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<div class="moz-cite-prefix">Dear Mariusz,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">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 class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">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 class="moz-cite-prefix">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 class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">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
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal"> 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 class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal"><br>
</span></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal">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 class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal"><br>
</span></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal">In any
case, the book is really a great piece of work.</span></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal"><br>
</span></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal">Best--Pedro<br>
</span></span></div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"> <br>
</div>
<div class="moz-cite-prefix">--El 02/04/2022 a las 16:13, Mariusz
Stanowski escribió:<br>
</div>
<blockquote type="cite"
cite="mid:74399d6a-15e9-1681-e384-b65bc65c941e@wp.pl">
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<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
line-height:normal"><b style="mso-bidi-font-weight: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">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"
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">“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"
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">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:part1.96EEA67D.0604C2EF@gmail.com" class=""
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>
<br>
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INFORMACIÓN SOBRE PROTECCIÓN DE DATOS DE CARÁCTER PERSONAL
Ud. recibe este correo por pertenecer a una lista de correo gestionada por la Universidad de Zaragoza.
Puede encontrar toda la información sobre como tratamos sus datos en el siguiente enlace: <a class="moz-txt-link-freetext" href="https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas">https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas</a>
Recuerde que si está suscrito a una lista voluntaria Ud. puede darse de baja desde la propia aplicación en el momento en que lo desee.
<a class="moz-txt-link-freetext" href="http://listas.unizar.es">http://listas.unizar.es</a>
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