SCI-ART LAB

Science, Art, Litt, Science based Art & Science Communication

 

               fine art visual sense  science

                    Relative to:

Science can tell what constitutes the beauty of a rose!  by Dr. Krishna Kumari Challa

Dr. Krishna Kumari Challa, in her article

presents further arguments for importance of science in the arts.

   

  Dr. Krishna highlights important research oriented to this topic

and regretted the attitude of some people not trying to see

art one of the means which tends to equilibrium in their body.

 

           Dr.Krihna I quote:

 

However, in a number of crucial ways we have to deal with things ourselves  in these areas, to find reasonable answers because you can analyse musical notes in a scientific way, but what is it that makes Beethoven so great? Why does great art move us and speak to us?  Because, again this is neuroscience, neuroaesthetics  to be more precise, these things match with our emotional states, create 'well being' harmones in our bodies. 

 

I notice in connection with neuroaesthetics, several aspects related to my research.

 

Neuroaesthetics is detached as a science in 2002;

as the scientific study of the neural bases for the contemplation and creation of a work of art”  (Wikipedia)

To be more explicit I shall refer to the following figure: 

 

 In neuroaesthetics runs a major research activities in scientific limits contained in section 1

 

Researchers aim to establish, with, sophisticated means registration agreement (objective)

the stimulus effect (aesthetic stimulus , eg color) in physiological structures.

 

In section 3 enroll philosophical considerations (when they are), in which dominant assumptions about aesthetic pleasure.

 

So far, no physiological structures found   developing consciousness

(see the graphic section 2.)

Stimulus the  consciousness  (section 2) appears as a process resulting from the accumulation of eternity, which involves  metaphysical  interpretations (Divine presence)

 

 

Database: PsycARTICLES

[ Journal Article ]

Physiological correlates of aesthetic perception of artworks in a museum.

Tschacher, Wolfgang; Greenwood, Steven; Kirchberg, Volker; Wintzerith, Stéphanie; van den Berg, Karen; Tröndle, Martin

Psychology of Aesthetics, Creativity, and the Arts, Vol 6(1), Feb 2012, 96-103. doi: 10.1037/a0023845

Abstract

  1. 1.     Arts experts are commonly skeptical of applying scientific methods to aesthetic experiencing, which remains a field of study predominantly for the humanities. Laboratory research has, however, indicated that artworks may elicit emotional and physiological responses. Yet, this line of aesthetics research has previously suffered from insufficient external validity. We, therefore, conducted a study in which aesthetic perception was monitored in a fine art museum, unrestricting to the viewers' freedom of aesthetic choice. Visitors were invited to wear electronic gloves through which their locomotion, heart rate and skin conductance were continuously recorded. Emotional and aesthetic responses to selected works of an exhibition were assessed using a customized questionnaire. In a sample of 373 adult participants, we found that physiological responses during perception of an artwork were significantly related to aesthetic-emotional experiencing. The dimensions “Aesthetic Quality,” “Surprise/Humor,” “Dominance,” and “Curatorial Quality” were associated with cardiac measures (heart rate variability, heart rate level) and skin conductance variability. This is the first evidence that aesthetics can be statistically grounded in viewers' physiology in an ecologically valid environment—the art gallery—enhancing our understanding of the effects of artworks and their curatorial staging. (PsycINFO Database Record (c) 2012 APA, all rights reserved)

However, these aspects are private.

 

And I support the actions   that develop research in the area of contiguity Science Art, accompanied by philosophical considerations (aesthetic)

 

  See my proposals link:

 

  14. Some additions and resumptions on the bioptical composition

12. Visual-sense-storming

 

 Bioptical Art -Cabinet for visual psychotherapy

 

5. Laboratory hall for visual therapy 

 

I give another quote from Dr.Krishna:

 

Recently  cosmologists took on the idea that the universe may be full of stuff like dark matter or energy - that we can't perceive with any of our senses or equipment available now. Just because you cannot see or perceive it, you cannot say it doesn't exist! You can first form a theory to explain some of the anomalies in your observations, find out ways to prove or disprove it, fit things into theories with these facts, then go ahead to understand things. There are things in this universe that are beyond your perceptions and feelings too! That is where science tries to fill the gap and show the true picture.

 

Emphasize those statements because they can put you in touch with my research.

Essence  in Bioptical Art  techniques that I propose is to extend skills in visual sense.

I have applied optical methods, taking the consolidated findings of studies in the nineteenth century.

   These studies are based on nineteenth century just, expanding skills in visual sense.

 

If it is not possible for us humans to develop new senses us, it is still possible to

expand skills, as can be observed extending skills for visual sense

results of research in the nineteenth century.

 

Extract from my descriptions:

 

  link; 2. Binocular rivalry and stereoscopy in bioptical art

……………

- C. Wheatstone (1838) describes for the first time the binocular rivalry and invents the mirror stereoscope. 
- Herman von Helmholtz (1867) publishes his Handbuch der Physiologischen Optik. 
- B.B. Breese (1899, 1909) develops the theory and points to monocular rivalry. 
- F.W. Campbell (1972) rediscovers monocular rivalry. 
  ………………

My publications on applications extend the skills in visual sense starting   in the year  1974.

 

See references in link: 15. Psychical satiety in affectivity

I introduced my works stimuli similar to those used in the fields:

Binocular Rivalry; Color Fusion Helmholtz;   Stereoscopy

 

In the past two decades researchers have published numerous studies in the field

Binocular Rivalry

 

Techniques published by me under the title Bioptical Art enroll in sections 1 and 3

in the diagram above.

 

Important!

My work shall mean, in their essence, only using interactive discussions.

This is the case with experts who ignored my work so far.

  Who is interested in what I offer through Bioptical Art for documentation may apply

 to selected Google

Post:

fine art visual sense science

Open sites and images from the first page (of course without insist browse titles)

  Auto-quote

Cover IV (Iliescu Liviu; The Paired Off Visual Signal 2007, Monitorul Oficial, Bucharest, 95 pages ISBN 978-973-0-05187-2. 49 pages. ISBN 978-973-624-946-4)

Visual tests, such as binocular rivalry, colour fusion and stereoscopy, introduced in plastic art compositions, result in the enhanced efficiency of their psychic influence. Their advantage is that they induce contemplations largely independent of the observer’s level of training or professions. The stimuli introduced in compositions are  differentiated and correlated for the left eye as compared to the right eye.  

          A sign in field (Fd) is matched with a sign in field (Fs). Together they form the paired off visual signal. 

           The modalities of the bioptical art may be subordinated to an explosive development of research on binocular visual perception in the last decades of the 20th century, carried on these last years.

There occur important opportunities for visual artists to contribute not only to artistic communication but also to neuroimaging  and visual therapies. They boast special sensitivities in the visual field and may develop the imaginative universe.

 

You will understand the techniques of Bioptical Art if you answer the following invitation

 

I invite, people of different professions (including students)

to participate in a series of interactive discussions.

I can explain some aspects of the art and science.

These explanations will be based primarily on simple drawings,

to be executed by participants with my help.

 This way you will contribute to experimentation

domain launched by me in the title Bioptical Art

 

Attached descriptions may be partially understood by some persons.

These descriptions will be recalled gradually and explained, along with other descriptions.

I will answer all questions that belong to Bioptical Art.

 

9. About a didactic experiment in bioptical art

  

 

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