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

I think the techniques and styles manner known to date

in fine art as one system.


Knowledge about the system, which involves accumulation of millennia,

are in possession of fine art professionals who are educated in universities,

using traditional methods and the transmission of knowledge directly from the masters to the students.


Developments on original designs, artistic generators are evaluated by professionals, which take into account in addition to economic criteria, how and echoes from the audience. These currents are allowed in the intervals corresponding to the succession of generations.


These assessments consist of interpolation scheme defined above.


Extrapolation of the impressionist type occurs when professionals extract from the science techniques applicable in fine art.



A These process apparently is not developed because

professionals should fine art instruction in the areas of science

which shows contiguous with fine art.


See link (an example of the reverse process; A These process apparently is not developed because

professionals should fine art instruction in the areas of science

which shows contiguous with fine art.


See link (an example of the reverse process; graphic shapes applied by researchers in science):

Subcortical discrimination; binocular rivalry; magnetic resonance


 For binocular rivalry see link:

2. Binocular rivalry and stereoscopy in bioptical art

Once the extrapolation was adopted, she enters the interpolation process

the assessment by professionals in fine art


   Might conclude that stagnation is due and artistic creativity of  psychical satiety (saturation) .

  I have tried to emphasize,  psychical satiety (saturation) in fine art.


Iliescu Liviu; Bioptical Art - training of bioptical vision, Crater, Bucharest, 1998, 148 pages. ISBN 973-9029-37-X.  > pag. 100... 110

Vezi link:

Psychical satiety in affectivity



I keep coming back to the main idea noting that a vector can be defined
that reported psycho-physiological to the structure of would have dimensions:


Utility, Needs, Satiety 

This vector could get qualifications:
-minor interest
-applicable in limited situations to developments by intelligence.
-of survival.
-as an attribute of life, in contact with the environment by adapting
reflex:  response (of contact agent) favorable - unfavorable.
- Divine vector

As fine art applications, to the attention of professional artists who feel limited by technical means.


The artists obsessed by their style, whose imminent subconscious emphasizes the role of everlastingness and progress in communication by means of fine art, will find out all about the way to create forms for a different contemplation modality.



The study of currents, movements, styles and manifestos of fine arts, tarting with Impressionism, as aroused interest in some questions:

- Why are there so many currents in a relatively brief historic period?
- Why have artists given up generous ideas and valuable contents after only a few years from their appearance?
- Is this only a quest for originality?
- Why do they rather quickly satiate affective experiences and are turned to account as decorative elements?

The causes are multiple, but could be considered a psychic saturation (satiety).

In connection with this, I quote a doctoral thesis, in which results of experiments, extending the concept of satiety, at physical state
of activity 


I found confirmation of the thesis:

1. Karsten A.(  , Finnish author ) ;

 Psychishe Sattigung Psychol. Forsch., 928, v. 10 page 145

 Satiety may comprise very different areas of preoccupations and situations. You can saturate to interpret a particular study at the piano or even interpret, studies, in other cases not only studies but in general to play at the piano, and even to be saturated of music in general, so it was not you can listen or an opera or a concert. (translated from German) 

In the genetic program would be a vector, utility- need- satiety. 

Satiety feedback would appear on need be. A cyclic dynamics can also be noticed in the relation need – satiety as follows:
-Need is presented cyclically in succession with satiety. 
-Primitive needs have a higher frequency (are installed in time more frequently) than the educated ones.
-Educated needs have a lower frequency, to the extent of an affiliation more remote from primitive needs, some of them become non-periodic .



 I hope this statement will result in discussions and blogs, from:

ART LAB - Art, Science, Li tt, Science based Art,

and of my publications

See links:

12. Visual-sense-storming


9. About a didactic experiment in bioptical art

In a first stage, the aim is to obtain a bioptical effect by a pair of signs. Successive modifications are then carried out, to obtain the adequate note within the respective bioptical effect. 
These modalities result in new types of forms, other stylistic types, substantially differing from the conventional compositions. Compositional rules are visible in the new form, the same as the laws of mechanics rule the form of viaducts, even though the designer is not concerned with their aesthetic aspect (figure 9.6).



 Fig. 9.6 Sydney Bridge



The essence of my studies in art consists of applying the extension

training in visual sense by introducing stimuli resulting in areas of science.


New techniques in fine arts by applying the research from Binocular Rivalry

 associated in a synergistic manner with Colour Fusion and with elements of Stereoscopy.


Possibility to associate stimuli causing innovative perceptions with the techniques used in traditional fine arts such as:
Psychophysiological mixture of colours, retinal cooperation, antispace in art, spatial harmony, bispace in art, psychic cycle, dynamics of space depth, spatial disharmony, hyper-realistic effects, hiatus in art, visual gradient, hyperspace in art, space and time in bioptical art, field binocular rivalry. 
Some of these have not been experienced by humans yet.

See link:

3. Bioptical effects, definitions


For observing the effects it is necessary to use relatively simple means.

Dioptical-biopic compositions are presented in normal eyes (with the naked eye)

  as the traditional ones, but with the original structure.


 The originality is the date from which the scientific elements, similar to the description

  about Sydney Bridge




- Dioptical-bioptical  composition consists of two fields-areas:

Above-field where artists can  compose  in your own style already formed, introducing

and their inventions and their techniques.

-The bottom-field composition which is similar to that of the above

but where artists have to apply some changes forms according to relatively simple rules,



So to cause dioptical-bioptical perceptions artists

must apply simple rules, without mathematical calculations


Among others is cited and the image series:



 Please check posting fine art sense and then click on any of the images:

  You will obtain corresponding publication

Another explanation of artistic interest, to develop creations

substantially original.

Certifications effects that I have obtained through

  stimuli that cause dioptical-bioptical perceptions

See link:

Confirmation effects dioptical-bioptical applicable in fine art





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Replies to This Discussion

Fine art objects form a dense set finite accepting interpolations.


With increasing density steps toward neighborhoods shrinks

  with decreasing intensity of sensations dominant.


Binocular rivalry, Color fusion Helmholtz and Stereoscopy (more analytical)

acting, the whole way, through  training new skills in visual sense,

leading to extrapolations, that increase; physical influence


Subcortical discrimination; binocular rivalry; magnetic resonance





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