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<div class="moz-cite-prefix">Dear Francesco, <br>
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Thank you very much for your response and I am glad you found my
presentation inspiring. Your thoughts broaden my area of reflection.
<p>Best regards</p>
<p>Mariusz<br>
</p>
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<div class="moz-cite-prefix">W dniu 2022-04-04 o 07:28, Francesco
Rizzo pisze:<br>
</div>
<blockquote type="cite"
cite="mid:CAEvKwySyG9647uV9H6NZnmsc4pTtSqKG-nXsLT6OMs=Y_D-Z5A@mail.gmail.com">
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<div dir="ltr">Caro Mariusz,
<div>la Tua piattaforma paradigmatica è interessante e
coinvolgente. Essa s'in-centra su una legge del contrasto che
implica la</div>
<div>differenziazione crescente o decrescente di diversi campi
di forma della realtà osservata o pensata, I sistemi complessi
non </div>
<div>lineari e lontani dall'equilibrio, come ad es. le strutture
dissipative di Ilya Pirigogine, creano ordine dal disordine
mediante </div>
<div>fluttuazioni o instabilità. Una forma più complessa è più
neg-entropia, Man mano che si riduce questa complessità </div>
<div>la neg-entropia si riduce fino a sparire lasciando il posto
all'entropia: come accade quando si arriva ad uno stato di</div>
<div>mortalità. In senso generale. </div>
<div>Io ho insegnato economia prima nella Facoltà di Ingegneria
e dopo, anche, nella Facoltà di Architettura. Lavorando e
studiando</div>
<div>con gli architetti, soprattutto con i teorici del restauro,
la conoscenza e la valutazione dei beni culturali, mi ha
stimolato a</div>
<div>creare una nuova teoria del valore fondata sulla
combinazione creativa di informazione e energia, O meglio:
dato che l'energia </div>
<div>è un modo di essere dell'informazione, si può affermare che
il valore economico dipenda esclusivamente dall'informazione.</div>
<div>D'altra parte non avrebbe avuto senso dire, come ancora
molti utilitaristi pensano, che un'opera d'arte vale perchè è
utile. Poi ho </div>
<div>esteso o generalizzato il mio approccio al valore a tutti i
beni, dalle patate alla "Gioconda", alla musica, alla poesia e
così via.</div>
<div>Il passaggio dalle forme meno semplici a quelle più
complesse di un sistema o di sistemi diversi attua un
contrasto armonioso, creativo</div>
<div>e musicale. Difatti la musica, con la dinamica dei tempi e
la forza delle note, può assumersi come paradigma della
scienza. </div>
<div>Tu hai fatto bene a parlare di economia della percezione,
ma avresti fatto ancor meglio se avessi usato l'espressione </div>
<div>percezione dell'economia. Sai perché? Perchè, l'economia
del pensiero o il pensiero dell'economia, è imprescindibile
per la </div>
<div>ricerca del migliore mondo (esistenziale, scientifico e
della fede religiosa) possibile.</div>
<div>Mi congratulo con Te e Ti ringrazio per questa bella
lezione di onto-epistemo-logia che ci ha dato. </div>
<div>Un saluto affettuoso.</div>
<div>Francesco Rizzo</div>
<div><br>
</div>
</div>
<br>
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">Il giorno sab 2 apr 2022 alle
ore 19:22 Mariusz Stanowski <<a
href="mailto:stanowskimariusz@wp.pl" moz-do-not-send="true"
class="moz-txt-link-freetext">stanowskimariusz@wp.pl</a>>
ha scritto:<br>
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px
0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
<div>
<p> </p>
<p> </p>
<p class="MsoNormal" style="line-height:normal"><b><span
lang="EN-GB">Book Presentation</span></b><span
lang="EN-GB"></span></p>
<p class="MsoNormal" style="line-height:normal"><b><span
lang="EN-GB">“Theory and Practice of Contrast:
Integrating Science, Art and Philosophy.”</span></b><span
lang="EN-GB"></span></p>
<p class="MsoNormal" style="line-height:normal"><b><span
lang="EN-GB">Mariusz Stanowski</span></b><span
lang="EN-GB"></span></p>
<p class="MsoNormal" style="line-height:normal"><b><span
lang="EN-GB">Published June 10, 2021 by CRC Press
(hardcover and eBook).</span></b><span lang="EN-GB"></span></p>
<p class="MsoNormal" style="line-height:normal"><span
lang="EN-GB">Dear FIS list members,</span></p>
<p class="MsoNormal" style="line-height:normal"><span
lang="EN-GB">Many thanks for the opportunity to present
my recent book in this list.</span></p>
<p class="MsoNormal"><span lang="EN-GB"> </span></p>
<p class="MsoNormal"><span 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
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>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
lang="EN-GB"> </span></p>
<p class="MsoNormal" style="text-indent:35.4pt"><span><img
src="cid:part1.X0wCdOsw.WqHgH2Pg@wp.pl" class=""
width="545" height="209"></span><span lang="EN-GB"></span></p>
<p class="MsoNormal" style="text-indent:35.4pt"><span
lang="EN-GB"> </span></p>
<p class="MsoNormal"><span lang="EN-GB">Below are brief
descriptions of these connections.</span><span
lang="EN-GB"></span></p>
<p class="MsoNormal" style="text-indent:35.4pt"><span
lang="EN-GB"> </span></p>
<p style="line-height:150%"><b><span lang="EN-GB">Contrast—Development
</span></b><span 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" 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 style="line-height:150%"><span style="color:windowtext"
lang="EN-GB"> </span></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Contrast—Complexity
</span></b><span style="color:windowtext" 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><span>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>contrast is the
perception and measure of complexity.</b></span></p>
<p style="text-indent:35.4pt;line-height:150%"><span
style="color:windowtext" 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 style="line-height:150%"><span style="color:windowtext"
lang="EN-GB"> </span></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Complexity—Information
Compression </span></b><span style="color:windowtext"
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>(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><b><span style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Information
compression—Development </span></b><span
style="color:windowtext" 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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Development—Value
</span></b><span style="color:windowtext" 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 style="line-height:150%"><span style="color:windowtext"
lang="EN-GB"> </span></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Value—Abstract
Value </span></b><span style="color:windowtext"
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>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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Contrast—Being </span></b><span
style="color:windowtext" 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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Contrast—Cognition
</span></b><span style="color:windowtext" 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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Cognition—Subjectivity
</span></b><span style="color:windowtext" 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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Compression of
information—Beauty </span></b><span
style="color:windowtext" 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 lang="EN-GB">The example
is golden division. </span><span
style="color:windowtext" 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> </span>(This explains the
previously unknown reasons for aesthetic preferences,
key to aesthetics, art theory, psychology, cognitive
science and neuroaesthetics).</span></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Development—Beauty
</span></b><span style="color:windowtext" 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 style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB">Abstract
Value—Beauty, Art </span></b><span
style="color:windowtext" 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 lang="EN-GB"> </span><span
style="color:windowtext" 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>
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