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<div class="moz-cite-prefix"><font size="4">Dear Joseph,</font></div>
<div class="moz-cite-prefix"><font size="4"><br>
</font></div>
<div class="moz-cite-prefix"><font size="4">Thank you for your
clarification, however I was only referring to Cartesian
dualism. <br>
</font></div>
<div class="moz-cite-prefix"><font size="4">You also write that "the
best art is neither totally realistic or abstract but has
features of both".</font></div>
<div class="moz-cite-prefix"><font size="4"> My understanding is
that there is no absolutely abstract or realistic art at all. In
the history of <br>
</font></div>
<div class="moz-cite-prefix"><font size="4">art we had both realism
(Courbet) and abstractionism (Kandinsky).<br>
</font></div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><font size="4">Best regards</font></div>
<div class="moz-cite-prefix"><font size="4">Mariusz<br>
</font></div>
<div class="moz-cite-prefix"><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 16:06,
<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:1458863608.14747.1650809200288@bluewin.ch">
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
<font size="3">Dear Mariusz,</font>
<div><font size="3"><br>
</font></div>
<div><font size="3">Please let me try this first rapid response,
without re-presenting my entire approach. I understand your
desire to avoid dualism, but dualism is a part of physics, of
our world. There is thus "bad" dualism, which brings in
invidious distinctions and separations. "Good" dualism
recognizes the fundamental difference between what is
(primarily) actual and (primarily) potential, as well as the
movement from one to the other, and between many other real
pairs.</font></div>
<div><font size="3"><br>
</font></div>
<div><font size="3">In my logic, ontological and epistemological
entities are in any event not totally distinct, but <i>some</i>
share <i>some</i> of one another's properties, as do parts
and wholes and so on, without conflation.</font></div>
<div><font size="3"><br>
</font></div>
<div><font size="3">The dualism of electrostatic charge and
magnetic polarity are real and influence the way we exist and
feel neurologically, and cognitively. Another example is what
is called colloquially "up" and "down" nuclear spin, and there
is some thought that some sub-atomic particles are self-dual.
I have even suggested that a form of self-duality may exist at
cognitive levels of reality. </font></div>
<div><br>
</div>
<div><font size="3">As I stated above, the best art is neither
totally realistic or abstract but has features of both.
Perhaps the best strategy is to keep an open mind on the
subject or perhaps, like some sets, a closed-open (clopen)
mind.</font></div>
<div><font size="3"><br>
</font></div>
<div><font size="3">Best,</font></div>
<div><font size="3">Joseph<br>
</font>
<blockquote style="margin-right: 0px; margin-left:15px;">----Message
d'origine----<br>
De : <a class="moz-txt-link-abbreviated" href="mailto:stanowskimariusz@wp.pl">stanowskimariusz@wp.pl</a><br>
Date : 24/04/2022 - 10:52 (CEST)<br>
À : <a class="moz-txt-link-abbreviated" href="mailto:fis@listas.unizar.es">fis@listas.unizar.es</a><br>
Objet : Re: [Fis] Book Presentation. The Interpersonal domain<br>
<br>
<div class="moz-cite-prefix"> Dear Joseph,
</div>
<div class="moz-cite-prefix"> <br>
</div>
<div class="moz-cite-prefix"> You've written: "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" style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('mailto:joe.brenner@bluewin.ch');"
moz-do-not-send="true">joe.brenner@bluewin.ch</a> pisze: <br>
</div>
<blockquote type="cite">
<p class="MsoNormal"><span style="font-size:
12.0pt;line-height: 107.0%;font-family: "Times New
Roman" , serif;">Dear Friends</span></p>
<p class="MsoNormal"><span style="font-size:
12.0pt;line-height: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;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: 107.0%;font-family: "Times New
Roman" , serif;">Joseph <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:
12.0pt;line-height: 107.0%;font-family: "Times New
Roman" , serif;"> </span></p>
<blockquote style="margin-right: 0.0px;margin-left: 15.0px;">
----Message d'origine---- <br>
De : <a class="moz-txt-link-abbreviated"
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 : 22/04/2022 - 08:05 (CEST) <br>
À : <a class="moz-txt-link-abbreviated"
style="cursor:pointer; text-decoration:underline;
color:blue"
onclick="javascript:handleMailto('mailto:joe.brenner@bluewin.ch');"
moz-do-not-send="true">joe.brenner@bluewin.ch</a>, <a
class="moz-txt-link-abbreviated" style="cursor:pointer;
text-decoration:underline; color:blue"
onclick="javascript:handleMailto('mailto:r.karl.javorszky@gmail.com');"
moz-do-not-send="true">r.karl.javorszky@gmail.com</a>, <a
class="moz-txt-link-abbreviated" 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. 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;" 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;" moz-do-not-send="true">karl.javorszky@gmail.com</a>,
<a style="cursor: pointer;text-decoration:
underline;color: blue;" 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;">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;">(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>
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<br>
<blockquote type="cite" class="cite2">
<div dir="ltr">
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><br>
</p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><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;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;">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;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><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;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><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;">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;"><span> </span></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;">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;"><i><span> </span></i></p>
<p class="MsoNormal" style="margin: 0.0cm
0.0cm 8.0pt;font-size: 12.0pt;"><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;"><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
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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;"><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> 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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INFORMACIÓN SOBRE PROTECCIÓN DE DATOS DE CARÁCTER PERSONAL
Ud. recibe este correo por pertenecer a una lista de correo gestionada por la Universidad de Zaragoza.
Puede encontrar toda la información sobre como tratamos sus datos en el siguiente enlace: <a class="moz-txt-link-freetext" href="https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas">https://sicuz.unizar.es/informacion-sobre-proteccion-de-datos-de-caracter-personal-en-listas</a>
Recuerde que si está suscrito a una lista voluntaria Ud. puede darse de baja desde la propia aplicación en el momento en que lo desee.
<a class="moz-txt-link-freetext" href="http://listas.unizar.es">http://listas.unizar.es</a>
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