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

About some perspectives in the Science-Art

see keyword:

magnetic resonance Fine Art America

Picture on canvas that sold for $ 77

In terms of fine art I believe that if we know not the image resulting from

Magnetic Resonance applied to creer, this image would disappear

in the set oval shapes, where the priority should

belongs to Piet Mondrian.

Piet Mondrian; ovals

Compositions belong to the class that appears at the beginning of contemplation

dominant sensation relative to perception.

I believe that this phenomenon occurs mostly in the compositions of artists

who have lived for second after second emotions caused by the event of their creation.

See links:

Compositions of fine art in which it would be possible to observe t... ...

Abaut traditional fine art, readymades Marcel Duchamp

To develop thematic developments intervention science in fine art

would be necessary to set up a field of science in which to investigate

and must set out the methods that lead to new directions

in fine art compositions.

It is noted the difficulty of organizing research in this regard.

There are many researchers in other specialty areas, supporting the idea of intervention science in the development of techniques for fine art, but in general, they present no. concrete proposals how to do this action.

ART LAB science offers the remarkable possibilities for

to submit proposals at least, for the topic, to a research area specializing in fine art.

In several publications I tried to propose the techniques

for developments in fine art

See link:

12. Visual-sense-storming

I adds some aspects

I consider that an important development might occur if research topics

it includes phenomena related to visual sense, with applications in fine art.

As an example I notice the contrast simultaneously applied to fine art:

From Wikipedia

Simultaneous contrast identified by Michel Eugène Chevreul refers to the manner in which the colors of two different objects affect each other. The effect is more noticeable when shared between objects of complementary color.^[1]

Michel Eugène Chevreul (31 August 1786 – 9 April 1889)^[1] was a French chemist

I experienced Dioptical-bioptical perception and I published techniques for

applications of studies in fine art and discoveries.

I return to the example on the topics related to the concept Sci-Art:

Binocular rivalry

I write articles describing applications in binocular rivalry

in some few compositions of fine art:

Publishing in the journal Art, Magazine Artists Union (UAP) in Romania

Revista Uniunii Artistilor Plastici (UAP) din Romania

1. Liviu Iliescu; Pictura bioptica (Bioptical painting), "Arta" (Bucharest), no 7, 1988.

link; Bioptical painting

2.Liviu Iliescu; Acordul retinelor (Retinal cooperation), "Arta" (Bucharest), no 5, 1989.
link; Antanta retinelor

3. Liviu Iliescu; Abstractizare stimulata (Stimulated abstractization), "Arta" (Bucharest), no 2, 1990.
link; Abstractizare stimulata

4. Liviu Iliescu ; Adieri albastre (Blue breezes), "Arta" (Bucharest), no 9-10, 1990.
link; Adieri albastre

In the book:

Liviu iliescu; Bioptical Art - training of bioptical vision,

Crater, Bucharest, 1998,

148 pages. ISBN 973-9029-37-X.

I define Retinal rivalry in chapter:

Introduction to bioptical terminology

..............

RETINAL RIVALRY Psychophysical response to different colours and forms,

separately and differently received by the two retinas (Hermann von Helmholtz).

…………….

Nota :

La sfarsitul secolului XX cercetatorii au scmimbat denumirea fenomenului din

RETINAL RIVALRY in BINOCULAR RIVALRY.

Note:

At the end of the twentieth century, researchers renamed

the phenomenon from Retinal rivalry in Binocular rivalry.

Binocular rivalry ( history and development)

Excerpt from

Liviu Iliescu; The Paired Off Visual Signal 2007, Monitorul Oficial, Bucharest,

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

2. Binocular rivalry and stereoscopy in bioptical art

Binocular rivalry is the perceptual response for images of dissimilar forms that occur separately through the two retinas; one eye looks at something, the other eye looks at something else. The modalities of bioptical art make it possible to introduce tests in compositions of plastic arts like those experimented in binocular rivalry.
Monocular rivalry is the ambiguous perceptual response with alternating interpretation. It was used in compositions of plastic arts.
In my publications, I have used the somewhat traditional terms retinal rivalry and colour fusion, borrowed from the studies of Herman von Helmholtz, published in Handbuch der Physiologischen Optik (Leopold Voss, Leipzig, 1867). They were translated in 1925 as Treatise on Physiological Optics (editor J.P. Southall, Dover, New York).
Binocular rivalry is a field which has aroused the researchers` interest in the last three decades, especially in psychology and neurology.
Randolph Blake lists more than 140 references in his study A Primer on Binocular Rivalry, Including Current Controversies, published in "Brain and Mind" in 2001. Sixty percent of the titles were published after 1975. [Figure 2.1 of this chapter is reproduced from Blake`s article.] Blake briefly reviews the main contributions, starting with J.B. Porta`s De Refractione. Optices Part. Libri Novem of 1593, quoted by N.J. Wade in 1998 in A Natural History of Vision.
In order to follow up the historic itinerary of studies on binocular rivalry, I will also refer to Wad’s monograph.

- Le Clerk (1712) pointed to the binocular rivalry with colours.
- Dutour (1760, 1763) clearly describes the binocular rivalry of two colours with contour. He also describes the fusion with the naked eye, by eye convergence or divergence. This modality of observation was resumed in 1990 by Christopher Tyler in the autostereograms invented by him and popularly called "Magic Eye".
- 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.
Researchers have also described variants of binocular rivalry resulting from the main ones.
As I intend to introduce them in plastic arts, I also add stereoscopy. This is a limit-rivalry, since the pair of images evince acceptable disparities, that lead to the fusion of the stereoscopic perception.

Fig 2.1 R. Blake

Binocular rivalry

It looks crossed eyes

..........................................

Binocular rivaly (magnetic resonance)

ScienceDirect.com - Neuron - Brian N Pasley, Linda C Mayes ...

Subcortical Discrimination of Unperceived Objects during Binocular Rivalry

Authors

Brian N Pasley,Linda C Mayes,Robert T SchultzSee Affilia

Excerpt:

Results

In binocular rivalry, perceptual dominance is promoted by “stimulus strength,” as defined by characteristics such as high luminance and high contrast, transient motion, and complexity (Blake, 2001). We therefore presented to one eye a complex image of a house that moved back and forth sharply in order to constrain conscious perception to this image. During the movement of the house, a target image of a fearful face or a neutral chair gradually faded into view of the other eye, remaining in view for approximately 1.5 s before fading out again. Poate cercetarile de acest tip ar putea sa conduca la stabilirea obiectiva (masurabila) a influentelor psiho-fiziologice a diferitelor tipuri de compozitii asupra unor pacienti.........

Mentioned in references:

R Blake; Primer on binocular rivalry, including controversial issues

...........................................................

We must remember that developments of R. Blake and research ...

Subcortical Discrimination ......... is not about fine art applications.

I am not competent to understand the content of this research (magnetic resonance research) but I retain some common elements relative to binocular rivalry which is also found in my descriptions.

The phenomenon of binocular rivalry relative to the contemplation of the two images, differentiated by elements of composition,

causes a physical kinetics, namely making perceptual disappear one by one in succession a few seconds, alternatively, one of the image – is cyclical phenomenon

(without modifying those two images object)

What would be the basis for the development of a scientific field

for research in fine art, with the theme of compositions for two eyes?

I quote warning that makes Dr. Krishna relative to criteria imposed by science

From: Science itself has an in-built creativity aspect! - Krishna

Five basic requirements for a field to be considered scientifically rigorous: clearly defined terminology, quantifiability, highly controlled experimental conditions, reproducibility and, finally, predictability and testability.

Difficulty appears to meet the criteria of quantifiability because we can not determine

units applicable to artistic sensibility.

By perfecting techniques, magnetic resonance as possible quantifications

For example, choosing images that would be beneficial in visual psychotherapy.

I have created compositions using stimuli in the fields;

Binocular rivalry associated in a synergistic manner with Colour Fusion

and with elements of Stereoscopy

Resulting compositions, with stimuli similar to those of binocular rivalry, compositions that could be the subject of study and in magnetic resonance.

In these compositions appear effects 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.

See the definitions of:

3. Bioptical effects, definitions

I present a sketch of a type of composition which contains the principal stimuli, including those

which causes a psychic glimpses kinetics (perception of shape changes in time, which do not occur in object forms)