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<div class="moz-cite-prefix">We are all right you are talking about
the practical possibility of simulation and I am talking about the
theoretical.<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Best regards</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Mariusz</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 2022-04-11 o 11:30, Daniel Boyd
pisze:<br>
</div>
<blockquote type="cite"
cite="mid:AM6PR06MB4296ABAC91B947209EB2D25FF5EB9@AM6PR06MB4296.eurprd06.prod.outlook.com">
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<p class="MsoNormal"><span lang="EN-GB">Dear Joe, dear Mariusz</span><span
lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl">Thankyou for both your
responses. If I may pursue the topic of
continuous-discontinuous contrasts further: is the solution
to Joseph’s issue with non-computable processes perhaps to
be found in acknowledging the distinction between the
reality and its representation/simulation?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl">Take a landscape. In
reality this contains an almost infinite amount of
continuous and discontinuous detail from the subatomic
particle to the geological mountain. A representation or
simulation (artistic or scientific) of this reality cannot
and need not accurately reproduce this detail to fulfil its
purpose: distillation, approximation, even distortion may
justifiably be involved. An artistic rendition, unless
intended as photo-realistic, will be intentionally
inaccurate. Digital representations are, for the sake of
efficiency, designed to compress information to the minimum
required to provide the illusion of accuracy based on the
sensitivity of our senses. This accounts for the 16,7
million colour standard for images: a lot of colours, but
only a coarse approximation to the real colours of the
rainbow. Our own senses apply similar necessary estimations:
the cells of the retina determine the maximal pixel
definition of the image recreated in the brain: the
continuous is made discontinuous.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl">Such representational
approximations do not, however, imply discontinuity in the
object observed. We see this in the inability of algorithmic
simulations to accurately predict the future of non-linear
systems in which arbitrarily small differences in initial
conditions may have large effects as the system evolves.
<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl">Perhaps this distinction
between reality and representation lies, in your diagram,
between the being-contrast-complexity column and the
neighbouring elements? Or, possibly, you intend the
being-contrast-complexity elements not to refer to the
objects of reality themselves, but the
perception/representation of them?
<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl">Regards, Daniel <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<div
style="mso-element:para-border-div;border:none;border-top:solid
#E1E1E1 1.0pt;padding:3.0pt 0cm 0cm 0cm">
<p class="MsoNormal" style="border:none;padding:0cm"><b><span
lang="nl">From: </span>
</b><a href="mailto:joe.brenner@bluewin.ch"
moz-do-not-send="true"><span lang="nl">joe.brenner@bluewin.ch</span></a><span
lang="nl"><br>
<b>Sent: </b>Sunday, 10 April 2022 11:53<br>
<b>To: </b></span><a href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true"><span lang="nl">Mariusz</span></a><span
lang="nl">;
</span><a href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true"><span lang="nl">daniel.boyd@live.nl</span></a><span
lang="nl">;
</span><a href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"><span lang="nl">"fis"</span></a><span
lang="nl"><br>
<b>Cc: </b></span><a href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"><span lang="nl">fis@listas.unizar.es</span></a><span
lang="nl">;
</span><a href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true"><span lang="nl">daniel.boyd@live.nl</span></a><span
lang="nl"><br>
<b>Subject: </b>Re: Re: [Fis] Book Presentation.
Potentiality as well as Actuality<o:p></o:p></span></p>
</div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt" lang="nl">Dear
Mariusz, Dear Daniel,</span><span lang="nl"><o:p></o:p></span></p>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:12.0pt" lang="nl">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 <span style="color:red">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><span
style="font-size:13.5pt" lang="nl"> , 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><span lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">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><span lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">I
do not, however, agree with the following statement: </span><span
style="font-size:12.0pt;color:red" lang="nl">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:13.5pt" lang="nl"> 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><span lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">I
would say regarding beauty that it is a property emerging
from the various contrast or antagonisms in the mind/body
of the artist. The logic of such processes as I have
remarked is a logic of energy, and this seems to fit here.</span><span
lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">Thank
you and best wishes,</span><span lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">Joseph</span><span
lang="nl"><o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<blockquote
style="margin-left:11.25pt;margin-top:5.0pt;margin-right:0cm;margin-bottom:5.0pt">
<p class="MsoNormal" style="margin-bottom:12.0pt"><span
lang="nl">----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<o:p></o:p></span></p>
<div>
<p class="MsoNormal"><span lang="nl">Dear Daniel, <o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Thank you for your
questions. Below are the highlighted answers (of
course they are more complete in the book).
<o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Best regards <o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Mariusz <o:p></o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">W dniu 2022-04-09
o 17:37, Daniel Boyd pisze:
<o:p></o:p></span></p>
</div>
<blockquote style="margin-top:5.0pt;margin-bottom:5.0pt">
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">Dear
Mariusz
</span><span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl"> </span>
<span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">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.
</span><span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl"> </span>
<span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">The
Second Law of Thermodynamics dictates the ultimate
heat death of the universe (a state in which all
'contrasts' are erased).
</span><span style="font-size:12.0pt;color:red"
lang="nl">(The heat death of the universe is just a
popular view and not a scientific truth)</span><span
style="font-size:12.0pt;color:black" lang="nl">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?
</span><span style="font-size:12.0pt;color:red"
lang="nl">(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.").</span><span
style="font-size:12.0pt;color:black" lang="nl">
<br>
<br>
</span><span lang="nl"><o:p></o:p></span></p>
</blockquote>
<blockquote style="margin-top:5.0pt;margin-bottom:5.0pt">
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">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"
lang="nl">C = N²/n<span style="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")?</span><span
style="color:red"> (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).
</span></span><span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:red" lang="nl"> </span>
<span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">I was
also intrigued by your statement that "</span><span
style="font-size:12.0pt" lang="nl">Beautiful are
objects with high information compression<span
style="color:black">" based on the reasoning "</span>perceiving
beauty, we save energy, the perception becomes more
economical and pleasant<span style="color:black">".
Intuitively, it seems odd to me to equate beauty to
the lack of perceptive effort required.</span><span
style="color:red"> (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).
</span><span style="color:black">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. </span></span><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true"><span style="font-size:12.0pt"
lang="nl">https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x</span></a><span
style="font-size:12.0pt;color:black" lang="nl"> which
describes factors other than simplicity as necessary
characteristics. </span><span
style="font-size:12.0pt;color:red" lang="nl">(This
article is based on faulty assumptions e.g.
misunderstanding Kolmogorov's definition of
complexity, which is not applicable here).</span><span
lang="nl"><o:p></o:p></span></p>
</blockquote>
<p class="MsoNormal"><span lang="nl"><br>
<br>
<o:p></o:p></span></p>
<blockquote style="margin-top:5.0pt;margin-bottom:5.0pt">
<table class="TableNormal"
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width="100%" cellpadding="0" border="1">
<tbody>
<tr>
<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"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true"><span
style="font-size:16.0pt;text-decoration:none">Musings
About Beauty - Kintsch - 2012 - Cognitive
Science - Wiley Online Library</span></a><span
style="font-size:16.0pt">
</span><o:p></o:p></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.
</span><o:p></o:p></p>
<p class="MsoNormal"><span
style="font-size:10.5pt">onlinelibrary.wiley.com
</span>
<o:p></o:p></p>
</td>
</tr>
</tbody>
</table>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">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><span
style="color:red" lang="nl"> 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).</span><span lang="nl"><o:p></o:p></span></p>
</blockquote>
<blockquote style="margin-top:5.0pt;margin-bottom:5.0pt">
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl"> </span>
<span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">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" lang="nl">😉</span><span
style="font-size:12.0pt;color:black" lang="nl">
</span><span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl"> </span>
<span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;color:black" lang="nl">Regards,
Daniel Boyd
</span><span lang="nl"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"> <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="nl"> <o:p></o:p></span></p>
<div style="border:none;border-top:solid #E1E1E1
1.0pt;padding:3.0pt 0cm 0cm 0cm">
<p class="MsoNormal"><b><span lang="nl">Van: </span></b><span
lang="nl">Mariusz Stanowski<br>
<b>Verzonden: </b>zaterdag 2 april 2022 19:23<br>
<b>Aan: </b><a class="moz-txt-link-abbreviated" href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br>
<b>Onderwerp: </b>[Fis] Book Presentation<o:p></o:p></span></p>
</div>
<p class="MsoNormal"><span lang="nl"> <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:PL"
lang="EN-GB">Book Presentation</span></b><span
style="font-size:12.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">
</span><span lang="nl"><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"
lang="EN-GB">
</span><span lang="nl"><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"
lang="EN-GB">
</span><span lang="nl"><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"
lang="EN-GB">
</span><span lang="nl"><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 lang="nl"><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 lang="nl"><o:p></o:p></span></p>
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style="font-size:12.0pt;line-height:150%;font-family:"Arial",sans-serif;mso-fareast-language:EN-US"
lang="EN-GB">
</span><span lang="nl"><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
lang="nl"><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
lang="nl"><o:p></o:p></span></p>
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lang="EN-GB">
</span><span lang="nl"><o:p></o:p></span></p>
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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="nl"><img style="width:5.677in;height:2.177in"
id="Afbeelding_x0020_3"
src="cid:part1.O43K60r0.sMawhvYS@wp.pl" class=""
width="545" height="209" border="0"></span><span
lang="nl"><o:p></o:p></span></p>
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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 lang="nl"><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 lang="nl"><o:p></o:p></span></p>
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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 lang="nl"><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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span><span
lang="nl"><o:p></o:p></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><span lang="nl"><o:p></o:p></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><span lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span><span
lang="nl"><o:p></o:p></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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default"><b><span style="color:windowtext"
lang="EN-GB"> </span></b><span lang="nl"><o:p></o:p></span></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><span lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><span
style="color:windowtext" lang="EN-GB"> </span><span
lang="nl"><o:p></o:p></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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span
lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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><span lang="nl"><o:p></o:p></span></p>
<p class="Default" style="line-height:150%"><b><span
style="color:windowtext" lang="EN-GB"> </span></b><span
lang="nl"><o:p></o:p></span></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.(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><span
lang="nl"><o:p></o:p></span></p>
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lang="nl"> </span><span lang="nl"><o:p></o:p></span></p>
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