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.quote { margin-left: 1em; margin-right: 1em; border-left: 5px #ebebeb solid; padding-left: 0.3em; }--></style></head><body><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">
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<p class="MsoNormal" style="line-height:normal;" xmlns="http://www.w3.org/TR/REC-html40"><b><font face="Times New Roman" style="font-size: 9pt;">_______________</font></b></p><p class="MsoNormal" style="line-height:normal;" xmlns="http://www.w3.org/TR/REC-html40"><b><font face="Times New Roman" style="font-size: 9pt;"><a href="https://www.springer.com/gp/book/9783030599508"></a>Loet Leydesdorff</font></b></p><p class="MsoNormal" style="line-height:normal;" xmlns="http://www.w3.org/TR/REC-html40"><b><font face="Times New Roman" style="font-size: 9pt;"><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">"The Evolutionary Dynamics of Discusive Knowledge"</a>(Open Access)</font></b></p></div><div id="x37dfff32a36b4410ad8e891fea6bb1b8"></div><p class="MsoNormal" style="line-height: normal;" xmlns="http://www.w3.org/TR/REC-html40"><font face="Times New Roman" style="font-size: 8pt;">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">loet@leydesdorff.net </a>; <a href="http://www.leydesdorff.net/" title="http://www.leydesdorff.net/">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);"><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">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>
<p class="MsoNormal" xmlns="http://www.w3.org/TR/REC-html40" style="line-height:normal;background-color:rgba(0,0,0,0);"></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">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"><br />
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<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>
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<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 width="31" height="19" /></span>=<span><img width="16" height="17" /></span>=<span><img 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 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 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">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"><u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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?<u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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.<u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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. <u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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? <u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
<p class="MsoNormal"><span lang="nl">Regards, Daniel <u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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"><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"><span lang="nl">Mariusz</span></a><span lang="nl">; </span><a href="mailto:daniel.boyd@live.nl"><span lang="nl">daniel.boyd@live.nl</span></a><span lang="nl">; </span><a href="mailto:fis@listas.unizar.es"><span lang="nl">"fis"</span></a><span lang="nl"><br />
<b>Cc: </b></span><a href="mailto:fis@listas.unizar.es"><span lang="nl">fis@listas.unizar.es</span></a><span lang="nl">; </span><a href="mailto:daniel.boyd@live.nl"><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<u></u><u></u></span></p>
</div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt" lang="nl">Dear Mariusz, Dear Daniel,</span><span lang="nl"><u></u><u></u></span></p>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">Thank you and best wishes,</span><span lang="nl"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span style="font-size:13.5pt" lang="nl">Joseph</span><span lang="nl"><u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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">stanowskimariusz@wp.pl</a><br />
Date : 10/04/2022 - 08:35 (CEST)<br />
À : <a href="mailto:daniel.boyd@live.nl">daniel.boyd@live.nl</a>, <a href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br />
Objet : Re: [Fis] Book Presentation<u></u><u></u></span></p>
<div>
<p class="MsoNormal"><span lang="nl">Dear Daniel, <u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></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). <u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Best regards <u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">Mariusz <u></u><u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
</div>
<div>
<p class="MsoNormal"><span lang="nl">W dniu 2022-04-09
o 17:37, Daniel Boyd pisze: <u></u><u></u></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"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;color:black" lang="nl"> </span>
<span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;color:black" lang="nl"> </span>
<span lang="nl"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;color:red" lang="nl"> </span>
<span lang="nl"><u></u><u></u></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"><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"><u></u><u></u></span></p>
</blockquote>
<p class="MsoNormal"><span lang="nl"><br />
<br />
<u></u><u></u></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"><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" width="110" height="160" border="0" /></span></a><u></u><u></u></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"><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><u></u><u></u></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><u></u><u></u></p>
<p class="MsoNormal"><span style="font-size:10.5pt"><a href="http://onlinelibrary.wiley.com">onlinelibrary.wiley.com</a>
</span> <u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;color:black" lang="nl"> </span>
<span lang="nl"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;color:black" lang="nl">Regards,
Daniel Boyd </span><span lang="nl"><u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"> <u></u><u></u></span></p>
<p class="MsoNormal"><span lang="nl"> <u></u><u></u></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">fis@listas.unizar.es</a><br />
<b>Onderwerp: </b>[Fis] Book Presentation<u></u><u></u></span></p>
</div>
<p class="MsoNormal"><span lang="nl"> <u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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:18042b19a074c04e35e1" 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" width="545" height="209" border="0" /></span><span lang="nl"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><span style="color:windowtext" lang="EN-GB"> </span><span lang="nl"><u></u><u></u></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"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><span style="color:windowtext" lang="EN-GB"> </span><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><span style="color:windowtext" lang="EN-GB"> </span><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p style="line-height:150%"><b><span style="color:windowtext" lang="EN-GB"> </span></b><span lang="nl"><u></u><u></u></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"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt" lang="nl"> </span><span lang="nl"><u></u><u></u></span></p>
</blockquote>
<p><span lang="nl"><u></u> <u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
</blockquote>
</div>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
<p class="MsoNormal"><span lang="nl"><u></u> <u></u></span></p>
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</blockquote>
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</p>
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<pre cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
<a href="mailto:pedroc.marijuan@gmail.com">pedroc.marijuan@gmail.com</a>
<a href="mailto:pcmarijuan.iacs@aragon.es">pcmarijuan.iacs@aragon.es</a>
<a href="http://sites.google.com/site/pedrocmarijuan/">http://sites.google.com/site/pedrocmarijuan/</a>
Editor special issue: Evolutionary dynamics of social systems
<a href="https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V">https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V</a>
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