We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

There has been much debate regarding when modern human cognition arose. It was previously thought that the technocomplexes and artifacts associated with a particular timeframe during the Upper Paleolithic could provide a proxy for identifying the signature of modern cognition. It now appears that this approach has underestimated the complexity of human behavior on a number of different levels. As the artifacts, once thought to be confined to Europe 40,000 years ago onwards, can now be found in other parts of (...) the world well before this date, especially in South Africa, this suggests that modern cognition arose well before this period. Moreover, the variability of the archaeological record from the time when anatomically modern humans appeared 200,000 years ago suggests cognitive factors alone are unable to explain the obvious unevenness. In this article, it will be demonstrated how neuro-cognition can be assimilated with population dynamics and the transmission of information between individuals and groups that can provide important insights as to the nature and origins of modern human cognition. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Archaeology can provide two bodies of information relevant to the understanding of the evolution of human cognition – the timing of developments, and the evolutionary context of these developments. The challenge is methodological. Archaeology must document attributes that have direct implications for underlying cognitive mechanisms. One example of such a cognitive archaeology is found in spatial cognition. The archaeological record documents an evolutionary sequence that begins with ape-equivalent spatial abilities 2.5 million years ago and ends with the appearance of modern (...) abilities in the still remote past of 400,000 years ago. The timing of these developments reveals two major episodes in the evolution in spatial ability, one, 1.5 million years ago and the other, one million years later. The two episodes of development in spatial cognition had very different evolutionary contexts. The first was associated with the shift to an open country adaptive niche that occurred early in the time range of Homo erectus. The second was associated with no clear adaptive shift, though it does appear to have coincided with the invasion of more hostile environments and the appearance of systematic hunting of large mammals. Neither, however, occurred in a context of modern hunting and gathering. Key Words: Archaeology; evolution; Homo erectus; spatial cognition; symmetry. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Con este volumen de la serie Academia y Egresados, la Colección La Fuente ofrece una compilación de trabajos de profesores, colaboradores y egresados de la Maestría en Estética y Arte (MEyA) de la BUAP. Preparado especialmente para ser presentado en el V Encuentro de Egresados de la MEyA (junio de 2022), la diversidad temática de las aportaciones que incluye el libro (estética y teoría del arte; historia del arte e instituciones artísticas; arte, ciencia y tecnología) reproduce el espectro de áreas (...) que aborda el programa y evidencia la huella académica que la MEyA dejó en sus exalumnos, así como el crecimiento académico alcanzado por los mismos. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

The biological Brain createst the mental Mind. Today our collective Mind becomes so fascinated by its source, the Brain, that all sciences incorporate neuro models in their concepts to increase global brainpower with technology. The most significant discovery is probably technology. We learn how the Brain creates consciousness and how the Brain generates momentaneous Time. Discover how at each moment in Time, our body runs the whole program of Evolution. What we know about the Brain is phantasy from the Mind.

In this paper, I will argue in favor of a direct perception account of social cognition, focusing on the idea that we can directly grasp at least some mental states of others through their bodily expressions. I will investigate the way we should consider expressions and their relations to mental phenomena in order to defend DP. In order to do so, I will present Krueger and Overgaard’s idea of expressions as constitutive proper parts of the mental phenomena expressed and I (...) will show how this position can support DP. Then, I will present the way in which the authors seem to construe the relation of parthood between expressions and mental states – that is in terms of components of integral wholes, and I will introduce the possible issues that derive from this strategy. I will propose a different way to understand this parthood relation, referring to Husserl’s notion of moments as distinct from that of pieces. I will narrow my analysis to expressions of feelings, and I will try to argue that they can be described more aptly as moments of the feelings expressed. Finally, I will show how this account can support DP. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...) feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self. (shrink)

The biological brain creates a mind, and the mental mind creates a brain. Learn how the brain creates consciousness and how it generates momentaneous time moments. Discover how at each moment in Time, our body runs the whole program of Evolution. Neuroscience and Philosophy.

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings were more related to Difficulty (...) ratings than Movement ratings. (shrink)

Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”.

The analysis of legal communication has almost exclusively been the domain of discourse analysts focusing on the ways that the linguistic system is used to realise legal meanings. Multimodal discourse analysis, where visual forms in combination with traditional linguistic expressions co-occur, is now also an area of expanding interest. Taking a Systemic Functional Linguistics “social semiotic” perspective, this paper applies and critiques an analytical framework that has been used for examining intersemiotic complementarity in various types of page-based multimodal texts by (...) analysing a cartoon satirizing the demands that verdict deliberations can make on a citizen jury seated in a Crown Court. While the multimodal analysis reveals that a straightforward application of this analytical framework is useful in and of itself, it is argued that the framework needs to be extended to also account for further and more complex layers of represented meaning. The analysis is also situated in the wider legal social semiotic, and draws attention to international debates on the efficacy of the jury system itself. (shrink)

Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...) evoked by a dance performance are no exception and thus they too have a neural substrate in the brain. (shrink)

Why a hermeneutical philosophy of the natural sciences? It is necessary to address the philosophic crisis of realism vs relativism in the natural sciences. This crisis is seen as a part of the cultural crisis that Husserl and Heidegger identified and attributed to the hegemonic role of theoretical and calculative thought in Western societies. The role of theory is addressed using the hermeneutical circle to probe the origin of theoretic meaning in scientific cultural praxes. This is studied in Galileo's discovery (...) of the phases of Venus; the practice of measurement; the different theories and practices of space perception; the historicality and temporality of scientific research communities which ground paradigm change; and the process of discovery. The paper draws particularly from the work of Heidegger. Though envisaging all science and scholarship, the highlighted theme is research in the natural sciences. (shrink)

Despite recent noticeable changes in women’s educational opportunities in developing countries such as Iran, there is still much controversy surrounding the common assumption that a direct relationship exists between women’s empowerment and formal literacy. According to the social semiotic method, the present research explores the hidden side of the female educational experience and its relationship with empowerment. In the current study, we conducted 39 interviews and analyzed the collected data using Van Leeuwen’s semiotic approach. The results are based on the (...) analysis of three semiotic sources, all of which are ubiquitous in the daily life of Iranian students: uniforms, queues, and homework. The findings indicate that the emphasis on the ideological aspects of educational experiences, in the form of a ritualistic approach by the educational system’s agents, causes a gradual semantic break between students and educational goals. Such an emphasis also instills an ambiguous and contradictory understanding in the student’s mind, of which the final result is the alienation and internalization of passive patterns of social action. (shrink)

The concern of this article is to establish the difference between physiognomy and expression as it may be understood phenomenologically. The work of Merleau-Ponty founds the phenomenological appreciation of physiognomy, and Gestalt psychological studies on perceptual organization elaborate the specifics of physiognomic structure despite the naturalist assumptions of that school of psychology. Physiognomy is the organized structural specification of expression in the phenomenon that presents itself. This view is an alternative to conventional topical but nonthematic considerations on physiognomy . Art (...) therapy with its use of various media is a venue in which the physiognomy of clients' art products is a display of integralness or pathology. It is an immediate access to the world of the patient. The work of the Gestalt psychologist Rudolf Arnheim and of the art therapist Mala Betensky are associated with the phenomenology of Merleau-Ponty in order to advance understanding of the significance of physiognomy in experience, in behavior, and in art therapy. (shrink)

The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, (...) and in the process of “embodied simulation” within the intersubjective relationship; research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery. (shrink)

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis is problematic beyond (...) academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory. (shrink)

Rhythm should be regarded as a perceptional category rather than as a property of the work of art. Rhythm might be classified according to three principles, serial rhythm, sequential rhythm and dynamic rhythm, three basic sets of gestalt qualities that lay the foundation for versification systems.Two schemas decide the rhythm of a poem: direction and balance. ‘Direction’ refers to rising and falling movements in the line. ‘Balance’ refers to repetitions in a play between symmetry and asymmetry as well as a (...) moment of rest.Rhythms produce meaning, probably due to the fact that rhythms activate internalized bodily experiences as well as conventional meaning patterns. This is demonstrated on the basis of a poem by Sylvia Plath. (shrink)

In this dissertation, I examine three philosophically important concepts that play a foundational role in developmental psychology: theory, representation, and belief. I describe different ways in which the concepts have been understood and present reasons why a developmental psychologist, or a philosopher attuned to cognitive development, should prefer one understanding of these concepts over another.

ABSTRACTCan a Naturalist Definition of art replace the historical and institutional positions argued for by philosophical aesthetics? This article considers Denis Dutton’s work in evolutionary psychology and his cluster Naturalist Definition of art. I begin with an analysis of the validity of what Dutton takes to be the most important criterion: Imaginative Experience. I propose a criticism of Dutton’s set of criteria coupled with a re-evaluation of what may be implied when referring to a naturalist basis for the arts. Specifically, (...) I argue that philosophical aesthetics, which has been criticized by Dutton as a form of cultural relativism, is instead able to address features of our interaction with the arts that have adaptive and evolutionary value. (shrink)

The experimental approach to aesthetics, proposed by Gustav Fechner, was discussed in Italy at the beginning of the Twentieth century from different point of views. Benedetto Croce severely criticized experimental aesthetics by considering it as reductionist and naturalist. In contrast, the psychologist Agostino Gemelli stated the experimental validity and the theoretical relevance of this research perspective in determining the laws of aesthetic preference and judgment.

This article tries to display some of the postulations that the German psychologist Rudolf Arnheim sketched out in his 1959 text Form and the consumer. It’s sustained that these postulations conclude that the artistic form is widely implicated in the confrontation of culture and a particular time, so if a crisis in form is to be taken as true, what is to come is an epochal twilight produced by a destabilization in its sense. Throughout this writing, the idea of a (...) crisis in culture is to be confronted with the apparent symbolic crisis of art, examining the consequent question about the loss of a narrative in the work of art. (shrink)

The spatial aggregation/dispersion of the vegetation in a landscape affects landscape texture, with potentially important implications for its perception. The aim of the study was to investigate how plant dispersion and interspersion in small-scale landscapes could affect garden preference. Dispersion referred to the proximity and distance between plants, and interspersion referred to the degree of intermixing between plants of different species. Fifty-six participants evaluated 40 pairs of landscapes that differed in terms of plant dispersion or plant interspersion. Participants were asked (...) to rate their preference for each pair of landscapes. Furthermore, eye movements were recorded during the viewing time, and the number of fixations and fixation time were computed for each landscape image. Overall, plants arranged in a more dispersed and a more interspersed design resulted in a higher landscape preference. Dispersion was more effective than interspersion in affecting landscape preference. The number of fixations and fixation time were higher when viewing landscapes with plants arranged in a high-dispersion and high-interspersion layout. (shrink)

Space—an essential dimension of our life—is analyzable from different viewpoints, which often gives rise to contrasting conceptualizations. Perceptual analyses shed light on the intrinsic anisotropy and deformations of perceived space, raising the issue of which geometry may be able to represent perceptual space. Pictorial drawings and painting have been relevant sources of information about the nature of living and perceived space. Although the geometry of perceptual space is still in its infancy, contributions are beginning to appear. This special issue contributes (...) to the development of the geometry of perceptual space. (shrink)

Creativity is an open problem which has been differently approached by several disciplines since a long time. In this contribution we consider as creative the constructivist design an observer does on the description levels of complex phenomena, such as the self-organized and emergent ones ( e.g., Bènard rollers, Belousov-Zhabotinsky reactions, flocks, swarms, and more radical cognitive and social emergences). We consider this design as related to the Gestaltian creation of a language fit for representing natural processes and the observer in (...) an integrated way. Organised systems, both artificial and most of the natural ones are designed/ modelled according to a logical closed model which masters all the inter-relation between their constitutive elements, and which can be described by an algorithm or a single formal model. We will show there that logical openness and DYSAM (Dynamical Usage of Models) are the proper tools for those phenomena which cannot be described by algorithms or by a single formal model. The strong correlation between emergence and creativity suggests that an open model is the best way to provide a formal definition of creativity. A specific application relates to the possibility to shape the emergence of Collective Behaviours. Different modelling approaches have been introduced, based on symbolic as well as sub-symbolic rules of interaction to simulate collective phenomena by means of computational emergence. Another approach is based on modelling collective phenomena as sequences of Multiple Systems established by percentages of conceptually interchangeable agents taking on the same roles at different times and different roles at the same time. In the Meta-Structures project we propose to use mesoscopic variables as creative design, invention, good continuity and imitation of the description level. In the project we propose to define the coherence of sequences of Multiple Systems by using the values taken on by the dynamic mesoscopic clusters of its constitutive elements, such as the instantaneous number of elements having, in a flock, the same speed, distance from their nearest neighbours, direction and altitude. In Meta-Structures the collective behaviour’s coherence corresponds, for instance, to the scalar values taken by speed, distance, direction and altitude along time, through statistical strategies of interpolation, quasi-periodicity, levels of ergodicity and their reciprocal relationship. In this case the constructivist role of the observer is considered creative as it relates to neither non-linear replication nor transposition of levels of description and models used for artificial systems, like reductionism. Creativity rather lies in inventing new mesoscopic variables able to identify coherent patterns in complex systems. As it is known, mesoscopic variables represent partial macroscopic properties of a system by using some of the microscopic degrees of freedom possessed by composing elements. Such partial usage of microscopic as well as macroscopic properties allows a kind of Gestaltian continuity and imitation between levels of descriptions for mesoscopic modelling. (shrink)