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<div class="moz-cite-prefix">Dear Pedro and FIs Colleagues,<br>
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<div class="moz-cite-prefix"><br>
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<div class="moz-cite-prefix">You raised an interesting and important
issue of emotions in art. This made me think about how it is that
art evokes/intensifies our emotions. <br>
From my research it follows that art (the essence of art) in the
most general/abstract sense is the compression of information
(contained in a work of art) thanks to which our perception saves
energy, becomes more economical (cost-effective), e.g. a shorter
text is more economical/compressed than a longer one containing
the same amount of information. Thanks to this saving of energy
(effort) we feel satisfaction, pleasure. This pleasure is related
to our development, because saving energy obviously contributes to
our development, which is our greatest value. <br>
</div>
<div class="moz-cite-prefix"><br>
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<div class="moz-cite-prefix">These positive emotions related to our
development can be considered abstract because they have no
“direction”, they do not concern any concrete sphere of reality
but the abstract development itself (increase in complexity).
These absolutely abstract emotions, however, always occur in
conjunction with more or less concrete realities, because we
cannot experience both absolute abstraction and absolutely
abstract (pure) art. The diversity of art comes from the necessity
of the presence of different concrete realms/objects/media of
reality in works of art. Each work/type of art speaks differently
about what they have in common - what art is in essence, which is
contrast, complexity, compression of information, development or
value. <br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">The type of emotion depends on what
specific realm of reality the compression of information refers
to. If it is, for example, a landscape painted by an artist, we
should like it more than an (uncompressed) natural landscape. The
same is the case with all other emotions - they are intensified
thanks to the compression of information - associated with them.
The most abstract art is music, which is why it is often difficult
for us to associate it with known/conscious emotions. However,
connections with reality also occur here, mainly in the structural
sphere. That is why, for example, different pieces of music are
performed on different occasions. To sum up, we can say that art
can be made of anything if we include information compression.
However, compression alone does not tell us about the value/size
of art because one can compress a larger (more difficult to
compress/organize) area or a smaller area to the same degree. The
compressed larger area (of information) has more complexity and
aesthetic value, which can be equated with value in general - as
discussed in the presentation.<br>
<br>
P.S. As a budding artist and art theorist I encountered a
knowledge of art that relied mainly on closer and further
metaphors. There was also a belief that only such knowledge was
possible. For example, it was said that a work of art "gives us
energy" which of course was treated as a metaphor. The attempt to
understand this metaphor led me to the conclusion that it is not
about receiving energy but about saving it and that energy is not
a metaphor but a physical value, which was confirmed by studies in
perception, information theory and physics.<br>
<br>
</div>
<div class="moz-cite-prefix">Best regards</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Mariusz<br>
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<div class="moz-cite-prefix"><br>
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<div class="moz-cite-prefix"><br>
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<div class="moz-cite-prefix">W dniu 2022-04-18 o 21:20, Pedro C.
Marijuan pisze:<br>
</div>
<blockquote type="cite"
cite="mid:3cb39ed8-85e6-f37e-74c3-c3a1b87bfec2@aragon.es">
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
<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>
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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">
<meta http-equiv="Content-Type" content="text/html;
charset=UTF-8">
<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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<div class="WordSection1">
<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
moz-txt-link-freetext"
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
moz-txt-link-freetext"
href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true">daniel.boyd@live.nl</a>, <a
class="moz-txt-link-abbreviated
moz-txt-link-freetext"
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
moz-txt-link-freetext"
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:part1.R4zKJ03K.1q6sJpfN@wp.pl" 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>
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<pre class="moz-signature" cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
<a class="moz-txt-link-abbreviated moz-txt-link-freetext" href="mailto:pedroc.marijuan@gmail.com" moz-do-not-send="true">pedroc.marijuan@gmail.com</a>
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Editor special issue: Evolutionary dynamics of social systems
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