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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>
<blockquote type="cite">
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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 rgb(225,225,225)
1.0pt;padding: 3.0pt 0.0cm 0.0cm 0.0cm;">
<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>
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</p>
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<pre class="moz-signature" cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
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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>
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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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<pre class="moz-quote-pre" wrap="">_______________________________________________
Fis mailing list
<a class="moz-txt-link-abbreviated" href="mailto:Fis@listas.unizar.es">Fis@listas.unizar.es</a>
<a class="moz-txt-link-freetext" href="http://listas.unizar.es/cgi-bin/mailman/listinfo/fis">http://listas.unizar.es/cgi-bin/mailman/listinfo/fis</a>
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INFORMACIÓN SOBRE PROTECCIÓN DE DATOS DE CARÁCTER PERSONAL
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">https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas</a>
Recuerde que si está suscrito a una lista voluntaria Ud. puede darse de baja desde la propia aplicación en el momento en que lo desee.
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