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<div class="moz-cite-prefix">Dear Joseph,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Thank you for your comments.<br>
</div>
<div class="moz-cite-prefix">I agree that if we want to move from
abstract to realistic considerations (from philosophy to physics)
we will have to include change, movement and becoming, because
without change there is no being. In my book I include motion in
the last chapter: "Binary Model of Universe".<br>
I also agree that in practice not all processes/objects can be
simulated losslessly. When I wrote about simulation I meant a
theoretical possibility, because ( theoretically) we can generate
binary structures of any complexity.<br>
<br>
Best regards</div>
<div class="moz-cite-prefix">Mariusz<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-10 o 11:53,
<a class="moz-txt-link-abbreviated" href="mailto:joe.brenner@bluewin.ch">joe.brenner@bluewin.ch</a> pisze:<br>
</div>
<blockquote type="cite"
cite="mid:337073832.6294.1649584417951@bluewin.ch">
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
<font size="3">Dear Mariusz, Dear Daniel,</font>
<div><font size="3"><br>
</font></div>
<div><font size="3">Please allow me to enter the discussion at
this point. I will go back to the beginning as necessary
later. I am in general agreement with Mariusz' approach, but I
believe it could be strengthened by looking at the potential
as well as the actual aspects of the phenomena in question.
Thus when Mariusz writes </font><span style="color: rgb(255,
0, 0); font-size: 12pt; font-family: Calibri, sans-serif;">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.").</span><span style="font-size: medium;"> , I would
add the dimension of becoming, which is a more dynamic
relation. We can more easily talk about processes and change
instead of component objects</span></div>
<div><span style="font-size: medium;"><br>
</span></div>
<div><span style="font-size: medium;">A similar comment could be
made about the discrete-continuous distinction. This is at the
same time also an appearance-reality duality which is not
static, but embodies the change from actual to potential and
vice versa just mentioned.</span></div>
<div><span style="font-size: medium;"><br>
</span></div>
<div><span style="font-size: medium;">I do not, however, agree
with the following statement: </span><span style="color:
rgb(255, 0, 0); font-size: 12pt; font-family: Calibri,
sans-serif;">Besides it is already known that using binary
structures it is possible to simulate any processes and
objects of reality)</span><span style="font-size: medium;"> There
are many non-computable process aspects of reality that cannot
be captured and simulated by an algorithm without loss of
information and meaning. In the "graph" of the movement of a
process from actuality to potentiality, the limiting points of
0 and 1 are not included - it is non-Kolmogorovian.</span></div>
<div><span style="font-size: medium;"><br>
</span></div>
<div><span style="font-size: medium;">I would say regarding beauty
that it is a property emerging from the various contrast or
antagonisms in the mind/body of the artist. </span><span
style="font-size: medium;">The logic of such processes as I
have remarked is a logic of energy, and this seems to fit
here.</span></div>
<div><br>
</div>
<div><span style="font-size: medium;">Thank you and best wishes,</span></div>
<div><span style="font-size: medium;">Joseph</span></div>
<div><span style="font-size: medium;"><br>
</span></div>
<div>
<blockquote style="margin-right: 0px; margin-left:15px;">----Message
d'origine----<br>
De : <a class="moz-txt-link-abbreviated" href="mailto:stanowskimariusz@wp.pl">stanowskimariusz@wp.pl</a><br>
Date : 10/04/2022 - 08:35 (CEST)<br>
À : <a class="moz-txt-link-abbreviated" href="mailto:daniel.boyd@live.nl">daniel.boyd@live.nl</a>, <a class="moz-txt-link-abbreviated" href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br>
Objet : Re: [Fis] Book Presentation<br>
<br>
<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">
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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;">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">
<div class="WordSection1">
<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;">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>
<p class="MsoNormal"><font color="#ff0000"><span
style="font-size: 12.0pt;"> <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;">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;">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">
<div class="WordSection1">
<p class="MsoNormal"><span style="font-size: 12.0pt;color:
black;"> <o:p></o:p></span></p>
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<td style="border: none;padding: 9.0pt 27.0pt 9.0pt
9.0pt;" valign="top">
<p class="MsoNormal"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
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;"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
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;">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;">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">
<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;">😉</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 style="mso-element: para-border-div;border:
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3.0pt 0.0cm 0.0cm 0.0cm;">
<p class="MsoNormal" style="border: none;padding:
0.0cm;"><b>Van: </b><a style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('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 style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('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: 150.0%;"><span
style="font-size: 12.0pt;line-height:
150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;" lang="EN-GB"> </span><span
style="font-size: 12.0pt;line-height:
150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150.0%;"><span
style="font-size: 12.0pt;line-height:
150.0%;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: 150.0%;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: 150.0%;"><span style="font-size:
12.0pt;line-height: 150.0%;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:
150.0%;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: 150.0%;"><span style="font-size:
12.0pt;line-height: 150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;" lang="EN-GB"> </span><span
style="font-size: 12.0pt;line-height:
150.0%;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: 150.0%;"><span style="font-size:
12.0pt;line-height: 150.0%;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=""
moz-do-not-send="true" width="545" height="209"
border="0"></span><span style="font-size:
12.0pt;line-height: 150.0%;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: 150.0%;"><span style="font-size:
12.0pt;line-height: 150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;" lang="EN-GB"> </span><span
style="font-size: 12.0pt;line-height:
150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150.0%;"><span
style="font-size: 12.0pt;line-height:
150.0%;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:
150.0%;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: 150.0%;"><span style="font-size:
12.0pt;line-height: 150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;" lang="EN-GB"> </span><span
style="font-size: 12.0pt;line-height:
150.0%;font-family: Arial ,
sans-serif;mso-fareast-language: EN-US;"> <o:p></o:p></span></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><span
style="color: windowtext;" lang="EN-GB"> </span></p>
<p class="Default" style="line-height: 150.0%;"><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:
150.0%;"><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: 150.0%;"><span
style="color: windowtext;" lang="EN-GB"> </span></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><span
style="color: windowtext;" lang="EN-GB"> </span></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
style="color: windowtext;" lang="EN-GB"> </span></b></p>
<p class="Default" style="line-height: 150.0%;"><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;"> <o:p>
</o:p></span></p>
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