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


 Initiation into bioptical art  


The articles published by me are considered unclear and I'm reminded

more explicit updates.


  The main theme is Bioptical Art.


  I public in parallel and some aspects that result from it the main theme

As is the case with:

Conceptual Art and some considerations by consulting IT

Started by Liviu Iliescu. Last reply by Liviu Iliescu Jun 26.


The file that we encounter at the entrance of each library (with authors or themes - in alphabetical order),

in the digital age can be replaced with a huge digital file (Gogle) that offers

  and evaluation information, applying hundreds of criteria.


I have published the book:

 Initiation into bioptical art; initiere in arta bioptica; The Official Gazette,

         Bucharest, 2005, 87 pages. ISBN 973-567-472-6.


See link:


Manual EN




 I add extract from:

Bioptical Art - Preliminary Explanations

Bioptical Art - Liviu Iliescu


"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.

My technique carries on experiments and tests undertaken at the end of the 19th century by Hermann von Helmholtz, the great scientist. His research-work consisted in the systematical analysis of different stimuli for each eye, using simple test-cards, but it was not connected to art.

The novelty of my studies consists in applying these test-cards, as well as others created by me, to painting and sculpture. I aimed at increasing the possible communication by affective pathways, at exerting a psychic influence by compositional ideas, at possibly creating new psychic structures.

The result was a new field in visual arts, which I present by means of test-cards and details of some bioptical pictures painted by me and by explaining the reproducible effects, which may be followed by the great majority of the readership. In addition to the description of these effects, I discuss several themes with metaphorical designations, trying to suggest some research trends.

I have chosen the name "bioptical" art and not "dioptical" or "binoptical", because compositions involve elements which unleash deeper psychical processes. Thus, for instance, the perception of a movement in the presence of static stimuli should be described by a title which is not connected to prevailingly physical aspects. To make descriptions as clear as possible, I had to define typical reproducible effects, such as:

antispace, bispace, hiatus and hyperspace in art, dynamics of space depth, hyperrealistic effects, psychic cycle, psycho- physical mixture of colours, retinal "cooperation", space and time in bioptical art, spatial harmony, spatial disharmony, visual gradient, etc.

In the sixties and seventies, Salvador Dali painted several pairs of pictures. Each pair actually was a stereopair. Looked at by means of an optical system devised by Dali’s coworker, physicist Roger de Montebello, there occur naturalistic stereoscopic effects. This modality represents the transposition in painting of the well-known stereoscope with photographs. Artistic gains are certainly due to the creativity of the great Spanish artist. However, the multitude of bioptical phenomena are not present here.

I refer to the "Dali moment" because I wish to point out that I am aware of his technique, in all its physical details. My publications reveal a concern for extending bioptical modalities including stereoscopy with abstract forms prior to and sometimes at the same time as the great Spanish painter. As a matter of fact he confined himself to naturalistic stereoscopic representations. In this connection, I pointed out as early as 1975:



See and


12. Visual-sense-storming


Graphic presentation of development possibilities in visual communi...

Started by Liviu Iliescu Jul 2.0 Replies 0 Likes

For guidance in experimentation for expansion possibilities infine art communication I presentedassumption of an vector of development, Utility Needs, Satiety in: …Contin....

Bioptical Art

Sketches, drawings, figures and portraits




Click on picture for full image! 

 Relativ la privirea cu ochii incrucisati   (arranged for crossed-eye viewing) 

 acesati descrierile de pe NET  despre la stereoscopia cu ochii liberi


 Aceste  extrase din copozitiile  de Bioptical Art,  au  campurile asezate pe orizontala: deci similar cu   observari stereoscopice cu ochii liberi

 Articole scrise de mine  despre Bioptical Art  au sens  numai  daca persoana interesata   a exersat si constientizat  aceste

compozitii test.

M-am oferit sa instruiesc interactiv o grupa de  artisti, care ca execitii de  fine art, sa invete aceste tehnici, chiar daca nu  doresc

 sa-si modifice stilu), dar oferta mea  aramas fara raspuns


Relative to cross-eye viewing (arranged for crossed-eye viewing)

  Get the descriptions on NET about stereoscopy with your free eyes


  These excerpts from Bioptical Art, have the two components placed horizontally: so similar to stereoscopic observations with the naked eye

  Articles written by me about Bioptical Art make sense only if the interested person has looked and conscious of these

test compositions.

I offered to interactively train a group of artists who, like fine art excercises, to learn these techniques, even if they do not want it

  to modify its style).

  But my offer was out of the question


Certainly the bioptical art examination by experts is important and to the extent that they

have in mind the descriptions in this book and other papers published by me about new habits in the visual sense and:

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 human


Bioptical Art is a domain (project) supported by the following publications;


Liviu Iliescu  pubications



  3.  Pictura  bioptica ,"Stiinta si Tehnica" (Bucharest), no 8-9, 1987.
  4.   Pictura  bioptica ,"Arta" (Bucharest), no 7, 1988.

  5.  Acordul  retinelor, "Arta" (Bucharest), no 5, 1989.

  6.  Abstractizarea stimulata, "Arta" (Bucharest), no 2, 1990.
  7.  ;  Adieri  albastre, "Arta" (Bucharest), no 9-10, 1990.
  8.  Arta bioptica; Bioptical Art - training of bioptical vision, Crater,   Bucharest, 1998,

      148 pages. ISBN 973-9029-37-X.

   9. Initiation into bioptical art; Initiere in arta bioptica; Monitorul Oficial,

        Bucharest, 2005, 87 pages. ISBN 973-567-472-6.
   10. The Paired Off Visual Signal; Semnalul vizual pereche 2007, Monitorul Oficial, Bucharest,

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

   11  Visual-Sense-Storming, SemnE Bucharest, 2010, 49 pages,

            ISBN 978-973-624-946-4
   12 Visual  sense storming ; Liviu Iliescu – Bioptica  art

           online ; Amazon – Kindle ; September 9- 2015


These publications are accessible on NET in the proportion of 80%



 on the    network:

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


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