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<div class="moz-cite-prefix">Dear Joseph,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">You've wrtten: "such as information
processes, has both an ontic and an epistemic component"</div>
<div class="moz-cite-prefix"><br>
</div>
If we introduce a distinction between ontic and epistemic then we
are assuming a dualistic view in advance, which, for example, I am
not in favor of.
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Best regards</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Mariusz<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-24 o 09:53,
<a class="moz-txt-link-abbreviated" href="mailto:joe.brenner@bluewin.ch">joe.brenner@bluewin.ch</a> pisze:<br>
</div>
<blockquote type="cite"
cite="mid:2074311934.2580.1650786817201@bluewin.ch">
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<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">Dear Friends</span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">My tentative conclusion
regarding the consensus
referred to in recent notes is that if it exists, it is doing
more harm than good. I therefore
propose “bracketing” it, following the suggestion of Husserl
for human
experience, but with a different
objective. I would replace the current consensus by a
recognition that
any reasonable description of complex phenomena, such as
information processes,
has both an ontic and an epistemic component. These components
are not static
but change and evolve. The epistemic component is usually
recognized and accepted.
That it is accompanied dynamically by a physical, energetic
change. The
extrapolation of physical properties to cognitive is obviously
considered in
neurology but not adequately in philosophy.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">A counter-theory to the
above might be that the suggested
ontic-epistemic “partnership” is irrelevant to information.
All you need is semiotics
and communication theory. I would be curious to know where the
group comes out
on this point.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Karl, 14/04) The
hypothesis of common-different,
attraction-repulsion is a really good one and should be
followed-up.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Pedro, 18/, 04) In any
case, co-ligation of disciplines
is a tough matter, not very well solved/articulated as yet.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Mariusz, 19/04) Energy is
not a metaphor but a
physical value.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Karl, 21/04) The main
point is that art is
interpersonally communicable, and by this criterion can be
shown to be part of
objective reality.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Joseph, 21/04) Working
backwards, intersubjective intentionality, to the extent that
it is expressed
in human beings has a real existence and must be considered
cognitively
objective as well as subjective accordingly.</span><o:p></o:p></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">(Loet, 22/0)4 </span><span
style="font-size: medium;"><font face="times new roman, serif">The
human carriers live in the tension between potential and
actual.</font></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">These are all logical
statements in Logic Reality. Together, they add up to a
"bracketing" of an unwarranted objective-subjective dichotomy,
which talks directly to Loet's next to last sentence (<i>q.v.</i>).<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">Thank you and best wishes,<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif">Joseph<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:12.0pt;line-height:107%;font-family:
"Times New Roman",serif"> </span></p>
<blockquote style="margin-right: 0px; margin-left:15px;">----Message
d'origine----<br>
De : <a class="moz-txt-link-abbreviated" href="mailto:loet@leydesdorff.net">loet@leydesdorff.net</a><br>
Date : 22/04/2022 - 08:05 (CEST)<br>
À : <a class="moz-txt-link-abbreviated" href="mailto:joe.brenner@bluewin.ch">joe.brenner@bluewin.ch</a>, <a class="moz-txt-link-abbreviated" href="mailto:r.karl.javorszky@gmail.com">r.karl.javorszky@gmail.com</a>,
<a class="moz-txt-link-abbreviated" href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br>
Objet : Re: [Fis] Book Presentation. The Interpersonal domain<br>
<br>
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<div> Dear Joe and colleagues:
</div>
<div> <br>
</div>
<div id="x4979f585e1eb430">
<blockquote type="cite" class="cite2">
<div>
<div> <font size="3">I am not sure where the error lies
here, but Loet seems to have taken a quite limited
view of the reality of the interpersonal domain. It
does not exist like a table, but there are other
options which give it objective properties other than
as a pure "construct". </font> </div>
</div>
</blockquote>
<font size="3">I reacted primarily to an assumed consensus. </font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
</div>
<div id="x4979f585e1eb430"> <font size="3">I did not say that
these constructs are "pure constructs": the networks can be
considered as observable retention. However, our sense and
communication of beauty and our thoughts are not are not
objective. I don't consider this as a "limited view of the
reality of the interpersonal domain". On the contrary, the
interpersonal domain is much richer than its objectively
observable instantiations. </font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
<blockquote type="cite" class="cite2">
<div>
<div> <font size="3">The chief one of these for me are
the potentialities in a process view of nature. The
inclusion of potentiality in the description of the
evolution of natural processes enables a clear
connection to the potential properties of information
- those that are absent, exactly in Terry Deacon's
term.</font> </div>
</div>
</blockquote>
<font size="3">Yes, the absent options can be measured as
redundancy. I asked you before whether you would agree.
There is a finite number of alternatives in the imagination.
You call this potentiality if I correctly understand. </font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
<blockquote type="cite" class="cite2">
<div>
<div> <font size="3">Working backwards, intersubjective
intentionality, to the extent that it is expressed in
human beings has a real existence and must be
considered cognitively objective as well as subjective
accordingly. </font> </div>
</div>
</blockquote>
<font size="3">I don't agree with this inference; it entails a
positivistic turn. The word combination "cognitively
objective" may be the problem. Res cogitans is different
from res extensa. Therefore, we can test hypotheses in terms
of observed versus expected. Without such a design, the
knowledge generated remains subjective.</font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
</div>
<div id="x4979f585e1eb430"> <font size="3">"expressed in human
beings" reduces the communication to behavior in an
objectivistic reality. The issue is "what is expressed," and
"what is evolving"? (Boulding). The human carriers live in
the tension between potential and actual. "Living" is
biological and not specifically human.</font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
</div>
<div id="x4979f585e1eb430"> <font size="3">Best, Loet</font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
</div>
<div id="x4979f585e1eb430"> <font size="3">PS. Stan: it seems
to me that we more or less agree. L. </font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
<blockquote type="cite" class="cite2">
<div>
<div> <span style="font-size: medium;">As some of you
know, I have referred frequently to the reality of
potentiality in gravitation, chemical reactions
(oxidation/reduction potential), and cognition. The
role of such aspects of reality seems to me to have
been ignored or trivialized, but I think that many of
our recurrent problems might benefit from their
inclusion in the debate.</span> </div>
</div>
</blockquote>
<font size="3">We need to address redundancy generated by the
looping of information when provided with meaning.
Otherwise, these ignored aspects remain subject of
philosophical (pre-paradigmatic) speculation.</font>
</div>
<div id="x4979f585e1eb430"> <font size="3"><br>
</font>
<blockquote type="cite" class="cite2">
<div> <span style="font-size: 8.0pt;">Best regards,</span>
</div>
<div> <font size="3">Joseph<br>
</font>
<blockquote style="margin-right: 0.0px;margin-left:
15.0px;"> ----Message d'origine---- <br>
De : <a style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('mailto:loet@leydesdorff.net');"
moz-do-not-send="true">loet@leydesdorff.net</a> <br>
Date : 21/04/2022 - 12:30 (CEST) <br>
À : <a style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('mailto:karl.javorszky@gmail.com');"
moz-do-not-send="true">karl.javorszky@gmail.com</a>, <a
style="cursor:pointer; text-decoration:underline;
color:blue"
onclick="javascript:handleMailto('mailto:fis@listas.unizar.es');"
moz-do-not-send="true">fis@listas.unizar.es</a> <br>
Objet : Re: [Fis] Book Presentation. Emotions <br>
<br>
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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 type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 16.0px;">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: 16.0px;"><br>
</span></font>
<blockquote type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;">(We refer to the
agreement that if a concept is referable 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: 16.0px;">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: 16.0px;"><br>
</span></font> </div>
<div id="x9b80c305895f42b"> <font face="Times New
Roman, serif"><span style="font-size: 16.0px;">Best,
Loet</span></font> </div>
<div id="x9b80c305895f42b"> <font face="Times New
Roman, serif"><span style="font-size: 16.0px;"><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: 9.0pt;" 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: 9.0pt;" 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: 9.0pt;" 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: 9.0pt;" 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: 8.0pt;" 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: 8.0pt;" 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: 8.0pt;" face="Times New
Roman"><a style="text-decoration:
underline;color: blue;"
title="mailto:loet@leydesdorff.net"
moz-do-not-send="true">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"
moz-do-not-send="true"><font
style="font-size: 8.0pt;" face="Times New
Roman">http://scholar.google.com/citations?user=ych9gNYAAAAJ&hl=en</font></a></p>
</div>
<div id="x37dfff32a36b4410ad8e891fea6bb1b8">
<p class="MsoNormal"
xmlns="http://www.w3.org/TR/REC-html40"
style="line-height: normal;"><font
style="font-size: 8.0pt;"><font
style="font-size: 8.0pt;" 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: 10.0pt;">
<o:p
xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></font></p>
</div>
</div>
</div>
<br>
<blockquote type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><br>
</p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;font-family: "Times
New Roman" , serif;"><i><span> </span></i></p>
<p class="MsoNormal" style="margin: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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: 0.0cm 0.0cm
8.0pt;font-size: 12.0pt;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 style="text-decoration:
underline;color: blue;" moz-do-not-send="true">13francesco.rizzo@gmail.com</a>>:
<br>
</div>
<blockquote class="gmail_quote" style="margin:
0.0px 0.0px 0.0px 0.8ex;border-left: 1.0px solid
rgb(204,204,204);padding-left: 1.0ex;">
<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: 28.0px;line-height: 36.0px;background-color: rgb(248,249,250);border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;white-space: pre-wrap;color: rgb(32,33,36);"><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228gmail-m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" style="unicode-bidi: isolate;line-height: 36.0px;border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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: 36.0px;border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198gmail-m_-4932884329837251114m_-9118126340312737631m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi: isolate;line-height: 36.0px;border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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: 36.0px;border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;white-space: pre-wrap;"> many </pre><pre id="gmail-m_5682249944001950559m_5272512800448995304m_3587540073929156095m_5524230409268817557m_1568771938713710198m_-1867140357341046228m_-6991387430563402867gmail-m_-8529306993061510149gmail-tw-target-text" dir="ltr" style="unicode-bidi: isolate;line-height: 36.0px;border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;">
</p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="margin-left: 96.0px;margin-top: 8.0px;width: 284.0px;height: 220.0px;"><img style="margin-right: 0.0px;" moz-do-not-send="true"></span><span style="font-size: 11.0pt;"></span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><h2 style="margin: 12.0pt 0.0cm 11.0pt;text-align: center;break-after: avoid;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 9.0pt;font-weight: normal;"> </span></h2><p class="MsoNormal" style="margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"> </p><h2 style="margin: 0.0cm;text-align: center;break-after: avoid;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 9.0pt;font-weight: normal;"> </span></h2><h2 style="margin: 0.0cm;text-align: center;break-after: avoid;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 9.0pt;font-weight: normal;">Fig. 7.1</span></h2><p class="MsoNormal" style="margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"> </p><p style="text-indent: 14.0pt;margin: 0.0cm;text-align: justify;font-size: 9.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 11.0pt;font-family: Symbol;">n</span><span style="font-size: 11.0pt;">, 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: 14.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 14.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: center;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: center;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: center;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;" align="center"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="margin-left: 100.0px;margin-top: 10.0px;width: 284.0px;height: 220.0px;"><img moz-do-not-send="true" width="284" height="220"></span><span style="font-size: 11.0pt;"></span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p style="text-align: center;margin: 12.0pt 0.0cm 3.0pt;font-size: 12.0pt;font-family: "Times New Roman" , serif;font-style: italic;" align="center"><span style="font-size: 9.0pt;font-style: normal;">Fig. 7.2</span></p><p class="MsoNormal" style="text-align: justify;text-indent: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 14.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 18.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </span></p><p class="MsoNormal" style="text-align: justify;text-indent: 14.0pt;margin: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 14.0pt;margin: 0.0cm;text-align: justify;font-size: 9.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;">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: 0.0cm;font-size: 12.0pt;font-family: "Times New Roman" , serif;"><span style="font-size: 11.0pt;"> </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: 28.0px;line-height: 36.0px;background-color: rgb(248,249,250);border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;white-space: pre-wrap;color: rgb(32,33,36);"><span lang="en"><p style="text-indent: 14.2pt;margin: 0.0cm;text-align: justify;font-size: 12.0pt;font-family: "Times New Roman" , serif;">Caro Mariuz</p><p style="text-indent: 14.2pt;margin: 0.0cm;text-align: justify;font-size: 12.0pt;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: 0.0cm;text-align: justify;font-size: 12.0pt;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: 0.0cm;text-align: justify;font-size: 12.0pt;font-family: "Times New Roman" , serif;">Un abbraccio</p><p style="text-indent: 14.2pt;margin: 0.0cm;text-align: justify;font-size: 12.0pt;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: 28.0px;line-height: 36.0px;background-color: rgb(248,249,250);border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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: 28.0px;line-height: 36.0px;background-color: rgb(248,249,250);border: medium none;padding: 2.0px 0.14em 2.0px 0.0px;font-family: inherit;overflow: hidden;width: 270.0px;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 style="text-decoration:
underline;color: blue;"
moz-do-not-send="true">stanowskimariusz@wp.pl</a>>
ha scritto: <br>
</div>
<blockquote class="gmail_quote"
style="margin: 0.0px 0.0px 0.0px
0.8ex;border-left: 1.0px solid
rgb(204,204,204);padding-left: 1.0ex;">
<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> </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:
1.0pt medium medium;padding:
3.0pt 0.0cm 0.0cm;">
<p class="MsoNormal"
style="border: medium
none;padding: 0.0cm;"><b><span
lang="nl">From: </span></b><a
style="text-decoration:
underline;color: blue;"
moz-do-not-send="true"><span
lang="nl">joe.brenner@bluewin.ch</span></a><span
lang="nl"><br>
<b>Sent: </b>Sunday, 10
April 2022 11:53<br>
<b>To: </b></span><a
style="text-decoration:
underline;color: blue;"
moz-do-not-send="true"><span
lang="nl">Mariusz</span></a><span
lang="nl">; </span><a
style="text-decoration:
underline;color: blue;"
moz-do-not-send="true"><span
lang="nl">daniel.boyd@live.nl</span></a><span
lang="nl">; </span><a
style="text-decoration:
underline;color: blue;"
moz-do-not-send="true"><span
lang="nl">"fis"</span></a><span
lang="nl"><br>
<b>Cc: </b></span><a
style="text-decoration:
underline;color: blue;"
moz-do-not-send="true"><span
lang="nl">fis@listas.unizar.es</span></a><span
lang="nl">; </span><a
style="text-decoration:
underline;color: blue;"
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: 12.0pt;"
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: 12.0pt;"
lang="nl">Please allow me
to enter the discussion at
this point. I will go back
to the beginning as
necessary later. I am in
general agreement with
Mariusz' approach, but I
believe it could be
strengthened by looking at
the potential as well as
the actual aspects of the
phenomena in question.
Thus when Mariusz writes <span
style="color: red;">interaction,
is a prior concept to
the concept of being,
because without
interaction there is no
being. It follows that
the basic ingredient of
being must be two
objects/elements/components
(forming a contrast)
that have common and
differentiating
features.").</span></span><span
style="font-size: 13.5pt;"
lang="nl"> , I would add
the dimension of becoming,
which is a more dynamic
relation. We can more
easily talk about
processes and change
instead of component
objects</span><span
lang="nl"></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:
12.0pt;color: red;"
lang="nl">Besides it is
already known that using
binary structures it is
possible to simulate any
processes and objects of
reality)</span><span
style="font-size: 13.5pt;"
lang="nl"> There are many
non-computable process
aspects of reality that
cannot be captured and
simulated by an algorithm
without loss of
information and meaning.
In the "graph" of the
movement of a process from
actuality to potentiality,
the limiting points of 0
and 1 are not included -
it is non-Kolmogorovian.</span><span
lang="nl"></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:
5.0pt 0.0cm 5.0pt 11.25pt;">
<p class="MsoNormal"
style="margin-bottom:
12.0pt;"><span lang="nl">----Message
d'origine----<br>
De : <a
style="text-decoration:
underline;color:
blue;"
moz-do-not-send="true">stanowskimariusz@wp.pl</a><br>
Date : 10/04/2022 -
08:35 (CEST)<br>
À : <a
style="text-decoration:
underline;color:
blue;"
moz-do-not-send="true">daniel.boyd@live.nl</a>,
<a
style="text-decoration:
underline;color:
blue;"
moz-do-not-send="true">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:
5.0pt;margin-bottom:
5.0pt;">
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">Dear Mariusz
</span><span lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">While (or
perhaps because!) your
work is a fair
distance from my own
field of expertise, I
found your conceptual
framework intriguing.
Herewith some of the
thoughts it elicited.
While they may be
unexpected because
they come from a
different angle,
hopefully a
cross-disciplinary
interaction will be
fruitful. </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">The Second
Law of Thermodynamics
dictates the ultimate
heat death of the
universe (a state in
which all 'contrasts'
are erased). </span><span
style="font-size:
12.0pt;color: red;"
lang="nl">(The heat
death of the universe
is just a popular view
and not a scientific
truth)</span><span
style="font-size:
12.0pt;color: black;"
lang="nl">Its current
state, fortunately for
us, is teeming with
differences (between
entities, properties
and interactions)
which underlie all
that is of importance
to us. To take such
contrasts as a
unifying principle
would therefore seem
to be undeniable, if
extremely ambitious!
After all, the sheer
diversity of contrasts
takes us from the
different spins of
subatomic particles
underlying the various
elements to the masses
of the celestial
bodies determining
their orbits around
the sun; from the
colours in a painting
to the sounds of a
symphony.
Systemically,
different patterns of
contrasts underlie the
distinctions between
linear and complex
systems. Contrasts
also form the basis
for the working of our
sense organs, the
perceptions derived
from them, and the
inner world of
conscious experience.
In each of these
contexts very
different classes of
contrasts lead to
different mechanisms
and laws, leading me
to wonder just what
the 'underlying
structure' is (beyond
the observation that,
ultimately, some type
of contrast is always
involved and that we
tend to deal with such
diverse contrasts in a
similar way). Maybe
your book provides an
answer to this
question that I am
unable to find in this
brief abstract: could
you perhaps say
something about this?
</span><span
style="font-size:
12.0pt;color: red;"
lang="nl">(The answer
to this question is
contained in the
contrast-being
relation:
"Contrast-Being
Contrast, or
interaction, is a
prior concept to the
concept of being,
because without
interaction there is
no being. It follows
that the basic
ingredient of being
must be two
objects/elements/components
(forming a contrast)
that have common and
differentiating
features.").</span><span
style="font-size:
12.0pt;color: black;"
lang="nl"><br>
<br>
</span><span lang="nl"></span></p>
</blockquote>
<blockquote
style="margin-top:
5.0pt;margin-bottom:
5.0pt;">
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">Moving on to
more specific topics,
I see that you equate
the complexity of a
system to a
relationship between
binary values (</span><span
style="font-size:
12.0pt;" lang="nl">C =
N²/n<span
style="color:
black;">). While
such as approach may
work for
discontinuous
contrasts (e.g.
presence/absence,
information in
digital systems)
many naturally
occurring
differences are
continuous (e.g. the
electromagnetic
frequencies
underlying the
colours of the
rainbow). In
neuroscience, while
the firing of a
neuron may be a
binary event, the
charge underlying
this event is a
dynamic continuous
variable. My
question: how does
the concept of
abstract complexity
deal with continuous
variables
("contrasts")?</span><span
style="color: red;">
(What seems to us to
be continuous in
reality may be
discrete, e.g. a
picture or a sound
on a computer is
continuous and in
reality it is a
binary structure of
electric impulses; a
continuous color is
a vibration of an
electromagnetic
wave. Besides it is
already known that
using binary
structures it is
possible to simulate
any processes and
objects of reality).
</span></span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: red;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">I was also
intrigued by your
statement that "</span><span
style="font-size:
12.0pt;" lang="nl">Beautiful
are objects with high
information
compression<span
style="color:
black;">" based on
the reasoning "</span>perceiving
beauty, we save
energy, the perception
becomes more
economical and
pleasant<span
style="color:
black;">".
Intuitively, it
seems odd to me to
equate beauty to the
lack of perceptive
effort required.</span><span
style="color: red;">
(This is not about
"no effort" but
about "saving
effort". If we have
a beautiful and an
ugly object with the
same information
content, the
perception of the
beautiful object
will require less
energy. The measure
of beauty is not the
amount of
effort/energy, but
the amount of energy
saved, which in the
case of the Sagrada
Familia will be
greater). </span><span
style="color:
black;">This would
mean that the
Pentagon (high
regularity/compressibility)
is more beautiful
than the Sagrada
Familia (low
regularity/compressibility);
and a
single-instrument
midi rendition of
Bach is more
beautiful than a
symphonic
performance. It
seems to me that
beauty often
stimulates (gives
energy) rather than
just costing minimal
energy. Much
research has been
done on the
universal and
culture-dependent
perception of
beauty: does this
support your
statement? see e.g. </span></span><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true"><span
style="font-size:
12.0pt;" lang="nl">https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x</span></a><span
style="font-size:
12.0pt;color: black;"
lang="nl"> which
describes factors
other than simplicity
as necessary
characteristics. </span><span
style="font-size:
12.0pt;color: red;"
lang="nl">(This
article is based on
faulty assumptions
e.g. misunderstanding
Kolmogorov's
definition of
complexity, which is
not applicable here).</span><span
lang="nl"></span></p>
</blockquote>
<p class="MsoNormal"><span
lang="nl"><br>
<br>
</span></p>
<blockquote
style="margin-top:
5.0pt;margin-bottom:
5.0pt;">
<table style="width:
100.0%;border: 1.0pt
solid rgb(200,200,200);"
width="100%"
cellpadding="0"
border="1">
<tbody>
<tr>
<td style="border:
medium
none;padding:
9.0pt 27.0pt 9.0pt
9.0pt;"
valign="top">
<p
class="MsoNormal"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true"><span style="text-decoration: none;"><img
style="width:
1.1458in;height: 1.6666in;"
id="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:
100.0%;border:
medium
none;padding:
9.0pt 27.0pt 9.0pt
9.0pt;"
width="100%"
valign="top">
<p
class="MsoNormal"><a
href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01229.x"
moz-do-not-send="true"><span style="font-size: 16.0pt;text-decoration:
none;">Musings
About Beauty -
Kintsch - 2012
- Cognitive
Science -
Wiley Online
Library</span></a><span
style="font-size: 16.0pt;"></span></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:
12.0pt;color: black;"
lang="nl">By defining
contrast as a
distinction between
entities or
properties, it seems
to come close as a
definition to the type
of information
underlying physical
entropy. That being
the case, your
approach would seem to
resemble those who
would give such
information a
comparable fundamental
significance (e.g.
Wheeler's "it from
bit"). Could you say
something about how
you see the
relationship between
'contrast' and
'information? Are they
effectively synonyms?</span><span
style="color: red;"
lang="nl"> Contrast
and information are
different concepts.
Information is a
feature or form of
energy. Contrast is
the
tension/force/energy
created by the
interaction of common
features (attraction)
and different features
(repulsion) of
contrasting objects).</span><span
lang="nl"></span></p>
</blockquote>
<blockquote
style="margin-top:
5.0pt;margin-bottom:
5.0pt;">
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl">Thankyou, in
any case, for your
contribution which
certainly demonstrates
the relationship
between Value and
Development </span><span
lang="nl">😉</span><span
style="font-size:
12.0pt;color: black;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;color: black;"
lang="nl"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;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: 1.0pt
medium medium;padding:
3.0pt 0.0cm 0.0cm;">
<p class="MsoNormal"><b><span
lang="nl">Van: </span></b><span
lang="nl">Mariusz
Stanowski<br>
<b>Verzonden: </b>zaterdag
2 april 2022 19:23<br>
<b>Aan: </b><a
style="text-decoration:
underline;color:
blue;"
moz-do-not-send="true">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:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB">Book
Presentation</span></b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB"></span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB">“Theory
and Practice of
Contrast:
Integrating Science,
Art and Philosophy.”</span></b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB"></span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB">Mariusz
Stanowski</span></b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB"></span><span
lang="nl"></span></p>
<p class="MsoNormal"><b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB">Published
June 10, 2021 by CRC
Press (hardcover and
eBook).</span></b><span
style="font-size:
12.0pt;font-family:
Arial , sans-serif;"
lang="EN-GB"></span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;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:
12.0pt;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:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="line-height:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
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:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;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:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="text-indent:
35.4pt;line-height:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;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"
moz-do-not-send="true" width="545" height="209" border="0"></span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="text-indent:
35.4pt;line-height:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p class="MsoNormal"
style="line-height:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
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:
150.0%;"><span
style="font-size:
12.0pt;line-height:
150.0%;font-family:
Arial , sans-serif;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
lang="EN-GB">Contrast—Development
</span></b><span
lang="EN-GB">When
observing a contrast,
we also observe the
connection between
contrasting
objects/structures
(resulting from their
common features) and
the emergence of a </span><span
style="color:
windowtext;"
lang="EN-GB">new, more
complex structure
possessing the common
and differentiating
features of connected
structures. In the
general sense, the
emergence of a new
structure is
tantamount to
development.
Therefore, it may be
stated that contrast
is a perception of
structures/objects
connections, or
experience of
development. The
association of
contrast with
development brings a
new quality to the
understanding of many
other fundamental
concepts, such as
beauty, value,
creativity, emergence.
(Similarly, <i>contrast
as development </i>is
understood in
Whitehead’s
philosophy).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><span
style="color:
windowtext;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Contrast—Complexity
</span></b><span
style="color:
windowtext;"
lang="EN-GB">In
accordance with the
proposed definition,
when we consider the
contrast between two
or more
objects/structures, it
grows in intensity as
the number/strength of
differentiating and
common features of
contrasting
structures/objects
increases. Such an
understanding of
contrast remain an
intuitive criterion of
complexity that can be
formulated as follows:
<b>a system becomes
more complex the
greater is the
number of
distinguishable
elements and the
greater the number
of connections among
them</b><i>. </i>If
in definition of
contrast we substitute
“differentiating
features” for
“distinguishable
elements” and “common
features” for
“connections”, we will
be able to conclude
that <b>contrast is
the perception and
measure of
complexity.</b></span><span
lang="nl"></span></p>
<p style="text-indent:
35.4pt;line-height:
150.0%;"><span
style="color:
windowtext;"
lang="EN-GB">Note: Two
types of contrasts can
be distinguished: the
sensual (physical)
contrast, which is
determined only by the
force of features of
contrasting objects
and the mental
(abstract) contrast
which depends
primarily on the
number of these
features. (This
contrast can be
equated with
complexity). (The
equation of contrast
with complexity is an
important finding for
the investigations in:
cognitive sciences,
psychology, ontology,
epistemology,
aesthetics, axiology,
biology, information
theory, complexity
theory and indirectly
in physics).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><span
style="color:
windowtext;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Complexity—Information
Compression </span></b><span
style="color:
windowtext;"
lang="EN-GB">Intuition
says that the more
complex object with
the same number of
components (e.g.
words) has more
features/information
(i.e. more common and
differentiating
features), which
proves its better
organization (assuming
that all components
have the same or
similar complexity).
We can also say that
such an object has a
higher degree of
complexity. The degree
of complexity is in
other words the
brevity of the form or
the compression of
information.
Complexity understood
intuitively (as above)
depends, however, not
only on the complexity
degree (that could be
defined as the ratio
of the number of
features to the number
of components) but
also on the (total)
number of features,
because it is more
difficult to organize
a larger number of
elements/features. In
addition, the more
features (with the
same degree of
complexity), the
greater the contrast.
Therefore, in the
proposed <i>Abstract
Definition of
Complexity </i>(2011),
we multiply the degree
of complexity by the
number of features.
This definition
defines the complexity
(C) of the binary
structure (general
model of all
structures/objects) as
the quotient of the
square of features
(regularities/substructures)
number (N) to the
number of components
or the number of zeros
and ones (n). It is
expressed in a simple
formula: C = N²/n and
should be considered
the most general
definition of
complexity, among the
existing ones, which
also fulfils the
intuitive criterion.
(This relation
explains what
compression of
information in general
is and what role it
plays as a complexity
factor. This allows to
generalize the notion
of information
compression and use it
not only in computer
science, but also in
other fields of
knowledge, such as
aesthetics, axiology,
cognitive science,
biology, chemistry,
physics).</span><span
lang="nl"></span></p>
<p><b><span style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Information
compression—Development </span></b><span style="color: windowtext;"
lang="EN-GB">Our mind
perceiving objects
(receiving
information) more
compressed, saves
energy.
Compression/organization
of information reduce
energy of perception
while maintaining the
same amount of
information (in case
of lossless
compression). Thanks
to this, perception
becomes easier (more
economical) and more
enjoyable; for
example, it can be
compared to faster and
easier learning,
acquiring knowledge
(information), which
also contributes to
our development.
Compression of
information as a
degree of complexity
also affects its size.
Complexity, in turn,
is a measure of
contrast (and vice
versa). Contrast,
however, is identified
with development.
Hence, complexity is
also development. This
sequence of
associations is the
second way connecting
the compression of
information with
development.
Similarly, one can
trace all other
possibilities of
connections in the
diagram. (The
association of
information
compression with
development brings a
new, explanatory
knowledge to many
fields including
cognitive science,
aesthetics, axiology,
information theory).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Development—Value
</span></b><span
style="color:
windowtext;"
lang="EN-GB">Development
is the essence of
value, because all
values (ethical,
material,
intellectual, etc.)
contribute to our
development which is
their common feature.
It follows that value
is also a contrast,
complexity and
compression of
information because
they are synonymous
with development. (The
relation explains and
defines the notion of
value fundamental to
axiology).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><span
style="color:
windowtext;"
lang="EN-GB"> </span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Value—Abstract
Value </span></b><span
style="color:
windowtext;"
lang="EN-GB">About all
kinds of values (with
the exception of
aesthetic values) we
can say, what they are
useful for. Only
aesthetic values can
be said to serve the
development or be the
essence of values,
values in general or
abstract values. This
is a property of
abstract concepts to
express the general
idea of something
(e.g. the concept of a
chair includes all
kinds of chairs and
not a specific one).
It follows that <b>what
is specific to
aesthetic value is
that it is an
abstract value</b>
(although it is
difficult to imagine).
(This is a new
understanding of
aesthetic value,
crucial for aesthetics
and axiology).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Contrast—Being
</span></b><span
style="color:
windowtext;"
lang="EN-GB">Contrast
or interaction is a
concept prior to the
concept of being
because without
interaction there is
no existence. It
follows that the basic
component of being
must be two
objects/elements/components
(creating a contrast)
having common and
differentiating
features.
(Understanding of
being as a contrast is
fundamental to
ontology and
metaphysics and worth
considering in
physics).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Contrast—Cognition
</span></b><span
style="color:
windowtext;"
lang="EN-GB">The
object of cognition
and the subject (mind)
participate in the
cognitive process. The
object and the subject
have common and
differentiating
features, thus they
create a contrast.
Cognition consists in
attaching (through
common features)
differentiating
features of the object
by the subject. In
this way, through the
contrast, the subject
develops. It can
therefore be said that
cognition is a
contrast of the object
with the subject.
(This is a new
definition of
cognition important
for epistemology and
cognitive science).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Cognition—Subjectivity
</span></b><span
style="color:
windowtext;"
lang="EN-GB">The above
understanding of
cognition agrees all
disputable issues
(present, among
others, in psychology,
cognitive science and
aesthetics) regarding
the objectivity and
subjectivity of
assessments (e.g.
whether the source of
beauty is the
observer's mind,
whether it is a
specific quality from
the observer
independent), because
it shows that they
depend on both the
subject and the
object, i.e. depend on
their
relationship—contrast.</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Compression
of
information—Beauty </span></b><span
style="color:
windowtext;"
lang="EN-GB">Beautiful
are objects with high
information
compression (a large
degree of
complexity/organization).
Thanks to the
compression of
information,
perceiving beauty, we
save energy, the
perception becomes
more economical and
pleasant which favours
our development and is
therefore a value for
us. </span><span
lang="EN-GB">The
example is golden
division. </span><span
style="color:
windowtext;"
lang="EN-GB">Counting
features (information)
in all possible types
of divisions
(asymmetrical,
symmetrical and
golden) showed that
the golden division
contains the most
features/information
(an additional feature
is well known golden
proportion) and
therefore creates the
greatest contrast,
complexity and
aesthetic value.
(This explains the
previously unknown
reasons for aesthetic
preferences, key to
aesthetics, art
theory, psychology,
cognitive science and
neuroaesthetics).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Development—Beauty
</span></b><span
style="color:
windowtext;"
lang="EN-GB">Beauty
contributes to
development thanks to
the economy of
perception. Perception
of beauty is
accompanied by a sense
of development or ease
and pleasure of
perception. (This
explains the causes of
aesthetic
preferences).</span><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB"> </span></b><span
lang="nl"></span></p>
<p style="line-height:
150.0%;"><b><span
style="color:
windowtext;"
lang="EN-GB">Abstract
Value—Beauty, Art </span></b><span
style="color:
windowtext;"
lang="EN-GB">Only
beauty and art have no
specific value but
they express/have
value in general (an
abstract value). The
objects that make up a
work of art are not
important, but their
contrast-interaction,
which results from the
complexity of the
artwork. (If we see a
single object in the
gallery, then the art
is its contrast with
the context - as in
the case of Duchamp's
"Urinal" or Malevich's
"Black Square"). One
can say that beauty
and art are
distinguished
(defined) by two
elements: abstract
value and a large
contrast.(This is a
new and only
definition of
beauty/art that
indicates the
distinctive common
features of all
aesthetic/artistic
objects, it is crucial
for the theory of art,
aesthetics, axiology
and epistemology).</span><span
lang="nl"></span></p>
<p class="MsoNormal"><span
style="font-size:
12.0pt;" lang="nl"> </span><span
lang="nl"></span></p>
</blockquote>
<p><span lang="nl"> </span></p>
<p class="MsoNormal"><span
lang="nl"> </span></p>
</blockquote>
</div>
<p class="MsoNormal"><span
lang="nl"> </span></p>
<p class="MsoNormal"><span
lang="nl"> </span></p>
</div>
</blockquote>
<p><br>
</p>
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<pre cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
<a style="text-decoration: underline;color: blue;" moz-do-not-send="true">pedroc.marijuan@gmail.com</a><a style="text-decoration: underline;color: blue;" moz-do-not-send="true">pcmarijuan.iacs@aragon.es</a><a href="http://sites.google.com/site/pedrocmarijuan/" moz-do-not-send="true" class="moz-txt-link-freetext">http://sites.google.com/site/pedrocmarijuan/</a>
Editor special issue: Evolutionary dynamics of social systems
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