Science, Art, Litt, Science based Art & Science Communication
I'm trying to clear up some confusion
in communication caused by possible
failure by me of severe rules:
that Dr. Krishna Kumari Chall
I present more clearly what I wrote in the chapter:
about contacting Anthropology Research Centre from the Romanian Academy,
who supported my request to help support me in, my approach dioptical- bioptical, writing
leadership of the Romanian Academy.
Romanian Academy, Anthropological Research Centre
no. 852, December 16th, 1994
To the ROMANIAN ACADEMY
Upon the request of engineer Liviu Iliescu, of Bucharest, IOR advisor, author of a theory in the bioptics field, I have examined the numerous studies he published as well as the devices and the tables executed for the development and completion of the field he handles for many years and we consider that his efforts are worth being supported.
As a matter of fact, the Academy Management appreciated favourably 3 years ago the works of that time. In the meanwhile Mr. Liviu Iliescu continued to study, to complete and accomplish his theoretical and practical instruments, the results of his actions being that the two-eyed imagistic physiology is involved in the brain functionality and in particular in the binocular vision lateralisation /integration process, shaping innovative phenomena and processes… etc.,
psychophysiological mixture of colours, retinal cooperation
dynamics of space depth spatial harmony
space and time in bioptical art bispace in fine art
remaining sensations or residual impressions spatial disharmony
all of them benefitting from proper reasoning and demonstration.
This letter was written as a result of examination
by specialists center anthropology of the paintings
Liviu Iliescu: dioptical bioptical composition.
I wrote that this is the result of the synergistic effects of stimuli
fields of science:
Optics, Binocular Rivalry, Color Fusion Helmholtz Stereoscopy
I have tested these effects on the probability of communication hundreds of students
from the University of Architecture Bucharest
where I lectured in the Department of Visual Communication of prof. dr. arch. Sorin Vasilescu:
These effects are directly observable in my publications, the vast majority of people
with normal vision including those that use glasses.
So I believe that my compositions are included in Visual Communications.
In publications I describe mainly techniques for obtaining effects, attaching some debatable assumptions,
relative to fine art.
Other confirmations -link;
I think the techniques and styles manner known to date
in fine art as one system.
Knowledge about the system, which involves accumulation of millennia,
are in possession of fine art professionals who are educated in universities,
using traditional methods and the transmission of knowledge directly from the masters to the students.
It is known that an important section of fine art, materials used and techniques belong to science,
and the effects of communication through compositions belong affectivity, where valuations are subjective.
I believe that my proposals induce an evolution of the step in fine art, susceptible
assessed to be evaluated, such as effective as psychotherapy visual
Regarding evolutionary stage that I say give an example.
At the same time (years, '90) without knowing the launch of
artist Damien Hirst fine art compositions with circular spots
I chose the circle to show some effects of the dioptical -bioptical compositions.
Examples of compositions belonging to the artist D. H.
Doptical-bioptical composition (sketch) for demonstration; Liviu Iliescu
Compositions with circular spots painted by Damien Hirsh are controversial reltiv to originality, as well as artistic evaluation.
Yayoi Kusama: dear Damien Hirst, the spots were my idea.
In a rare interview in London, Kusama declared herself a fan of Hirst (PA)
However, these compositions are sold at high prices, Damien Hirst is a famous, contemporary artist.
I present sketch demonstrative, highlighting only the effects can still get extra
through visual communications.
Artistic comparison does not make sense because
Dioptical-bioptical compositions are in the experimental phase and have not been evaluated artistic.
The sketch contemplation are observable effects; Binocular Rivalry, Color Fusion, Stereoscopy, accompanied by:
psychophysiological mixture of colors, retinal Cooperation, space and time in bioptical art
dynamics of space depth.
To observe the effects, apply instructions:
by Gene Levine
PARALLEL VISION: Each eye locks on the image separately but parallel, as opposed to converging as with normal vision. This is the most commonly used way for viewing stereograms.
CROSS-EYED VISION: Each eye views the image separately, but right eye views left side, and left eye views right.
There is much confusion between Parallel and cross-eyed viewing. The effect is essentially the opposite. Eventually, your eyes will tell you which works with what. To the best of my knowledge, all hidden-image stereograms require parallel viewing. All stereograms on this site are made for parallel viewing. Cross-eyed viewing is frequently used for stereo-pairs. Cross-eyed viewing is more likely to cause eyestrain.
Dutour clearly describes binocular rivalry of two outlined colours
(years 760, 1763). Thus, Dutour describes the effects obtained by their fusion with the naked eyes, by eye convergence or divergence.
L.Iliescu; Scheme to form the habit of observation with
The sketch showing the crossed-eye viewing:
With the left eye (Og) the pencil tip is projected to the circle (Cd), and with the right eye (Od) the tip is projected to the circle (Cg), so that to notice three circles, concurrently with the appearance of another image between the two initial ones, which is the fusion image.
Look at his eyes in relaxed state
Close your eyes to the computer screen ~ 10 cm when you see
three circles and third groups of images instead of two.
Then away from the screen to the normal distance of observation
concentrating always look on the group of images in the middle.