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            mso-ansi-language:EN-GB;mso-fareast-language:PL"
            lang="EN-GB">Book Presentation</span></b><span
          style="font-family:"Times New
          Roman","serif";mso-fareast-font-family:
          "Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:PL"
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      <p class="MsoNormal"
        style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
        line-height:normal"><b><span style="font-family:"Times New
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            mso-fareast-font-family:"Times New
            Roman";mso-ansi-language:EN-GB;mso-fareast-language:
            PL" lang="EN-GB">“Theory and Practice of Contrast:
            Integrating Science, Art and Philosophy.”</span></b><span
          style="font-family:"Times New
          Roman","serif";mso-fareast-font-family:
          "Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:PL"
          lang="EN-GB"></span></p>
      <p class="MsoNormal"
        style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
        line-height:normal"><b><span style="font-family:"Times New
            Roman","serif";
            mso-fareast-font-family:"Times New
            Roman";mso-ansi-language:EN-GB;mso-fareast-language:
            PL" lang="EN-GB">Mariusz Stanowski</span></b><span
          style="font-family:"Times New
          Roman","serif";
          mso-fareast-font-family:"Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:
          PL" lang="EN-GB"></span></p>
      <p class="MsoNormal"
        style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
        line-height:normal"><b><span style="font-family:"Times New
            Roman","serif";
            mso-fareast-font-family:"Times New
            Roman";mso-ansi-language:EN-GB;mso-fareast-language:
            PL" lang="EN-GB">Published June 10, 2021 by CRC Press
            (hardcover and eBook).</span></b><span
          style="font-family:"Times New
          Roman","serif";mso-fareast-font-family:
          "Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:PL"
          lang="EN-GB"></span></p>
      <p class="MsoNormal"
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        line-height:normal"><span style="font-family:"Times New
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          mso-fareast-font-family:"Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:
          PL" lang="EN-GB">Dear FIS list members,</span></p>
      <p class="MsoNormal"
        style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
        line-height:normal"><span style="font-family:"Times New
          Roman","serif";
          mso-fareast-font-family:"Times New
          Roman";mso-ansi-language:EN-GB;mso-fareast-language:
          PL" lang="EN-GB">Many thanks for the opportunity to present my
          recent book in this list.</span></p>
      <p class="MsoNormal"><span style="font-family:"Times New
          Roman","serif";
          mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
      <p class="MsoNormal"><span style="font-family:"Times New
          Roman","serif";
          mso-ansi-language:EN-GB" lang="EN-GB">Our dispersed knowledge
          needs an underlying structure
          that allows it to be organised into a coherent and complex
          system.</span></p>
      <p class="MsoNormal" style="text-indent:35.4pt"><span
          style="font-family:"Times New
          Roman","serif";mso-ansi-language:EN-GB"
          lang="EN-GB">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 <b style="mso-bidi-font-weight:normal">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</b>. 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:</span></p>
      <p class="MsoNormal" style="text-indent:35.4pt"><span
          style="mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
      <p class="MsoNormal" style="text-indent:35.4pt"><span
          style="font-family:"Times New
          Roman","serif";
          mso-fareast-language:PL;mso-no-proof:yes"><img
            src="cid:part1.3l4W85v9.rMeckTi6@wp.pl" width="545"
            height="209"></span><span style="font-family:
          "Times New
          Roman","serif";mso-ansi-language:EN-GB"
          lang="EN-GB"></span></p>
      <p class="MsoNormal" style="text-indent:35.4pt"><span
          style="font-family:"Times New
          Roman","serif";mso-ansi-language:EN-GB"
          lang="EN-GB"> </span></p>
      <p class="MsoNormal"><span style="font-family:"Times New
          Roman","serif";
          mso-ansi-language:EN-GB" lang="EN-GB">Below are brief
          descriptions of these connections.</span><span
          style="mso-ansi-language:EN-GB" lang="EN-GB"></span></p>
      <p class="MsoNormal" style="text-indent:35.4pt"><span
          style="font-family:"Times New
          Roman","serif";mso-ansi-language:EN-GB"
          lang="EN-GB"> </span></p>
      <p class="Default" style="line-height:150%"><b><span
            style="mso-ansi-language:
            EN-GB" lang="EN-GB">Contrast—Development </span></b><span
          style="mso-ansi-language:
          EN-GB" lang="EN-GB">When observing a contrast, we also observe
          the connection between
          contrasting objects/structures (resulting from their common
          features) and the
          emergence of a </span><span
          style="color:windowtext;mso-ansi-language:
          EN-GB" lang="EN-GB">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, <i>contrast as development
          </i>is understood
          in Whitehead’s philosophy).</span></p>
      <p class="Default" style="line-height:150%"><span
          style="color:windowtext;
          mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Contrast—Complexity
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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: <b
            style="mso-bidi-font-weight:
            normal"><span style="mso-bidi-font-style:italic">a system
              becomes more complex
              the greater is the number of distinguishable elements and
              the greater the
              number of connections among them</span></b><i>. </i>If in
          definition of
          contrast we substitute “differentiating features” for
          “distinguishable elements”
          and “common features” for “connections”, we will be able to
          conclude that <b style="mso-bidi-font-weight:normal">contrast
            is the perception and measure of
            complexity.</b></span></p>
      <p class="Default" style="text-indent:35.4pt;line-height:150%"><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><span
          style="color:windowtext;
          mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Complexity—Information
            Compression </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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 <i>Abstract Definition of Complexity </i><span
            style="mso-bidi-font-style:
            italic">(2011)</span>, 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).</span></p>
      <p class="Default"><b><span
            style="color:windowtext;mso-ansi-language:
            EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Information
            compression—Development </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Development—Value
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><span
          style="color:windowtext;
          mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Value—Abstract
            Value </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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 <b style="mso-bidi-font-weight:normal">what is specific
            to aesthetic value
            is that it is an abstract value</b> (although it is
          difficult to imagine).
          (This is a new understanding of aesthetic value, crucial for
          aesthetics and
          axiology).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Contrast—Being
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Contrast—Cognition
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Cognition—Subjectivity
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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.</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Compression
            of information—Beauty </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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.
        </span><span style="mso-ansi-language:EN-GB" lang="EN-GB">The
          example is golden division. </span><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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.<span
            style="mso-spacerun:yes">  </span>(This explains the
          previously unknown reasons
          for aesthetic preferences, key to aesthetics, art theory,
          psychology, cognitive
          science and neuroaesthetics).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Development—Beauty
          </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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).</span></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
      <p class="Default" style="line-height:150%"><b><span style="color:
            windowtext;mso-ansi-language:EN-GB" lang="EN-GB">Abstract
            Value—Beauty, Art </span></b><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">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.</span><span style="mso-ansi-language:EN-GB"
          lang="EN-GB"> </span><span
          style="color:windowtext;mso-ansi-language:EN-GB" lang="EN-GB">(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).</span></p>
    </p>
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