Culture is symbolism. Symbols allow a distance between perception and interpretation and create space for intentional action. Science, the arts, and religions are different cultural strategies to transcend sensual perception and open up the search and representation of structures and relations in and yet beyond sensual experience. The arts demonstrate, interpret, and invent such connectivities. Knowing, feeling, and representing hidden structures influence the very ways of perception, which are categorized in theories of perception called aesthetics. The processual and non‐dual character of perception can be modeled not only on the basis of the well‐known distinctions in European epistemologies (based on Platonic and Aristotelian modes of thinking) but on the Buddhist theory of skandhas, which might be able to transcend the dualism of matter and mind. The dynamics of perception will be explained on this basis using the categories of beauty and sublime and veiling and revealing (unveiling). The central category of aesthetic processes is similarity or variation, being expressed in fractal proportions and relationships in the processes of knowing and feeling.

中文翻译：

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美学原理，艺术和文化诠释

文化是象征主义。符号在感知和解释之间留出一定距离，并为有意采取的行动创造了空间。科学，艺术和宗教是不同的文化策略，它们超越了肉欲的感知，并在肉欲经验之外提供了对结构和关系的搜索和表示。艺术证明，解释和发明了这种联系。认识，感觉和表示隐藏的结构会影响感知的方式，这些方式归类在称为美学的感知理论中。感知的过程性和非对偶性不仅可以根据欧洲认识论（基于柏拉图式和亚里士多德式的思维方式）众所周知的差异来建模，而且可以基于佛教的认知理论来建模。斯坎达斯，也许可以超越物质和思想的二元论。感知的动态将在此基础上使用美和崇高以及遮盖和揭示（展开）的类别进行解释。审美过程的中心类别是相似性或变异性，在认识和感觉过程中以分形比例和关系表示。