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    <div class="moz-cite-prefix">Dear Joseph and Francesco,</div>
    <div class="moz-cite-prefix"><br>
    </div>
    <div class="moz-cite-prefix">I'm glad to see our conclusions
      converge, it confirms their validity.</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<br>
    </div>
    <div class="moz-cite-prefix"><br>
    </div>
    <div class="moz-cite-prefix"><br>
    </div>
    <div class="moz-cite-prefix">W dniu 2022-04-20 o 17:13,
      <a class="moz-txt-link-abbreviated" href="mailto:joe.brenner@bluewin.ch">joe.brenner@bluewin.ch</a> pisze:<br>
    </div>
    <blockquote type="cite"
      cite="mid:71246263.29448.1650467606451@bluewin.ch">
      <meta http-equiv="content-type" content="text/html; charset=UTF-8">
      <font size="3">Dear Mariusz, Pedro and All,</font>
      <div><font size="3"><br>
        </font></div>
      <div><font size="3">This new thread is of particular emotional and
          scientific interest to me as the son of an artist, the
          sculptor Michael Brenner (Siauliai, Lithuania, 1885 - New
          York, 1969). What I especially am enjoying is the continuity
          with previous FIS topics, for example in the reference by
          Mariusz to the non-metaphorical energy in art. This means to
          me that art follows the same rules of evolution as do
          energetic processes in what I have called the Logic of Energy.</font></div>
      <div><font size="3"><br>
        </font></div>
      <div><font size="3">With regard to reality in art, I quote the
          statement of Stephane Lupasco that a work of art is successful
          to the extent it embodies both the real and the non-real in an
          emergent state (included middle).</font></div>
      <div><font size="3"><br>
        </font></div>
      <div><font size="3">A corollary (not a criticism) is that an
          absolutely abstract, pure art does not exist, any more than
          the ideal values of 0 and 1 in complex processes. We can say
          (I think) that art is non-Kolmogorovian.</font></div>
      <div><font size="3"><br>
        </font></div>
      <div><font size="3">From an informational perspective, Mariusz is
          right to emphasize how art compresses an enormous amount of
          information. What is important here, however, is not only the
          quantitative amount but its aesthetic value, which is, in my
          scheme and others, not proportional to size, like value in
          general.</font></div>
      <div><font size="3"><br>
        </font></div>
      <div><font size="3">Best wishes,</font></div>
      <div><font size="3">Joseph <br>
        </font>
        <blockquote style="margin-right: 0px; margin-left:15px;">----Message
          d'origine----<br>
          De : <a class="moz-txt-link-abbreviated" href="mailto:stanowskimariusz@wp.pl">stanowskimariusz@wp.pl</a><br>
          Date : 19/04/2022 - 17:47 (CEST)<br>
          À : <a class="moz-txt-link-abbreviated" href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br>
          Objet : Re: [Fis] Book Presentation. Emotions<br>
          <br>
          <div class="moz-cite-prefix"> <br>
          </div>
          <div class="moz-cite-prefix"> Dear Pedro and FIs Colleagues, <br>
          </div>
          <div class="moz-cite-prefix"> <br>
          </div>
          <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>
          </div>
          <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>
          </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 2022-04-18 o 21:20, Pedro
            C. Marijuan pisze: <br>
          </div>
          <blockquote type="cite">
            <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>
              </i> </div>
            <div class="moz-cite-prefix"> </div>
            <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">
              <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>
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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>
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                    <p class="MsoNormal" style="border: none;padding:
                      0.0cm;"><b><span lang="nl">From: </span></b><a
                        style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('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 style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('mailto:stanowskimariusz@wp.pl');"
                        moz-do-not-send="true"><span lang="nl">Mariusz</span></a><span
                        lang="nl">; </span><a style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('mailto:daniel.boyd@live.nl');"
                        moz-do-not-send="true"><span lang="nl">daniel.boyd@live.nl</span></a><span
                        lang="nl">; </span><a style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('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 style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('mailto:fis@listas.unizar.es');"
                        moz-do-not-send="true"><span lang="nl">fis@listas.unizar.es</span></a><span
                        lang="nl">; </span><a style="cursor:pointer;
                        text-decoration:underline; color:blue"
                        onclick="javascript:handleMailto('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: 0.0cm;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"
                            style="cursor:pointer;
                            text-decoration:underline; color:blue"
                            onclick="javascript:handleMailto('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"
                            style="cursor:pointer;
                            text-decoration:underline; color:blue"
                            onclick="javascript:handleMailto('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"
                            style="cursor:pointer;
                            text-decoration:underline; color:blue"
                            onclick="javascript:handleMailto('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 rgb(200,200,200) 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;" 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
                          rgb(225,225,225) 1.0pt;padding: 3.0pt 0.0cm
                          0.0cm 0.0cm;">
                          <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"
                                style="cursor:pointer;
                                text-decoration:underline; color:blue"
                                onclick="javascript:handleMailto('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:
                          150.0%;"><span style="font-size:
                            12.0pt;line-height: 150.0%;font-family:
                            Arial , sans-serif;mso-fareast-language:
                            EN-US;" lang="EN-GB">  </span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="line-height:
                          150.0%;"><span style="font-size:
                            12.0pt;line-height: 150.0%;font-family:
                            Arial , sans-serif;mso-fareast-language:
                            EN-US;" lang="EN-GB">Our dispersed knowledge
                            needs an underlying structure that allows it
                            to be organised into a coherent and complex
                            system. </span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="text-indent:
                          35.4pt;line-height: 150.0%;"><span
                            style="font-size: 12.0pt;line-height:
                            150.0%;font-family: Arial ,
                            sans-serif;mso-fareast-language: EN-US;"
                            lang="EN-GB">I believe “Theory and Practice
                            of Contrast” provides such a structure by
                            bringing the considerations to the most
                            basic, general and abstract level. At this
                            level it is possible to define <b>contrast
                              as a tension between common and
                              differentiating features of objects. It
                              grows in intensity as the number/strength
                              of differentiating and common features of
                              contrasting structures/objects increases</b>.
                            Contrast understood in this way applies to
                            any objects of reality (mental and physical)
                            and is also an impact (causal force) in the
                            most general sense. Contrast as a common
                            principle organises (binds) our knowledge
                            into a coherent system. This is illustrated
                            by a diagram of the connections between the
                            key concepts: </span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="text-indent:
                          35.4pt;line-height: 150.0%;"><span
                            style="font-size: 12.0pt;line-height:
                            150.0%;font-family: Arial ,
                            sans-serif;mso-fareast-language: EN-US;"
                            lang="EN-GB">  </span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="text-indent:
                          35.4pt;line-height: 150.0%;"><span
                            style="font-size: 12.0pt;line-height:
                            150.0%;font-family: Arial ,
                            sans-serif;mso-fareast-language: EN-US;"
                            lang="nl"><img style="width: 5.677in;height:
                              2.177in;" id="Afbeelding_x0020_3"
                              src="cid:part1.R4zKJ03K.1q6sJpfN@wp.pl"
                              class="" moz-do-not-send="true"
                              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: 150.0%;"><span
                            style="font-size: 12.0pt;line-height:
                            150.0%;font-family: Arial ,
                            sans-serif;mso-fareast-language: EN-US;"
                            lang="EN-GB">  </span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="line-height:
                          150.0%;"><span style="font-size:
                            12.0pt;line-height: 150.0%;font-family:
                            Arial , sans-serif;mso-fareast-language:
                            EN-US;" lang="EN-GB">Below are brief
                            descriptions of these connections. </span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="MsoNormal" style="text-indent:
                          35.4pt;line-height: 150.0%;"><span
                            style="font-size: 12.0pt;line-height:
                            150.0%;font-family: Arial ,
                            sans-serif;mso-fareast-language: EN-US;"
                            lang="EN-GB">  </span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><b><span
                              lang="EN-GB">Contrast—Development </span></b><span
                            lang="EN-GB">When observing a contrast, we
                            also observe the connection between
                            contrasting objects/structures (resulting
                            from their common features) and the
                            emergence of a </span><span style="color:
                            windowtext;" lang="EN-GB">new, more complex
                            structure possessing the common and
                            differentiating features of connected
                            structures. In the general sense, the
                            emergence of a new structure is tantamount
                            to development. Therefore, it may be stated
                            that contrast is a perception of
                            structures/objects connections, or
                            experience of development. The association
                            of contrast with development brings a new
                            quality to the understanding of many other
                            fundamental concepts, such as beauty, value,
                            creativity, emergence. (Similarly, <i>contrast
                              as development </i>is understood in
                            Whitehead’s philosophy).</span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><span
                            style="color: windowtext;" lang="EN-GB"> </span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Contrast—Complexity
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">In accordance with the proposed
                            definition, when we consider the contrast
                            between two or more objects/structures, it
                            grows in intensity as the number/strength of
                            differentiating and common features of
                            contrasting structures/objects increases.
                            Such an understanding of contrast remain an
                            intuitive criterion of complexity that can
                            be formulated as follows: <b>a system
                              becomes more complex the greater is the
                              number of distinguishable elements and the
                              greater the number of connections among
                              them</b><i>. </i>If in definition of
                            contrast we substitute “differentiating
                            features” for “distinguishable elements” and
                            “common features” for “connections”, we will
                            be able to conclude that <b>contrast is the
                              perception and measure of complexity.</b></span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="text-indent:
                          35.4pt;line-height: 150.0%;"><span
                            style="color: windowtext;" lang="EN-GB">Note:
                            Two types of contrasts can be distinguished:
                            the sensual (physical) contrast, which is
                            determined only by the force of features of
                            contrasting objects and the mental
                            (abstract) contrast which depends primarily
                            on the number of these features. (This
                            contrast can be equated with complexity).
                            (The equation of contrast with complexity is
                            an important finding for the investigations
                            in: cognitive sciences, psychology,
                            ontology, epistemology, aesthetics,
                            axiology, biology, information theory,
                            complexity theory and indirectly in
                            physics).</span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><span
                            style="color: windowtext;" lang="EN-GB"> </span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Complexity—Information
                              Compression </span></b><span
                            style="color: windowtext;" lang="EN-GB">Intuition
                            says that the more complex object with the
                            same number of components (e.g. words) has
                            more features/information (i.e. more common
                            and differentiating features), which proves
                            its better organization (assuming that all
                            components have the same or similar
                            complexity). We can also say that such an
                            object has a higher degree of complexity.
                            The degree of complexity is in other words
                            the brevity of the form or the compression
                            of information. Complexity understood
                            intuitively (as above) depends, however, not
                            only on the complexity degree (that could be
                            defined as the ratio of the number of
                            features to the number of components) but
                            also on the (total) number of features,
                            because it is more difficult to organize a
                            larger number of elements/features. In
                            addition, the more features (with the same
                            degree of complexity), the greater the
                            contrast. Therefore, in the proposed <i>Abstract
                              Definition of Complexity </i>(2011), we
                            multiply the degree of complexity by the
                            number of features. This definition defines
                            the complexity (C) of the binary structure
                            (general model of all structures/objects) as
                            the quotient of the square of features
                            (regularities/substructures) number (N) to
                            the number of components or the number of
                            zeros and ones (n). It is expressed in a
                            simple formula: C = N²/n and should be
                            considered the most general definition of
                            complexity, among the existing ones, which
                            also fulfils the intuitive criterion. (This
                            relation explains what compression of
                            information in general is and what role it
                            plays as a complexity factor. This allows to
                            generalize the notion of information
                            compression and use it not only in computer
                            science, but also in other fields of
                            knowledge, such as aesthetics, axiology,
                            cognitive science, biology, chemistry,
                            physics).</span><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Information
                              compression—Development </span></b><span
                            style="color: windowtext;" lang="EN-GB">Our
                            mind perceiving objects (receiving
                            information) more compressed, saves energy.
                            Compression/organization of information
                            reduce energy of perception while
                            maintaining the same amount of information
                            (in case of lossless compression). Thanks to
                            this, perception becomes easier (more
                            economical) and more enjoyable; for example,
                            it can be compared to faster and easier
                            learning, acquiring knowledge (information),
                            which also contributes to our development.
                            Compression of information as a degree of
                            complexity also affects its size.
                            Complexity, in turn, is a measure of
                            contrast (and vice versa). Contrast,
                            however, is identified with development.
                            Hence, complexity is also development. This
                            sequence of associations is the second way
                            connecting the compression of information
                            with development. Similarly, one can trace
                            all other possibilities of connections in
                            the diagram. (The association of information
                            compression with development brings a new,
                            explanatory knowledge to many fields
                            including cognitive science, aesthetics,
                            axiology, information theory).</span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Development—Value
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">Development is the essence of
                            value, because all values (ethical,
                            material, intellectual, etc.) contribute to
                            our development which is their common
                            feature. It follows that value is also a
                            contrast, complexity and compression of
                            information because they are synonymous with
                            development. (The relation explains and
                            defines the notion of value fundamental to
                            axiology).</span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><span
                            style="color: windowtext;" lang="EN-GB"> </span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Value—Abstract
                              Value </span></b><span style="color:
                            windowtext;" lang="EN-GB">About all kinds of
                            values (with the exception of aesthetic
                            values) we can say, what they are useful
                            for. Only aesthetic values can be said to
                            serve the development or be the essence of
                            values, values in general or abstract
                            values. This is a property of abstract
                            concepts to express the general idea of
                            something (e.g. the concept of a chair
                            includes all kinds of chairs and not a
                            specific one). It follows that <b>what is
                              specific to aesthetic value is that it is
                              an abstract value</b> (although it is
                            difficult to imagine). (This is a new
                            understanding of aesthetic value, crucial
                            for aesthetics and axiology).</span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Contrast—Being
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">Contrast or interaction is a
                            concept prior to the concept of being
                            because without interaction there is no
                            existence. It follows that the basic
                            component of being must be two
                            objects/elements/components (creating a
                            contrast) having common and differentiating
                            features. (Understanding of being as a
                            contrast is fundamental to ontology and
                            metaphysics and worth considering in
                            physics).</span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Contrast—Cognition
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">The object of cognition and the
                            subject (mind) participate in the cognitive
                            process. The object and the subject have
                            common and differentiating features, thus
                            they create a contrast. Cognition consists
                            in attaching (through common features)
                            differentiating features of the object by
                            the subject. In this way, through the
                            contrast, the subject develops. It can
                            therefore be said that cognition is a
                            contrast of the object with the subject.
                            (This is a new definition of cognition
                            important for epistemology and cognitive
                            science).</span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Cognition—Subjectivity
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">The above understanding of
                            cognition agrees all disputable issues
                            (present, among others, in psychology,
                            cognitive science and aesthetics) regarding
                            the objectivity and subjectivity of
                            assessments (e.g. whether the source of
                            beauty is the observer's mind, whether it is
                            a specific quality from the observer
                            independent), because it shows that they
                            depend on both the subject and the object,
                            i.e. depend on their relationship—contrast.</span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Compression
                              of information—Beauty </span></b><span
                            style="color: windowtext;" lang="EN-GB">Beautiful
                            are objects with high information
                            compression (a large degree of
                            complexity/organization). Thanks to the
                            compression of information, perceiving
                            beauty, we save energy, the perception
                            becomes more economical and pleasant which
                            favours our development and is therefore a
                            value for us. </span><span lang="EN-GB">The
                            example is golden division. </span><span
                            style="color: windowtext;" lang="EN-GB">Counting
                            features (information) in all possible types
                            of divisions (asymmetrical, symmetrical and
                            golden) showed that the golden division
                            contains the most features/information (an
                            additional feature is well known golden
                            proportion) and therefore creates the
                            greatest contrast, complexity and aesthetic
                            value.  (This explains the previously
                            unknown reasons for aesthetic preferences,
                            key to aesthetics, art theory, psychology,
                            cognitive science and neuroaesthetics).</span><span
                            lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Development—Beauty
                            </span></b><span style="color: windowtext;"
                            lang="EN-GB">Beauty contributes to
                            development thanks to the economy of
                            perception. Perception of beauty is
                            accompanied by a sense of development or
                            ease and pleasure of perception. (This
                            explains the causes of aesthetic
                            preferences).</span><span lang="nl"> <o:p></o:p></span></p>
                        <p class="Default" style="line-height: 150.0%;"><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: 150.0%;"><b><span
                              style="color: windowtext;" lang="EN-GB">Abstract
                              Value—Beauty, Art </span></b><span
                            style="color: windowtext;" lang="EN-GB">Only
                            beauty and art have no specific value but
                            they express/have value in general (an
                            abstract value). The objects that make up a
                            work of art are not important, but their
                            contrast-interaction, which results from the
                            complexity of the artwork. (If we see a
                            single object in the gallery, then the art
                            is its contrast with the context - as in the
                            case of Duchamp's "Urinal" or Malevich's
                            "Black Square"). One can say that beauty and
                            art are distinguished (defined) by two
                            elements: abstract value and a large
                            contrast.(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 class="moz-quote-pre" wrap="">_______________________________________________
Fis mailing list
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Ud. recibe este correo por pertenecer a una lista de correo gestionada por la Universidad de Zaragoza.
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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 moz-txt-link-freetext" style="cursor:pointer; text-decoration:underline; color:blue" onclick="javascript:handleMailto('mailto:pedroc.marijuan@gmail.com');" moz-do-not-send="true">pedroc.marijuan@gmail.com</a><a class="moz-txt-link-abbreviated moz-txt-link-freetext" style="cursor:pointer; text-decoration:underline; color:blue" onclick="javascript:handleMailto('mailto:pcmarijuan.iacs@aragon.es');" moz-do-not-send="true">pcmarijuan.iacs@aragon.es</a><a class="moz-txt-link-freetext" href="http://sites.google.com/site/pedrocmarijuan/" moz-do-not-send="true">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" moz-do-not-send="true">https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V</a>
-----------------------------------------------------------</pre>
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Ud. recibe este correo por pertenecer a una lista de correo gestionada por la Universidad de Zaragoza.
Puede encontrar toda la información sobre como tratamos sus datos en el siguiente enlace: <a class="moz-txt-link-freetext" href="https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas" moz-do-not-send="true">https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas</a>
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Ud. recibe este correo por pertenecer a una lista de correo gestionada por la Universidad de Zaragoza.
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