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<div class="moz-cite-prefix">Dear Markus,</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">Thank you for your interesting comments
and questions which I try to answer. I will first address the
comment about contrast which will also be a<br>
continuation of the answer to Pedro's question, the beginning of
which is on the bottom of this page.<br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">You've written:</div>
<div class="moz-cite-prefix">"CONTRASTS – I sense some reluctance in
the group to using 'contrasts' as a core term, which I tend to
agree with. I understand you (Mariusz) feel differently.
Initially, I liked this use of contrasts but the more I read and
reflected, I felt 'contrasts' holds TOO MUCH without allowing
adequate simplifying detail (from an information science
perspective). Historically, contrast has obvious ties to Bateson's
'a difference that makes a difference' and ties to entropy
(Shannon S-entropy, AND Boltzmann T-entropy). All can be seen as
'types of contrasts' (in addition to aesthetic contrasts) but they
also fail due to their own lack of needed specificity.<br>
Where my thoughts ended is that a generic sense of entropy
(G-entropy) might be used to suitably frame all cases, using
notions of 'adjacency' (S. Kauffmann) and 'remoteness' (chaos
theory) as degrees entropic freedom (as a universal, whether as
signal, thermal, or aesthetic) for a natural universal/generic
continuum. In some ways, Karl's note on using natural numbers also
seemed to head in this 'entropic direction', but by somewhat
different (less universal) means."</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">I finished my previous answer (below)
with the statement: <span style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><b style="mso-bidi-font-weight:normal">Thus, we can
also equate contrast with complexity.</b></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal"><br>
</span></span></div>
<div class="moz-cite-prefix"><span style="font-family:"Times
New Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-bidi-font-weight:normal">Here is
the continuattion which is the answer for above comment:</span></span><br>
</div>
<div class="moz-cite-prefix"><br>
<br>
</div>
<div class="moz-cite-prefix">
<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">The
essence of complexity and contrast is expressed by a binary
model consisting of
three eight-element binary structures: <b
style="mso-bidi-font-weight:normal">10010110,
10101010, 10100011</b>; each contains 4 ones and 4 zeros but
with a different
arrangement, which implies a different number of substructures
(or information)
that can be extracted in them – in the first structure – 8, in
the second – 1 and
in the third – 3.</span><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span><span style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Each
of these substructures contains common and differentiating
features which<span style="mso-spacerun:yes"> </span>create
contrast. For example, <span style="mso-spacerun:yes"> </span>in
the first structure, substructure – double elements
(double 0’s and double 1’s) create a contrast where the common
feature is
double-ness, while the differentiating feature is value (of 1
and 0).</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">This
simple model provides important conclusions:</span></p>
<p class="MsoListParagraphCxSpFirst"
style="text-align:justify;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:"Times
New
Roman","serif";mso-fareast-font-family:"Times
New Roman";
mso-ansi-language:EN-GB" lang="EN-GB"><span
style="mso-list:Ignore">1.<span style="font:7.0pt
"Times New Roman""> </span></span></span><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Among
structures with the same number of elements, the most complex
(creating the
greatest contrast) is the one that has the greatest number of
distinguishable
substructures (according to the definition of contrast and
complexity).</span></p>
<p class="MsoListParagraphCxSpMiddle"
style="text-align:justify;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:"Times
New
Roman","serif";mso-fareast-font-family:"Times
New Roman";
mso-ansi-language:EN-GB" lang="EN-GB"><span
style="mso-list:Ignore">2.<span style="font:7.0pt
"Times New Roman""> </span></span></span><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">In
a more complex structure the same amount of energy which here
is represented by
four ones (energy quanta) is needed to obtain more
information. The perception
of a complex structure is therefore more economical
(cost-effective) and thus
preferred. This is also where our aesthetic preferences and<span
style="mso-spacerun:yes"> </span>beauty come from. An
example is the golden
division which has more features/information than any other
division (the
additional feature is the well known golden proportion).</span></p>
<p class="MsoListParagraphCxSpMiddle"
style="text-align:justify;text-indent:-18.0pt;
mso-list:l0 level1 lfo1;background:white"><span
style="font-family:"Times New
Roman","serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-list:Ignore">3.<span
style="font:7.0pt "Times New Roman""> </span></span></span><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">The
energy-information relationship and the value of information
is explained here.
The model shows that more complex, organised and therefore
more valuable
information requires less perceptive energy.<span
style="mso-spacerun:yes">
</span>This kind of organisation can be defined as information
compression
because it saves energy. In the Abstract Complexity Definition
(I formulated in
2011), information compression, defined as the degree of
organization is one
factor of complexity and expressed by the number of
substructures (capital N),
divided by the number of elements, zeros and ones (lower case
n) – the another
factor is the size of compressed area</span><span
style="mso-ansi-language:
EN-GB" lang="EN-GB"> </span><span
style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB">(because it is more
difficult to compress larger area)
expressed by the number of substructures (N). So Abstract
Complexity Definition<span style="mso-spacerun:yes"> </span>defines
complexity</span><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span><span style="font-family:
"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">(C) as number of
substructures (N) to the power of two, divided by number of
zeros and ones (n).:</span></p>
<p class="MsoListParagraphCxSpLast"
style="text-align:justify;background:white"><span
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src="cid:part1.m7nQ4HbR.p0YpYhIw@wp.pl" width="154"
height="48"></span><span style="font-family:"Times New
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<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">This
formula directly refers to the binary structure and can be
applied to any
domain that can be formalized in digital form (e.g. music). It
also allows to
understand the essence of complexity and information
compression in the most
general (abstract) sense, and therefore apply to any structure
of reality in
the sense that it helps to find the way of information
compression and
complexity in any particular area. This makes it possible to
pursue complexity
more consciously (an example could be any text, where we try
to be most concise).
</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">I
would like to point out here that information compression is
common wherever
development in the broad sense of the term takes place. <b
style="mso-bidi-font-weight:
normal">We deal with it during perception, learning,
cognition and creativity. It
also is the objective cause of contrast, interaction,
complexity, development, our
preferences, pleasure, beauty, value and goodness.</b> </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">The
above understanding of information (as each distinguishable
substructure or a
form of energy) is structural and general, and can be applied
to all areas of
reality. The exception is the technical application of
information (e.g. in
telecommunication or computer science), where each information
must be
distinguished and identified unambiguously, to avoid confusion
in processing.
Therefore, Shannon's information is not related to a system,
but to the state
of a set, which is a combination of equally distinct elements.
Thus, we are not
dealing here with complex systems/structures of coherently
connected elements,
but with collections, which can also be classified as
structures, but with poor
coherence. <b style="mso-bidi-font-weight:normal">Shannon’s
information is
therefore a special case of structural information</b> and
in fact limited to
narrow technical area. Nevertheless, it is widely used beyond
the technical
context as a general and universal definition, together with
associated
algorithmic definition of complexity. Many misunderstandings
arise from this. </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">An
example could be the Algorithmic Complexity (a shortest
description length)
applied to the concept called Low-Complexity Art, by well
known computer
scientist—Jürgen Schmidhuber (1997), where he concludes that
the aesthetic
attractiveness of objects (e.g. Leonardo da Vinci artworks) is
inversely
proportional to their complexity. From our considerations it
appears exactly
the opposite – that greater contrast, value, art and beauty is
where complexity
is greater, that is, where receiving information we save more
energy.</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"> </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">Understanding
what complexity and organization is, also allows to understand
how highly
organized structures/objects such as living organisms are
created and what is
their evolution and development. <b
style="mso-bidi-font-weight:normal">Development
as well as contrast, complexity and compression of
information (that is, the
economy resulting from energy savings) can be identified
with the value in
general, hence with the value of information.</b><span
style="mso-spacerun:yes"> </span>In the above sense,
valuable information
should also include the so-called free energy. Let us see how
Seth Lloyd
explains it:</span></p>
<p class="MsoNormal"
style="margin-top:0cm;margin-right:1.0cm;margin-bottom:0cm;
margin-left:1.0cm;margin-bottom:.0001pt;text-align:justify"><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 laws of thermodynamics
guide the interplay between our two actors, energy and
information. To
experience another example of the first and second laws, take
a bite of an
apple. The sugars in the apple contain what is called free
energy. Free energy
is energy in a highly ordered form associated with a
relatively low amount of
entropy. In the case of the apple, the energy in sugar is
stored not in the
random jiggling of atoms but in the ordered chemical bonds
that hold sugar together.
It takes much less information to describe the form of energy
present in a
billion ordered chemical bonds than it does to describe that
same energy spread
among a billion jiggling atoms. The relatively small amount of
information
required to describe this energy makes it available for use:
that’s why it’s
called free. (Lloyd 2006).</span></p>
<p class="MsoNormal"
style="margin-top:0cm;margin-right:1.0cm;margin-bottom:0cm;
margin-left:1.0cm;margin-bottom:.0001pt;text-align:justify"><span
style="font-family:"Times New
Roman","serif";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">Therefore,
free energy is a "highly ordered form", which is exactly what
we have
defined as a more complex system/structure. The availability
of energy
contained in this system is explained by the small amount of
information needed
to describe it: <i style="mso-bidi-font-style:normal">The
relatively small
amount of information required to describe this energy makes
it available for
use: that’s why it’s called free</i>. On the one hand, the
above conclusion
seems logical: less information can be absorbed more quickly
(and therefore
easier) than more information. Let's check, however, if this
principle is
general and consider another example in which the description
of energy is also
shorter.</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">If
we take, for example, sand or polyethylene instead of sugar,
then here we also
deal with chemical compounds and not with the accidental
movement of atoms,
therefore the description of their energy requires less
information (it is
shorter). According to the above explanation, energy should
also be available
here for us. However, this does not happen, which contradicts
this explanation.
The above example shows the application inadequacy of the
algorithmic
information and complexity outside the technical context,
where the information
values are various and not determined only by their quantity
(an example is a
monkey writing a text more complex than Shakespeare’s novel).
What is important
is the value of information, not the length of its
description. Considered an
example of apple consumption, in the light of our
considerations, it can be
interpreted as follows: the availability of (free) energy
depends primarily on
a sufficiently large number/strength of features (information)
common to our
body (digestive system) and the product that we want to digest
(that is – a
given form of energy which we would like to join), hence from
the possibility
of contrast/interaction. This contrast (that is – a value of
the product
consumed) will be the greater the stronger will be the common
features of the
organism and the product (while maintaining the impact of
different
characteristics).</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"><br>
</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">Also,
the magnitude of contrast of the atomic system and not the
length of its
description is significant when comparing the set of
disordered atoms and the
chemical compound. Orderly atoms have more (stronger)
characteristics than
chaotic ones. Strengthening the impact of common features
while maintaining the
impact of differentiating features is associated with
increased contrast and
complexity. Important differentiating features here, are
isolated (different)
atoms that do not cease to be separated after strengthening
common features. On
the other hand, irrelevant (less distinctive) differences in
the random motion
of atoms disappear. Thus, chemical compounds are characterized
by greater
complexity, that is, higher value of information contained in
them than the
value (of a larger number) of information contained in
disordered atoms.</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">A
similar example is the complexity of the crystal in relation
to the disordered
state (gas). A well-known concept states that “complexity is
situated between
order and disorder, or, using a recently fashionable
expression, "on the
edge of chaos". (Heylighen 1999: 3). According to ACD the
highest
complexity and contrast (because of strong connections) is in
crystal. </span><span style="mso-ansi-language:EN-GB"
lang="EN-GB"><span style="mso-spacerun:yes"> </span></span></p>
<p class="MsoNormal" style="text-align:justify;text-indent:18.0pt"><b
style="mso-bidi-font-weight:normal"><span
style="font-family:"Times New
Roman","serif";
mso-ansi-language:EN-GB" lang="EN-GB"> </span></b></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">Let’s
see some other examples.</span></p>
<p class="MsoNormal" style="text-align:justify"><span
style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">Another
example, in which the logical depth functions as a
confirmation of the
complexity of the system, are the fractal patterns that make
up e.g.
snowflakes, shoreline, or cellular automata. A special
supporter of such
confirmation is Stephen Wolfram fascinated by the beauty and
“complexity” of
these patterns, as expressed in his book New Kind of Science
(Wolfram, 2002).
The complexity of fractal patterns, as well as their aesthetic
value, is not
confirmed. Judging by the absence of such patterns in art,
their aesthetic
value (and therefore complexity) is not among the highest.</span><span
style="mso-ansi-language:EN-GB" lang="EN-GB"> </span></p>
<p class="MsoNormal" style="text-align:justify"><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">There
are also conflicting views on the subject of
energy-information relations to
this day. Some theorists believe that information can be
identified with
energy, others think in the opposite way. E.g. Carl, Friedrich
von Weizsäcker
in his book The Unity of Nature (Weizsäcker, 1978) states the
identity of form
and matter and measuring them - information (measuring the
amount of form) and
mass (measuring the amount of matter). This understanding,
however, is valid
only for information understood (as defined by Shannon) as an
element of the
collection (states of a system), that is, where every
information corresponds
to a single, specific portion of energy—needed for recording
or transmission of
information (the code structure of the information is not
taken here into
account), but it is not right where (distinguishing) elements
form a coherent
organized wholes (as a result of relationships with other
elements). Here the
energy of recording and transmission of information is
identified with the
energy contained in the structure of a given information
(number of ones) and
may be different for different information. <b
style="mso-bidi-font-weight:
normal">In such well-organized objects/structures (e.g. such
as the brain)
thanks to information compression and the associated energy
savings, the amount
of information per unit of energy is greater than in less
complex/organized
objects.</b></span><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">Energy
is necessary for the existence and transmission of information
(matter/energy,
speaking Aristotelian is the possibility of form). No form
exists without
energy—hence the view of some theoreticians (Weizsäcker) that
information
identifies with energy), but not all information requires the
same amount of
energy—hence the view of some theoreticians (Wiener) that
information is not
energy.</span><span style="mso-ansi-language:EN-GB"
lang="EN-GB"> </span><span style="font-family:"Times New
Roman","serif";mso-ansi-language:EN-GB"
lang="EN-GB">These
two views are reconciled by the concept of energy savings in
information
compression.</span><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">The
concept of information compression is not currently used
outside of a technical
context. Nor is the principle of energy saving in objects with
higher complexity
taken into account. However this principle clarifies and
integrates fundamental
questions such as: <b style="mso-bidi-font-weight:normal">contrast/interaction,
art, beauty, creation, development, value, consciousness,
emergence, complexity,
information, Artificial Intelligence creativity and
self-awareness, universe
construction</b> <b style="mso-bidi-font-weight:normal">and
being</b>, and
introduces a new quality to our knowledge. </span><span
style="mso-ansi-language:EN-GB" lang="EN-GB"></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"><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"><br>
</div>
<div class="moz-cite-prefix"><br>
</div>
<div class="moz-cite-prefix">W dniu 2022-04-28 o 08:59, Mariusz
Stanowski pisze:<br>
</div>
<blockquote type="cite"
cite="mid:07c511df-a4bf-8979-4d60-52f6320b1f17@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">
<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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<span style="mso-ansi-language:EN-GB" lang="EN-GB"> </span>
<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"><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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<pre class="moz-quote-pre" wrap="">_______________________________________________
Fis mailing list
<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>
<a class="moz-txt-link-freetext" href="http://listas.unizar.es/cgi-bin/mailman/listinfo/fis" moz-do-not-send="true">http://listas.unizar.es/cgi-bin/mailman/listinfo/fis</a>
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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" moz-do-not-send="true">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" moz-do-not-send="true">http://listas.unizar.es</a>
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