Art and emotion

 In terms of artistic emotions I shall refer to that class fine art lovers from amateur, amateur artists and professional artists.

 

Their emotional intensity of feelings, although uneven as values, could be considered to some extent independent of the value of artistic compositions, but artistic emotion are dependent on their training in fine art

 

I think that lovers of fine art, generally. feel more intense emotions, contemplating his own compositions, relative to other compositions.

Some of them are famous artists.

 

In  Bioptical Art, book published by me, I quote JP Sartre, which defines the emotion fine in connection with fine art

   See link

Noul introdus de Arta Bioptica

 

Aesthetics include statements about forms of nature, which causes

pleasant emotions, in which are included the images that result from

scientific research, using the image.

 

 Artistic emotions are subject to scientific research, which we inscribe in the whole Science and Art

 

From Wikipedia

In psychology of art, the relationship between art and emotion has newly been the subject of extensive study. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally.^[1] Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression.^[2] Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition.^[3] Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art.^[3]

 

I notice (excerpt)

 

^[2] Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition.^[3] Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing

 

I quote the discussion where I show that scientific advances were obtained using graphics tests for binocular rivalry (tests designed by R. Blake)

Link:

 

Subcortical discrimination; binocular rivalry; magnetic resonance

 

But the target is to able the registration

physiological changes, when emotions arise due

not only by tests, but mainly for artistic compositions

 

  In this regard I quote:

 

 

 The Transdisciplinary Research in Emotion, Neuroscience

 

 Excerpt

The Transdisciplinary Research in Emotion, Neuroscience, and Development (TREND)

Artist in Residence Series

This series brings an artist and neuroscientists together for 1-4 days each year to exchange

perspectives, methods for thinking about emotion and visual representation, and to apply the tools of

neuroscience to understanding or advancing the artist’s vision.

Goals

The series has the following goals geared towards pushing the boundaries of both art and science:

1) Artists regularly trade in the currency of emotion, but are rarely exposed to the newest thinking on

emotion from the scientific community. We hope the perspective of science can inform their art. Thus

we work to expose our artists to the most cutting edge neuroscience associated with emotion, mood,

and mood disorders.

2) Neuroscientists are often entrenched in a dry data-centered way of thinking about emotion which can, unless it is regularly infused by perspectives from the heart of passion, become far from the

phenomenon they are studying. Thus, we work to expose our students, faculty, and staff to a

perspective on emotion by an artist whose livelihood depends on understanding and evoking emotion

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

Obviously they are or will be investigated artistic compositions renowned artists.

 

I want to present a deductive manner, the advantages obtained using

my compositions, in which I defined: dioptical-bioptical perception.

 

 I repeat the figure reversed from

Stimulated abstraction; ad-hoc educational atmosphere

Started by Liviu Iliescu. 

 

 Fig. R3 Liviu Iliescu ; Study 3: oil on cardboard 65x90 cm.

Synthesis of a confrontation

 

Fig. DR3  Liviu Iliescu   Components R3 (arranged for crossed-eye viewing)

 

Us to assume that a similar composition to that of figure R3 will be painted by a famous painter.

Although compopzitia contains bioptical stimulus, introduced mandatory that painter, though it appears as a conventional composition.

Then this composition will cause to observer more intense emotions

than a composition made by me

 

But in close succession observer will look through an optical device.

   He will contemplate an image that DR3 which substantially amplify emotions through bioptical effects.

  Thus this composition bioptical, made by a famous painter who would provoke emotions, in addition, would be recommended for research by means of magnetic resonance type

 

I have described in previous discussions how to achieve this, biotical compositions, which causes dioptical-bioptical perception

 

In summary:

In my compositions biopsy, I transpose methods, taken from chapters science:

Binocular rivalry and Color Fusion Helmholtz

  I also apply stereoscopic elements with elements taken from these areas.

     I invented the method of application of stereoscopic couples in painting, which runs on the easel.

  This the artist, painting stereoscopic almost with ease

   apply touch of conventional painting,

 

Link

www.binocular-rivalry.ro

 

Biopical devices

Figure R3 can be considered to look like a conventional composition.

But when looking through the device will see the bioptical image, complex, as shown DR3 respectively ...

multiplication of respective sensations of emotions by moving from 2D to 3D, which adds to the effects of binocular rivalry and fusion colored Helmholtz

  

Stereoscope for dioptical-bioptical perception

device for observing bioptical compositions,

 

 

 

    Spectacles for bioptical composition and stereograms

Excerpt from:

Iliesccu Liviu ; The Paired Off Visual Signal 2007, Monitorul Oficial, Bucharest,    95  pages ISBN 978-973-0-05187-2.

 

 

Cover IV

Visual tests, such as binocular rivalry, colour fusion and stereoscopy, introduced in plastic art compositions, result in the enhanced efficiency of their psychic influence. Their advantage is that they induce contemplations largely independent of the observer’s level of training or professions. The stimuli introduced in compositions are  differentiated and correlated for the left eye as compared to the right eye.  

          A sign in field (Fd) is matched with a sign in field (Fs). Together they form the paired off visual signal. 

           The modalities of the bioptical art may be subordinated to an explosive development of research on binocular visual perception in the last decades of the 20th century, carried on these last years.

There occur important oportunities for visual artists to contribute not only to artistic communication but also to neuroimaging  and visual therapies. They boast special sensitivities in the visual field and may develop the imaginative universe.

 

 Looking through one eye monocular stereoscopic, and the other for

free, the observer sees the vertical triptych.

Separately Fd, Fs are fields that form the conventional composition

(composition seen with the naked eye)

 

In the field Fd + Fs following effects occur, in whole or in part,

depending on the stimuli introduced in biotic composition:

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

 

Advantages of the vertical layout of binogrammes

 

- The fusion of the binogrammes is more accurate
- The contemplation is more relaxed (simplified system containing only two small plane mirrors positioned at one eye).
- Moving the device from one eye to the other causes essential modifications in the visual perception by reversing the components of the binogramme corresponding to the eyes, obtaining: space reversing of the linear and chromatic perspectives, modifications in the binocular rivalry effects, as well as modifications of tones and shades in the color fusion
- Integrating the composition in the environment, because the eye that remains free perceives also the adjacent field (120 degrees)
- The possibility to accomplish the bioptical fresco.