whole* and a* part *(of
> a greater whole) - and individual and collective.
>
>
> Indeed, emotional information is biologically distinct in that it
> concerns *"the self”*, delivering evaluative feedback about the status of
> the living embodiment in its immediate environment. Its bottom-up
> evaluative, identity logic is evident in the “self/not-self” distinctions
> of immune, genetic and epigenetic regulation, the patterns of cell
> differentiation, and the bio-electric patterning of morphogenetic
> development. It’s top-down effects are evident in the common stress
> chemistry, epigenetic methylation marking, Pavlovian learning, anticipatory
> behavior, and in placebo and nocebo effects of mind on body.
>
>
>
> My bold claim is: *No emotion, no esthetics*. No emotion, no sense of
> identity. No emotion, no morality, no ethics - no sense of value
> whatsoever. *No emotion, no art.* Emotional sentience is the biophysical
> source of what Bergson called The Elan Vitale, what Aristotle called The
> Sensitive Soul, and the physical and functional rationale for Plato’s the
> True, The Good, and The Beautiful. Descartes was wrong: Feeling predates
> thinking, the “unconscious” body in-forms the “conscious” mind,
> and identity is collective - ultimately concerning mathematical form and
> iterative self-distinctioning. “I feel therefore I am” is much more
> accurate. As Damasio put it, the feeling of what is happening - to me -
> yields a “proto-self” awareness, with pain and pleasure pushing and pulling
> us along an *optimal developmental trajectory - the evolution of our *own
> personal empowerment and creative agency. Learning – building personal and
> social mindscapes - is Art. Niche construction - building cultural and
> technological landscapes is Art. *Life is Art. *
>
> Just a thought,
>
> Kate Kauffman
>
>
>
>
> On 1/11/26, 6:03 PM, "Fis" <fis-bounces at listas.unizar.es> wrote:
> Katherine Peil Kauffman
>
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> Today's Topics:
>
> 1. Inviting Discord (Paul Suni)
> 2. Re: Art and the Cognitive (Is art a human phenomenon?)
> (Krassimir Markov)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 11 Jan 2026 16:26:43 -0800
> From: Paul Suni <paul.p.suni at gmail.com>
> To: fis <fis at listas.unizar.es>
> Subject: [Fis] Inviting Discord
> Message-ID: <0F0F2595-A1BF-443F-A588-2D3A4BA95A02 at gmail.com>
> Content-Type: text/plain; charset=utf-8
>
> Hello FIS,
>
> I wrote a biting response to L?szl? concerning the nature of art. As a
> pro-Western intellectual underdog and anti-academic, I did not affect the
> expected collegial and pro-social tone. I said things that will no doubt
> appear absurd and jarring to many of you. I invite you to challenge me, and
> even to try to defend the merits of destroying capitalism and all that the
> West stands for. You can even try to defend the noble status of the
> academic - hard-won from the actual nobility of the time, during the 18th
> and 19th century revolutions.
>
> I would be eager to engage with you. Convince me that August Comte did not
> start an intellectual cancer, whose lethal status still goes unnoticed.
> However, I imagine that you will choose to stay straddled on your
> pro-academic ivory tower, and remain silent. I am not going to intimate
> that academic confluence is to me like watching neighbors shove people of
> the wrong social class, gender or skin-color in the ovens, and doing
> nothing, but I am tempted. So intense is my experience of academic toxicity
> and its suicidal effects on the spirit of the West - our cultural mother.
>
> Both Art and Science, liberated from academia, are my passions. Challenge
> me. Make it personal. I stick out like a sore thumb, don?t I. You may want
> to put me in my place and teach me lessons. Do that now!
>
> Cheers,
> Paul Suni
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 12 Jan 2026 03:02:20 +0200
> From: Krassimir Markov <itheaiss at gmail.com>
> To: fis <fis at listas.unizar.es>
> Subject: Re: [Fis] Art and the Cognitive (Is art a human phenomenon?)
> Message-ID:
> <CAKEQgkxQnb=
> hWNsO_4rJ+PDmBhJ73CxEi2r6rT1M13Z5VYeZDQ at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Dear L?szl?,
>
> I hope this message finds you well. I recently had the pleasure of reading
> your article "Toward a Multidimensional Definition of Art from the
> Perspective of Cognitive Sciences" (Cs?ji, 2026), and I wanted to express
> my deep appreciation for your work. I do not usually write long letters,
> but your article left a remarkably deep impression on me and genuinely
> moved my curiosity. This is why I have taken the liberty of writing to you
> at greater length than I normally would.
>
> Your three-dimensional vectorial model?creativity, communication, and
> experience?offers a genuinely refreshing and cognitively grounded approach
> to understanding art. I particularly appreciate how you avoid binary
> classifications and Eurocentric aesthetic biases, instead proposing a
> universal framework that can accommodate diverse cultural expressions. The
> case studies you present (from Nepal, Bali, Sami culture, Japan, and
> beyond) beautifully illustrate the heterogeneity of artistic phenomena
> while maintaining theoretical coherence.
>
> The concept of the "spark" as an activation threshold that moves something
> from the zero point into the space of art (Cs?ji, 2026, p. 15) is
> especially intriguing from a cognitive perspective. It resonates well with
> prototype theory (Rosch & Lloyd, 1978) and the principle of family
> resemblance, acknowledging that art lacks a single defining essence. Your
> integration of cognitive anthropology (D'Andrade, 1995; Sperber, 1996;
> Tomasello, 1999), cognitive semantics (Lakoff & Johnson, 1980), and
> neuroaesthetics (Ramachandran & Hirstein, 1999; Seeley, 2020) creates a
> truly multidisciplinary framework.
>
> *1. A Systemic Consideration: The Triadic Structure of Information
> Interaction*
>
> While reflecting on your model, I found myself considering the systemic
> nature of artistic phenomena through the lens of the General Information
> Theory (GIT) (Markov et al, 2007). In this framework, information
> interaction is fundamentally defined as a triadic structure:
>
>
>
> *Donor (source/creator) - Object (message/medium/artwork) - Receiver
> (destination/audience)*.
>
> Crucially, this theory treats information not as an external entity but as
> a purely subjective phenomenon and exists in reality only as knowledge
> (externalized mental structures) or as data (not recognized reflections in
> reality). The term "information" itself is convenient shorthand to avoid
> constantly specifying whether we refer to data or knowledge.
>
> This perspective aligns remarkably well with your cognitive approach. As
> you note, "words and artifacts call forth fragments of knowledge, emotions,
> and memories, stimulated by the actual situation, and thus, exist only in
> human minds" (Cs?ji, 2026, p. 3, referencing Fillmore's frame semantics).
> Art, from this viewpoint, is not the physical object itself but the
> cognitive processes it triggers?the externalized mental structures
> (knowledge in reality through the artwork) become recognized and
> internalized through the receiver's cognitive engagement, while remaining
> data (unrecognized reflections) for those who do not engage with them.
>
> This builds on your observation that "perceiving art also requires
> creativity and a sense of communication" (Cs?ji, 2026, p. 16) and extends
> the notion of art as agency (Gell, 1998) and distributed cognition
> (Hutchins, 1991; White, 1995). The triadic structure is not merely a
> convenient model but reflects the fundamental nature of how mental
> structures are externalized into reality (by the Donor), persist as
> knowledge or data (in the Object), and are recognized and internalized (by
> the Receiver).
>
> Your three vectors might thus be understood as the specifically *artistic*
> modalities of this cognitive transformation:
>
> - *Creativity*: the process of externalizing mental structures into
> reality in novel or refined ways
> - *Communication*: the encoding/decoding of these structures through the
> artwork as medium
> - *Experience*: the recognition and subjective internalization of these
> structures
>
> This led me to consider various configurations of the triadic system:
>
> - *(0,0,0)*: Complete absence of art?the zero point you identify; no
> information interaction occurs
> - *(0,1,1)*: Object + Receiver without original Donor (e.g., natural
> forms reinterpreted as ready-made art, as in your Case 6 with Du?an
> Palen?ar's "pregnant tree"; or ancient anonymous works where the
> creator is
> historically absent). Here, the Receiver projects mental structures onto
> what were merely unrecognized reflections in reality (data),
> transforming
> them into knowledge through recognition.
> - *(1,0,1)*: Donor + Receiver without persistent Object (ephemeral
> performances, as in your Case 2 with Kechak dance; or improvisations
> where
> the externalized structures are immediately recognized without
> persisting
> as observable reflections)
> - *(1,1,0)*: Donor + Object without Receiver (unpublished/unseen
> works?latent art, as in your Case 5 before you discovered the homeless
> artist's work; mental structures externalized into reality but
> remaining as
> data, not yet recognized by any receiver)
> - *(1,1,1)*: Full artistic system (classical case, as in your Case 4
> with Hokusai's widely recognized masterpieces; complete cycle of
> externalization-persistence-recognition)
>
> Each configuration reveals different cognitive processes and raises
> interesting questions about when and how art "exists" as an informational
> phenomenon. Your own fieldwork provides excellent examples: in Case 5,
> initially the system operated as (1,1,0) until your discovery transformed
> it into (1,1,1). The artist himself stated he "could not imagine attracting
> anyone" with his work (Cs?ji, 2026, p. 8), suggesting he didn't initially
> conceive of it within a complete communicative system?his externalized
> mental structures remained as unrecognized reflections in reality (data)
> without being transformed into knowledge by others. Similarly, in Case 1
> (Dibhi Kami and Dor Bahadur Buramagar), the art began as (1,0,1)?ephemeral
> call-and-response performance where mental structures were directly
> externalized and recognized through transient sound?before being documented
> and reaching wider audiences.
>
> The (1,0,1) configuration is particularly interesting from the
> information-theoretic perspective: it suggests that art can exist as
> *direct
> recognition and transformation of externalized mental structures* through
> transient carriers (sound waves, light, movement) without necessarily
> persisting as observable data objects.
>
> *2. Temporal Dynamics*
>
> This triadic view also introduces a temporal dimension that your vectorial
> model could potentially incorporate. As you note, "we have no evidence that
> making and enjoying art have been based on unchanging brain processes"
> (Cs?ji, 2026, p. 4), suggesting evolutionary and historical change. At the
> individual artwork level, art seems to evolve through temporal states:
>
> - *T1* (creation moment): Donor externalizing mental structures into
> reality, Object emerging as knowledge/data, Receiver absent
> - *T2* (reception moment): Donor possibly absent, Object persists (as
> knowledge or data depending on recognition), Receiver recognizing and
> internalizing
> - *T3* (oblivion): All elements return to zero?physical reflections
> decay, knowledge is forgotten
>
> Different cognitive processes may be dominant at each stage, which could
> help explain the varied brain activation patterns observed in
> neuroscientific studies of art (Chatterjee, 2011; Ishizu & Zekir, 2011).
>
> *3. The Question of Animal Art: Where is the "Spark"?*
>
> Your discussion of the "spark" as uniquely human raises a fascinating
> question that you acknowledge: "Anyone who has a dog surely recognizes that
> even animals are capable of creative problem-solving and communication that
> causes emotions in humans" (Cs?ji, 2026, p. 15). This leads me to wonder
> about the boundaries of art in the animal kingdom.
>
> Consider several intriguing cases:
>
> *3.1. Avian vocal performance*: Many songbirds (such as nightingales,
> lyrebirds, and mockingbirds) engage in elaborate vocal displays that go far
> beyond simple mating calls (Catchpole & Slater, 2008; Marler & Slabbekoorn,
> 2004). They exhibit:
>
> - *Creativity*: Individual variation, improvisation, and cultural
> transmission of song dialects
> - *Communication*: Clear signaling function, but with aesthetic
> elaboration beyond minimal effectiveness
> - *Experience*: Evidence of pleasure centers activating during song
> production (Riters, 2012)
>
> Does this constitute art, or merely elaborate signaling? The triadic
> structure exists (singer-song-listener), and all three vectors appear to be
> non-zero. From the information-theoretic perspective, do birds externalize
> and recognize mental structures in ways qualitatively similar to humans, or
> is their processing fundamentally different?
>
> *3.2. Courtship displays*: The dances of cranes, swans, and bowerbirds
> involve:
>
> - *Creativity*: Individual variation in display quality; bowerbirds even
> decorate their bowers with colored objects (Borgia, 1985; Endler et al.,
> 2010)
> - *Communication*: Clear purpose, but with aesthetic judgment by females
> who select mates based on display quality
> - *Experience*: Both performer and observer are engaged; unsuccessful
> males modify their displays, suggesting experiential learning
>
> Bowerbirds, in particular, appear to externalize mental structures (their
> aesthetic preferences) into physical arrangements (bower decorations) that
> are then evaluated by others?a remarkable parallel to human artistic
> behavior.
>
> *3.3. Cetacean songs*: Humpback whales produce complex, evolving songs that
> change over seasons and spread through populations culturally (Payne &
> Payne, 1985; Garland et al., 2011). These shows:
>
> - *Creativity*: Novel phrases appear and propagate
> - *Communication*: Function unclear (not simple mating calls)
> - *Experience*: Whales appear to attend to each other's songs
>
> The cultural transmission of whale songs suggests a degree of
> externalization and recognition of mental structures across individuals and
> time.
>
> *3.4. Elephant painting*: While controversial (some argue it's trained
> behavior), elephants in captivity spontaneously manipulate paint on canvas
> with apparent intentionality and individual styles, which you note as
> important (Cs?ji, 2026).
>
> Your criterion of the "spark" as involving metaphorical thinking (Lakoff &
> Johnson, 1980) might be the key distinction. As you note, "the ability to
> use and understand metaphor...demonstrates everyday human artistic
> cognition" (Cs?ji, 2026, p. 1). There is limited evidence for metaphorical
> cognition in great apes (Tanner & Byrne, 1996), but whether this extends to
> aesthetic domains remains unclear.
>
> >From the information-theoretic perspective, the question becomes: Can
> animals engage in the *metacognitive framing* of their externalizations as
> "artistic"? Do they possess the mental structures necessary to categorize
> certain behaviors as belonging to a special domain beyond purely functional
> communication? Your model's focus on the "spark" as a threshold suggests
> this metacognitive awareness might be the distinguishing feature.
>
> Alternatively, if we accept your vectorial model as gradient rather than
> binary, perhaps some animal behaviors occupy the low end of the artistic
> spectrum?say (0.3, 0.5, 0.4)?above zero but below the threshold we
> typically recognize as "art." This would align with your observation that
> "art as a cognitive process, does not inevitably depend on such aesthetic
> criteria (like beauty, asymmetry-seeking, etc.)" (Cs?ji, 2026, p. 14).
>
> The question becomes: Is the "spark" a uniquely human metacognitive
> capacity (the ability to frame an activity as "artistic"), or does it exist
> on a continuum where some animals achieve rudimentary forms? Your model's
> flexibility could accommodate either interpretation, but clarifying this
> boundary might strengthen the framework's universality claims while
> respecting the specifically human dimension you emphasize.
>
> *4. Mathematical Formalization and Systemic Mapping*
>
> One additional observation: your vectorial model lends itself naturally to
> mathematical formalization as a unit cube [0,1]?, which addresses a
> potential limitation in the unbounded vector representation. Each artistic
> phenomenon can be represented as a point A = (c, m, e) with bounded
> coordinates corresponding to the three dimensions.
>
> Moreover, there appears to be a natural mapping between your three vectors
> and the triadic information interaction structure:
>
> - *Creativity (c)* ? *Donor* (the source, externalizing mental
> structures into reality)
> - *Communication (m)* ? *Object* (the medium/artwork, carrying knowledge
> or remaining as data)
> - *Experience (e)* ? *Receiver* (the destination, recognizing and
> internalizing)
>
> This correspondence suggests that within the unit cube framework, we can
> model the entire human information interaction system. The bounded [0,1]
> range for each dimension captures the finite, subjective nature of
> information as it transitions between mental structures and their
> reflections in reality (Markov, 2007), avoiding the conceptual issues of
> infinite vectors. A complete artistic system would require all three
> coordinates to be non-zero: c > 0 ? m > 0 ? e > 0, formally expressing your
> insight that art emerges from the triadic interaction.
>
> This formalization would enable the application of fuzzy logic operators
> (such as t-norms) to rigorously define the "spark" threshold and measure
> artistic intensity as ?_art(A) = T(c, m, e), where T represents a
> triangular norm capturing the interdependence of the three elements.
> Different system configurations?(0,1,1), (1,0,1), (1,1,0)?can be precisely
> analyzed, and temporal dynamics A(t) can be modeled as trajectories through
> the unit cube.
>
> Such mathematical apparatus could facilitate comparative studies,
> computational modeling of artistic cognition, and more rigorous hypothesis
> testing within the cognitive neuroscience of art. I believe this direction
> could strengthen the model's applicability across disciplines while
> preserving its conceptual elegance.
>
> *Conclusion*
>
> Please understand these reflections as enthusiastic engagement with your
> work rather than criticism. Your model has already made a significant
> contribution to how we conceptualize art in cognitive sciences,
> particularly in transcending "previous Eurocentric concepts" (Cs?ji, 2026,
> p. 3) and avoiding the colonial hierarchies that have long plagued art
> theory.
>
> The connections to GIT (particularly the understanding of information as
> subjective, existing as externalized mental structures (knowledge) or data
> depending on recognition), the question of animal aesthetics, and the
> potential for mathematical formalization are perhaps avenues for future
> exploration that could further strengthen your already robust framework. I
> would be happy to share more details about the GIT, the mathematical
> formalization, or the mental structures, which are the subject of an
> extensive article currently in preparation?if they might be useful for your
> continued research.
>
> Thank you for this important work. It bridges anthropology, cognitive
> science, and art theory in a way that genuinely advances our understanding
> while respecting cultural diversity.
>
> With respect,
>
> Krassimir
>
>
>
> *References*
>
> Beatty, A. (2019). *Emotional worlds: Beyond an anthropology of emotion*.
> Cambridge University Press.
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>
> Borgia, G. (1985). Bower quality, number of decorations and mating success
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>
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> INFORMACIÓN SOBRE PROTECCIÓN DE DATOS DE CARÁCTER PERSONAL
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