Concerning

 

HOW TO ENABLE NEW COLLABORATIONS BETWEEN

 SCIENCE/ENGINEERING AND ARTS/DESIGN

Author   Roger Malina

 

I see that important topics presented by

Mr. Roger Malina

 

I consder to mention design by thus, it is important that the collaboration is an area

 that artists who are considering the useful optimization, taking into account human life

 

 

In terms of my research suggest an extension, this

themes that highlight the growing interest and affective side of  physical life.

For this, I submit for discussions, extracted from

These proposals I offer them free, without restriction of patent.

 

PSYCHODROME

 

Extracted from:

 Liviu Iliescu. Bioptical Art - training of bioptical vision, Crater, Bucharest, 1998,

      148 pages. ISBN 973-9029-37-X.

 

Psychodrome, in my opinion, is the most appropriate designation for a monumental ensemble meant to give scope to Man’s aspirations for getting in touch with the outer world, by means of sensory path- ways. That monumental complex shall provide areas for interhuman communications by means of emotions, mediated by bioptical techniques.

To this effect, the PSYCHODROME shall include two components:

– Psycho-A, that is functional statuary forms, liable to pick up and amplify stimuli from the outer world.

– Psycho-B, that is a group of areas comprising facilities for bioptical images for interhuman communications by means of sensory pathways.

PSYCHO-A

The idea of creating a functional monumental complex for the interception and amplification of stimuli from the surrounding world has originated in an enigmatic drawing by Constantin Brancusi, entitled "Relativement, tel que moi" ( figura 35), which may be translated by "In a way, this is my ego". The upper triangle gathers aethereal fluids from above and by means of concentric circles focuses them on a central point, which symbolizes the ego. My interpretation greatly exceeds Brancusi’s abstract message which is centred on the ego.

The following suggestions have started from the idea of collecting multisensorial stimuli from nature, in order to concentrate them in a unique place, fit for getting in touch with the universe.

In cloudless nights, a viewer standing on the look-out platform, has the star-studded sky above him and underneath, the images of one star mirrorred by the reflectors of the amphitheatre  and the bright spot of the central table. He is sure to feel lonely in the midst of the Universe, as if he were in the proximity of a galaxy. The monument should also comprise outstanding specimens of the human creation... To be sure, unimpeded creation has soared to artistic peaks. Yet, fragments of the laws of the Universe, emphasized by unique representations, evoking stimuli for inner responses – either petrified in the form of amphitheatre or columns, or time-modulated (optical, sonorous effects) – are also leading to climaxes which decisively contribute to the widening of the spiritual domain...

This monumental ensemble ( figure 36 Psichodrome, ), devoted to contact the outer world, comprises: a table (1) made of hard (may be opalescent) material, with a polished surface (with calculated concavity), aimed at reflecting heavenly bodies; an amphitheatre (2), with several tiers disposed in a circle or ellipsoid (boasting elements with white edges and dark surfaces); a sloping surface with an access ramp and other capture elements, a triangle (3) etc. and farther, to the southwest, a wooded area; an arched structure (4) with a look-out platform (5), hanging over the architectural ensemble to watch effects resulting from the described elements...

On the upper part of the amphitheatre, there may be placed columns (if they are architecturally suitable) or at least some salient structures with reflector elements.

Reflector optical systems, scattered throughout the amphitheatre in a spiral-like arrangement, will simultaneously reflect a certain star, at certain calculated moments.

Onlookers will have the impression that a galaxy is shining on the earth.

The arched structure (4) comprises groups of prisms (6) projecting coloured images, "painted by the very sun", on certain spots of the monumental complex. The arched structure is also endowed with organ pipes (7) for Aeolian music, whose sounds may be randomly modulated by wind-operated flaps. This music is amplified by a concave-ellipsoidal sonorous mirror (8), while a paraboidal sonorous mirror (9) is designed to collect "the whispers of the world".

Other solid optical items, specially calculated and mounted in the look-out platform of the arched structure, impart an impression of "floating" to the viewer who looks through them at certain mosaic or sculptural elements (10).

Protection lightning-rod (11) is supplemented by others, which provide a genuine display of corona-like luminescent electric discharges, likely to be seen during storms and especially by night.

Impressions of ethereal aspect, trembling or soaring are also evoked.

To carry out this project, a wide team of engineers, architects, painters, sculptors, astronomers etc., is necessary.¹¹

PSYCHO-B

Special areas arranged within the monumental complex are sheltering exhibitions of bioptical compositions, paintings and sculptures, worked out by means of the techniques described in the annex.

In my opinion, abstract compositions, as they are known so far, imply very little communication between artist and recipient subject. Bioptical techniques may, however, give rise to latent reception abilities which a man is endowed with. These interhuman commu- nications create a language based on emotional pathways, considerably increasing the range of the psychic world, by means of social resonance.

 

PSYCHO-A and PSYCHO-B make up the so-called PSYCHODROME, which may be a complex ensemble, a place for contemplation, meditation, getting closer to God, both by enhancing the relationship between Man and the Universe and by arousing latent emotions, stimulated by bioptical means.

Irrespective of the religion by which man acknowledges the divine in the surrounding world and in himself, irrespective of the supreme being he worships, no matter whether he prays in a temple, cathedral or mosque, places which will always be hallowed for him, he may still come here, in this new monumental complex, like a pilgrim, to meditate on the miracle of his existence.

The contemplation of the outer universe and the awakening of latent sensitivities do no harm to religious feelings or to worship places, as each religion in part remains eternal.

Moreover, atheists or people who reject any connection between the psychodrome and their places of worship, may find here an intellectualized replica to Disneyland, with several practical advantages:

– Anti-stress treatments

– Increased acuity in visual perceptions

– Increased sensitivity to artistic creations, painting, sculpture, architecture, etc.

– Improvements in military training, etc.

Fig.35

 

 

 

 Fig.36 Psychodrome

Artists, architects with accumulations, and talent (professionals) may propose alternatives

 

Fig. 37; components

  

 

Extracted from:

Liviu Iliescu; The Paired Off Visual Signal 2007, Monitorul Oficial, Bucharest,

            95  pages ISBN 978-973-0-05187-2.

 

I invite artists to design, to attend participate in this experiment where: forms in space that translates into another space with penetrating properties in,depth of tens of meters

 

Bioptical sculpture;

Experimental technique. I invite artists from design

to participate using their technologies and talent. A sculpture (model) contemplated by bioptical device, go to another space to depths of tens of meters, penetrating the wall behind the sculpture.

 

Figure 16 shows a bioptical composition in space bioptical sculpture. The forms in bioptical correspondence are placed in two tiered spaces. When viewing through the bioptical device, there occur bioptical and steroscopic images. Stereoscopic effects create a superspace.

 

                        

 Fig, 16  L. Iliescu,  Sculpture-Study  , 35x35x55 cm

 

                                                   Vd                                                                             Vs

 

Fig.  17  Detail of figure 16

 

 Figure 16 shows a bioptical composition in space  (bioptical sculpture). The forms in bioptical correspondence are placed in two tiered spaces. When viewing through the bioptical device, there occur bioptical and steroscopic images. Stereoscopic effects create a superspace.

      The composition elements placed in space seem to move in another space, with depths up to several scores of metres,  penetrating other objects from the space. Figure 16 shows the photo of a model  of a bioptical sculpture. It was used to prove the effects of binocular rivalry and colour fusion, combined with stereoscopic effects  ( transposition into hyperspace of a  sculpture already made up of forms in space). In that photo some colours were retouched, which points to the possibility of introducing stimuli of binocular rivalry. In the case of a bioptical sculpture, the forms are set in two superposed areas Vd and Vs. In one of the areas the theme is developed with some restrictions for the component forms, while in the other area, other restrictions are added, namely those resulting from the stimulation of some bioptical effects.

In figure 18, the sculpture, viewed from a distance Do, may develop up to a certain depth limit Ps, to which there corresponds a limit observation area So. Viewed from outside the observation area, some forms  are not bioptically correlated any longer (there occur image divisions for certain components, which are disturbing).

The photo in figure 16 was taken from outside area So. When the extracts of figure 16  (figure 17)

are viewed with  crossed eyes, spatial effects may be  noticed only for the left forms.

The bioptical sculpture may be achieved only by accepting the tolerances for deviations from eye convergence, prescribed for binocular optical devices. By taking into account those tolerances, one may scale the limits of characteristics in figure 18. It is possible to diversify the forms of the sculpture not correlated bioptically, forms free of restrictions, viewed from outside area So. Thus sculpture may appear as a conventional composition, when viewed with the naked eye.

 

 

Extracted from:  

 

Liviu iliescu; Retinal cooperation, "Arta" (Bucharest), no 5, 1989.

 

 Figure 4.7 shows  a sketch for a bioptical sculpture.

 

A tiered ensemble with paired off signs in bioptical correspondence, such as cuttings-out, outlines, prominences, as  well as variously coloured surfaces. In addition to their tiered arrangement, forms also have a radial coordination, so that some inner surfaces provide coloured backgrounds for the cuttings-out of the other structures. The effects of standing out and floating are also obtained by breaking outlines with the help of prominences.

Sight A – main sight; Sight B – sight from above of the limits which circumscribe the forms in space.

D1, D2, D3 – observation directions to be preferred.

F1, F2, F3, F4 – support forms in space, including bioptical correspondents

a, a’ – outlines in bioptical correspondence.

b, b’ – succession of (cut out) triangles, correlated so as to obtain the reversal of the naturalistic perspective.

c, c’ – coloured surfaces or cuttings out which induce retinal rivalry.

d, d’ – correlated prominences, to be detached from the ensemble.

f, f’ – elements which break the outlines.

n – noncorrelated outline.