<div dir="ltr">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Dear
Mariusz,<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Thank you
for the insights contained in your work dealing with contrasts. Your research
appears to me to work in the right direction, by making understandable that
what had appeared unrelated before.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Please allow
me to insert comments after some of your sentences.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt 35.4pt;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-family:"Calibri",sans-serif">Our dispersed knowledge needs an underlying structure that allows it to
be organised into a coherent and complex system.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Yes. Is not
by any chance the system of natural numbers such a coherent and complex system,
into which an underlying structure can be integrated/organised? If so, then what
you wish is to be able to use the system of natural numbers in a fashion, that
its -the numbering system’s – coherent and complex relations can be recognised
in the dispersed knowledge?<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt 35.4pt;text-indent:35.4pt;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-family:"Calibri",sans-serif">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></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Trying to be
the most basic, general and abstract is trying to be understandable
interpersonally. Contrast is a relation between similar and diverse, observed
on <i>two </i>entities (that are in contrast). Contrast as such is a property
of two assemblies that are different and similar a. both within themselves and
b. in comparison to each other. Contrast has different measures, here called
intensity. Contrast exists as a mental creation and independently as a property
of Nature about which we can speak understandably, interpersonally (it has an
objective existence). Contrast as a common principle organises (binds) our knowledge
into a coherent system</span></p><img src="cid:ii_l1m427z91" alt="grafik.png" width="437" height="168"><br><br><p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span></span></span></p>
<p class="MsoNormal" style="text-align:center;margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span>.</span><span><span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>The
relations depicted in this diagram go far beyond anything we can today reasonably
approach with the hope of being able to learn the rational procedure behind it.
If one can elaborate on the interdependence between art, its value and the
abstract beauty in it, such a person is deeply at home in the history of art and
social histories of peoples. Basically, there is nothing wrong with the
ambitious approach depicted in the Schema. Indeed, it is the contrast between
perceived worth and intrinsic value that fuels the controversy. Contrast is at
work everywhere in the Schema, no question about that.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>A much less
ambitious approach – but probably more communicable interpersonally – would place
contrast in a perspective with less width,<span></span></span></p>
<table class="gmail-MsoTableGrid" style="border-collapse:collapse;border:medium none" cellspacing="0" cellpadding="0" border="1">
<tbody><tr>
<td style="width:64.7pt;border:1pt solid windowtext;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>similar<span></span></span></p>
</td>
<td style="width:64.7pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>aspect<span></span></span></p>
</td>
<td style="width:64.7pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>difference<span></span></span></p>
</td>
<td style="width:64.75pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><b><span>contrast<span></span></span></b></p>
</td>
<td style="width:64.75pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>inner-outer<span></span></span></p>
</td>
<td style="width:64.75pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>foreground<span></span></span></p>
</td>
<td style="width:64.75pt;border-color:windowtext windowtext windowtext currentcolor;border-style:solid solid solid none;border-width:1pt 1pt 1pt medium;padding:0cm 5.4pt" width="86" valign="top">
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>actual<span></span></span></p>
</td>
</tr>
</tbody></table>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span style="color:white">Please allow me the suggestion that you br</span></p><p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif">
</p><p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Please allow
me the suggestion that you bring your delineated concepts in parallel, in
congruence with rational thinking, as represented by operations conducted on
natural numbers. <span></span></span></p><span>This is an
outdated position. It has been shown, <i>(<a href="http://oeis.org/A242615">oeis.org/A242615</a>),</i> that there
exists a relative inexactitude among measurements conducted on natural numbers
that is immanent to the numbering system. We can assume that we mean the same
as we say ‘relation’. Then, only the term ‘object’ remains to be defined, which
is for me a collection of relations beyond a threshold of certainty. <span></span></span>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>We see that
there exists a three-way interdependence between <i>similarity – diversity –
distinguishability. </i>To the distinguishability dimension of a collection (on
which we have marks eg of : <i>{as good as empty, probability, field, force,
distance, object, mass, kinetic mass, energy} </i>we have the dimension <i>similarity </i><span>which measures what part of the collection does not change and which
elements are contemporaneously </span><i>now</i><span>, and the dimension </span><i>diversity </i><span>which measures how many successors are different to their predecessors,
and by how much and how contrasted that what is presently not the case (not </span><i>now</i><span>) to that what will be the case. <span></span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>The fundamental algorithm has been found. Some important relations have
become also visible in the mist caused by everything being concurrently similar
and diverse, in dependence of the comparison being done with or against whom or
what or where or when. <span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>In this
sense, <b><i>contrast </i></b>is indeed the central key concept, the solid rock
upon which a whole system of beliefs can be based. Whether the time has come,
that <span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>your sentence:<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><b><i><span><span> </span>Contrast is the central and key
concept in information theory<span></span></span></i></b></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>and my
sentence<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><b><i><span><span> </span>Contrast can be numerically
established as a property of an assembly that has members that are similar and
diverse among each other and undergo periodic changes. <span></span></span></i></b></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>make a click
in further persons’ brains, remains to be seen. <span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span> </span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>You can be
sure you will not lose a bet, if you bet that wishing away the contrast <i>(<b>3+4</b>)=7
</i>is no serious way of doing business. We may say and decree that that what
has contrasted <i>(3,4) </i>against each other has disappeared and will never
plot any revenge for having been defined out of existence, but those who know
about the non-repressibility of things that are actually there (slaves, women,
children, etc.), will be relaxed and know that the day of reckoning with those
abandoned step-relations, the cuts (here: contrasts), which we avoid talking
about, shall inevitably come.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Similarly,
this person is strong in his faith, that sorting, ordering and reordering simple
logical symbols will inevitably turn up typical patterns, and that such
patterns will be of interest for Physics and Chemistry.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span> </span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Mariusz,
what you write is first class in its content. In its argumentative value, it
would gain if you could support your arguments by simple calculations and
referring to numeric facts. There are two messages here: <span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>a. It is
possible to refer to contrast-type relations exactly, because the two ordering principles
(similarity – diversity) have been found to have left valleys and hills on <b>N.
</b>It is possible to refer to the natural extent of contrast, like to the
background radiation of the Universe.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>b. it is not
at all sure that your audience is ready for convincing arguments. They live in
one, unified, indivisible world where the existence of a duality – and the
varied and varying extent of contrasts among its parts – is of no immediate
sensual experience. Anyway, one can try. <span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span> </span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Thank you
again for presenting contrast to be debatably THE central concept of
information theory, which deals with things being otherwise than expected. The
extent of being otherwise is perceived under some circumstances as causing the
sensual or mental experience of contrast.<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span> </span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span>Karl<span></span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm 8pt;font-size:12pt;font-family:"Times New Roman",serif"><span><span> </span></span></p>
</div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">Am Di., 5. Apr. 2022 um 14:02 Uhr schrieb Pedro C. Marijuán <<a href="mailto:pedroc.marijuan@gmail.com">pedroc.marijuan@gmail.com</a>>:<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>
<div>Dear Mariusz,</div>
<div><br>
</div>
<div>Many thanks for your summary of the
book. Given that many chapter summaries are accessible via web, I
would suggest fis parties to search for them in order to have a
better understanding of the views sketched in the present summary.
Overall, I think it is a brave exploration of one of the
fundamental conceptual challenges of our time --information,
information science, information studies, etc.-- which has been
made starting form the arts, the visual arts concretely.</div>
<div><br>
</div>
<div>Taking contrast as the fundamental term
does not look a bad idea, for it can be supported by different art
related neuroscience views (e.g., Ramachandran, Leyton), art
theorists, and philosophers.</div>
<div>The extent to which it really matches
with cognitive science and artificial intelligence goes beyond my
own; maybe it matches well with the approach that Yixin (e.g.,
"ontological versus epistemological information) has defended in
our discussions. The contrast term is somehow germane of the use I
make of "distinctions" (information as distinction on an adjacent
difference) with the difference that I continue towards the
biological world (via molecular recognition), or better that I
arrive to that idea mostly from the familiarity with the molecular
biological world.</div>
<div><br>
</div>
<div>In the present case, the approach to
contrast stems from the visual arts, and this implies pros and
cons. The approach becomes anthropocentric, being difficult (at
least apparently) to transcend simpler nervous systems, living
cells, etc. So reception or processing information would appear as
a capability bound to humans, to human mind, and vicariously
expanded toward different disciplines. Then, looking closely to
the term contrast, it appears itself a great discussion arena.
Doesn't it need immediately the term "context"? <span lang="EN-GB"><span> If it
essentially is "a tension between common and differentiating
features of objects", even the simplest ordinary object such a
chair, a stone, or a simplest living creature, may generate
endless contrasts that we need to subsume into specialized
areas of "domesticated" contrasts (be they scientific,
technical, literary, visual, etc.).</span></span></div>
<div><span lang="EN-GB"><span><br>
</span></span></div>
<div><span lang="EN-GB"><span>I am not
discussing again the term, but looking for more clarity on
some of its accompanying terms... these are just very
preliminary reactions.<br>
</span></span></div>
<div><span lang="EN-GB"><span><br>
</span></span></div>
<div><span lang="EN-GB"><span>In any
case, the book is really a great piece of work.</span></span></div>
<div><span lang="EN-GB"><span><br>
</span></span></div>
<div><span lang="EN-GB"><span>Best--Pedro<br>
</span></span></div>
<div><br>
</div>
<div> <br>
</div>
<div>--El 02/04/2022 a las 16:13, Mariusz
Stanowski escribió:<br>
</div>
<blockquote type="cite">
<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:17ff9aa8ee24c04e35e1" 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>
<br>
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