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@Jean-Yves Beziau

Jean-Yves BEZIAU

President of the Logica Universalis Association (LUA)

Vice-President of  Logic and Religiom Association (LARA)

The University of Brazil, Rio de Janeiro

What Is Analogy?

ABSTRACT

Analogy is a fascinating notion that has yet to be explored, investigated, understood, in a philosophical sense, unveiling its true nature, if any.

Like for whatever notion N, to answer the question What is N?, one may balance between a chaotic enumeration of examples  and overly  prescriptive or abstract definitions. One way to escape these two extremes it to classify analogies into a small group of categories, each illustrated by a typical example of this kind of analogy.

And for understanding analogy, following the structuralist approach, it is important to relate it to other notions. On the one hand, we will present and describe notions close yet different from analogy, such as metaphor, similarity, and equivalence. On the other hand, we will examine opposite notions such as difference, identity, and logic.
 

References

J-Y.Beziau, “An Analogical Hexagon”, International Journal of Approximate Reasoning, Volume 94, March 2018, Pages 1–17

J-Y.Beziau, “Qu’est-ce que c’est?”, Lecture presented at the 25th World Congress of Philosophy,  Rome, August 1-8, 2024

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@the 13th SIS Congress

Tatiana DENISOVA

"Semiotics of Logic and Reasoning" Research Group, Endicott College, USA

Formerly Dean of the Faculty of Philosophy at the Surgut State University, Russia

Hermeneutic Pitfalls of Analogy

ABSTRACT

Analogy and analogical reasoning are fundamental modes of human thinking and communication. Since Aristotle’s time, the study of analogy, its essence, purpose, scope, methods of use and epistemological limitations have been examined within various sciences from various standpoints. In hermeneutics, analogy is central to understanding, interpretation and explanation

Despite the cognitive and didactic effectiveness of analogy in transferring structural information from one system to another, hermeneutic pitfalls are very probable. Hermeneutic pitfalls are communicative situations that intentionally or unintentionally involve ambiguity and might lead to misunderstanding and misinterpretation.

The article examines cases of grammatical and psychological pitfalls and their synthetic models and analyses their causes. Particular attention is paid to the analysis of the specific features of semantic transfer in the pairs “concept to concept,” “image to image,” “concept to image,” and “image to concept.” We will also examine the case of deliberate pitfall underlying the mechanism of using analogy in manipulative practices in commercial advertising and political technologies.

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@Marcin Sokalski

Marcin GMYS

Editor-in-chief of Copernicus. De Musica

Editor-in-chief of Res Facta Nova (2014–2021)

Director of Polish Radio Chopin (2017–2024)

Institute of Musicology, Faculty of Art Sciences, Adam Mickiewicz University, Poznań, Poland

From Structural Analogy to Metaphor. A Musical Perspective

ABSTRACT

The process of creating a structural analogy, which may not seem so obvious at first glance, is one of the most important compositional strategies in the history of music. Already, after all, the counterpoint technique, which is based on carrying out the initial theme (dux) in close or free imitation (comes), is in fact, if one may put it that way, a structural analogy in musical action. The first part of the text will discuss instances of the more interesting structural analogies in musical masterpieces from the 19th to the 21st century. One of the most difficult structural analogies to decipher in the history of music turned out to be Beethoven’s strategy employed by him in the String Quartet in C sharp minor, Op. 131 (1826), which waited 140 years for its decipherment (it was only identified by Joseph Kerman in his 1967 monograph The Beethoven Quartets). Then, echoes of the structural analogy of this quartet in the novel Immortality (1988) by Milan Kundera and in the String Quartet “Arcadiana” (1994) by Thomas Adès will be shown. Here, too, the question of structural analogy in symphonies and chamber music written according to the scheme of per aspera ad astra dramaturgy will be addressed. In the second part of the text, situations will be presented in which structural analogies become components of the metaphorization processes that form the semantic core of musical compositions. Two masterpieces will be chosen as examples – Gustav Mahler’s Symphony No. 7 (1904-1905) and Ferruccio Busoni’s opera Doktor Faust (1918-1924). Each of these scores in a completely different way (the media used by both composers are distinct), but each time through a structural analogy becomes a metaphor for the idea of eternal return outlined by Friedrich Nietzsche in his book Thus Spoke Zarathustra.

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@the 13th SIS Congress

Dénes NAGY

President, International Society for the Interdisciplinary Study of Symmetry, Melbourne and Budapest

President, Committee for Folk Architecture, Hungarian Academy of Science, Veszprém, Hungary
Australian Catholic University, Melbourne, Australia

The role of λόγος, ἀναλογία, and συμμετρία at the Birth of Abstract Mathematics and Aesthetics:

In Memoriam Władysław Tatarkiewicz (1886-1980),

Stanisław Jaśkowski (1906-1965), 

and Árpád Szabó (1913-2001)

ABSTRACT

The ancient Greek expression λόγος (logos), from the verb λέγω (say), means saying, word, reason, knowledge. It gained an additional meaning as ratio (a/b), when the Pythagoreans studied the musical harmonies using the monochord instrument. They found that the good consonances could be characterized by simple ratios.  They also needed a term for the sameness of the ratios,  and coined the expression ἀναλογία (ana + logos), meaning proportion (a/b = c/d). Using numbers  to characterize the harmonies / consonances was very successful.  Even today, musicologist use mathematics-related expressions, such as the perfect octave (1:2), the perfect fifth (2:3), the perfect fourths (3:4), the major third (4:5), and the minor third (5:6 or 6:7). The Pythagorean methodology also proved useful in other fields. For example, the sculptor Polykleitos (Polyclit) studied the proportions of the human body and established a canon. We will survey Vitruvius’ later approach to human proportions and Leonardo’s related studies in the Renaissance.

On the other hand, the Pythagorean approach had some limitations. In the case of a square or the regular pentagon they were not able to express the ratio of  the diagonal to the side as a ratio of two integers. Some sources claim that the symbol of the Pythagoreans was the pentagram. Thus is it reasonable to believe that they studied the ratios there. On the other hand, all of the surviving early sources discuss this problem in connection with the square. Here we see a very important step in the history of ideas (see Árpád Szabó’s monograph on the beginnings of Greek mathematics, which was written in German, but later it was translated into English, French, German, and Japanese). The fact that they did not find the corresponding ratio, does not mean that it is impossible. After they failed to find such a ratio, the invented a very interesting proof that the corresponding ratio does not exist. They supposed that the ratio of the diagonal and the side can be expressed as a/b, where a and b are integers, but it led to a contradiction. This method is called reductio ad absurdum. Geometrically speaking, the diagonal and the side of a square is ασυμμετρον (asymmetron i.e., incommensurable). The expression συμμετρία (symmetria) became a central concept in Greek aesthetics, as it was demonstrated by Władysław Tatarkiewicz in his comprehensive work on the history of aesthetics.

In Latin there was an interesting “doubling” of the related Greek terminology: they adopted the two expressions as analogia and symmetria and also translated them  as proportio (Cicero) and commensura (Vitruvius). Later the adopted terms were available for using these in more general sense, see the importance of analogy in grammar, logic, and every day practice, as well as symmetry in geometry, crystallography, physics, etc. 

In 1952, Hermann Weyl published an important book on symmetry, which was translated into more than ten languages. In the same year, S. Jaśkowski published a book, in which he brilliantly discussed some analogies between mathematics and decorative arts. Later he also published a popular book. Sadly, his works are not widely known.

Personal note: I was fortunate to know personally both Árpád Szabó (we had various discussions) and Władysław Tatarkiewicz (we had two brief discussions after his lectures at the Pałac Staszica).

References: 

Jaśkowski, Stanisław O symetrii w zdobnictwie i przyrodzie: Matematyczna teoria ornamentów, [About Symmetry in the Decorative Art and Nature: Mathematical Theory of Ornaments, in Polish], Warszawa: PWS, 1952.

Jaśkowski, Stanisław Matematyka ornamentu, [Mathematics of Ornament, in Polish], Biblioteka Problemów, Warszawa: PWN, 1957.

Tatarkiewicz, Władysław Historia estetyki, I–III, Wrocław: Ossolineum, 1960–1967;

English trans. History of Aesthetics, Vols 1-3, Hague: Mouton and Warszawa: PWN, 1970-1974.

Szabó, Árpád The Beginnings of Greek Mathematics, Dordrecht: Reidel and Budapest: Akadémia, 1978.

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@Yuko Abe

Marcin J. SCHROEDER

Professor Emeritus, Akita International University (AIU), Japan

Editor-in-Chief of the journal Philosophies (MDPI)

Vice-President for Research (former President 2019-2021) of the International Society for the Study of Information (IS4SI)

Academic President of the International Society for Interdisciplinary Studies of Symmetry (SIS)

 Reincarnations and Consequences of the Distinction Between Analog and Digital Information
 

ABSTRACT

The distinction between analog and digital information has entered the vernacular vocabulary and may seem as obvious as the meaning of the word data. Whatever is obvious, as a rule, hides an unpenetrable depth of the foundations of our thinking. The terms “analogy” (proportion) and “digit” (finger or toe) are very old, and both very early acquired some association with numbers or measuring. However, their opposition is relatively new, and most likely it was introduced or at least popularized by John von Neumann (1963) in the late 1940s in the context of computing automata. He considered the opposition of the Analogy Principle and the Digital Principle, where in the former numbers are represented by physical magnitudes and in the latter by “aggregates of digits”. In his explanation, he focused on the difference in the process of calculation (operations on numbers), which in analog machines involves physical interactions, and in digital machines manipulation of digits. Also, he observed that in analog machines, we can never get exact outcomes of calculation due to unavoidable errors in the transition between the state of the machine and the reading of the result, but the results of digital calculations are exact. Both types of machines existed in those days, but the main direction of computing technology was in the type of digital machines, mainly as a result of Alan Turing’s invention of universal computing machines whose operation can be programmed by providing appropriate information to the machine instead of restructuring its design.

The development of electronic technology has brought forth different manifestations of this distinction, for instance, in the way sound or music was recorded, transmitted, and reproduced. Already in von Neumann’s original writings, the focus was on the distinction between the continuous characteristic of the operation of analog machines and the discrete nature of digital ones. This distinction has important consequences for the theoretical description of computation and the subsequent development of information technology. With the extraordinary importance of this technology, in the popular view, the distinction of analog-digital is identified with the opposition continuous-discrete. In reality, all digital computers are actually analog in the sense that at the level of machinery, they operate in a continuous way, and the process of discretization is conventional to implement the computation in terms of digits (Papayannopoulos et al., 2022).

Thus, what exactly is the analog-digital opposition in the context of information, if not as usually assumed, the work of computing machines that are all analog in their operation? In my recent publications (Schroeder, 2025), I presented the view that the difference between analog and digital information is similar (i.e., analogous) to the difference between the concepts of physics characterizing physical systems by physical states (analog) and observables (digital). This distinction in physics acquired recognition and fundamental importance with the rise of quantum mechanics, but was already present earlier, although only indirectly. We can trace it all the way to the invention of the earliest forms of writing, and in particular, its alphabetic form. This way of understanding the analog-digital distinction was not explicitly formulated by von Neumann but can be identified in his explanation of the two types of machines. Analog information is encoded in an object or alternatively can be identified with its state, while digital information is the result of observation or measurement of this object. In the context of computation, the calculation by an analog machine operates on the states of the computing machine, while in digital computing, the operation involves measurement (e.g., reading of the tape of the Turing machine).

The distinction between analog and digital information has been obscured by confusing terminology, especially by the use of the deceiving term “data.” Its Latin meaning, the plural form of “given”, suggests the direct accessibility of information, ignoring the stage of the transition from the encoding of information within an object (understood usually as what information is about) to the encoding of information in the specific format (frequently, but not always, of the numerical type). The transition is the process of observation or measurement. Naturally, this stage of the transformation of information was outside the interest of those who were searching for the abstract mathematical process of calculation and was left outside the description of information processing. The transformed information was simply “given,” but actually it was “taken” from the object by an observer, as it is reflected in the English expression for photographing as “taking a picture of something.” What was “given” by the object was considered identical to what was “taken” by the observer, which, with the advent of quantum mechanics, became unwarranted. Thus, what is commonly called “data” (given) should be called using the Latin “capta” (taken). Data are most frequently inaccessible.

The distinction between a state and an observable has many precedents in philosophy. Probably the best-known analogy can be found in Immanuel Kant’s distinction of the thing as it is (state of the thing) and our human perception involving the synthetic a priori apparatus of knowing (observable). In a much more practical context, von Neumann’s concern about the errors involved in analog computing is similar. However, the analog-digital distinction, upon careful reflection, rises from a marginal technical issue to the role of one of the most fundamental principles of the study of information and knowledge.

References

von Neumann, J. (1963). The General and Logical Theory of Automata. Ed. Taub, A. H.,  John von Neumann, Collected Works, Vol. V, Pergamon Press, Oxford, UK, 1963, pp. 288–326.

Papayannopoulos, P., Nir Fresco, N., and Shagrir, O. (2022).  On Two Different Kinds of Computational Indeterminacy. The Monist 105: 229-246. 

Schroeder, M.J. (2025) . Theoretical Unification of the Fractured Aspects of Information. In Schroeder, M.J. & Hofkirchner, W. Eds. Understanding Information and Its Role as a Tool: In Memory of Mark Burgin. World Scientific, Singapore, pp. 131-185.

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@the 13th SIS Congress

Ioannis VANDOULAKIS

"Semiotics of Logic and Reasoning" Research Group, Endicott College, USA

Strategic President of International Society for the Interdisciplinary Study of Symmetry (SIS), Melbourne and Budapest

Vice President of the Logica Universalis Association (LUA)

Ratio, Proportionality and Similarity in Greek Mathematics and Philosophy

ABSTRACT
 

In Greek mathematics and philosophy, a cluster of terms related to analogy is used in specific contexts. The Greek term “analogia” derives from the suffix ‘ana-’ and ‘logos’ which is rendered as “in ratio”. This expression is used in Euclid’s arithmetic Books (VII-IX), where it appears as a four-place predicate over natural numbers in defining when four numbers are in ratio (Def. 20). In Book V, where Euclid exposes Eudoxus’s general theory of proportios, the expression is used to denote a four-place predicate over magnitudes. Magnitudes capable of having a ratio to one another are homogeneous. The similarity of geometric figures is examined in Book VI of Euclid’s Elements, where a law of composition of ratios is introduced.
 

In a broader sense, analogy expresses the idea of similarity, which presupposes the existence of a common feature (an idea, a pattern, a regularity, or an attribute) between the compared entities. Using this concept, Plato discovered in Parmenides the logical problems it might involve: the possibility of infinite similarity regress caused by self-reference. This was remedied by a sound definition of similarity that delineates types of homogeneous entities, the confusion between which is ad hoc precluded to prevent self-reference paradoxes.

©Analogy Congress 2015-2025. All rights reserved

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