1st Edition

Theory and Practice of Contrast
Integrating Science, Art and Philosophy

  • Available for pre-order. Item will ship after June 10, 2021
ISBN 9780367770020
June 10, 2021 Forthcoming by CRC Press
210 Pages 9 Color & 43 B/W Illustrations

USD $120.00

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Book Description

The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. 

The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics.

Table of Contents

Table of Contents


About the Author


1.         Aesthetic Preferences - Existing Views

2.         The Concept’s Origin

3.         Analysis of Contrast

4.         Analyses of Contrasts in Abstract Visual Structures

4.1       Some Examples

4.2       Golden Ratio

4.3       Binary Model of Visual Interactions

5.         Contrast as Complexity

5.1       Equating Contrast With Complexity

5.2       Abstract Complexity Definition

5.3       Existing Definitions of Complexity

6.         Contrast as compression of information 6.1Information Compression as a Cause of Aesthetic Preferences.

6.2       Perceptual Analysis of Contrast

6.3       Distinction Between Art and beauty

7.         Contrast as Development

8.         Contrast as Value

8.1       Value as Development

8.2       Contrast as the Abstract Value—Definition of Art

9.         Examples of Contrasts in Artworks

10.       Interpretations of Existing Aesthetic Views

11.       Contrast & Colour

10.1     Analysis of Colour

10.2     Colour in Painting

12.       Emergence as Contrast

12.1. Existing Views

12.2 Model of Emergence

13.       Contrast and Subjectivity

14.       Contrast as Cognition

14.1     Analysis of Cognitive Process

14.2 Interpretations of Cognitive Concepts

15.       Mind-Body Problem

15.1     Existing Views

15.2     Mind-Body Problem (Understanding Attempt)

15.3     Qualia

16.       Artificial Intelligence, Self-Awareness and Creativity

16.1     Self-Awareness

16.2     Creativity

17.       Contrast as Being

17.1     Contemporary Understanding of Being

17.2     Definition of Being

17.3     Existing Concepts of Being

18.       Contrast and Reality Perception

19.       Definition of Information

19.1     Structural and Shannon’s Information

19.2     Energy—Information Relationship

19.3     The value of Information

20.       Binary Model of Universe

20.1     Introduction

20.2     Overview of Physical Models of Universe

20.3     Physical and Conceptual Analysis

20.4     Binary Model of Reality

20.5     Basic Concepts

20.6     Summary

21.          Conclusions

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Mariusz Stanowski graduated from Warsaw University of Technology (1974), and Fine Arts Academy in Warsaw (1979), where he worked later as an academic teacher and designer. Currently he is a visual artist and an independent researcher. His scientific research is situated on the borderline between humanities and natural sciences including: philosophy, art theory, cognitive science, theory of information/complexity and physics. As artist, through painting, defined as deconstructed, he tries to express the idea of creativity. He has exhibited in Poland and abroad, including Vikingsberg Museum of Modern Art, (Helsingborg, Sweden), Charlottenborg Palace (Kobenhavn, Danmark), Visual Art Museum - School of Visual Arts (New York, USA).