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<div class="moz-cite-prefix"><font size="4">Dear Loet and
colleagues,</font></div>
<div class="moz-cite-prefix"><font size="4"><br>
</font></div>
<font size="4">We should use the term "intersubjective" in
aesthetics rather than in art because contemporary art has shown
that all tastes can be questioned. Besides, there are objectively
beautiful objects, e.g. the golden division, which can be proven
scientifically (it contains the most information of all possible
divisions).</font>
<div class="moz-cite-prefix"><font size="4"><br>
</font></div>
<div class="moz-cite-prefix"><font size="4">Best regards</font></div>
<div class="moz-cite-prefix"><font size="4">Mariusz<br>
</font></div>
<div class="moz-cite-prefix"><font size="4"><br>
</font></div>
<div class="moz-cite-prefix"><font size="4"><br>
</font></div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-21 o 12:30, Loet
Leydesdorff pisze:<br>
</div>
<blockquote type="cite"
cite="mid:emf7180dc6-e25d-43df-b064-5021c2944ee9@pc2014">
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<div>Dear Karl and colleagues,</div>
<div><br>
</div>
<div>Before you conclude to consensus, perhaps, a bit of error
should be removed: </div>
<div><br>
</div>
<div id="x9b80c305895f42b">
<blockquote
cite="CA+nf4CW3CG_Cq0Py00n=YGFTHz_V1boyYimbvo9vmCMFLLNDXw@mail.gmail.com"
type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif">Pedro’s story about the empathic,
nonverbal communication happening
between humans, who share each other’s emotional state,
drives a point home
that is clearly observable in a fashion where one can
relate his experiences
and be sure that others will understand him. The main
point is that <b>art is
interpersonally communicable, </b>and by this criterium
can be shown to be a
part of objective reality.</p>
</div>
</blockquote>
<font face="Times New Roman, serif"><span style="font-size:
16px;">I don't think so: It is not "objective reality" but
"intersubjective intentionality." This has huge
consequences.</span></font></div>
<div id="x9b80c305895f42b"><font face="Times New Roman, serif"><span
style="font-size: 16px;"><br>
</span></font>
<blockquote
cite="CA+nf4CW3CG_Cq0Py00n=YGFTHz_V1boyYimbvo9vmCMFLLNDXw@mail.gmail.com"
type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif">(We refer to the agreement that if a
concept is
referrable to interpersonally and the participants agree
on what they have
experienced in a common fashion, that concept has an
inter-individual
existence, which is then by definition a part of the
objective reality.)<span></span></p>
</div>
</blockquote>
<font face="Times New Roman, serif"><span style="font-size:
16px;">The interpersonal domain does not "exist" in the
sense that a table may exist. It remains a construct. These
constructs have the status of hypotheses. They can be
tested against observations of things which may exist. </span></font></div>
<div id="x9b80c305895f42b"><font face="Times New Roman, serif"><span
style="font-size: 16px;"><br>
</span></font></div>
<div id="x9b80c305895f42b"><font face="Times New Roman, serif"><span
style="font-size: 16px;">Best, Loet</span></font></div>
<div id="x9b80c305895f42b"><font face="Times New Roman, serif"><span
style="font-size: 16px;"><br>
</span></font></div>
<div id="x9b80c305895f42b">
<div><br>
</div>
<div id="signature_old">
<div id="x9f6584108cc74d6">
<div id="x37dfff32a36b4410ad8e891fea6bb1b8">
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><b><font
style="font-size: 9pt;" face="Times New Roman">_______________</font></b></p>
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><b><font
style="font-size: 9pt;" face="Times New Roman">Loet
Leydesdorff</font></b></p>
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><b><font
style="font-size: 9pt;" face="Times New Roman"><br>
</font></b></p>
<div id="x37dfff32a36b4410ad8e891fea6bb1b8">
<p class="MsoNormal"
xmlns="http://www.w3.org/TR/REC-html40"
style="line-height:normal;"><b><font style="font-size:
9pt;" face="Times New Roman"><a
href="https://link.springer.com/book/10.1007/978-3-030-59951-5"
moz-do-not-send="true">"The Evolutionary
Dynamics of Discusive Knowledge"</a>(Open
Access)</font></b></p>
</div>
<p class="MsoNormal" style="line-height: normal;"
xmlns="http://www.w3.org/TR/REC-html40"><font
style="font-size: 8pt;" face="Times New Roman">Professor
emeritus, University of Amsterdam </font></p>
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><font
style="font-size: 8pt;" face="Times New Roman">
Amsterdam School of Communication Research (ASCoR)<o:p
xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></font></p>
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><font
style="font-size: 8pt;" face="Times New Roman"><a
href="mailto:loet@leydesdorff.net"
title="mailto:loet@leydesdorff.net"
moz-do-not-send="true" class="moz-txt-link-freetext">loet@leydesdorff.net
</a>; <a href="http://www.leydesdorff.net/"
title="http://www.leydesdorff.net/"
moz-do-not-send="true" class="moz-txt-link-freetext">http://www.leydesdorff.net/</a>
<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></font></p>
<p class="MsoNormal" style="line-height:normal;"
xmlns="http://www.w3.org/TR/REC-html40"><a
href="http://scholar.google.com/citations?user=ych9gNYAAAAJ&hl=en"
style="background-color: rgba(0, 0, 0, 0);"
moz-do-not-send="true"><font style="font-size: 8pt;"
face="Times New Roman">http://scholar.google.com/citations?user=ych9gNYAAAAJ&hl=en</font></a></p>
</div>
<div id="x37dfff32a36b4410ad8e891fea6bb1b8"><font
style="font-size: 8pt;" face="Times New Roman">
</font>
<p class="MsoNormal"
xmlns="http://www.w3.org/TR/REC-html40"
style="line-height:normal;background-color:rgba(0,0,0,0);"><font
style="font-size: 8pt;"><font style="font-size: 8pt;"
face="Times New Roman">ORCID: <a
href="http://orcid.org/0000-0002-7835-3098"
moz-do-not-send="true"
class="moz-txt-link-freetext">http://orcid.org/0000-0002-7835-3098</a>;
</font><span style="font-size: 10pt;"><o:p
xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></font></p>
</div>
</div>
</div>
<br>
<blockquote
cite="CA+nf4CW3CG_Cq0Py00n=YGFTHz_V1boyYimbvo9vmCMFLLNDXw@mail.gmail.com"
type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><br>
</p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><b>Examples </b>abound, where signs
and symbols are
understood interpersonally in a common fashion. Human
new-borns share the
instinctive ability to recognise the optical picture of a
smiley (<span style="font-family:"Segoe UI
Emoji",sans-serif">😊</span>), and of the pitch of
the human voice (they
prefer alto to soprano to baritone to bass). We use the
term ‘<i>supra-normal
stimuli</i>’ to refer to such constellations of stimuli
that appear to be
hard-wired into our genetic instinctive predispositions.
Animals are evidently
in possession of large inventories of potential
supra-normal stimuli
(‘triggering inputs’). <span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif">The <b>hypothesis </b>is that there
exist structures
(constellations of facts) in Nature which evolution has
made use of to select
those individuals which recognise such to their advantage.
These structures are
a) communicable inter-individually, b) describable by
means of a language that
is independent of its speaker: that is, such impression
patterns are
objectively existing. Art is a different name for
supra-normal stimuli.<span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><b>Where does art begin</b> and how
does art differ to a
random collection of facts? For formal reasons, one should
include sunshine
among the constituents of art, as evidenced by the
heliotaxia of sunflowers. It
is evident, that supra-normal stimuli, that is: art, can
come in a wide variety
of articulations, be it the mating dance of cranes, the
melody of frogs’
chants, the form of nests built by weaver birds or the
color patterns of
octopus. (If memory serves right, some 50 years ago, girls
had a tendency of
emitting a fragrance that caused the writer of these lines
to want to be near
them.)<span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><b>Art is a variation on a theme </b>by
Nature, where there
exists an underlying theme (the idealised target value) to
which the actual
performance comes near, nearer or smack in the ideal
centre. We suppose that
there exists an ideal form for performing the artwork (the
ultimate Song of A
Lonely Frog, an optimal Hole in A Tree to Invite Females
to Lay Eggs In, etc),
and that those individuals which come nearest to the ideal
variant have the
best chances of progeniture.<span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif">Here again, <b>Discrepancies Between
Ideal and Observed
Values</b> show us Art to be nothing different to other
forms of Information. Information
is the extent of being otherwise, and Art is in its
essence nothing but a
demonstration of an Observed Value, to which we look
(imagine, project,
hallucinate) into the background the Expected Value. <span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif">The only <b>epistemological difficulty
</b>comes from our
traditional cultural convention, namely that Nature – and
as such, the Background
to everything and all – is <b>not pre-structured.</b>
During Renaissance, in
the age of emerging Rationality, the decision has been
taken to define that
there exist no <b>a-priori existing structural relations
</b>among the concepts
that we use to build up our world view. This decision was
practical and helpful
at that time, because by this cleaning of the slate we
have eliminated all
superstition, anthropogenic explanations, religious
teleological systems of
beliefs, witchcraft and sorcery at the same time. Yet, it
appears we have
cleaned the table too much. Leptons, quarks, charms,
chemical attraction,
gravitation, etc., and also the existence of artwork in
the living subsection
of Nature show that there indeed do exist relations among
logical tokens, even
if we create such logical tokens as nondescript as we can,
in the form of
natural numbers. Even if we dream up a world view that is
made up of synthetic,
unform, nondescript units, even in that environment,
a-priori existing
relations pop up, as soon as we do anything with them
which a child would do
when bored, like ordering, sorting ad resorting these same
tokens. We cannot
avoid acknowledging the existence of a-priori relations
connecting in manifold
ways the tokens we make up our world of. <i>(Et expellas
furcam, natura
recurrit.)<span></span></i></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><i><span> </span></i></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><b>Summary: </b>Art is shown to be one
of readings of the
idea that there are at least two readings of the same
collection of symbols
that make up our world view. In regulation theory, one
speaks of sets of target
values vs sets of actual values. In art, the set of target
values is created by
our neurology and serves as the background, to which we
relate the set of actual,
observed values. <span></span></p>
<p class="MsoNormal" style="margin:0cm 0cm
8pt;font-size:12pt;font-family:"Times New
Roman",serif"><span> </span></p>
</div>
<br>
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">Am Mi., 20. Apr. 2022 um
17:09 Uhr schrieb Francesco Rizzo <<a
href="mailto:13francesco.rizzo@gmail.com"
moz-do-not-send="true" class="moz-txt-link-freetext">13francesco.rizzo@gmail.com</a>>:<br>
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px
0.8ex;border-left:1px solid
rgb(204,204,204);padding-left:1ex">
<div dir="ltr">
<div dir="ltr">
<pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427m_-894582114354655215m_1957764947159077325m_5502420876881491567gmail-tw-target-text" style="unicode-bidi:isolate;font-size:28px;line-height:36px;background-color:rgb(248,249,250);border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap;color:rgb(32,33,36)"><p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif">
</p><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228gmail-m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" style="unicode-bidi:isolate;line-height:36px;border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap"><span lang="en">Dear Mauriusz,
</span></pre><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228gmail-m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi:isolate;line-height:36px;border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap"><span lang="en">I take the liberty of telling you that in Rizzo F., An economy of hope for the multi-ethnic </span>city,Franco Angeli, <span style="font-family:inherit">Milan 2007, pp. 309-313, we find paragraph 7.1 cultural heritage between energy and</span></pre><p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif">
</p><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198gmail-m_-4932884329837251114m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi:isolate;line-height:36px;border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap">cultural heritage between energy and information. If you have the opportunity, read it and you will see how consonances there are between Yours and my thoughts.</pre>
<pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198gmail-m_-4932884329837251114m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi:isolate;line-height:36px;border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap"> many </pre><p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif">
</p><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867gmail-m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi:isolate;line-height:36px;border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap">see how many consonances there are between Yours and my thoughts.</pre><p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif">
</p><p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="margin-left:96px;margin-top:8px;width:284px;height:220px"><img style="margin-right: 0px;" moz-do-not-send="true"></span><span style="font-size:11pt"></span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<h2 style="margin:12pt 0cm 11pt;text-align:center;break-after:avoid;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:9pt;font-weight:normal"> </span></h2>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"> </p>
<h2 style="margin:0cm;text-align:center;break-after:avoid;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:9pt;font-weight:normal"> </span></h2>
<h2 style="margin:0cm;text-align:center;break-after:avoid;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:9pt;font-weight:normal">Fig. 7.1</span></h2>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"> </p>
<p style="text-indent:14pt;margin:0cm;text-align:justify;font-size:9pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">In base alla <span><img moz-do-not-send="true" width="31" height="19"></span>=<span><img moz-do-not-send="true" width="16" height="17"></span>=<span><img moz-do-not-send="true" width="39" height="21"></span> qualsiasi cosa oscilli
con frequenza </span><span style="font-size:11pt;font-family:Symbol">n</span><span style="font-size:11pt">, può presentarsi <i>solo</i> in unità discrete di
massa <span><img moz-do-not-send="true" width="33" height="41"></span>. Nel mondo della natura <i>particelle</i> e <i>oscillazioni
di campo</i> non sono cose diverse [4; 12]<i>.</i> Nel campo dell’economia i valori si valutano secondo le loro
differenze e variazioni, oscillazioni impropriamente ritenute «volatilità».</span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:14pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">Le trasformazioni della materia possono manifestare
l’energia immagazzinata al suo interno (<i>relatività ristretta</i>). La
struttura dello spazio è influenzata dalla massa o dall’energia degli oggetti
qualunque sia la posizione in cui si collocano. Più massa e/o energia si
concentrano in un punto, più lo spazio e il tempo si curvano intorno ad esso (<i>relatività
generale</i>). Albert Einstein intuisce con geniale fantasia (qualcuno sostiene
che egli abbia utilizzato abbondantemente il pensiero di Henri Poincarè) che
tutta la «massa-energia» in un’area sia in relazione funzionale con lo «spazio-tempo»
vicino o, con uno schematismo simbolico, che energia-massa = spazio-tempo. La <i>E</i>
e la <i>m</i> di <i>E </i>= <i>mּc</i><sup>2</sup> divengono due elementi che
stanno su un unico lato di questa nuova e più profonda equazione. Tale generalizzazione,
con la stessa mediazione o finzione simbolica, può estendersi con qualche
cautela e superando il tarlo dell’incredulità irriducibile, alla formula di
capitalizzazione <i>V </i>= <i>R<sub>n</sub>ּ</i>1<i>/r</i> legata da un’appassionante associazione isomorfica
con l’equazione della relatività ristretta. Anzi, l’isomorfismo
fisico-economico delle due formule viene convalidato e reso più convincente
proprio da questa interpretazione estensiva che dà ampiezza ed applicazione
superiore alla generalizzazione, assegnando allo spazio-tempo una funzione di
cerniera epistemica tra le due accoppiate: valore-energia (monetaria)
dell’economia e materia-energia (fisica) della natura. Si può scrivere quindi: <i>R<sub>n</sub></i>
= <i>Vּr </i>= energia-massa = spazio-tempo = <i>mּc</i><sup>2</sup> = <i>E</i>
oppure 1/<i>r </i>= <i>V</i>/<i>R<sub>n</sub></i> = spazio-tempo = energia-massa
= <i>m</i>/<i>E</i> = 1/<i>c</i><sup>2</sup>. </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:14pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">La trasformazione di un <i>flusso</i> di redditi in un
<i>fondo</i> di valore, operata dal co-efficiente di capitalizzazione 1/<i>r</i>,
manifesta la dualità dinamica dell’essere valore e dell’essere reddito di un
bene capitale o dell’essere spazio (integrazione) e dell’essere punto
(derivazione) che si rivela sorprendentemente analoga alla relazione tra
l’essere materia e l’essere energia della stessa realtà fisica secondo l’equazione
della relatività ristretta. La somiglianza delle due form(-ul)e matematiche
appare incredibilmente forte alla <i>luce</i> della musicale e misteriosa uni-dualità
spazio-tempo che è fondamentale sia per la capitalizzazione o solidificazione dei
redditi (economici) che dell’energia (naturale). Come la natura corpuscolare e
la natura ondulatoria sono due forme (diverse), una implicante l’altra in un
approccio uni-duale alla stessa realtà fisica, l’essere flusso di redditi e
l’essere fondo di capitale sono due forme (diverse) costituenti
un’interpretazione uni-duale della stessa realtà economica che può
rap-presentarsi <i>solo</i> in unità discrete di valore <i>R<sub>n</sub>ּ</i>1/<i>r</i>.
E dato che l’energia è in-formazione della natura e l’in-formazione è energia
della cultura il triangolo della figura 7.1 può essere ri-scritto secondo la
figura 7.2.</span></p>
<p class="MsoNormal" style="text-align:center;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:center;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:center;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:center;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif" align="center"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="margin-left:100px;margin-top:10px;width:284px;height:220px"><img moz-do-not-send="true" width="284" height="220"></span><span style="font-size:11pt"></span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p style="text-align:center;margin:12pt 0cm 3pt;font-size:12pt;font-family:"Times New Roman",serif;font-style:italic" align="center"><span style="font-size:9pt;font-style:normal">Fig. 7.2</span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:14pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">La meta-dualità essere-energia ed essere-in-formazione
rap-presenta e com-pone in maniera trans-disciplinare le dualità: essere-segno
ed essere-merce o essere-flusso (di redditi) ed essere-fondo (di valore) dei
beni (culturali) che sono beni-moneta privilegiati; essere-energia ed
essere-materia od essere-particella ed essere-oscillazione di campo delle «cose»
(naturali). Beninteso, affinché non si prendano abbagli gli accostamenti
analogici tra le leggi della natura e le leggi dell’economia debbono evitare
ogni tentazione di identicità, sfuggire a qualunque identificazione concettuale
e non farsi ingannare da alcuna automatica trasposizione. Credere nell’armonia
meravigliosa che governa il mondo (naturale e sociale) non significa s-cadere
nella con-fusione o nel con-formismo naturale e culturale, esistenziale e conoscitivo.</span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:14pt;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">3. L’ateniese Takis intende l’opera d’arte come
simbolo di energia. Stephen Hawking rivedendo la sua teoria sostiene che i
buchi neri non si limitano a perdere massa attraverso una radiazione di
energia, ma evaporano o rilasciano informazione. Essi non distruggono mai
completamente quello che fagocitano. Con-tengono un’informazione, non casuale e
indefinibile, sulla materia di cui sono fatti che con-sente di predirne il
futuro. In una relazione del 1998 [7], ripresa nel 2005 [8], Hawking studia la
possibilità di collegare i campi gravitazionali (che sembravano eliminare ogni
in-formazione) all’entropia e alla predicibilità del futuro che la seconda
legge della termodinamica permette. In tal modo i buchi neri non evaporano o
irradiano un’energia invisibile o enigmatica priva di informazione come se
fossero delle inafferrabili e indecifrabili entità cosmiche, e non s-fuggono
alla (mia) super-legge della combinazione creativa (anche se talvolta
stupefacente) di energia e in-formazione. I buchi neri possono considerarsi
quindi come speciali scatole nere o magici processi di tras-informazione
produttivi (i cui <i>input</i> e <i>output</i> sono materia, energia e
informazione) e prospettici.</span></p>
<p style="text-indent:14pt;margin:0cm;text-align:justify;font-size:9pt;font-family:"Times New Roman",serif"><span style="font-size:11pt">L’energia e l’in-formazione costituiscono le due sostanze primarie
della vita e della scienza che implicano «affermazioni complementari» non
identiche all’una o all’altra delle due «affermazioni alternative» che
presuppongono scelte binarie del tipo 0 o 1. Ad ogni affermazione complementare
corrisponde uno stato o «potenzialità coesistente» che in una certa misura
contiene anche gli altri «stati coesistenti». Queste considerazioni di fisica
quantistica, riconducibili al pensiero di Carl von Weizsäcker e stimolate da
Werner Heisenberg, richiamano la logica fuzzy [9, pp. 214-7].</span></p>
<p class="MsoNormal" style="text-align:justify;margin:0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-size:11pt"> </span></p>
</pre>
<pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427m_-894582114354655215m_1957764947159077325m_5502420876881491567gmail-tw-target-text" style="unicode-bidi:isolate;font-size:28px;line-height:36px;background-color:rgb(248,249,250);border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap;color:rgb(32,33,36)"><span lang="en">
<p style="text-indent:14.2pt;margin:0cm;text-align:justify;font-size:12pt;font-family:"Times New Roman",serif">Caro Mariuz</p><p style="text-indent:14.2pt;margin:0cm;text-align:justify;font-size:12pt;font-family:"Times New Roman",serif">il nichilismo economico, sotteso dall’ideologia utilitaristica, esalta i prezzi e annulla i valori. La mia nuova concezione economica è basata sulla teoria del valore-informazione. Le opere d’arte non valgono perché sono utili, ma perché sono dotate dibellezza in senso generale. E la bellezza è regolata dalla legge delle leggi dell’informazione</p><p style="text-indent:14.2pt;margin:0cm;text-align:justify;font-size:12pt;font-family:"Times New Roman",serif">Ancora una volta Ti dico bravo, perché Ti intendi di economia dell’arte o di arte dell’economia.</p><p style="text-indent:14.2pt;margin:0cm;text-align:justify;font-size:12pt;font-family:"Times New Roman",serif">Un abbraccio</p><p style="text-indent:14.2pt;margin:0cm;text-align:justify;font-size:12pt;font-family:"Times New Roman",serif">Francesco </p>
</span></pre>
<pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427m_-894582114354655215m_1957764947159077325m_5502420876881491567gmail-tw-target-text" style="unicode-bidi:isolate;font-size:28px;line-height:36px;background-color:rgb(248,249,250);border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap;color:rgb(32,33,36)"><span lang="en">Dear Mariusz,</span></pre>
<pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427m_-894582114354655215m_1957764947159077325m_5502420876881491567gmail-tw-target-text" dir="ltr" style="unicode-bidi:isolate;font-size:28px;line-height:36px;background-color:rgb(248,249,250);border:medium none;padding:2px 0.14em 2px 0px;font-family:inherit;overflow:hidden;width:270px;white-space:pre-wrap;color:rgb(32,33,36)"><span lang="en"> on the theory of information-value. Works of art are not worthwhile because they are useful, but because they are endowed with beauty in a general sense. And beauty is governed by the law of information laws.
Once again I tell you good, because you understand the economics of art or the art of economics.
A hug.
Francis</span></pre>
</div>
<br>
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">Il giorno mar 19 apr
2022 alle ore 17:47 Mariusz Stanowski <<a
href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true"
class="moz-txt-link-freetext">stanowskimariusz@wp.pl</a>>
ha scritto:<br>
</div>
<blockquote class="gmail_quote" style="margin:0px 0px
0px 0.8ex;border-left:1px solid
rgb(204,204,204);padding-left:1ex">
<div>
<div><br>
</div>
<div>Dear Pedro and FIs Colleagues,<br>
</div>
<div><br>
</div>
<div>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><br>
</div>
<div>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><br>
</div>
<div>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>Best regards</div>
<div><br>
</div>
<div>Mariusz<br>
</div>
<div><br>
</div>
<div><br>
</div>
<div><br>
</div>
<div><br>
</div>
<div>W dniu 2022-04-18 o 21:20, Pedro C. Marijuan
pisze:<br>
</div>
<blockquote type="cite" class="cite">
<div>Dear Mariusz and FIs Colleagues,</div>
<div><br>
</div>
<div>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><br>
</div>
<div>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><br>
</div>
<div>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><i><br>
</i></div>
<div><i> </i></div>
<div>Best regards,</div>
<div>--Pedro</div>
<div><br>
</div>
<div><br>
</div>
<div>El 11/04/2022 a las 12:31, Mariusz
Stanowski escribió:<br>
</div>
<blockquote type="cite" class="cite">
<div>We are all right you are talking about
the practical possibility of simulation and
I am talking about the theoretical.<br>
</div>
<div><br>
</div>
<div>Best regards</div>
<div><br>
</div>
<div>Mariusz</div>
<div><br>
</div>
<div><br>
</div>
<div><br>
</div>
<div><br>
</div>
<div>W dniu 2022-04-11 o 11:30, Daniel Boyd
pisze:<br>
</div>
<blockquote type="cite" class="cite">
<div>
<p class="MsoNormal"><span lang="EN-GB">Dear
Joe, dear Mariusz</span><span
lang="nl"></span></p>
<p class="MsoNormal"><span lang="nl"> </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?</span></p>
<p class="MsoNormal"><span lang="nl"> </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.</span></p>
<p class="MsoNormal"><span lang="nl"> </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. </span></p>
<p class="MsoNormal"><span lang="nl"> </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? </span></p>
<p class="MsoNormal"><span lang="nl"> </span></p>
<p class="MsoNormal"><span lang="nl">Regards,
Daniel </span></p>
<p class="MsoNormal"><span lang="nl"> </span></p>
<p class="MsoNormal"><span lang="nl"> </span></p>
<div style="border-color:rgb(225,225,225)
currentcolor
currentcolor;border-style:solid none
none;border-width:1pt medium
medium;padding:3pt 0cm 0cm">
<p class="MsoNormal"
style="border:medium none;padding:0cm"><b><span
lang="nl">From: </span> </b><a
href="mailto:joe.brenner@bluewin.ch"
moz-do-not-send="true"><span
lang="nl">joe.brenner@bluewin.ch</span></a><span
lang="nl"><br>
<b>Sent: </b>Sunday, 10 April 2022
11:53<br>
<b>To: </b></span><a
href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true"><span
lang="nl">Mariusz</span></a><span
lang="nl">; </span><a
href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true"><span
lang="nl">daniel.boyd@live.nl</span></a><span
lang="nl">; </span><a
href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"><span
lang="nl">"fis"</span></a><span
lang="nl"><br>
<b>Cc: </b></span><a
href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"><span
lang="nl">fis@listas.unizar.es</span></a><span
lang="nl">; </span><a
href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true"><span
lang="nl">daniel.boyd@live.nl</span></a><span
lang="nl"><br>
<b>Subject: </b>Re: Re: [Fis] Book
Presentation. Potentiality as well
as Actuality</span></p>
</div>
<p class="MsoNormal"><span lang="nl"> </span></p>
<p class="MsoNormal"><span
style="font-size:12pt" lang="nl">Dear
Mariusz, Dear Daniel,</span><span
lang="nl"></span></p>
<div>
<p class="MsoNormal"><span lang="nl"> </span></p>
</div>
<div>
<p class="MsoNormal"><span
style="font-size:12pt" 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"></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </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"></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </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:12pt;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"></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </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"></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </span></p>
</div>
<div>
<p class="MsoNormal"><span
style="font-size:13.5pt" lang="nl">Thank
you and best wishes,</span><span
lang="nl"></span></p>
</div>
<div>
<p class="MsoNormal"><span
style="font-size:13.5pt" lang="nl">Joseph</span><span
lang="nl"></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </span></p>
</div>
<div>
<blockquote style="margin:5pt 0cm 5pt
11.25pt">
<p class="MsoNormal"
style="margin-bottom:12pt"><span
lang="nl">----Message
d'origine----<br>
De : <a
href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true"
class="moz-txt-link-freetext">stanowskimariusz@wp.pl</a><br>
Date : 10/04/2022 - 08:35 (CEST)<br>
À : <a
href="mailto:daniel.boyd@live.nl"
moz-do-not-send="true"
class="moz-txt-link-freetext">daniel.boyd@live.nl</a>,
<a
href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"
class="moz-txt-link-freetext">fis@listas.unizar.es</a><br>
Objet : Re: [Fis] Book
Presentation</span></p>
<div>
<p class="MsoNormal"><span lang="nl">Dear
Daniel, </span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </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). </span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Best
regards </span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Mariusz
</span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"> </span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">W
dniu 2022-04-09 o 17:37, Daniel
Boyd pisze: </span></p>
</div>
<blockquote
style="margin-top:5pt;margin-bottom:5pt">
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl">Dear Mariusz </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl"> </span> <span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;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"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl"> </span> <span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;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:12pt;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:12pt;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:12pt;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:12pt;color:black"
lang="nl"> <br>
<br>
</span><span lang="nl"></span></p>
</blockquote>
<blockquote
style="margin-top:5pt;margin-bottom:5pt">
<p class="MsoNormal"><span
style="font-size:12pt;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:12pt" 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"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:red"
lang="nl"> </span> <span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl">I was also intrigued
by your statement that "</span><span
style="font-size:12pt" 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:12pt"
lang="nl">https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x</span></a><span
style="font-size:12pt;color:black" lang="nl"> which describes factors
other than simplicity as
necessary characteristics. </span><span
style="font-size:12pt;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"></span></p>
</blockquote>
<p class="MsoNormal"><span lang="nl"><br>
<br>
</span></p>
<blockquote
style="margin-top:5pt;margin-bottom:5pt">
<table style="width:100%;border:1pt
solid rgb(200,200,200)"
width="100%" cellpadding="0"
border="1">
<tbody>
<tr>
<td style="border:medium
none;padding:9pt 27pt 9pt
9pt" 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="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427gmail-m_-894582114354655215gmail-m_1957764947159077325gmail-m_5502420876881491567gmail-m_8594044412499457540_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></p>
</td>
<td
style="width:100%;border:medium
none;padding:9pt 27pt 9pt
9pt" 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:16pt;text-decoration:none">Musings About Beauty -
Kintsch - 2012 -
Cognitive Science -
Wiley Online Library</span></a><span
style="font-size:16pt">
</span></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></p>
<p class="MsoNormal"><span
style="font-size:10.5pt"><a
href="http://onlinelibrary.wiley.com" moz-do-not-send="true">onlinelibrary.wiley.com</a>
</span> </p>
</td>
</tr>
</tbody>
</table>
<p class="MsoNormal"><span
style="font-size:12pt;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"></span></p>
</blockquote>
<blockquote
style="margin-top:5pt;margin-bottom:5pt">
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl"> </span> <span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl">Thankyou, in any case,
for your contribution which
certainly demonstrates the
relationship between Value and
Development </span><span
lang="nl">😉</span><span
style="font-size:12pt;color:black"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl"> </span> <span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;color:black"
lang="nl">Regards, Daniel Boyd </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span lang="nl">
</span></p>
<p class="MsoNormal"><span lang="nl">
</span></p>
<div
style="border-color:rgb(225,225,225)
currentcolor
currentcolor;border-style:solid
none none;border-width:1pt medium
medium;padding:3pt 0cm 0cm">
<p class="MsoNormal"><b><span
lang="nl">Van: </span></b><span
lang="nl">Mariusz Stanowski<br>
<b>Verzonden: </b>zaterdag 2
april 2022 19:23<br>
<b>Aan: </b><a
href="mailto:fis@listas.unizar.es"
moz-do-not-send="true"
class="moz-txt-link-freetext">fis@listas.unizar.es</a><br>
<b>Onderwerp: </b>[Fis] Book
Presentation</span></p>
</div>
<p class="MsoNormal"><span lang="nl">
</span></p>
<p class="MsoNormal"><b><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">Book Presentation</span></b><span
style="font-size:12pt;font-family:Arial,sans-serif" lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">“Theory and
Practice of Contrast:
Integrating Science, Art and
Philosophy.”</span></b><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">Mariusz Stanowski</span></b><span
style="font-size:12pt;font-family:Arial,sans-serif" lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">Published June
10, 2021 by CRC Press
(hardcover and eBook).</span></b><span
style="font-size:12pt;font-family:Arial,sans-serif" lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">Dear FIS list
members, </span><span lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt;font-family:Arial,sans-serif"
lang="EN-GB">Many thanks for the
opportunity to present my recent
book in this list. </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
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"></span></p>
<p class="MsoNormal"
style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
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"></span></p>
<p class="MsoNormal"
style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="nl"><img
src="cid:part1.hPs9l0eU.TPNbYKOl@wp.pl"
style="width: 5.677in; height:
2.177in;"
id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867m_-3899873563229104252m_-6893692261083655475m_3661071338159238558m_-6239538321860397427gmail-m_-894582114354655215gmail-m_1957764947159077325gmail-m_5502420876881491567gmail-m_8594044412499457540Afbeelding_x0020_3"
class="" width="545"
height="209" border="0"></span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="EN-GB">Below are brief
descriptions of these
connections. </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="text-indent:35.4pt;line-height:150%"><span
style="font-size:12pt;line-height:150%;font-family:Arial,sans-serif"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
lang="EN-GB">Contrast—Development
</span></b><span lang="EN-GB">When
observing a contrast, we also
observe the connection between
contrasting objects/structures
(resulting from their common
features) and the emergence of a
</span><span
style="color:windowtext"
lang="EN-GB">new, more complex
structure possessing the common
and differentiating features of
connected structures. In the
general sense, the emergence of
a new structure is tantamount to
development. Therefore, it may
be stated that contrast is a
perception of structures/objects
connections, or experience of
development. The association of
contrast with development brings
a new quality to the
understanding of many other
fundamental concepts, such as
beauty, value, creativity,
emergence. (Similarly, <i>contrast
as development </i>is
understood in Whitehead’s
philosophy).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><span
style="color:windowtext"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Contrast—Complexity
</span></b><span
style="color:windowtext"
lang="EN-GB">In accordance with
the proposed definition, when we
consider the contrast between
two or more objects/structures,
it grows in intensity as the
number/strength of
differentiating and common
features of contrasting
structures/objects increases.
Such an understanding of
contrast remain an intuitive
criterion of complexity that can
be formulated as follows: <b>a
system becomes more complex
the greater is the number of
distinguishable elements and
the greater the number of
connections among them</b><i>.
</i>If in definition of contrast
we substitute “differentiating
features” for “distinguishable
elements” and “common features”
for “connections”, we will be
able to conclude that <b>contrast
is the perception and measure
of complexity.</b></span><span
lang="nl"></span></p>
<p
style="text-indent:35.4pt;line-height:150%"><span
style="color:windowtext"
lang="EN-GB">Note: Two types of
contrasts can be distinguished:
the sensual (physical) contrast,
which is determined only by the
force of features of contrasting
objects and the mental
(abstract) contrast which
depends primarily on the number
of these features. (This
contrast can be equated with
complexity). (The equation of
contrast with complexity is an
important finding for the
investigations in: cognitive
sciences, psychology, ontology,
epistemology, aesthetics,
axiology, biology, information
theory, complexity theory and
indirectly in physics).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><span
style="color:windowtext"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Complexity—Information
Compression </span></b><span
style="color:windowtext"
lang="EN-GB">Intuition says that
the more complex object with the
same number of components (e.g.
words) has more
features/information (i.e. more
common and differentiating
features), which proves its
better organization (assuming
that all components have the
same or similar complexity). We
can also say that such an object
has a higher degree of
complexity. The degree of
complexity is in other words the
brevity of the form or the
compression of information.
Complexity understood
intuitively (as above) depends,
however, not only on the
complexity degree (that could be
defined as the ratio of the
number of features to the number
of components) but also on the
(total) number of features,
because it is more difficult to
organize a larger number of
elements/features. In addition,
the more features (with the same
degree of complexity), the
greater the contrast. Therefore,
in the proposed <i>Abstract
Definition of Complexity </i>(2011),
we multiply the degree of
complexity by the number of
features. This definition
defines the complexity (C) of
the binary structure (general
model of all structures/objects)
as the quotient of the square of
features
(regularities/substructures)
number (N) to the number of
components or the number of
zeros and ones (n). It is
expressed in a simple formula: C
= N²/n and should be considered
the most general definition of
complexity, among the existing
ones, which also fulfils the
intuitive criterion. (This
relation explains what
compression of information in
general is and what role it
plays as a complexity factor.
This allows to generalize the
notion of information
compression and use it not only
in computer science, but also in
other fields of knowledge, such
as aesthetics, axiology,
cognitive science, biology,
chemistry, physics).</span><span
lang="nl"></span></p>
<p><b><span style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Information
compression—Development </span></b><span
style="color:windowtext"
lang="EN-GB">Our mind perceiving
objects (receiving information)
more compressed, saves energy.
Compression/organization of
information reduce energy of
perception while maintaining the
same amount of information (in
case of lossless compression).
Thanks to this, perception
becomes easier (more economical)
and more enjoyable; for example,
it can be compared to faster and
easier learning, acquiring
knowledge (information), which
also contributes to our
development. Compression of
information as a degree of
complexity also affects its
size. Complexity, in turn, is a
measure of contrast (and vice
versa). Contrast, however, is
identified with development.
Hence, complexity is also
development. This sequence of
associations is the second way
connecting the compression of
information with development.
Similarly, one can trace all
other possibilities of
connections in the diagram. (The
association of information
compression with development
brings a new, explanatory
knowledge to many fields
including cognitive science,
aesthetics, axiology,
information theory).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Development—Value
</span></b><span
style="color:windowtext"
lang="EN-GB">Development is the
essence of value, because all
values (ethical, material,
intellectual, etc.) contribute
to our development which is
their common feature. It follows
that value is also a contrast,
complexity and compression of
information because they are
synonymous with development.
(The relation explains and
defines the notion of value
fundamental to axiology).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><span
style="color:windowtext"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Value—Abstract
Value </span></b><span
style="color:windowtext"
lang="EN-GB">About all kinds of
values (with the exception of
aesthetic values) we can say,
what they are useful for. Only
aesthetic values can be said to
serve the development or be the
essence of values, values in
general or abstract values. This
is a property of abstract
concepts to express the general
idea of something (e.g. the
concept of a chair includes all
kinds of chairs and not a
specific one). It follows that <b>what
is specific to aesthetic value
is that it is an abstract
value</b> (although it is
difficult to imagine). (This is
a new understanding of aesthetic
value, crucial for aesthetics
and axiology).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Contrast—Being </span></b><span
style="color:windowtext"
lang="EN-GB">Contrast or
interaction is a concept prior
to the concept of being because
without interaction there is no
existence. It follows that the
basic component of being must be
two objects/elements/components
(creating a contrast) having
common and differentiating
features. (Understanding of
being as a contrast is
fundamental to ontology and
metaphysics and worth
considering in physics).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Contrast—Cognition
</span></b><span
style="color:windowtext"
lang="EN-GB">The object of
cognition and the subject (mind)
participate in the cognitive
process. The object and the
subject have common and
differentiating features, thus
they create a contrast.
Cognition consists in attaching
(through common features)
differentiating features of the
object by the subject. In this
way, through the contrast, the
subject develops. It can
therefore be said that cognition
is a contrast of the object with
the subject. (This is a new
definition of cognition
important for epistemology and
cognitive science).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Cognition—Subjectivity
</span></b><span
style="color:windowtext"
lang="EN-GB">The above
understanding of cognition
agrees all disputable issues
(present, among others, in
psychology, cognitive science
and aesthetics) regarding the
objectivity and subjectivity of
assessments (e.g. whether the
source of beauty is the
observer's mind, whether it is a
specific quality from the
observer independent), because
it shows that they depend on
both the subject and the object,
i.e. depend on their
relationship—contrast.</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Compression of
information—Beauty </span></b><span
style="color:windowtext"
lang="EN-GB">Beautiful are
objects with high information
compression (a large degree of
complexity/organization). Thanks
to the compression of
information, perceiving beauty,
we save energy, the perception
becomes more economical and
pleasant which favours our
development and is therefore a
value for us. </span><span
lang="EN-GB">The example is
golden division. </span><span
style="color:windowtext"
lang="EN-GB">Counting features
(information) in all possible
types of divisions
(asymmetrical, symmetrical and
golden) showed that the golden
division contains the most
features/information (an
additional feature is well known
golden proportion) and therefore
creates the greatest contrast,
complexity and aesthetic value.
(This explains the previously
unknown reasons for aesthetic
preferences, key to aesthetics,
art theory, psychology,
cognitive science and
neuroaesthetics).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Development—Beauty
</span></b><span
style="color:windowtext"
lang="EN-GB">Beauty contributes
to development thanks to the
economy of perception.
Perception of beauty is
accompanied by a sense of
development or ease and pleasure
of perception. (This explains
the causes of aesthetic
preferences).</span><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:150%"><b><span
style="color:windowtext"
lang="EN-GB">Abstract
Value—Beauty, Art </span></b><span
style="color:windowtext"
lang="EN-GB">Only beauty and art
have no specific value but they
express/have value in general
(an abstract value). The objects
that make up a work of art are
not important, but their
contrast-interaction, which
results from the complexity of
the artwork. (If we see a single
object in the gallery, then the
art is its contrast with the
context - as in the case of
Duchamp's "Urinal" or Malevich's
"Black Square"). One can say
that beauty and art are
distinguished (defined) by two
elements: abstract value and a
large contrast.(This is a new
and only definition of
beauty/art that indicates the
distinctive common features of
all aesthetic/artistic objects,
it is crucial for the theory of
art, aesthetics, axiology and
epistemology).</span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:12pt" lang="nl">
</span><span lang="nl"></span></p>
</blockquote>
<p><span lang="nl"> </span></p>
<p class="MsoNormal"><span lang="nl"> </span></p>
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<p><br>
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<pre cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
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