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<p class="MsoNormal"><span style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">Pedro has written:</span></p>
<p class="MsoNormal"><span style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
<p class="MsoNormal" style="margin-left:1.0cm"><span
style="font-size:
11.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:"Times
New Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">Beyond philosophical
nuances, one of the most
intriguing aspects of art would concern its relationship with
the intellectual
& cultural ethos of each epoch.</span></p>
<p class="MsoNormal" style="margin-left:1.0cm"><span
style="font-size:
11.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:"Times
New Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">Art, stemming from inner
drives of almost unfathomable
origins, seems to provide a compensation for some of the
absences in the daily
life of citizens (a mostly urban phenomenon).</span></p>
<p class="MsoNormal" style="margin-left:1.0cm"><span
style="font-size:
11.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:"Times
New Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">The observer, or
listener, gets some of the
intellective/emotional contents emitted by the art producer,
and that's
satisfying for the permanent search for novelty that
characterizes our species
in civilized life regimes.</span></p>
<p class="MsoNormal" style="margin-left:1.0cm"><span
style="font-size:
11.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:"Times
New Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">Your polysemic use of
"contrast" is well
adapted to discuss the above, I think, both in the art object
and in the
receiver whole appreciation.</span></p>
<p class="MsoNormal" style="margin-left:1.0cm"><span
style="font-size:
11.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:"Times
New Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
<p class="MsoNormal"><span style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">Since the answer to
Pedro's question is not easy, I
will divide it into several steps. First, I will try to
introduce a deeper
understanding of the concept of contrast.</span></p>
<p class="MsoNormal" style="text-indent:35.4pt"><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Contrast
understood as interaction of common and different features of
objects goes far
beyond its current understanding - as a contradiction or a big
difference.
Contradiction and difference take into account only extremes
of one feature,
e.g. hot-cold, dark-bright, big-small, which falsifies the
image of reality
(because there are no objects having only one feature) and
makes these concepts
completely useless as tools of analysis.</span></p>
<p class="MsoNormal" style="text-indent:35.4pt"><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Contrast
understood as tension also takes into account interaction of
all features of
objects, also qualitatively different, e.g. direction and
colour or size and
shape can create contrast (tension). It is currently believed
that these
features, e.g. size and colour, are incomparable, do not have
a common
connecting element and therefore do not create contrast.
However, the truth is
that all objects known to us have more features through which
they connect to
other objects of reality (because they are no isolated) which
should also be
taken into account. In a contrast that takes into account more
features, the
connecting role is played by other features (in common) of the
contrasting
objects. In Figure 1a the connecting role of "shape"
(triangle) and
"size" (big circle) is played by the feature of <span
style="mso-spacerun:yes"> </span>their "isolation" (standing
out from
the background), in Figure 1b the connecting role of
“direction” (inclined
rectangle) and “colour” (darker rectangle) is played by the
features of their shape
and size.</span><span style="mso-ansi-language:EN-GB"
lang="EN-GB"></span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-spacerun:yes">
</span><span style="mso-spacerun:yes"> </span><span
style="mso-spacerun:yes"> </span><span
style="mso-spacerun:yes"> </span></span><b
style="mso-bidi-font-weight:
normal"><span style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">a<span
style="mso-spacerun:yes"> </span><span
style="mso-spacerun:yes"> </span><span
style="mso-spacerun:yes"> </span><span
style="mso-spacerun:yes"> </span>b<span
style="mso-spacerun:yes"> </span></span></b></p>
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<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
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<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:
"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"> </span></b></p>
<br style="mso-ignore:vglayout" clear="ALL">
<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;mso-bidi-font-size:12.0pt;line-height:150%;font-family:
"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Figure 1</span></b><span
style="font-size:10.0pt;mso-bidi-font-size:12.0pt;line-height:150%;
font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">. In Figure 1a,
the connecting role of "shape" and "size" is played by the
feature of "isolation", in Figure 1b the connecting role of
“direction” and “colour” is played by the features of shape
and size.</span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18.0pt"><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Contrast,
understood in this way, is linked to other fundamental issues
e.g. <b style="mso-bidi-font-weight:normal">development.</b>
The common features unite
the contrasting objects into a new structure possessing the
features of those
objects, so contrast can be identified with development. A
similar general view
one can find in Whitehead’s cosmology (Whitehead 1978). </span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18.0pt"><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Another
important association is with the intuitive criterion of
complexity, which is
formulated as follows: <b style="mso-bidi-font-weight:normal">the
complexity of
an object/structure is greater the more elements can be
distinguished in it and
the more connections there are between them</b> (Heylighen
1999). If we replace
"connections" with "common features" and
"distinguishable elements" with "differentiating features",
we get a definition of contrast. <b
style="mso-bidi-font-weight:normal">Thus, we
can also equate contrast with complexity. </b></span></p>
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<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Best regards</div>
<div class="moz-cite-prefix">Mariusz</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-26 o 14:20, Pedro C.
Marijuan pisze:<br>
</div>
<blockquote type="cite"
cite="mid:5087988b-6bc4-8326-7824-a6c0805964ea@aragon.es">
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
<div class="moz-cite-prefix">Dear Mariusz,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Beyond philosophical nuances, one of
the most intriguing aspects of art would concern its
relationship with the intellectual & cultural ethos of each
epoch.</div>
<div class="moz-cite-prefix">Art, stemming from inner drives of
almost unfathomable origins, seems to provide a compensation for
some of the absences in the daily life of citizens (a mostly
urban phenomenon).</div>
<div class="moz-cite-prefix">The observer, or listener, gets some
of the intellective/emotional contents emitted by the art
producer, and that's satisfying for the permanent search for
novelty that characterizes our species in civilized life
regimes.</div>
<div class="moz-cite-prefix">Your polysemic use of "contrast" is
well adapted to discuss the above, I think, both in the art
object and in the receiver whole appreciation. <br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">The curious point is that the
historical evolution of art becomes a fascinating mirror of
social evolution itself. Thinking on Western art (classic,
medieval, renaissance, neoclassic, modern...), how contents and
styles have been evolved with the mentality of each epoch....
Reminding about "media", It would echo what McLuhan was saying
about means of communication: every new media alters the psychic
equilibrium and forces a mental readaptation of the individual
within the whole communication mosaic. <br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Coming to our times, How far could go
the present "deconstruction" of art, seemingly reduced to
presentation of brute "novelty"?</div>
<div class="moz-cite-prefix"> Is there a way back to art contents
satisfying the appetite for intellective/emotional contents?</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">To complicate things for the worse,
some portions of "public art" seem to have been swallowed by the
superultimate "cancelation culture".</div>
<div class="moz-cite-prefix">Is there anything left uncensored of
the cultural & artistic past? <br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">I will appreciate your comments &
opinions --and of the list colleagues,</div>
<div class="moz-cite-prefix">Best--Pedro<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">El 26/04/2022 a las 9:41, Mariusz
Stanowski escribió:<br>
</div>
<blockquote type="cite"
cite="mid:3a8303db-4fc4-e751-d76d-c0b8cebf94df@wp.pl">
<meta http-equiv="Content-Type" content="text/html;
charset=UTF-8">
<div class="moz-cite-prefix"><br>
</div>
<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 moz-txt-link-freetext"
href="mailto:joe.brenner@bluewin.ch" moz-do-not-send="true">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
moz-txt-link-freetext"
href="mailto:stanowskimariusz@wp.pl"
moz-do-not-send="true">stanowskimariusz@wp.pl</a><br>
Date : 24/04/2022 - 10:52 (CEST)<br>
À : <a class="moz-txt-link-abbreviated
moz-txt-link-freetext"
href="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>
<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>
<br>
</blockquote>
</div>
</blockquote>
</blockquote>
<p><br>
</p>
<pre class="moz-signature" cols="72">--
-----------------------------------------------------------
Pedro C. Marijuán
Grupo de Bioinformación / Bioinformation Group
<a class="moz-txt-link-abbreviated moz-txt-link-freetext" href="mailto:pedroc.marijuan@gmail.com" moz-do-not-send="true">pedroc.marijuan@gmail.com</a>
<a class="moz-txt-link-abbreviated moz-txt-link-freetext" href="mailto:pcmarijuan.iacs@aragon.es" moz-do-not-send="true">pcmarijuan.iacs@aragon.es</a>
<a class="moz-txt-link-freetext" href="http://sites.google.com/site/pedrocmarijuan/" moz-do-not-send="true">http://sites.google.com/site/pedrocmarijuan/</a>
Editor special issue: Evolutionary dynamics of social systems
<a class="moz-txt-link-freetext" href="https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V" moz-do-not-send="true">https://www.sciencedirect.com/journal/biosystems/special-issue/107DGX9V85V</a>
-----------------------------------------------------------</pre>
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