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<span style="font-size: 16pt; line-height: normal; font-family: Avenir, Arial, Helvetica, sans-serif; color: rgb(237, 91, 87);">Have the very happiest of Birthdays </span><span style="font-size: 16pt; text-decoration: none; line-height: normal; font-family: Avenir, Arial, Helvetica, sans-serif; display: inline !important; color: rgb(237, 91, 87); background-color: rgb(255, 255, 255);">Francesco!
May there be many more ~ your emotional wisdom helps sustatin our intellectual orbit! </span><span></span></div>
<div dir="ltr"><font face="Avenir, Arial, Helvetica, sans-serif" style="color: rgb(237, 91, 87);"><span style="caret-color: rgb(237, 91, 87); font-size: 21.33333396911621px;">Kate Kauffman</span></font></div>
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<div>On 1/13/26, 12:07 AM, "Fis" <fis-bounces@listas.unizar.es> wrote: Katherine Peil Kauffman</div>
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Today's Topics:<br>
<br>
1. Re: Fis Digest, Vol 129, Issue 35 (Francesco Rizzo)<br>
<br>
<br>
----------------------------------------------------------------------<br>
<br>
Message: 1<br>
Date: Tue, 13 Jan 2026 08:06:15 +0100<br>
From: Francesco Rizzo <13francesco.rizzo@gmail.com><br>
To: Katherine Peil <ktpeil@outlook.com><br>
Cc: "fis@listas.unizar.es" <fis@listas.unizar.es><br>
Subject: Re: [Fis] Fis Digest, Vol 129, Issue 35<br>
Message-ID:<br>
<CAEvKwyTqk2JQrW+-5=x3SLqELVPbpBnnepXijmZm4K7K_xJSUw@mail.gmail.com><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Dear all,<br>
<br>
without emo-rationality there is neither faith nor science mediated by<br>
conscience. At least this is the heart or essence of my New Economy of<br>
Existence and Knowledge which adopts the theory of art-value, beauty-value<br>
and love-value. With great respect for your thoughts, I ask you to join me<br>
as I turn 86 today. Thank you, Pedro, for having met and known you.<br>
<br>
Francesco<br>
Cari tutti,<br>
senza emo-ra-zionalit? non v'ha n? fede n? scienza inter-mediate dalla<br>
coscienza.<br>
Almeno questo ? il cuore o l'esseza della mia Nuova economia dell'esistenza<br>
e della<br>
conoscenza che adotta la teoria del valore-arte, del valore-bellezza e del<br>
valore-amore,<br>
Con grande rispetto del Vostro pensiero, Vi prego di unirvi a me che oggi<br>
compio 86 anni.<br>
Grazie Pedro per averTi incontrato e conosciuto.<br>
Francesco<br>
<br>
Il giorno lun 12 gen 2026 alle ore 18:42 Katherine Peil <ktpeil@outlook.com><br>
ha scritto:<br>
<br>
> Dear Lazlo et al,<br>
> I too find creative excellence in your anthropological analysis and vector<br>
> approach to art. Well done Lazlo!<br>
> I also heartily endorse Krasimir?s addition of binary logic to enhance<br>
> the story, as it honors the complementarity and symmetry in the deeper<br>
> physics, and more abstract maths concerning ?form? and ?identity?. (Enter<br>
> Lou Kauffman?s iterative self-distinctioning as central to Triad of<br>
> Creativity/Art.)<br>
><br>
> The binary logic emphasizes the central role of emotional sentience -<br>
> the hedonic or affective valence in living systems, what I argue to be<br>
> the ?fundamental semantic information bit? - its evaluative logic evident<br>
> at the cellular level, stimulate by bioelectric patterns, and central to<br>
> what Levin calls ?basal intelligence?.<br>
><br>
> With the help of AI, I have generated Krassimir?s Unit Cube, situating<br>
> emotional sentience at or around location 101. Importantly, this situates<br>
> the ?information? (data) as existing in the ?external? environment, akin to<br>
> physical sensory stimulus before it has been transducing into ?perception?<br>
> proper. (With the grace of Pedro, maybe he can ?twinkle? it into this<br>
> post??.below)[image: ChatGPT Image Jan 12, 2026, 09_24_28 AM.jpeg]<br>
><br>
> At nearly every turn in Lazlo?s paper, emotion is the key player, and the<br>
> desire to "extend it to include emotion? will be fruitful. I agree with<br>
> Paul about the scientistic dogma, toxicity, and competitive career building<br>
> in The Academy, and I place primary ?authority? back within subjective<br>
> experiences afforded by the living embodiment.<br>
><br>
> To that end, Lazlo, I offer the conceptual distinction between *cognition* and<br>
> *emotion* - two separate yet interacting streams of information that<br>
> remain traditionally confounded. (You cite Lisa Feldman Barrett, yet she<br>
> makes this mistake by pointing only toward the complex emotions, the<br>
> third level of information in emotional feelings (?knowledge" in your<br>
> model), and ignoring the first level, the deeper<br>
> binary ?affective? evaluations (?data", in your model) - the feel good feel<br>
> bad hedonic categories of experience).<br>
><br>
><br>
><br>
> Emotion is a more ancient regulatory mechanism for adaptive behavioral<br>
> control (at the cellular level), while cognition relies upon neural<br>
> structures. Emotion concerns *physical **sensory stimulus out there in<br>
> the external world (Data) - new self-relevant changes in the immediate<br>
> environment, mismatches between mindful models and actual circumstances.* It's<br>
> binary logic flows upward from mathematical symmetries, energy conservation<br>
> laws, and complementary opposites in in EM and Gravitational forces - what<br>
> John Torday calls The Logic of the Cosmos - thanks John). My point is that<br>
> Art and Life need BOTH streams of information to function properly.<br>
><br>
><br>
> Respectively, the dual categories *Cognition* and *Emotion* capture:<br>
><br>
> 1) The *top-down* and *bottom-up* neural processing pathways; 2) the<br>
> *fast *and *slow* brain rhythms; 3) the *syntactic* and *semantic *dimensions<br>
> of language, and (loosely) 4), the distinct functions of *left *and<br>
> *right *hemispheres of the prefrontal cortex; and at their deepest the<br>
> *dual identity *structure that is simultaneously *whole* and a* part *(of<br>
> a greater whole) - and individual and collective.<br>
><br>
><br>
> Indeed, emotional information is biologically distinct in that it<br>
> concerns *"the self?*, delivering evaluative feedback about the status of<br>
> the living embodiment in its immediate environment. Its bottom-up<br>
> evaluative, identity logic is evident in the ?self/not-self? distinctions<br>
> of immune, genetic and epigenetic regulation, the patterns of cell<br>
> differentiation, and the bio-electric patterning of morphogenetic<br>
> development. It?s top-down effects are evident in the common stress<br>
> chemistry, epigenetic methylation marking, Pavlovian learning, anticipatory<br>
> behavior, and in placebo and nocebo effects of mind on body.<br>
><br>
><br>
><br>
> My bold claim is: *No emotion, no esthetics*. No emotion, no sense of<br>
> identity. No emotion, no morality, no ethics - no sense of value<br>
> whatsoever. *No emotion, no art.* Emotional sentience is the biophysical<br>
> source of what Bergson called The Elan Vitale, what Aristotle called The<br>
> Sensitive Soul, and the physical and functional rationale for Plato?s the<br>
> True, The Good, and The Beautiful. Descartes was wrong: Feeling predates<br>
> thinking, the ?unconscious? body in-forms the ?conscious? mind,<br>
> and identity is collective - ultimately concerning mathematical form and<br>
> iterative self-distinctioning. ?I feel therefore I am? is much more<br>
> accurate. As Damasio put it, the feeling of what is happening - to me -<br>
> yields a ?proto-self? awareness, with pain and pleasure pushing and pulling<br>
> us along an *optimal developmental trajectory - the evolution of our *own<br>
> personal empowerment and creative agency. Learning ? building personal and<br>
> social mindscapes - is Art. Niche construction - building cultural and<br>
> technological landscapes is Art. *Life is Art. *<br>
><br>
> Just a thought,<br>
><br>
> Kate Kauffman<br>
><br>
><br>
><br>
><br>
> On 1/11/26, 6:03 PM, "Fis" <fis-bounces@listas.unizar.es> wrote:<br>
> Katherine Peil Kauffman<br>
><br>
> Send Fis mailing list submissions to<br>
> fis@listas.unizar.es<br>
><br>
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> or, via email, send a message with subject or body 'help' to<br>
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> than "Re: Contents of Fis digest..."<br>
><br>
><br>
> Today's Topics:<br>
><br>
> 1. Inviting Discord (Paul Suni)<br>
> 2. Re: Art and the Cognitive (Is art a human phenomenon?)<br>
> (Krassimir Markov)<br>
><br>
><br>
> ----------------------------------------------------------------------<br>
><br>
> Message: 1<br>
> Date: Sun, 11 Jan 2026 16:26:43 -0800<br>
> From: Paul Suni <paul.p.suni@gmail.com><br>
> To: fis <fis@listas.unizar.es><br>
> Subject: [Fis] Inviting Discord<br>
> Message-ID: <0F0F2595-A1BF-443F-A588-2D3A4BA95A02@gmail.com><br>
> Content-Type: text/plain; charset=utf-8<br>
><br>
> Hello FIS,<br>
><br>
> I wrote a biting response to L?szl? concerning the nature of art. As a<br>
> pro-Western intellectual underdog and anti-academic, I did not affect the<br>
> expected collegial and pro-social tone. I said things that will no doubt<br>
> appear absurd and jarring to many of you. I invite you to challenge me, and<br>
> even to try to defend the merits of destroying capitalism and all that the<br>
> West stands for. You can even try to defend the noble status of the<br>
> academic - hard-won from the actual nobility of the time, during the 18th<br>
> and 19th century revolutions.<br>
><br>
> I would be eager to engage with you. Convince me that August Comte did not<br>
> start an intellectual cancer, whose lethal status still goes unnoticed.<br>
> However, I imagine that you will choose to stay straddled on your<br>
> pro-academic ivory tower, and remain silent. I am not going to intimate<br>
> that academic confluence is to me like watching neighbors shove people of<br>
> the wrong social class, gender or skin-color in the ovens, and doing<br>
> nothing, but I am tempted. So intense is my experience of academic toxicity<br>
> and its suicidal effects on the spirit of the West - our cultural mother.<br>
><br>
> Both Art and Science, liberated from academia, are my passions. Challenge<br>
> me. Make it personal. I stick out like a sore thumb, don?t I. You may want<br>
> to put me in my place and teach me lessons. Do that now!<br>
><br>
> Cheers,<br>
> Paul Suni<br>
><br>
><br>
><br>
><br>
><br>
> ------------------------------<br>
><br>
> Message: 2<br>
> Date: Mon, 12 Jan 2026 03:02:20 +0200<br>
> From: Krassimir Markov <itheaiss@gmail.com><br>
> To: fis <fis@listas.unizar.es><br>
> Subject: Re: [Fis] Art and the Cognitive (Is art a human phenomenon?)<br>
> Message-ID:<br>
> <CAKEQgkxQnb=<br>
> hWNsO_4rJ+PDmBhJ73CxEi2r6rT1M13Z5VYeZDQ@mail.gmail.com><br>
> Content-Type: text/plain; charset="utf-8"<br>
><br>
> Dear L?szl?,<br>
><br>
> I hope this message finds you well. I recently had the pleasure of reading<br>
> your article "Toward a Multidimensional Definition of Art from the<br>
> Perspective of Cognitive Sciences" (Cs?ji, 2026), and I wanted to express<br>
> my deep appreciation for your work. I do not usually write long letters,<br>
> but your article left a remarkably deep impression on me and genuinely<br>
> moved my curiosity. This is why I have taken the liberty of writing to you<br>
> at greater length than I normally would.<br>
><br>
> Your three-dimensional vectorial model?creativity, communication, and<br>
> experience?offers a genuinely refreshing and cognitively grounded approach<br>
> to understanding art. I particularly appreciate how you avoid binary<br>
> classifications and Eurocentric aesthetic biases, instead proposing a<br>
> universal framework that can accommodate diverse cultural expressions. The<br>
> case studies you present (from Nepal, Bali, Sami culture, Japan, and<br>
> beyond) beautifully illustrate the heterogeneity of artistic phenomena<br>
> while maintaining theoretical coherence.<br>
><br>
> The concept of the "spark" as an activation threshold that moves something<br>
> from the zero point into the space of art (Cs?ji, 2026, p. 15) is<br>
> especially intriguing from a cognitive perspective. It resonates well with<br>
> prototype theory (Rosch & Lloyd, 1978) and the principle of family<br>
> resemblance, acknowledging that art lacks a single defining essence. Your<br>
> integration of cognitive anthropology (D'Andrade, 1995; Sperber, 1996;<br>
> Tomasello, 1999), cognitive semantics (Lakoff & Johnson, 1980), and<br>
> neuroaesthetics (Ramachandran & Hirstein, 1999; Seeley, 2020) creates a<br>
> truly multidisciplinary framework.<br>
><br>
> *1. A Systemic Consideration: The Triadic Structure of Information<br>
> Interaction*<br>
><br>
> While reflecting on your model, I found myself considering the systemic<br>
> nature of artistic phenomena through the lens of the General Information<br>
> Theory (GIT) (Markov et al, 2007). In this framework, information<br>
> interaction is fundamentally defined as a triadic structure:<br>
><br>
><br>
><br>
> *Donor (source/creator) - Object (message/medium/artwork) - Receiver<br>
> (destination/audience)*.<br>
><br>
> Crucially, this theory treats information not as an external entity but as<br>
> a purely subjective phenomenon and exists in reality only as knowledge<br>
> (externalized mental structures) or as data (not recognized reflections in<br>
> reality). The term "information" itself is convenient shorthand to avoid<br>
> constantly specifying whether we refer to data or knowledge.<br>
><br>
> This perspective aligns remarkably well with your cognitive approach. As<br>
> you note, "words and artifacts call forth fragments of knowledge, emotions,<br>
> and memories, stimulated by the actual situation, and thus, exist only in<br>
> human minds" (Cs?ji, 2026, p. 3, referencing Fillmore's frame semantics).<br>
> Art, from this viewpoint, is not the physical object itself but the<br>
> cognitive processes it triggers?the externalized mental structures<br>
> (knowledge in reality through the artwork) become recognized and<br>
> internalized through the receiver's cognitive engagement, while remaining<br>
> data (unrecognized reflections) for those who do not engage with them.<br>
><br>
> This builds on your observation that "perceiving art also requires<br>
> creativity and a sense of communication" (Cs?ji, 2026, p. 16) and extends<br>
> the notion of art as agency (Gell, 1998) and distributed cognition<br>
> (Hutchins, 1991; White, 1995). The triadic structure is not merely a<br>
> convenient model but reflects the fundamental nature of how mental<br>
> structures are externalized into reality (by the Donor), persist as<br>
> knowledge or data (in the Object), and are recognized and internalized (by<br>
> the Receiver).<br>
><br>
> Your three vectors might thus be understood as the specifically *artistic*<br>
> modalities of this cognitive transformation:<br>
><br>
> - *Creativity*: the process of externalizing mental structures into<br>
> reality in novel or refined ways<br>
> - *Communication*: the encoding/decoding of these structures through the<br>
> artwork as medium<br>
> - *Experience*: the recognition and subjective internalization of these<br>
> structures<br>
><br>
> This led me to consider various configurations of the triadic system:<br>
><br>
> - *(0,0,0)*: Complete absence of art?the zero point you identify; no<br>
> information interaction occurs<br>
> - *(0,1,1)*: Object + Receiver without original Donor (e.g., natural<br>
> forms reinterpreted as ready-made art, as in your Case 6 with Du?an<br>
> Palen?ar's "pregnant tree"; or ancient anonymous works where the<br>
> creator is<br>
> historically absent). Here, the Receiver projects mental structures onto<br>
> what were merely unrecognized reflections in reality (data),<br>
> transforming<br>
> them into knowledge through recognition.<br>
> - *(1,0,1)*: Donor + Receiver without persistent Object (ephemeral<br>
> performances, as in your Case 2 with Kechak dance; or improvisations<br>
> where<br>
> the externalized structures are immediately recognized without<br>
> persisting<br>
> as observable reflections)<br>
> - *(1,1,0)*: Donor + Object without Receiver (unpublished/unseen<br>
> works?latent art, as in your Case 5 before you discovered the homeless<br>
> artist's work; mental structures externalized into reality but<br>
> remaining as<br>
> data, not yet recognized by any receiver)<br>
> - *(1,1,1)*: Full artistic system (classical case, as in your Case 4<br>
> with Hokusai's widely recognized masterpieces; complete cycle of<br>
> externalization-persistence-recognition)<br>
><br>
> Each configuration reveals different cognitive processes and raises<br>
> interesting questions about when and how art "exists" as an informational<br>
> phenomenon. Your own fieldwork provides excellent examples: in Case 5,<br>
> initially the system operated as (1,1,0) until your discovery transformed<br>
> it into (1,1,1). The artist himself stated he "could not imagine attracting<br>
> anyone" with his work (Cs?ji, 2026, p. 8), suggesting he didn't initially<br>
> conceive of it within a complete communicative system?his externalized<br>
> mental structures remained as unrecognized reflections in reality (data)<br>
> without being transformed into knowledge by others. Similarly, in Case 1<br>
> (Dibhi Kami and Dor Bahadur Buramagar), the art began as (1,0,1)?ephemeral<br>
> call-and-response performance where mental structures were directly<br>
> externalized and recognized through transient sound?before being documented<br>
> and reaching wider audiences.<br>
><br>
> The (1,0,1) configuration is particularly interesting from the<br>
> information-theoretic perspective: it suggests that art can exist as<br>
> *direct<br>
> recognition and transformation of externalized mental structures* through<br>
> transient carriers (sound waves, light, movement) without necessarily<br>
> persisting as observable data objects.<br>
><br>
> *2. Temporal Dynamics*<br>
><br>
> This triadic view also introduces a temporal dimension that your vectorial<br>
> model could potentially incorporate. As you note, "we have no evidence that<br>
> making and enjoying art have been based on unchanging brain processes"<br>
> (Cs?ji, 2026, p. 4), suggesting evolutionary and historical change. At the<br>
> individual artwork level, art seems to evolve through temporal states:<br>
><br>
> - *T1* (creation moment): Donor externalizing mental structures into<br>
> reality, Object emerging as knowledge/data, Receiver absent<br>
> - *T2* (reception moment): Donor possibly absent, Object persists (as<br>
> knowledge or data depending on recognition), Receiver recognizing and<br>
> internalizing<br>
> - *T3* (oblivion): All elements return to zero?physical reflections<br>
> decay, knowledge is forgotten<br>
><br>
> Different cognitive processes may be dominant at each stage, which could<br>
> help explain the varied brain activation patterns observed in<br>
> neuroscientific studies of art (Chatterjee, 2011; Ishizu & Zekir, 2011).<br>
><br>
> *3. The Question of Animal Art: Where is the "Spark"?*<br>
><br>
> Your discussion of the "spark" as uniquely human raises a fascinating<br>
> question that you acknowledge: "Anyone who has a dog surely recognizes that<br>
> even animals are capable of creative problem-solving and communication that<br>
> causes emotions in humans" (Cs?ji, 2026, p. 15). This leads me to wonder<br>
> about the boundaries of art in the animal kingdom.<br>
><br>
> Consider several intriguing cases:<br>
><br>
> *3.1. Avian vocal performance*: Many songbirds (such as nightingales,<br>
> lyrebirds, and mockingbirds) engage in elaborate vocal displays that go far<br>
> beyond simple mating calls (Catchpole & Slater, 2008; Marler & Slabbekoorn,<br>
> 2004). They exhibit:<br>
><br>
> - *Creativity*: Individual variation, improvisation, and cultural<br>
> transmission of song dialects<br>
> - *Communication*: Clear signaling function, but with aesthetic<br>
> elaboration beyond minimal effectiveness<br>
> - *Experience*: Evidence of pleasure centers activating during song<br>
> production (Riters, 2012)<br>
><br>
> Does this constitute art, or merely elaborate signaling? The triadic<br>
> structure exists (singer-song-listener), and all three vectors appear to be<br>
> non-zero. From the information-theoretic perspective, do birds externalize<br>
> and recognize mental structures in ways qualitatively similar to humans, or<br>
> is their processing fundamentally different?<br>
><br>
> *3.2. Courtship displays*: The dances of cranes, swans, and bowerbirds<br>
> involve:<br>
><br>
> - *Creativity*: Individual variation in display quality; bowerbirds even<br>
> decorate their bowers with colored objects (Borgia, 1985; Endler et al.,<br>
> 2010)<br>
> - *Communication*: Clear purpose, but with aesthetic judgment by females<br>
> who select mates based on display quality<br>
> - *Experience*: Both performer and observer are engaged; unsuccessful<br>
> males modify their displays, suggesting experiential learning<br>
><br>
> Bowerbirds, in particular, appear to externalize mental structures (their<br>
> aesthetic preferences) into physical arrangements (bower decorations) that<br>
> are then evaluated by others?a remarkable parallel to human artistic<br>
> behavior.<br>
><br>
> *3.3. Cetacean songs*: Humpback whales produce complex, evolving songs that<br>
> change over seasons and spread through populations culturally (Payne &<br>
> Payne, 1985; Garland et al., 2011). These shows:<br>
><br>
> - *Creativity*: Novel phrases appear and propagate<br>
> - *Communication*: Function unclear (not simple mating calls)<br>
> - *Experience*: Whales appear to attend to each other's songs<br>
><br>
> The cultural transmission of whale songs suggests a degree of<br>
> externalization and recognition of mental structures across individuals and<br>
> time.<br>
><br>
> *3.4. Elephant painting*: While controversial (some argue it's trained<br>
> behavior), elephants in captivity spontaneously manipulate paint on canvas<br>
> with apparent intentionality and individual styles, which you note as<br>
> important (Cs?ji, 2026).<br>
><br>
> Your criterion of the "spark" as involving metaphorical thinking (Lakoff &<br>
> Johnson, 1980) might be the key distinction. As you note, "the ability to<br>
> use and understand metaphor...demonstrates everyday human artistic<br>
> cognition" (Cs?ji, 2026, p. 1). There is limited evidence for metaphorical<br>
> cognition in great apes (Tanner & Byrne, 1996), but whether this extends to<br>
> aesthetic domains remains unclear.<br>
><br>
> >From the information-theoretic perspective, the question becomes: Can<br>
> animals engage in the *metacognitive framing* of their externalizations as<br>
> "artistic"? Do they possess the mental structures necessary to categorize<br>
> certain behaviors as belonging to a special domain beyond purely functional<br>
> communication? Your model's focus on the "spark" as a threshold suggests<br>
> this metacognitive awareness might be the distinguishing feature.<br>
><br>
> Alternatively, if we accept your vectorial model as gradient rather than<br>
> binary, perhaps some animal behaviors occupy the low end of the artistic<br>
> spectrum?say (0.3, 0.5, 0.4)?above zero but below the threshold we<br>
> typically recognize as "art." This would align with your observation that<br>
> "art as a cognitive process, does not inevitably depend on such aesthetic<br>
> criteria (like beauty, asymmetry-seeking, etc.)" (Cs?ji, 2026, p. 14).<br>
><br>
> The question becomes: Is the "spark" a uniquely human metacognitive<br>
> capacity (the ability to frame an activity as "artistic"), or does it exist<br>
> on a continuum where some animals achieve rudimentary forms? Your model's<br>
> flexibility could accommodate either interpretation, but clarifying this<br>
> boundary might strengthen the framework's universality claims while<br>
> respecting the specifically human dimension you emphasize.<br>
><br>
> *4. Mathematical Formalization and Systemic Mapping*<br>
><br>
> One additional observation: your vectorial model lends itself naturally to<br>
> mathematical formalization as a unit cube [0,1]?, which addresses a<br>
> potential limitation in the unbounded vector representation. Each artistic<br>
> phenomenon can be represented as a point A = (c, m, e) with bounded<br>
> coordinates corresponding to the three dimensions.<br>
><br>
> Moreover, there appears to be a natural mapping between your three vectors<br>
> and the triadic information interaction structure:<br>
><br>
> - *Creativity (c)* ? *Donor* (the source, externalizing mental<br>
> structures into reality)<br>
> - *Communication (m)* ? *Object* (the medium/artwork, carrying knowledge<br>
> or remaining as data)<br>
> - *Experience (e)* ? *Receiver* (the destination, recognizing and<br>
> internalizing)<br>
><br>
> This correspondence suggests that within the unit cube framework, we can<br>
> model the entire human information interaction system. The bounded [0,1]<br>
> range for each dimension captures the finite, subjective nature of<br>
> information as it transitions between mental structures and their<br>
> reflections in reality (Markov, 2007), avoiding the conceptual issues of<br>
> infinite vectors. A complete artistic system would require all three<br>
> coordinates to be non-zero: c > 0 ? m > 0 ? e > 0, formally expressing your<br>
> insight that art emerges from the triadic interaction.<br>
><br>
> This formalization would enable the application of fuzzy logic operators<br>
> (such as t-norms) to rigorously define the "spark" threshold and measure<br>
> artistic intensity as ?_art(A) = T(c, m, e), where T represents a<br>
> triangular norm capturing the interdependence of the three elements.<br>
> Different system configurations?(0,1,1), (1,0,1), (1,1,0)?can be precisely<br>
> analyzed, and temporal dynamics A(t) can be modeled as trajectories through<br>
> the unit cube.<br>
><br>
> Such mathematical apparatus could facilitate comparative studies,<br>
> computational modeling of artistic cognition, and more rigorous hypothesis<br>
> testing within the cognitive neuroscience of art. I believe this direction<br>
> could strengthen the model's applicability across disciplines while<br>
> preserving its conceptual elegance.<br>
><br>
> *Conclusion*<br>
><br>
> Please understand these reflections as enthusiastic engagement with your<br>
> work rather than criticism. Your model has already made a significant<br>
> contribution to how we conceptualize art in cognitive sciences,<br>
> particularly in transcending "previous Eurocentric concepts" (Cs?ji, 2026,<br>
> p. 3) and avoiding the colonial hierarchies that have long plagued art<br>
> theory.<br>
><br>
> The connections to GIT (particularly the understanding of information as<br>
> subjective, existing as externalized mental structures (knowledge) or data<br>
> depending on recognition), the question of animal aesthetics, and the<br>
> potential for mathematical formalization are perhaps avenues for future<br>
> exploration that could further strengthen your already robust framework. I<br>
> would be happy to share more details about the GIT, the mathematical<br>
> formalization, or the mental structures, which are the subject of an<br>
> extensive article currently in preparation?if they might be useful for your<br>
> continued research.<br>
><br>
> Thank you for this important work. It bridges anthropology, cognitive<br>
> science, and art theory in a way that genuinely advances our understanding<br>
> while respecting cultural diversity.<br>
><br>
> With respect,<br>
><br>
> Krassimir<br>
><br>
><br>
><br>
> *References*<br>
><br>
> Beatty, A. (2019). *Emotional worlds: Beyond an anthropology of emotion*.<br>
> Cambridge University Press.<br>
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><br>
> Tomasello, M. (1999). *The cultural origins of human cognition*. Harvard<br>
> University Press.<br>
><br>
> Turner, V. (1982). *From ritual to theatre: The human seriousness of play*.<br>
> PAJ Publications.<br>
><br>
> White, H. (1995). Network switching and Bayesian forks: Reconstructing the<br>
> social and behavioral sciences. *Social Research*, *62*(4), 1035?1063.<br>
><br>
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