<div dir="ltr"><div style="margin-top:0.5em;margin-bottom:0.5em">Dear Krassimir,</div><div style="margin-top:0.5em;margin-bottom:0.5em">I am overwhelmed by your contribution, thank you really very much. I see that some of yourprevious works have already dealt with art (digital art, paintings), and I think that you not only deeply understood my vectorial model and the role of its vectors' triadic interaction, but you added a complete new article in your letter. General Information Theory was not in my mind when I set up my 3D model of art, but it seems that you could apply it to this field by adding new approaches. You probably saw Kate's letter with that picture produced with the help of AI. What do you think of it? I think AI could not "understand" the point and role of the "spark", and "animal behaviour" was also put as a "lower zone" into the space of the triadic interaction.</div><div style="margin-top:0.5em;margin-bottom:0.5em"><br></div><div style="margin-top:0.5em;margin-bottom:0.5em">Dear Kate, </div><div style="margin-top:0.5em;margin-bottom:0.5em">What do you think of that AI-generated model? It is undoubtedly fancy :-) But I have some differences in my original image of this model. The 3D vectors are clear, I think. Nevertheless, in my mind, I would try to set up a fourth dimension (the "spark") to extend it into a 4D cube - a cube in a 4D space, where "the spark" would be this fourth vector (co-ordinate). This spark should be more adequately explained in my next article, and you gave many inspiring apsects, especially with thinking more on the role and nature of emotions, but Krassimir was very right to underline the importance of "metaphorical thinking" from my paper. That is rather a cognitive ability than emotional - but I think cognitive functions can also have at least a broader comprehension that also includes emotions. As I suppose (correct me if I am wrong) that emotions are also brain processes (even if their localization is not obvious), consequently, they are part of the cognitive activity. I understand that you stressed that cognition is different from emotions, but there is a common denominator, which is the activity of the cortex in both cases - thus, they are all cognitive in nature.</div><div style="margin-top:0.5em;margin-bottom:0.5em"><br></div><div style="margin-top:0.5em;margin-bottom:0.5em">Pedro,</div><div style="margin-top:0.5em;margin-bottom:0.5em">Would you please add some comments on how the Locus of Broca relates to emotions? Do you also divide emotions from cognitive functions?</div><div style="margin-top:0.5em;margin-bottom:0.5em">Cheers,</div><div style="margin-top:0.5em;margin-bottom:0.5em"> Laszlo </div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">Krassimir Markov <<a href="mailto:itheaiss@gmail.com" target="_blank">itheaiss@gmail.com</a>> ezt írta (időpont: 2026. jan. 12., H, 2:03):<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Dear László,</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">I hope this
message finds you well. I recently had the pleasure of reading your article
"Toward a Multidimensional Definition of Art from the Perspective of
Cognitive Sciences" (Csáji, 2026), and I wanted to express my deep
appreciation for your work.</span> <span style="font-size:12pt;font-family:"Times New Roman","serif"">I do not usually write long letters, but your article left a remarkably
deep impression on me and genuinely moved my curiosity. This is why I have
taken the liberty of writing to you at greater length than I normally would.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Your
three-dimensional vectorial model—creativity, communication, and
experience—offers a genuinely refreshing and cognitively grounded approach to
understanding art. I particularly appreciate how you avoid binary
classifications and Eurocentric aesthetic biases, instead proposing a universal
framework that can accommodate diverse cultural expressions. The case studies
you present (from Nepal, Bali, Sami culture, Japan, and beyond) beautifully
illustrate the heterogeneity of artistic phenomena while maintaining
theoretical coherence.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">The concept
of the "spark" as an activation threshold that moves something from
the zero point into the space of art (Csáji, 2026, p. 15) is especially
intriguing from a cognitive perspective. It resonates well with prototype
theory (Rosch & Lloyd, 1978) and the principle of family resemblance,
acknowledging that art lacks a single defining essence. Your integration of
cognitive anthropology (D'Andrade, 1995; Sperber, 1996; Tomasello, 1999),
cognitive semantics (Lakoff & Johnson, 1980), and neuroaesthetics
(Ramachandran & Hirstein, 1999; Seeley, 2020) creates a truly
multidisciplinary framework.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">1. A
Systemic Consideration: The Triadic Structure of Information Interaction</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">While
reflecting on your model, I found myself considering the systemic nature of
artistic phenomena through the lens of the General Information Theory (GIT)
(Markov et al, 2007). In this framework, information interaction is
fundamentally defined as a triadic structure: </span></p>
<p class="MsoNormal" style="margin:0cm 0cm 10pt 36pt;line-height:normal;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Donor (source/creator) - <br>
Object (message/medium/artwork) - <br>
Receiver (destination/audience)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">. <b></b></span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Crucially,
this theory treats information not as an external entity but as a purely
subjective phenomenon and exists in reality only as knowledge (externalized
mental structures) or as data (not recognized reflections in reality). The term
"information" itself is convenient shorthand to avoid constantly
specifying whether we refer to data or knowledge.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This
perspective aligns remarkably well with your cognitive approach. As you note,
"words and artifacts call forth fragments of knowledge, emotions, and
memories, stimulated by the actual situation, and thus, exist only in human
minds" (Csáji, 2026, p. 3, referencing Fillmore's frame semantics). Art,
from this viewpoint, is not the physical object itself but the cognitive
processes it triggers—the externalized mental structures (knowledge in reality
through the artwork) become recognized and internalized through the receiver's
cognitive engagement, while remaining data (unrecognized reflections) for those
who do not engage with them.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This builds
on your observation that "perceiving art also requires creativity and a
sense of communication" (Csáji, 2026, p. 16) and extends the notion of art
as agency (Gell, 1998) and distributed cognition (Hutchins, 1991; White, 1995).
The triadic structure is not merely a convenient model but reflects the
fundamental nature of how mental structures are externalized into reality (by
the Donor), persist as knowledge or data (in the Object), and are recognized
and internalized (by the Receiver).</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Your three
vectors might thus be understood as the specifically <i>artistic</i> modalities
of this cognitive transformation:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Creativity</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: the process of externalizing
mental structures into reality in novel or refined ways</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Communication</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: the encoding/decoding of
these structures through the artwork as medium</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Experience</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: the recognition and
subjective internalization of these structures</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This led me
to consider various configurations of the triadic system:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">(0,0,0)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Complete absence of art—the
zero point you identify; no information interaction occurs</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">(0,1,1)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Object + Receiver without
original Donor (e.g., natural forms reinterpreted as ready-made art, as in
your Case 6 with Dušan Palenčar's "pregnant tree"; or ancient
anonymous works where the creator is historically absent). Here, the
Receiver projects mental structures onto what were merely unrecognized
reflections in reality (data), transforming them into knowledge through
recognition.</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">(1,0,1)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Donor + Receiver without
persistent Object (ephemeral performances, as in your Case 2 with Kechak
dance; or improvisations where the externalized structures are immediately
recognized without persisting as observable reflections)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">(1,1,0)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Donor + Object without
Receiver (unpublished/unseen works—latent art, as in your Case 5 before
you discovered the homeless artist's work; mental structures externalized
into reality but remaining as data, not yet recognized by any receiver)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">(1,1,1)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Full artistic system
(classical case, as in your Case 4 with Hokusai's widely recognized
masterpieces; complete cycle of externalization-persistence-recognition)</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Each
configuration reveals different cognitive processes and raises interesting
questions about when and how art "exists" as an informational
phenomenon. Your own fieldwork provides excellent examples: in Case 5,
initially the system operated as (1,1,0) until your discovery transformed it
into (1,1,1). The artist himself stated he "could not imagine attracting
anyone" with his work (Csáji, 2026, p. 8), suggesting he didn't initially
conceive of it within a complete communicative system—his externalized mental
structures remained as unrecognized reflections in reality (data) without being
transformed into knowledge by others. Similarly, in Case 1 (Dibhi Kami and Dor
Bahadur Buramagar), the art began as (1,0,1)—ephemeral call-and-response
performance where mental structures were directly externalized and recognized
through transient sound—before being documented and reaching wider audiences.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">The (1,0,1)
configuration is particularly interesting from the information-theoretic
perspective: it suggests that art can exist as <i>direct recognition and
transformation of externalized mental structures</i> through transient carriers
(sound waves, light, movement) without necessarily persisting as observable
data objects.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">2. Temporal
Dynamics</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This triadic
view also introduces a temporal dimension that your vectorial model could
potentially incorporate. As you note, "we have no evidence that making and
enjoying art have been based on unchanging brain processes" (Csáji, 2026,
p. 4), suggesting evolutionary and historical change. At the individual artwork
level, art seems to evolve through temporal states:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">T1</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> (creation moment): Donor
externalizing mental structures into reality, Object emerging as
knowledge/data, Receiver absent</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">T2</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> (reception moment): Donor
possibly absent, Object persists (as knowledge or data depending on
recognition), Receiver recognizing and internalizing</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">T3</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> (oblivion): All elements
return to zero—physical reflections decay, knowledge is forgotten</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Different
cognitive processes may be dominant at each stage, which could help explain the
varied brain activation patterns observed in neuroscientific studies of art (Chatterjee,
2011; Ishizu & Zekir, 2011).</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">3. The
Question of Animal Art: Where is the "Spark"?</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Your
discussion of the "spark" as uniquely human raises a fascinating
question that you acknowledge: "Anyone who has a dog surely recognizes
that even animals are capable of creative problem-solving and communication
that causes emotions in humans" (Csáji, 2026, p. 15). This leads me to
wonder about the boundaries of art in the animal kingdom.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Consider
several intriguing cases:</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">3.1. Avian
vocal performance</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Many
songbirds (such as nightingales, lyrebirds, and mockingbirds) engage in
elaborate vocal displays that go far beyond simple mating calls (Catchpole
& Slater, 2008; Marler & Slabbekoorn, 2004). They exhibit:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Creativity</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Individual variation,
improvisation, and cultural transmission of song dialects</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Communication</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Clear signaling function, but
with aesthetic elaboration beyond minimal effectiveness</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Experience</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Evidence of pleasure centers
activating during song production (Riters, 2012)</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Does this
constitute art, or merely elaborate signaling? The triadic structure exists
(singer-song-listener), and all three vectors appear to be non-zero. From the
information-theoretic perspective, do birds externalize and recognize mental
structures in ways qualitatively similar to humans, or is their processing
fundamentally different?</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">3.2.
Courtship displays</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: The dances
of cranes, swans, and bowerbirds involve:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Creativity</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Individual variation in
display quality; bowerbirds even decorate their bowers with colored
objects (Borgia, 1985; Endler et al., 2010)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Communication</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Clear purpose, but with
aesthetic judgment by females who select mates based on display quality</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Experience</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Both performer and observer
are engaged; unsuccessful males modify their displays, suggesting
experiential learning</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Bowerbirds,
in particular, appear to externalize mental structures (their aesthetic
preferences) into physical arrangements (bower decorations) that are then
evaluated by others—a remarkable parallel to human artistic behavior.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">3.3.
Cetacean songs</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Humpback
whales produce complex, evolving songs that change over seasons and spread
through populations culturally (Payne & Payne, 1985; Garland et al., 2011).
These shows:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Creativity</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Novel phrases appear and
propagate</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Communication</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Function unclear (not simple
mating calls)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Experience</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: Whales appear to attend to
each other's songs</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">The cultural
transmission of whale songs suggests a degree of externalization and
recognition of mental structures across individuals and time.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">3.4.
Elephant painting</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif"">: While
controversial (some argue it's trained behavior), elephants in captivity
spontaneously manipulate paint on canvas with apparent intentionality and
individual styles, which you note as important (Csáji, 2026).</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Your
criterion of the "spark" as involving metaphorical thinking (Lakoff
& Johnson, 1980) might be the key distinction. As you note, "the
ability to use and understand metaphor...demonstrates everyday human artistic
cognition" (Csáji, 2026, p. 1). There is limited evidence for metaphorical
cognition in great apes (Tanner & Byrne, 1996), but whether this extends to
aesthetic domains remains unclear.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">From the
information-theoretic perspective, the question becomes: Can animals engage in
the <i>metacognitive framing</i> of their externalizations as
"artistic"? Do they possess the mental structures necessary to
categorize certain behaviors as belonging to a special domain beyond purely
functional communication? Your model's focus on the "spark" as a
threshold suggests this metacognitive awareness might be the distinguishing
feature.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Alternatively,
if we accept your vectorial model as gradient rather than binary, perhaps some
animal behaviors occupy the low end of the artistic spectrum—say (0.3, 0.5,
0.4)—above zero but below the threshold we typically recognize as
"art." This would align with your observation that "art as a
cognitive process, does not inevitably depend on such aesthetic criteria (like
beauty, asymmetry-seeking, etc.)" (Csáji, 2026, p. 14).</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">The question
becomes: Is the "spark" a uniquely human metacognitive capacity (the
ability to frame an activity as "artistic"), or does it exist on a
continuum where some animals achieve rudimentary forms? Your model's
flexibility could accommodate either interpretation, but clarifying this
boundary might strengthen the framework's universality claims while respecting
the specifically human dimension you emphasize.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">4. Mathematical
Formalization and Systemic Mapping</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">One
additional observation: your vectorial model lends itself naturally to
mathematical formalization as a unit cube [0,1]³, which addresses a potential
limitation in the unbounded vector representation. Each artistic phenomenon can
be represented as a point A = (c, m, e) with bounded coordinates corresponding
to the three dimensions.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Moreover,
there appears to be a natural mapping between your three vectors and the
triadic information interaction structure:</span></p>
<ul type="disc" style="margin-bottom:0cm">
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Creativity (c)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> ↔ <b>Donor</b> (the source,
externalizing mental structures into reality)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Communication (m)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> ↔ <b>Object</b> (the
medium/artwork, carrying knowledge or remaining as data)</span></li>
<li class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><b><span style="font-size:12pt;font-family:"Times New Roman","serif"">Experience (e)</span></b><span style="font-size:12pt;font-family:"Times New Roman","serif""> ↔ <b>Receiver</b> (the
destination, recognizing and internalizing)</span></li>
</ul>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This
correspondence suggests that within the unit cube framework, we can model the
entire human information interaction system. The bounded [0,1] range for each
dimension captures the finite, subjective nature of information as it
transitions between mental structures and their reflections in reality (Markov,
2007), avoiding the conceptual issues of infinite vectors. A complete artistic
system would require all three coordinates to be non-zero: c > 0 </span><span style="font-size:12pt;font-family:"Cambria Math","serif"">∧</span><span style="font-size:12pt;font-family:"Times New Roman","serif""> m > 0 </span><span style="font-size:12pt;font-family:"Cambria Math","serif"">∧</span><span style="font-size:12pt;font-family:"Times New Roman","serif""> e > 0,
formally expressing your insight that art emerges from the triadic interaction.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">This
formalization would enable the application of fuzzy logic operators (such as
t-norms) to rigorously define the "spark" threshold and measure
artistic intensity as μ_art(A) = T(c, m, e), where T represents a triangular
norm capturing the interdependence of the three elements. Different system
configurations—(0,1,1), (1,0,1), (1,1,0)—can be precisely analyzed, and
temporal dynamics A(t) can be modeled as trajectories through the unit cube.</span></p>
<p class="MsoNormal" style="line-height:normal;margin:0cm 0cm 10pt;font-size:11pt;font-family:Calibri,"sans-serif""><span style="font-size:12pt;font-family:"Times New Roman","serif"">Such
mathematical apparatus could facilitate comparative studies, computational
modeling of artistic cognition, and more rigorous hypothesis testing within the
cognitive neuroscience of art. I believe this direction could strengthen the
model's applicability across disciplines while preserving its conceptual
elegance.</span></p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif""><strong>Conclusion</strong></p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif"">Please understand these reflections as
enthusiastic engagement with your work rather than criticism. Your model has
already made a significant contribution to how we conceptualize art in
cognitive sciences, particularly in transcending "previous Eurocentric
concepts" (Csáji, 2026, p. 3) and avoiding the colonial hierarchies that
have long plagued art theory.</p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif"">The connections to GIT (particularly the
understanding of information as subjective, existing as externalized mental structures
(knowledge) or data depending on recognition), the question of animal
aesthetics, and the potential for mathematical formalization are perhaps
avenues for future exploration that could further strengthen your already
robust framework. I would be happy to share more details about the GIT, the
mathematical formalization, or the mental structures, which are the subject of
an extensive article currently in preparation—if they might be useful for your
continued research.</p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif"">Thank you for this important work. It
bridges anthropology, cognitive science, and art theory in a way that genuinely
advances our understanding while respecting cultural diversity.</p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif"">With respect,</p>
<p style="margin-right:0cm;margin-left:0cm;font-size:12pt;font-family:"Times New Roman","serif"">Krassimir</p>
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behavioral sciences. <i>Social Research</i>, <i>62</i>(4), 1035–1063.</span></p></div><div id="m_2860441676034471813m_2168833017151136101DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2"><br><table style="border-top:1px solid rgb(211,212,222)"><tbody><tr><td style="width:55px;padding-top:13px"><a href="https://urldefense.com/v3/__https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail__;!!D9dNQwwGXtA!Q3R9WEDqYxN2JuiYQk0wA1cKCS3F1nI8ww2AauViPDD1bC-y2upd4rSCt8f6vCksTXcmUv1JEwh6aGxtREs$" target="_blank"><img src="https://s-install.avcdn.net/ipm/preview/icons/icon-envelope-tick-round-orange-animated-no-repeat-v1.gif" alt="" width="46" height="29" style="width: 46px; height: 29px;"></a></td><td style="width:470px;padding-top:12px;color:rgb(65,66,78);font-size:13px;font-family:Arial,Helvetica,sans-serif;line-height:18px">Virus-free.<a href="https://urldefense.com/v3/__https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail__;!!D9dNQwwGXtA!Q3R9WEDqYxN2JuiYQk0wA1cKCS3F1nI8ww2AauViPDD1bC-y2upd4rSCt8f6vCksTXcmUv1JEwh6aGxtREs$" style="color:rgb(68,83,234)" target="_blank">www.avast.com</a></td></tr></tbody></table><a href="#m_2860441676034471813_m_2168833017151136101_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2" width="1" height="1"></a></div>
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