Applying the elementary dioptical-bioptial effect in the interpretation of fine art compositions

 

I continue to give examples of the use of certain types of stimuli in fine art compositions in order

diversification of means of visual communication.

 

I confess that I am puzzled and disappointed that I was not able to determine

someone, amateur art, artist to confirm that was able to see the effects that I describe   accompanied by criticism, positive or negative.

I want to start a colloquial communication, trying to explain, to give

details in addition to unclear descriptions.

 

 My descriptions contained relates to compositions of paintings and sculptures

  containing the stimuli for viewing with two eyes.

 

  These types of stimuli have been described before for a long time.

In the last decades has emerged Binocular Rivalry with

numerous publications containing descriptions of studies on tests

containing the stimuli for viewing with two eyes.

 

Link:

2. Binocular rivalry and stereoscopy in bioptical art

I believe that the techniques we propose to implement these types of stimuli in

fine art compositions offers an important means of communication.

 

Among these means I submit discussions and those that relate to the interpretation

  by application of stimuli in fine art compositions, deriving

variations on a theme.

 

Interpretations by graphic interventions in fine art compositions could cause interest for

valuable artwork, which decreased in intensity of communication and in that

are devalued because of the many currents and movements in contemporary

 

In this connection I adds some clarifications and comments relative

  in Figures 8.1, 8.2, 8.4 and descriptions of links:

 

 About interpretations or exegeses by means of bioptics

Applying the elementary stereoscopic effect in the interpretation o...

 

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 Fig. 8.1 Kazimir Malevich, Blue triangle and black rectangle. 65.5 X 57 cm

Amsterdam, Stedelijk Museum (Dictionnaire de la Peinture - Larousse, 1993)
Bioptical interpretation (One should view with crossed eyes)

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 Fig. 8.2

Stereograms (arranged for crossed-eye viewing)
The vertex of the triangle dives into the black field of the rectangle. 

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 Fig. 8.4

Stereograms (arranged for crossed-eye viewing)

There occurs an effect of colour fusion

 Figure 8.1 is reproduced a composition belonging to Suprematism

launched by Malevich, a move that has caused many contradictory comments in art criticism.

 

In Figures 8.2 and 8.4 I intervene, exemplifying the method of interpretation

using variants of type dioptical-bioptical art for a given composition.

 

To gaze with crossed-eyes of the figure 8.2 appears dominant feeling of the entrance

apex of the triangle in black space, limited by the rectangular form.

 

Expressing metaphorical top of Triangle, would indicate a direction by a space

devoid of matter, where is absolutely dark.

So a new version which can perform other series

interpretations in art criticism.

(In figure 8.2 I applied   stereoscopic elementary effect)

 

Applying the graphic interpretation of the cross-eyed gaze of the variant in Figure 8.4

appears the dominant feeling, that color fusion (resulting from the combination

  colors of the two rectangles).

So the resulting color appears in combinations in psycho-physiological structures:

this color can not be photographed.

 

Note

Observing with, crossed-eyes is uncomfortable due to induction of relatively large differences

compared to the permissible limit for the couple  accommodation and convergence,

 limit over double images appear.

This limit is smaller in some people, can be increased through training.

 

   Device for observation, which I have drawings, make visible images such

those in figures 8.2, 8.4, sitting in the same conditions which provides common stereoscopic

 

See:

Stereoscope for dioptical-bioptical perception

 

So to interpret compositions but also for achieving complex fine art paintings and sculptures

   applied in sequence, step by step link:

 Elementary stereoscopic effect

 

Example

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 Additions in connection with several references about Kazimir Malevith

 

Some aspects of the work of K.M. which I highlighted,  as are about my premises.

 

An excerpt from the link (Le Parisien)

1. 1.                             Comment comprendre l'œuvre Suprématiste « Carré noir sur fond ...

Comment comprendre l’œuvre Suprématiste « Carré noir sur fond blanc » ?

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The original text:

Le premier tableau suprématiste, « Carré noir sur fond blanc » a été peint en 1913 par le peintre russe Malevitch. Le contexte qui vit naître ce premier avatar du minimalisme se situe au carrefour de plusieurs révolutions : La Révolution Industrielle, et les Révolutions Russes, qui feront passer le régime russe du Tsarisme au Communisme. Un tel climat historique a logiquement conduit à une tentative de « table rase », de remise à zéro des valeurs de l’art et de la culture.

The translated text:

The first supremacist painting  "Black Square on White Background" was painted in 1913 by Russian painter Malevich. The context that saw the birth of the first avatar of minimalism is at the crossroads of several revolutions: The Industrial Revolution and the Russian Revolutions, that the Russian regime will go Tsarism to Communism. Such historical climate logically led to an attempt to "clean slate", reset the values ​​of art and culture.

 

I think the author presents an unrealistic conclusion.

 

A study which shows an evaluation more realistic for “Black Square on White Background ”

is obtained from the link:

 

Portraits d'un imaginaire de l'avant-garde : le Carré noir sur fond ...

 

I have extracted the summary in English:

 

GENEVIÈVE CLOUTIER | UNIVERSITÉ DU QUÉBEC À MONTRÉAL

ABSTRACT: Kazimir Malevitch’s “Black Square” (1915) is one of the most recycled paintings in recent art history. More or less successfully, respectfully or ironically, artists from all around have gleefully reproduced it, ridiculed it, embezzled it and recycled it. In Russia, such has been the gravity of this phenomenon for the last thirty years, so that, it led to contemporary Russian art not being perceived as derived from Malevitch but on Malevitch. By retracing the long and tumultuous history of “Black Square” and its numerous artistic ‘reincarnations,’ this essay focuses on what these practices of reproduction tell us about the attitude of artists towards “Black Square” itself but also, perhaps mainly, about their relationship to an avant-garde with a controversial heritage of which this painting became the icon.

  

I extracted considerations of Malevith which I think are in connection with the effects resulting from my compositions.

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 Suprematist Composition- White on White (Malevich, 1918), Museum of Modern Art^[3]

Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.

In continued about pure feeling excerpt from link:

WebMuseum: Malevich, Kasimir: Suprematist Compositions - Ibiblio

They are difficult artists. Kasimir Malevich (1878-1935), who founded what he called Suprematism, believed in an extreme of reduction: ``The object in itself is meaningless... the ideas of the conscious mind are worthless''. What he wanted was a non-objective representation, ``the supremacy of pure feeling.'' This can sound convincing until one asks what it actually means. Malevich, however, had no doubts as to what he meant, producing objects of iconic power such as his series of White on White paintings or Dynamic Suprematism (1916; 102 x 67 cm (40 x 26 1/2 in)), in which the geometric patterns are totally abstract.

The concept of pure feeling, was taken up and developed in USA,

in the '60s, of Minimalism, which appears as a reincarnation of consolidation the work of Malevich.

  It is remarkable perenniality, Suprematism, although trends in the arts

  decrease with time in the intensity of communication, the process is determined by the structure itself being.

See link:

15. Psychical satiety in affectivity

 

Malevich practiced Cubism, before he invented Suprematism.

Suprematism

In 1915, Malevich laid down the foundations of Suprematism when he published

 his manifesto, From Futurism, Cubism to Suprematism.

 

Links

Suprematism / minimalism / geometric abstraction (or whatever ...

1. Futurism, Suprematism, Constructivism, Dada & Surrealism

 

 

Analysis of the concept  the supremacy of pure feeling  belongs experts in psychology.

 

I retain the term Malevich ( the supremacy of pure feeling ) as its conclusion to make paintings

to induce dominant sensations  relative to perception.

 

I recall definitions:

Sensations and Perceptions

(The Chicago School of Professional Psychology)

Sensations can be defined as the passive process of bringing information from the outside world into the body and to the brain. The process is passive in the sense that we do not have to be consciously engaging in a "sensing" process.

Perception can be defined as the active process of selecting, organizing, and interpreting the information brought to the brain by the senses.

 

I quote an important research findings obtained by using

magnetic resonance technique.

 

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

 Subcortical discrimination of unperceived objects during binocular rivalry.

 

Although I am not training to understand descriptions of publication however

 I retain as significantly:

“unperceived objects during binocular rivalry” ,

as a photo of a kinetic effect (obtained by using magnetic resonance technique).

 

I consider the hypothesis that the kinetic effect occurs with greater intensity, in the case

 when we find contrasts   such as alternating sensation awareness.

 

About contrasts in fine art; link:

13. Visual binarity

 

I remember the definition of the effect of binocular rivalry.

From Wikipedia

Binocular rivalry is a phenomenon of visual perception in which perception alternates between different images presented to each eye.

When one image is presented to one eye and a very different image is presented to the other (also known as dichoptic presentation), instead of the two images being seen superimposed, one image is seen for a few moments, then the other, then the first, and so on, randomly for as long as one cares to look. For example, if a set of vertical lines is presented to one eye, and a set of horizontal lines to the same region of the retina of the other, sometimes the vertical lines are seen with no trace of the horizontal lines, and sometimes the horizontal lines are seen with no trace of the vertical lines.

 

A sensory effect of higher intensity

occurs in the transition from normal observation to the observation of cross-eyed

or from observing normal to monocular stereoscopic observation

Link:

Stereoscope for dioptical-bioptical perception

 

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  Using the dioptical  technique red circle is a mark inducing the stereoscopic  illusion of

graphic dark space.

View sensorial effect in the transition from normal observation

to  observation with  crossed-eyess (on application "Black Square on White Background" ;Malevitch)

 

Applying the elementary stereoscopic effect in the interpretation o...

 

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 L.Iliescu; Sketch

 

Binocular-rivalry kinetic contrasts are obtained from cross-eyed gaze of the sketch.

 

Applying the techniques that I propose

fine art compositions are obtained, which is within artifacts that aesthetics

it find useful and pleasant disinterested.

 

See links;

5. Laboratory hall for visual therapy

Bioptical Art -Cabinet for visual psychotherapy

 

If these types of compositions are used in psychotherapy, therapist will track the behavior of patients subjected to tests and will choose the efficient combinations.

 

My descriptions can be used for free with mentions used in bibliographic citations