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<div class="moz-cite-prefix">Dear Mariusz and FIs Colleagues,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">May I disturb this calm vacation state
and introduce some "contrast"? For the sake of the discussion, the
Theory & Practice of Contrast presented may be considered as a
pretty valid approach to visual arts, also extended to a diversity
of other fields in science & humanities. let me warn that the
overextension of a decent paradigm is a frequent cause of
weakening the initial paradigm itself. The Darwinian cosmovision
is a good example. One can read in a book of Peter Atkins:<i> “</i><i>A
great deal of the universe does not need any
explanation. Elephants, for instance. Once molecules have learnt
to compete and
to create other molecules in their own image, elephants, and
things resembling
elephants, will in due course be found roaming around the
countryside</i><i>... </i><i>Some
of the things resembling elephants will be men.” </i>I am not
comfortable at all with that type of bombastic paradigm
overextension--but maybe it is my problem. Finally it is the
explanatory capability of the attempt what counts (which in Atkins
case is close to nil). In any case, the co-ligation of disciplines
is a tough matter not very well solved/articulated yet.<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Let me change gears. My main concern
with arts stems from their close relationships with emotions. I
remember a strange personal experience. In a multidisciplinary
gathering (scientists & artists) time ago, there was a small
concert in an ancient chapel. Cello and electronic music
together--great performers. In the middle of the concert, for
unknown reasons, I started to feel sad, very sad. I was very
absorbed in the music and could not realize having had any other
bad interfering remembrance. Then I discretely looked at the
person aside me, a lady. She was in tears, quite openly. I
realized it was the music effect. Quite a few of the audience
after the end of the concert were with red eyes... Some years
later, in some biomedical research of my team on laughter (the
analysis of its auditory contents as a helpful tool in the
diagnosis of depression) we stumbled on Manfred Clynes "sentic
forms". Some of the basic emotions can be clearly distinguished in
ad hoc acoustic patterns, as well in tactile expression. (He made
and sold a few gadgets about that). To make a long story short, we
found the most important sentic forms in the sounds of laughter,
including the "golden mean" in the expression of joyful laughs.
End of the story.<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Trying to articulate a concrete
question, in what extension could have been some of the arts a
powerful means to elicit emotions which are not so easily felt in
social life? Think in the liturgy of these days... such a
powerful rites....<br>
</div>
<div class="moz-cite-prefix"><i><br>
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<div class="moz-cite-prefix">Best regards,</div>
<div class="moz-cite-prefix">--Pedro</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">El 11/04/2022 a las 12:31, Mariusz
Stanowski escribió:<br>
</div>
<blockquote type="cite"
cite="mid:1ab1334b-4755-63c7-673f-9fd6599c3356@wp.pl">
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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"
moz-do-not-send="true">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"
moz-do-not-send="true">daniel.boyd@live.nl</a>, <a
class="moz-txt-link-abbreviated"
href="mailto:fis@listas.unizar.es"
moz-do-not-send="true">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"
style="width:100.0%;border:solid #C8C8C8 1.0pt"
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"
moz-do-not-send="true">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>
<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 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>
<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 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="nl"><img style="width:5.677in;height:2.177in"
id="Afbeelding_x0020_3"
src="cid:part15.3370BD80.A5DA48A3@aragon.es"
class="" width="545" height="209" border="0"></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"> </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>
<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 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>
<p class="MsoNormal"><span style="font-size:12.0pt"
lang="nl"> </span><span lang="nl"><o:p></o:p></span></p>
</blockquote>
<p><span lang="nl"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="nl"><o:p> </o:p></span></p>
</blockquote>
</div>
<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>
</blockquote>
<p><br>
</p>
<br>
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</pre>
</blockquote>
<p><br>
</p>
<pre class="moz-signature" cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
<a class="moz-txt-link-abbreviated" href="mailto:pedroc.marijuan@gmail.com">pedroc.marijuan@gmail.com</a>
<a class="moz-txt-link-abbreviated" href="mailto:pcmarijuan.iacs@aragon.es">pcmarijuan.iacs@aragon.es</a>
<a class="moz-txt-link-freetext" href="http://sites.google.com/site/pedrocmarijuan/">http://sites.google.com/site/pedrocmarijuan/</a>
Editor special issue: Evolutionary dynamics of social systems
<a class="moz-txt-link-freetext" href="https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V">https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V</a>
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