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<div class="moz-cite-prefix">Dear Daniel,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Thank you for your questions. Below are
the highlighted answers (of course they are more complete in the
book).<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Best regards</div>
<div class="moz-cite-prefix">Mariusz</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-09 o 17:37, Daniel Boyd
pisze:<br>
</div>
<blockquote type="cite"
cite="mid:AM6PR06MB4296D3B4E0EF9BAE16E78B3DF5E89@AM6PR06MB4296.eurprd06.prod.outlook.com">
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<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Dear
Mariusz<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">While
(or perhaps because!) your work is a fair distance from my
own field of expertise, I found your conceptual framework
intriguing. Herewith some of the thoughts it elicited. While
they may be unexpected because they come from a different
angle, hopefully a cross-disciplinary interaction will be
fruitful. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">The
Second Law of Thermodynamics dictates the ultimate heat
death of the universe (a state in which all 'contrasts' are
erased). <font color="#ff0000">(The heat death of the
universe is just a popular view and not a scientific
truth)</font></span><span
style="font-size:12.0pt;color:black"><font color="#ff0000">
</font>Its current state, fortunately for us, is teeming
with differences (between entities, properties and
interactions) which underlie all that is of importance to
us. To take such contrasts as a unifying principle would
therefore seem to be undeniable, if extremely ambitious!
After all, the sheer diversity of contrasts takes us from
the different spins of subatomic particles underlying the
various elements to the masses of the celestial bodies
determining their orbits around the sun; from the colours in
a painting to the sounds of a symphony. Systemically,
different patterns of contrasts underlie the distinctions
between linear and complex systems. Contrasts also form the
basis for the working of our sense organs, the perceptions
derived from them, and the inner world of conscious
experience. In each of these contexts very different classes
of contrasts lead to different mechanisms and laws, leading
me to wonder just what the 'underlying structure' is (beyond
the observation that, ultimately, some type of contrast is
always involved and that we tend to deal with such diverse
contrasts in a similar way). Maybe your book provides an
answer to this question that I am unable to find in this
brief abstract: could you perhaps say something about this?
<font color="#ff0000">(The answer to this question is
contained in the contrast-being relation: "Contrast-Being
Contrast, or interaction, is a prior concept to the
concept of being, because without interaction there is no
being. It follows that the basic ingredient of being must
be two objects/elements/components (forming a contrast)
that have common and differentiating features.").</font><o:p><br>
</o:p></span></p>
</div>
</blockquote>
<blockquote type="cite"
cite="mid:AM6PR06MB4296D3B4E0EF9BAE16E78B3DF5E89@AM6PR06MB4296.eurprd06.prod.outlook.com">
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<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Moving
on to more specific topics, I see that you equate the
complexity of a system to a relationship between binary
values (</span><span
style="font-size:12.0pt;font-family:"Times New
Roman",serif;color:black;background:white">C = N²/n</span><span
style="font-size:12.0pt;color:black">). While such as
approach may work for discontinuous contrasts (e.g.
presence/absence, information in digital systems) many
naturally occurring differences are continuous (e.g. the
electromagnetic frequencies underlying the colours of the
rainbow). In neuroscience, while the firing of a neuron may
be a binary event, the charge underlying this event is a
dynamic continuous variable. My question: how does the
concept of abstract complexity deal with continuous
variables ("contrasts")?<font color="#ff0000"> (What seems
to us to be continuous in reality may be discrete, e.g. a
picture or a sound on a computer is continuous and in
reality it is a binary structure of electric impulses; a
continuous color is a vibration of an electromagnetic
wave. Besides it is already known that using binary
structures it is possible to simulate any processes and
objects of reality).<o:p></o:p></font></span></p>
<font color="#ff0000">
</font>
<p class="MsoNormal"><font color="#ff0000"><span
style="font-size: 12pt;"><o:p> </o:p></span></font></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">I
was also intrigued by your statement that "</span><span
style="font-size:12.0pt;font-family:"Times New
Roman",serif;color:black;background:white">Beautiful
are objects with high information compression</span><span
style="font-size:12.0pt;color:black">" based on the
reasoning "</span><span
style="font-size:12.0pt;font-family:"Times New
Roman",serif;color:black;background:white">perceiving
beauty, we save energy, the perception becomes more
economical and pleasant</span><span
style="font-size:12.0pt;color:black">". Intuitively, it
seems odd to me to equate beauty to the lack of perceptive
effort required.<font color="#ff0000"> (This is not about
"no effort" but about "saving effort". If we have a
beautiful and an ugly object with the same information
content, the perception of the beautiful object will
require less energy. The measure of beauty is not the
amount of effort/energy, but the amount of energy saved,
which in the case of the Sagrada Familia will be greater).
</font>This would mean that the Pentagon (high
regularity/compressibility) is more beautiful than the
Sagrada Familia (low regularity/compressibility); and a
single-instrument midi rendition of Bach is more beautiful
than a symphonic performance. It seems to me that beauty
often stimulates (gives energy) rather than just costing
minimal energy. Much research has been done on the universal
and culture-dependent perception of beauty: does this
support your statement? see e.g. <a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true" class="moz-txt-link-freetext">https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x</a> which
describes factors other than simplicity as necessary
characteristics. <font color="#ff0000">(This article is
based on faulty assumptions e.g. misunderstanding
Kolmogorov's definition of complexity, which is not
applicable here).</font></span><br>
</p>
</div>
</blockquote>
<br>
<blockquote type="cite"
cite="mid:AM6PR06MB4296D3B4E0EF9BAE16E78B3DF5E89@AM6PR06MB4296.eurprd06.prod.outlook.com">
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<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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<p class="MsoNormal"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
target="_blank" moz-do-not-send="true"><span
style="text-decoration:none"><img
style="width:1.1458in;height:1.6666in"
id="_x0000_i1026"
src="https://onlinelibrary.wiley.com/cms/asset/27d06595-b3bb-4fc6-b149-72a4cd99ef89/cogs.v45.4.cover.jpg"
moz-do-not-send="true" width="110" height="160"
border="0"></span></a><o:p></o:p></p>
</td>
<td style="width:100.0%;border:none;padding:9.0pt 27.0pt
9.0pt 9.0pt" width="100%" valign="top">
<p class="MsoNormal"><span
style="font-size:16.0pt;font-family:"Segoe UI
Light",sans-serif"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
target="_blank" moz-do-not-send="true"><span
style="text-decoration:none">Musings About
Beauty - Kintsch - 2012 - Cognitive Science -
Wiley Online Library</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.5pt;font-family:"Segoe
UI",sans-serif;color:#666666">Aesthetics has
been a human concern throughout history. Cognitive
science is a relatively new development and its
implications for a theory of aesthetics have been
largely unexplored.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.5pt;font-family:"Segoe
UI",sans-serif;color:#A6A6A6">onlinelibrary.wiley.com<o:p></o:p></span></p>
</td>
</tr>
</tbody>
</table>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">By
defining contrast as a distinction between entities or
properties, it seems to come close as a definition to the
type of information underlying physical entropy. That being
the case, your approach would seem to resemble those who
would give such information a comparable fundamental
significance (e.g. Wheeler's "it from bit"). Could you say
something about how you see the relationship between
'contrast' and 'information? Are they effectively synonyms?</span><font
color="#ff0000"> Contrast and information are different
concepts. Information is a feature or form of energy.
Contrast is the tension/force/energy created by the
interaction of common features (attraction) and different
features (repulsion) of contrasting objects).</font><br>
</p>
</div>
</blockquote>
<blockquote type="cite"
cite="mid:AM6PR06MB4296D3B4E0EF9BAE16E78B3DF5E89@AM6PR06MB4296.eurprd06.prod.outlook.com">
<div class="WordSection1">
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Thankyou,
in any case, for your contribution which certainly
demonstrates the relationship between Value and Development
</span><span style="font-size:12.0pt;font-family:"Segoe
UI Emoji",sans-serif;color:black">😉</span><span
style="font-size:12.0pt;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Regards,
Daniel Boyd<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<div
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#E1E1E1 1.0pt;padding:3.0pt 0cm 0cm 0cm">
<p class="MsoNormal" style="border:none;padding:0cm"><b>Van: </b><a
href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true">Mariusz Stanowski</a><br>
<b>Verzonden: </b>zaterdag 2 april 2022 19:23<br>
<b>Aan: </b><a href="mailto:fis@listas.unizar.es"
moz-do-not-send="true" class="moz-txt-link-freetext">fis@listas.unizar.es</a><br>
<b>Onderwerp: </b>[Fis] Book Presentation</p>
</div>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:PL"
lang="EN-GB">Book Presentation</span></b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">“Theory and Practice of Contrast: Integrating
Science, Art and Philosophy.”</span></b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Mariusz Stanowski</span></b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Published June 10, 2021 by CRC Press
(hardcover and eBook).</span></b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Dear FIS list members,</span><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Many thanks for the opportunity to present my
recent book in this list.</span><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB"> </span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Our dispersed knowledge needs an underlying
structure that allows it to be organised into a coherent and
complex system.</span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
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><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB"> </span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><img
style="width:5.677in;height:2.177in"
id="Afbeelding_x0020_3"
src="cid:part1.UMARrNet.PYQwmgLj@wp.pl" class=""
width="545" height="209" border="0"></span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB"> </span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">Below are brief descriptions of these
connections.</span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB"> </span><span
style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p></o:p></span></p>
<p class="Default" 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 class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span></p>
<p class="Default" 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>a system becomes more complex the greater is the number
of distinguishable elements and the greater the number of
connections among them</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 class="Default" 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 class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span></p>
<p class="Default" 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>(2011), 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"
lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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. (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" lang="EN-GB"> </span></b></p>
<p class="Default" 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 class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b></p>
<p class="Default" 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>
<p class="MsoNormal"><span
style="font-size:12.0pt;font-family:"Times New
Roman",serif;color:black;mso-fareast-language:EN-US"><o:p> </o:p></span></p>
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</blockquote>
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