Science, Art, Litt, Science based Art & Science Communication
Bioptical Art
My research on Bioptical Art is in experimentation.
By 12. Visual-sense-storming
I require the participation of specialists
from contiguous areas.
I present examples which show reproducible effects.
I enunciated and assumptions about them.
These assumptions are questionable.
Can be assimilated in fine art?
Is or not a deficiency of affection, in fine art?
A composition (Bioptical Art) can be used in decorative, or in the special
exhibitions, or in the psychotherapy?
Bioptical Art it is at least instructive to contiguous areas.?
I have been reproached that my descriptions are not clear enough
For this reason, I have to start (in the following stages) by giving examples of bioptical compositions with corresponding descriptions
"Bioptical art" is the most appropriate designation, in my opinion, for a new field of art based on special techniques meant to amplify perception in painting and sculpture. I have chosen it, following a long series of experiments.
Even though the main subject of a composition is created as inspiration rules the artist, certain portions of the picture include elements meant for each eye separately. These distinct stimuli result in psychophysical effects with original artistic potentialities, when one eye looks through a pair of mirrors (called bioptical device), while the other remains naked.
For, observing the bioptical effects the compositions will be accompanied by tests, observable without bioptical device but with crossed-eye viewing
Dutour clearly describes binocular rivalry of two outlined colours (in 1760, 1763). Thus, Dutour describes the effects obtained by their fusion with the naked eyes, by eye convergence or divergence.
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Replies to This Discussion
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Permalink Reply by David A. Engstrøm on
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If I might expand, I would call it an accommodation~assimilation of lumenonic convergence~divergence, where the "~" or "squiggle" symbolizes the dynamical complementarity of mentioned complementary pairs, as sensed by the visual faculty, and as understand and explained by coordination dynamics, pioneered by J. A. Scott Kelso, and discussed in a book co-written by David A. Engstrøm, "The Complementary Nature": http://thecomplementarynature.com/wordpress. The artistic aspects of such phenomena~phenomenology as applied to the arts is the foundation of a new art music called, "The Metastabilian Movement", where "Metastabilian" is an individual who has become aware of and employs their "Squiggle" sense, or "sixth sense of the complementary nature" towards aesthetic~creative means~ends. best from David, and may the squiggle be with you! ~;)
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Permalink Reply by Liviu Iliescu on
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Thanks for your comments. I they are useful to the complements that Iwill bring them after I get more comments. Please follow the discussions that I present in the next stages.
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Permalink Reply by Marcel Charest on
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Dear Liviu,
I congratulate you for synthesizing in words that permit a coherent reading of this approach to art. Years ago, I observed that both our eyes look at the same model but not quite with the same point of vue. When you transfer from one eye to the other, there is a displacement that changes perspective. Furthermore, one eye is more sensitive to some colours than the other; the angle of light is not exactly the same. I never tried to go the the end of this discovery but it has always haunted me and I ask myself the importance of the phenomena when we look at things, and when we paint.
Another thing, sometimes, I try to do a whole painting with my "other" hand instead of the one I use regurarly; the result, often, is a more expressive work.
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Hi Liviu and Marcel,
Yes these points are relevant in general in context of the coordination dynamics of intentional~unintentional motor movement, of synesthesia between the sensory faculties, all of which the phenomenology is by now very well understood and continues to be studied with coordination dynamics. This is a vast subject, but I would glad to explore with all of you some very useful lines of research that can help you grok bioptical phenomena.. best from David ~;)
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Hi David
Is important to understand each other, the essence of our research
I'm dominated by bioptical composition, and want, as several artists,to accept, learn simplified language belonging, topics Bioptical Art
We will understand more easily through images. Compositions that have been achieved using methods that have resulted from my research include effects that distinguish using names:Psychophysical mixture of colors, retinal cooperation, antispace in art, spatial harmony, bispace in art, psychic cycle, dynamics of space depth, spatial disharmony, hyperrealistic effects, hiatus in art, visual gradient, hyperspace in art, field binocular rivalry.
Some of these have not been experienced by humans yet.
View my compositions. These are old reproductions (bad) introduced many years ago that I have not changed yet; can be used in training
Post:
Sketches, drawings, figures and portraits
Paintings - Author Liviu Iliescu
Is essential that you fuse with crossed eyes
Description of training for ”Crossed-eye viewing”
in paragraph
Some of the adopted techniques
To see my position in the overall context of the theme for fine art, which is on Google, post:
fine art colour fusion helmholtz ; fine art binocular rivalryfine art binocular rivalry science ; fine art visual sense stereoscopy
fine art visual sense pictures
See references: 12.Visual-sense –storming ; The paired off visual signal Liviu Iliescu
Is important to understand each other, the essence of our research
I'm dominated by bioptical composition, and want, as several artists,to accept, learn simplified language belonging, topics Bioptical Art
We will understand more easily through images.
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Thank you for comment.
See further explanations, which will appear gradually
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Permalink Reply by Dr. Krishna Kumari Challa on
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A reply sent to me by Mr. Iliescu:
RE: My major interest lies in the transmit accumulation in arts and science, in order not to lose.From Liviu Iliescu to You
Sent 17 hours ago
Forward
I join those who say that this thematic may be discussed from several points of view.
I present some issues that emerged from my research in the fine art.
I have established rules of composition, some mathematical relationships derived from
I realized compositions and as a result of recommendations we proposed that this kindof art to be used in psychotherapy.
Bioptical art I called my research, a field which I think in the experimental phase.Even in testing phase, we might consider, as it confirms that as science generates art, which in turn
can be used in science.See
12. Visual-sense-storming
5. Laboratory hall for visual therapy
Sketches, drawings, figures and portraits.
To see my position in the overall context of the theme for fine art, which is on Google, post:
fine art colour fusion helmholtz ; fine art binocular rivalryfine art binocular rivalry science ; fine art visual sense stereoscopy
fine art visual sense pictures
See position titles containing my work:
12.Visual-sense –storming ; The paired off visual signal Liviu Iliescu
The modalities that I propose may be valorised by arousing a wider interest, if the fine art artists, by using traditional techniques and their talent, will create complex compositions with bioptical stimuli. on one hand, Bioptical Art will bring developments in research of psychology, neurology and psychiatry, and, on the other hand, it will give possibilities to the field of aesthetics to supplement chapters such as: disinterested interest, art as sensorial experience, art dependent knowledge and others
I will return with explanations and simple examples of how it looks
and are compositions of Bioptical Art
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Suddenly, I ask myself what art would become if to be an artist you must be a scientific. No art without science? What would become of the art practiced by children? On one hand, Picasso replied to a journalist that a child could do the same painting as the painting of Picasso; Picasso was moved by the question and said: "Thank you very much, I have been trying to paint like a child for more than thirty years!" On another hand, (how many hands do we have...), scientists, sometimes propose schoolchildren with grown-up scientific problems in order to have a new perspective; sometimes, just to get out of the problem to see more clearly a solution.
Marcel Charest
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Hi Marcel,
Dear Marcel,
Yes, this conundrum and all conundrums of this kind fall within the realm of the complementary nature. Th We would say that art and science are "complementary aspects" of a complementary dynamic of creativity that is the human brain~mind. That is to say, creativity is both emotive and introspective. Science is the business of acquistion of knowledge, no more, no less. There is a lot of science implicit in the act of painting or sculpture, for example. In order to employ a medium the medium must exist. Each medium carries with it a development that is no less scientific than many scientific studies. I humbly suggest that it is unlikely that the agenda here, or any reconciliation of art and science, is to "reduce" art to science, nor would I suggest that it is auspicious to "reduce" or belittle the role of science in our lives, the device you are using to read this is a very decent case in point: much science and art have been employed to result in your computer... best from David ~;)
About
The "Metastabilian Movement" is a new art movement started by David A. Engstrøm. Its aims and aesthetic are based on 'the squiggle sense' of the complementary nature, which is grounded in the science of coordination dynamics.BiographyMy name is David A. Engstrøm. I am multiartist, writer and neuroscientist. I am a co-author (along with J. A. Scott Kelso) of a popular science book called 'The Complementary Nature', which provides a novel scientific~philosophical paradigm based in dynamical metastable complementarity, that can be applied to any field of human endeavor.
This being the case, I have spent many years applying this paradigm to my artistic pursuits, and am now convinced that applied to the arts, it actually constitutes the foundational step of a new, exciting and powerful artistic movement, which I have named, "The Metastabilian Movement".
This facebook page is dedicated to "The Metastabilian Movement" in the arts. It will share my own artworks and hopefully works from others who join the movement. It will develop and present the main ideas and concepts of the movement leading to an official manifesto.
As the "Metastabilian Movement" takes hold, the page will provide details of events, openings and galleries that present artworks of its followers.
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http://www.facebook.com/TheMetastabilianMovement Come visit! ~,)
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Dear Marcel
Thanks for message.
Picasso started from the premise that everything in the paintings hould be reduced to the plan. (cubism)
He was a genius.
I searched in Bioptical Art a lifetime, being expert in designing mathematical optics.
I learned to paint for applying my research.
I expect artists to teach the new technique, which will become
famous.
Some animals from which we came had eyes in the side as is pigeon.
Bioptical technique involves regaining the habit of seeing two different images in succession.
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Dear Liviu,
Animals who see two different images in succession interprete both images at very high speed. I wonder if while an eye looks at something, the other is blind. I ask because when the animal concentrates on one image, you can show him anything to the other eye, there is no reaction. But you have to be fast to observe. On another subject, I noticed that when a human injures an animal, the animal always reacts; but, sometimes, when the animal hurts himself, even harder, there is no cry from the animal. I wonder if there is a link between the three situations.
On another subject, I think that our eye followes an object in movement like a doted line, not like a full line. The dots are so thin, we think our eye makes full line.
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