About images defined by geometric optics

 The definitions of real image, virtual image I proposed and metavirtual image.

Bi-optical techniques described by me, on communications with both eyes, are based effects

already defined in science. such as : Binocular Rivalry,  Colour Fusion,  Stereoscopy

   I believe that applying these effects artists in fine art which could cause J.P.Sartre

   described  as fine emotions.

 See

 Noul introdus de Arta Bioptica 

 extract

About 28 psychophysical and psychophysiological how and emotions about people's aesthetic connoisseurs including: -J.P. Sartre, The Psychology of emotion, Ed. IRI, Bucharest, 1977, p. 77. "We live emotional quality which penetrates us, they suffer that overwhelms us on all sides. Suddenly emotion is uprooted itself, it transcends not it is a banal episode of our daily lives, but the absolute intuition. * it is what explains the finer emotions................

 extras

²⁸ Despre psihofizic si psihofiziologic cum si despre emotiile estetice ale oamenilor inclusiv ale cunoscãtorilor:-J.P. Sartre, Psihologia emotiei, Ed. IRI, Bucuresti, 1977, p. 77. "Trãim emotional o calitate care ne penetreazã, pe care o suferim si care ne covârseste din toate pãrtile. Deodatã emotia este smulsã ei însesi, se transcende, nu mai este un banal episod al vietii noastre cotidiene, ci este intuiþie a absolutului.*Este ceea ce explicã emotiile fine. În cazul acestora, printr-o conduitã abia schitatã, printr-o usoarã oscilatie a stãrii noastre psihice sesizãm o calitate obiectivã a obiectului. Emotia finã nu este nicidecum sesizarea unei neplãceri vaporoase, a unui admirabil redus, a unui sinistru superficial, ci este un lucru neplãcut [poate plãcut - n.a.], un admirabil, un sinistru întrevãzut, sesizat printr-un voal. ...Fireste, emotiile fine se deosebesc radical de emotiile slabe. Intentia este aceea care diferentiazã emotia finã de emotia slabã, deoarece conduita si starea somaticã pot fi identice în ambele cazuri. Dar intentia, la rându-i, este motivatã de situatie".

*Si în Addenda aceleiasi cãrti, William James, p. 103: "Emotiile «fine». Modificãri organice, precum si afectul însusi pot fi extrem de slabe în cazul emotiilor estetice; o operã de artã nu va provoca adesea la un cunoscãtor decât o judecatã rece, pur intelectualã, fãrã cea mai micã vibratie organicã. La multi oameni, totusi, ea va determina emotii din cele mai intense. Evident, teoria noastrã se aplicã cu usurintã la acest ultim caz. Dar primul nu o contrazice, deoarece ea bazeazã emotia pe curenti aferenti; or, fie cã perceptia unei opere de artã este urmatã , fie cã nu este urmatã de fenomenul sãu complementar, adicã rãsunetul organic, ea nu rãmâne mai puþin si în primul rând un fenomen determinat de curenti aferenti. Ea este auditie muzicalã, contemplare de monumente etc., adicã întotdeauna perceptie de obiect sensibil, experientã «a simturilor». Iar plãcerea care însoteste aceastã experientã este si ea o plãcere «a simturilor»: existã emotie «puternicã» pentru cã existã perceptie «puternicã»". 

²⁹ O parte din compozitia biopticã mixtã (DR11) poate fi privitã cu ochii liberi cu modalitatea M3. 
³⁰ Aceastã transformare se poate observa chiar în brevetul: L. Iliescu RO 67678. 

I quote from chapter

6. Aspects relative to the applications of plastic arts in psychoth... 

Metavirtual image. It is the perceptive resultant of differentiated stimuli (of a bioptical type) for the two eyes, introduced in composition of plastic art. This is the psychophysical response to observing bioptical compositions, when retinal disparities (differences between the images formed on the retina of the left eye and those formed on the retina of the right eye) differ from those obtained during binocular observation in the surrounding world. 

I would like to point to the metaphorical way in which Andrei Plesu presents the virtual properties of a mirror in his book Despre ingeri [About angels], Humanitas, Bucharest, 2003, p. 277: 
"The most appropriate analogy for mundus imaginalis is the universe of the mirror. The same as the forms in a mirror, the imaginal forms are an unwonted mixture of the obvious and the ineffable. The mirror receives and reflects without incorporating. What we see in its space does not belong to its substance, but we could not see it without the translucence of that substance. The image in the mirror is in a different space than ours, but it does not start moving otherwise than as a prolongation of our motion. It comes close to us when we come close to it and it ceases to exist when we no longer look at it. Everything is suspended in the unattained approach of pure visuality. According to Ibn Arabic, he who looks at himself in a mirror knows that what he sees is not exactly his image, but he cannot deny that it is still his image. He also knows that the image is not in the mirror, nor is it between himself and the mirror...".

In figure 6.3 I try to represent the position of the metavirtual image as to real and virtual images, as they are defined in physics. Thus, the image seen in the mirror is defined as being a virtual perception. In the case of the bioptical perception, one eye perceives real images in one of the composition fields and the other eye perceives virtual images through the pair of mirrors, corresponding bioptically to another composition field. The resultant is a global perception, which is not obtained with the normal vision in the outer world.

 Fig. 6.3

1 - real; 2 - virtual; 3 - metavirtual. Beside the field of the metavirtual, I represent the hazy fields of the paranormal: 4 - clear-sightedness; 5 - telekinesis;

6 - telepathy