Science and Art - Bioptical Art Discussions - SCI-ART LAB2024-03-29T13:39:32Zhttps://kkartlab.in/groups/group/forum?groupUrl=science-and-art-bioptical-art&id=2816864%3AGroup%3A85476&feed=yes&xn_auth=noComplements to subcortical discrimination, binocular rivalry, magnetic resonancetag:kkartlab.in,2018-04-20:2816864:Topic:1517502018-04-20T10:04:34.007ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
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<p><span style="font-size: 12pt;">Life itself is a beautiful interaction between art and science. You cannot escape this reality no matter what you say or do! </span></p>
<p><span style="font-size: 12pt;">Dr. Krishna Kumari Challa</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">It is appropriate to repeat this participation request, in the circumstances in which the findings of recent research …</span></p>
<p></p>
<p></p>
<p><span style="font-size: 12pt;">Life itself is a beautiful interaction between art and science. You cannot escape this reality no matter what you say or do! </span></p>
<p><span style="font-size: 12pt;">Dr. Krishna Kumari Challa</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">It is appropriate to repeat this participation request, in the circumstances in which the findings of recent research </span><span style="font-size: 12pt;">of amplification in art and science.</span></p>
<p><span style="font-size: 12pt;">I'm writing in:</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/subcortical-discrimination-binocular-rivalry-magnetic-resonance">Subcortical discrimination; binocular rivalry; magnetic resonance</a></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">It is necessary that the institute that develops such themes to hire some artists</span></p>
<p><span style="font-size: 12pt;">of fine art to creating many variations of binocular rivalry images, similar to those proposed by me.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">This invitation, for paricipation, I repeated it in an article on ResearrchGate.</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="https://www.researchgate.net/publication/299175106_Subcortical_Discrimination_of_Unperceived_Objects_during_Binocular_Rivalry_using_magnetic_resonance_for_the_first_time_2004_taking_photographs_in_brain_trace_therefore_providing_an_outstanding_level_o?_sg=1bjB7zhH_FpizhJ3DkveXGRsxR0RBimLvSpicyLdwTBnL8DZj5uWrD2hWy-6OdQOo0M4bGKbLh7PBl7r7AmLzFZdG4SpkQO4DsWb1G6i.rcZB8YENlBucbOkgH7kdQHPACMzX6rBTPopEI3i5ZeG8rHUiHlA0x5DBRPG0DfvvficKtV0E12UsYHw6ekjvWg">Subcortical Discrimination of Unperceived Objects during Binocular Rivalry, using magnetic resonance for the first time (2004) taking photographs in brain trace, therefore providing an outstanding level of energy for psychic influence by the image, from class Binocular Rivalry</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> The invitation I associate with:</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Implications <strong>and</strong> Relevance of <strong>Binocular Rivalry and</strong> Vision to <strong>Consciousness</strong>. Isaac R. Hatch-Gillette</span></p>
<p><span style="font-size: 12pt;"><strong><a href="http://www.jneurosci.org/content/24/12/2898">Amygdala Responses to Fearful and Happy Facial Expressions under ...</a></strong></span></p>
<p><span style="font-size: 12pt;"><a href="http://www.jneurosci.org/content/24/12/2898">www.jneurosci.org/content/24/12/2898</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">I repeat from the article:</span></p>
<p><span style="font-size: 12pt;">Abstract</span></p>
<p><span style="font-size: 12pt;">The human amygdala plays a crucial role in processing affective information conveyed by sensory stimuli. Facial expressions of fear and anger, which both signal potential threat to an observer, result in significant increases in amygdala activity, even when the faces are unattended or presented briefly and masked. It has been suggested that afferent signals from the retina travel to the amygdala via separate cortical and subcortical pathways, with the subcortical pathway underlying unconscious processing. Here we exploited the <strong>phenomenon of binocular rivalry</strong> to induce complete suppression of affective face stimuli presented to one eye. Twelve participants viewed brief, rivalrous visual displays in which a fearful, happy, or neutral face was presented to one eye while a house was presented simultaneously to the other. We used functional magnetic resonance imaging to study activation in the amygdala and extrastriate visual areas for consciously perceived versus suppressed face and house stimuli. Activation within the fusiform and parahippocampal gyri increased significantly for perceived versus suppressed faces and houses, respectively. Amygdala activation increased bilaterally in response to fearful versus neutral faces, regardless of whether the face was perceived consciously or suppressed because of binocular rivalry. Amygdala activity also increased significantly for happy versus neutral faces, but only when the face was suppressed. This activation pattern suggests that the amygdala has a limited capacity to differentiate between specific facial expressions when it must rely on information received via a subcortical route. We suggest that this limited capacity reflects a tradeoff between specificity and speed of processing.</span></p>
<p><span style="font-size: 12pt;">.............</span></p>
<p><span style="font-size: 12pt;">I have published Binocular Rivalry techniques but for reasons of reservation for artistic purity have been rejected.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p> Complements to preliminary correction of optical systems and some observations related to acromatizationstag:kkartlab.in,2018-04-02:2816864:Topic:1514092018-04-02T17:21:35.055ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
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<p><span style="font-size: 12pt;">I'm still referring to the publication of the Institute of Applied Physics - Friedrich Schiller - Universität Jena</span></p>
<p><span style="font-size: 12pt;"> …</span></p>
<p></p>
<p><span style="font-size: 12pt;">I'm still referring to the publication of the Institute of Applied Physics - Friedrich Schiller - Universität Jena</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="https://www.google.ro/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjVwqOMtJrWAhUmMJoKHbMIAJwQFgguMAA&url=http%3A%2F%2Fwww.iap.uni-jena.de%2Fiapmedia%2FLecture%2FDesign%2Band%2Bcorrection%2Bof%2Boptical%2Bsystems1351638000%2FDaCOS12_Lecture_Part_12_Correction_of_aberrations_1_112.pdf&usg=AFQjCNF7pRc2Yd2VRBgmWFfRYwQYexnvEQ">Design and Correction of optical Systems</a></span></p>
<p><span style="font-size: 10pt;"> </span><span style="font-size: 12pt;">Summer term 2012</span></p>
<p><span style="font-size: 12pt;">Herbert Gross</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="https://www.researchgate.net/publication/305655083_Bending_method_for_automatic_optical_aberations_correction?_iepl%5BviewId%5D=gxwHwYONCBxucp0peKf6Nkaf&_iepl%5BprofilePublicationItemVariant%5D=default&_iepl%5Bcontexts%5D%5B0%5D=prfpi&_iepl%5BtargetEntityId%5D=PB%3A305655083&_iepl%5BinteractionType%5D=publicationTitle">Bending method for automatic optical aberations correction</a></span></p>
<p><span style="font-size: 12pt;"><a href="https://www.researchgate.net/publication/324121610_Complements_to_preliminary_correction_of_optical_systems_and_some_observations_related_to_acromatizations?_sg=ccdO89Oz_i6qjLl0MU76GSjOeVcqKe2x8Kj_CoX_CGEZ73KHCbvsUT2yd_VZSEEvLreBFHKAPDDcjFioaIHdEeqrrVGOJnrIBC9e8UPd.EO113zOImiPMCsPG-EUGUBxUHVKUXcqdNiGK-zWVEJcs7tRhugSG9AFRw9i9achXoTUhC6bn4IEIBFEJ_TY5Rg">Complements to preliminary correction of optical systems and some observations related to acromatizations</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The informative documentation of the Jena Institute shows the amplitude of the field </span><span style="font-size: 12pt;"> correcting optical systems,</span></p>
<p><span style="font-size: 12pt;"> The publication was required in current circumstances when superficially trained people</span></p>
<p><span style="font-size: 12pt;">they use automatic programs to correct the aberrations of the optical systems, by inappropriately introducing very expensive optical glasses,. Cases can be cited when these people claim to contribute to basic structures such as acromatization of optical systems.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">These contributions could be highlighted, but in order to avoid confusion, in the case of publications, it is necessary to quote:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> Herzberger, M., and N. McClure, The design of superachromatic lenses, Appl. Opt. 2, pp. 553–560 (June 1963).</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">And formulas like:<a href="http://storage.ning.com/topology/rest/1.0/file/get/2866690597?profile=original" target="_self"><img width="700" src="http://storage.ning.com/topology/rest/1.0/file/get/2866690597?profile=RESIZE_1024x1024" width="700"/></a></span></p>
<p><span style="font-size: 12pt;"> </span>st</p>
<h3> </h3> A thought about miraclestag:kkartlab.in,2018-03-13:2816864:Topic:1514562018-03-13T13:41:29.963ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
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<p><span style="font-size: 12pt;">A thought about miracles</span></p>
<p><span style="font-size: 12pt;"> ife ...... man .. the immeasurable concentration of wonders .... science explains them gradually</span></p>
<p><span style="font-size: 12pt;"> for the benefit of man, by the grace that defines him ... even in terms of life he is looking with feverishness ... what and how ..... knowing the amendment of the story ... the golden fish…</span></p>
<p></p>
<p></p>
<p><span style="font-size: 12pt;">A thought about miracles</span></p>
<p><span style="font-size: 12pt;"> ife ...... man .. the immeasurable concentration of wonders .... science explains them gradually</span></p>
<p><span style="font-size: 12pt;"> for the benefit of man, by the grace that defines him ... even in terms of life he is looking with feverishness ... what and how ..... knowing the amendment of the story ... the golden fish</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> Un gand despre minuni</span></p>
<p><span style="font-size: 12pt;"> Viata ......om.. concentratie de minuni incomensurabila .... stiinta le dezleaga treptat</span></p>
<p><span style="font-size: 12pt;"> in folosul omului prin harul ce-l defineste ...chiar in ce priveste viata se cauta cu febrilitate .. ce si cum ..... cunoscandu-se si amendamentul din povestea ....</span></p>
<p><span style="font-size: 12pt;">pestisorul de aur</span></p> Fine art compositions using binocular rivalrytag:kkartlab.in,2018-03-06:2816864:Topic:1513552018-03-06T08:06:27.123ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
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<p><span style="font-size: 12pt;">Fine art compositions using binocular rivalry</span></p>
<p><span style="font-size: 12pt;"> Post</span></p>
<p><span style="font-size: 12pt;">fine art binocular rivalry</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> you will notice that the first page appears, after mentioning some publications that I share, and the recent publication…</span></p>
<p></p>
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<p><span style="font-size: 12pt;">Fine art compositions using binocular rivalry</span></p>
<p><span style="font-size: 12pt;"> Post</span></p>
<p><span style="font-size: 12pt;">fine art binocular rivalry</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> you will notice that the first page appears, after mentioning some publications that I share, and the recent publication</span></p>
<p><span style="font-size: 12pt;"><a href="https://michaelscroggins.wordpress.com/explorations-in-stereoscopic-imaging/retinal-rivalry-and-luster/">Binocular Rivalry and Luster | Michael Scroggins</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866690781?profile=original" target="_self"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/2866690781?profile=RESIZE_320x320" width="300" class="align-center"/></a></span><span style="font-size: 12pt;">Google applying numerous criteria (hundreds of orders) kept me in a priority order,</span></p>
<p><span style="font-size: 12pt;"> resulting from my publications:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<h3><span style="font-size: 12pt;"> </span></h3>
<ol start="3">
<li><span style="font-size: 12pt;">Pictura bioptica ,"Stiinta si Tehnica" (Bucharest), no 8-9, 1987.</span><br/> <span style="font-size: 12pt;"> 4. Pictura bioptica ,"Arta" (Bucharest), no 7, 1988.</span></li>
<li><span style="font-size: 12pt;">Acordul retinelor, "Arta" (Bucharest), no 5, 1989.</span></li>
<li><span style="font-size: 12pt;">Abstractizarea stimulata, "Arta" (Bucharest), no 2, 1990.</span><br/> <span style="font-size: 12pt;"> 7. ; Adieri albastre, "Arta" (Bucharest), no 9-10, 1990.</span><br/> <span style="font-size: 12pt;"> 8. Arta bioptica; Bioptical Art - training of bioptical vision, Crater, Bucharest, 1998,</span></li>
</ol>
<p><span style="font-size: 12pt;"> 148 pages. ISBN 973-9029-37-X.</span></p>
<ol start="9">
<li><span style="font-size: 12pt;">Initiation into bioptical art; Initiere in arta bioptica; Monitorul Oficial,</span></li>
</ol>
<p><span style="font-size: 12pt;"> Bucharest, 2005, 87 pages. ISBN 973-567-472-6.</span><br/> <span style="font-size: 12pt;"> 10. The Paired Off Visual Signal; Semnalul vizual pereche 2007, Monitorul Oficial, Bucharest,</span></p>
<p><span style="font-size: 12pt;"> 95 pages ISBN 978-973-0-05187-2.</span></p>
<p><span style="font-size: 12pt;"> 11 Visual-Sense-Storming, SemnE Bucharest, 2010, 49 pages,</span></p>
<p><span style="font-size: 12pt;"> ISBN 978-973-624-946-4</span><br/> <span style="font-size: 12pt;"> 12 Visual sense storming ; Liviu Iliescu – Bioptica art</span></p>
<p><span style="font-size: 12pt;"> online ; Amazon – Kindle ; September 9- 2015</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The author knows some of my publications without quoting me.</span></p>
<p><span style="font-size: 12pt;"> The proof is some of S. Dali's compositions that I have quoted myself.</span></p>
<p><span style="font-size: 12pt;">see</span></p>
<p><span style="font-size: 12pt;">ResearchGate</span></p>
<p><span style="font-size: 12pt;"><a href="https://www.researchgate.net/publication/313374722_Links_and_headings_to_access_the_articles_cited_in_the_publication_made_by_IliescuLiviu?_sg=started_experiment_milestone">Links and headings to access the articles cited in the publication made by IliescuLiviu</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">In the publications of compositions for demonstrations I used the technique published in</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<ol start="8">
<li><span style="font-size: 12pt;"><a href="http://www.binocular-rivalry.ro/c8.html">About interpretations or exegeses by means of bioptics</a></span></li>
</ol>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The artistic level is that resulting from self-training.</span></p>
<p><span style="font-size: 12pt;">I am confined to technical descriptions, with limited artistic skills.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">I regret that professional artists have not composed bioptical replicas.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Slowly, the Romanian prorities will be lost slowly and in the vast arts publications</span></p>
<p><span style="font-size: 12pt;">(hundreds of millions of orders) will be harder for professional artists to assert themselves world-wide.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">What is fundamentally new is the fine art adaptation of the concept of BIOPTIC and the development of skills</span></p>
<p><span style="font-size: 12pt;">new visuals.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">see</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<h3><span style="font-size: 12pt;"><a href="http://kkartlab.in/m/group/discussion?id=2816864%3ATopic%3A142356">Possible development of the fine art compositions for the two eyes ...</a></span></h3>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;">and go through the <strong>Discution</strong> Instruction</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">In relation to the new concept (bi-optic), Google's criteria allow it to be dimensioned</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> see</span></p>
<h3><span style="font-size: 12pt;"><a href="http://www.referatele.com/referate/psihologie/online6/OPERATIONALIZAREA-CONCEPTULUI--Concepte-operationale-referatele-com.php">OPERATIONALIZAREA CONCEPTULUI, Concepte operationale referat</a></span></h3>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Operationalization of concepts is the transition from concept to its specific dimensions, variables, indicators and indices. The term "dimension" is included in the classic operationalization scheme, but it still shows a high degree of relativism and perhaps ambiguity. The dimensions of a particular concept are not self-imposed.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p> Some techniques resulting from optics research, proposed for developments in fine art and trends.tag:kkartlab.in,2018-01-29:2816864:Topic:1511062018-01-29T19:34:12.060ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
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<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Some techniques resulting from optics research, proposed for developments in fine art and trends.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> Fine art professional appears to me as a restrictive field in terms of creative participation, dominated by artists </span><span style="font-size: 12pt;"> trained with thousands of accumulated miles in the near…</span></p>
<p></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Some techniques resulting from optics research, proposed for developments in fine art and trends.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> Fine art professional appears to me as a restrictive field in terms of creative participation, dominated by artists </span><span style="font-size: 12pt;"> trained with thousands of accumulated miles in the near esoteric way.</span></p>
<p><span style="font-size: 12pt;">This attitude is against imposture</span></p>
<p><span style="font-size: 12pt;">Evaluations, in this immense part of culture, are made primarily by experts, who also look at how the public is receiving, with an intellectual level above the average.</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">As a specialist in optics design, I studied intersection elements with fine art,</span></p>
<p><span style="font-size: 12pt;"> shaping my perspective from the optics to the essentials of this art field.</span></p>
<p><span style="font-size: 12pt;"> So I have developed techniques that I bring to the attention of artists.</span></p>
<p><span style="font-size: 12pt;"> These techniques also arise from more comprehensive documentation</span></p>
<p><span style="font-size: 12pt;"> to the visual sense.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">I highlight the importance of applying Binocular Rivalry in fine art compositions, which implies </span><span style="font-size: 12pt;">disinhibiting and acquiring new skills in the visual sense.</span></p>
<p><span style="font-size: 12pt;">Research has been published over the past decade, using magnetic resonance imaging tests. in the neuroimaging discipline</span></p>
<p><span style="font-size: 12pt;"> In support of my proposal, I have publications with some theoretical considerations </span><span style="font-size: 12pt;"> to fine art compositions.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">See some examples (links)</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> Regarding the contemplation of the aesthetic composition</span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/profiles/blogs/compositions-of-fine-art-in-which-it-would-be-possible-observe">Compositions of fine art in which it would be possible to observe the sensation as being dominant relative to perception</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Regarding aspects of saturation in art</span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Regarding photographs obtained on the brain, with magnetic resonance, of a graphic test of Binocular Rivalry</span></p>
<p><span style="font-size: 12pt;"><u><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/subcortical-discrimination-binocular-rivalry-magnetic-resonance">Subcortical discrimination; binocular rivalry; magnetic resonance</a></u></span></p>
<p><span style="font-size: 12pt;"><u> </u></span><span style="font-size: 12pt;"><u> </u></span></p>
<p><span style="font-size: 12pt;">I have articles published in the ResearchGate network</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">There are other authors who make proposals for fine art development.</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">How can the trends be discerned?</span></p>
<p><span style="font-size: 12pt;">It would be advisable to consult what appears as a huge bibliographic file practiced by Google through the ordered selections, using hundreds of criteria for a theme,</span></p>
<p><span style="font-size: 12pt;">Of course, follow the selection of experts.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">So to find out the concerns about the relative sense of fine art we posted</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> fine art sense science</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">My publications have been selected as priorities for many of the results, including the enclosed sketch.</span></p>
<p><span style="font-size: 12pt;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866690790?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866690790?profile=original" width="300" class="align-center"/></a></span></p> Something about fine art lovers and development trendstag:kkartlab.in,2018-01-21:2816864:Topic:1508982018-01-21T16:52:42.804ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I feel shy in trying to talk about fine art lovers, the theme that</span></p>
<p><span style="font-size: 12pt;"> refers both to professional and amateur artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> So I refer to the feelings of those who have a more intense life in the elaboration of compositions, become professional artists, but also of the…</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I feel shy in trying to talk about fine art lovers, the theme that</span></p>
<p><span style="font-size: 12pt;"> refers both to professional and amateur artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> So I refer to the feelings of those who have a more intense life in the elaboration of compositions, become professional artists, but also of the contemplative amateurs of art works, exteriorizing the sentiments through discrete compositions,</span></p>
<p><span style="font-size: 12pt;">Fine art, an important section in culture, is mainly the artists' field,</span></p>
<p><span style="font-size: 12pt;">who have been trained with millennium accumulations, pass through generations, almost esoterically, this profession.</span></p>
<p><span style="font-size: 12pt;">In currents and movements, through manifesto, they exhibited compositions in some styles </span><span style="font-size: 12pt;">sometimes with exclusive names like Suprematism.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> To avoid imposture, quite frequent. such as in the case of abstract styles,</span></p>
<p><span style="font-size: 12pt;"> articles are written that reject techniques that come from uninstructed people.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">There is still a need for discernment</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> The subject has philosophical connotations, appearing publications in different areas, as is the case:</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">J.P. Sartre, Psihologia emotiei, Ed. IRI, Bucuresti, 1977, p. 77.</span></p>
<p><span style="font-size: 12pt;"><em>(J.P. Sartre, The psychology of emotion, Ed. IRI, Bucharest, 1977, p. 77.)</em></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Which I'm quoting in:</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> <a href="http://www.artabioptica.ro/art11.htm">Noul introdus de Arta Bioptica</a> (Romanian)</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Excerpts</span></p>
<p><span style="font-size: 12pt;"><sup>28</sup> 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"</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong><em>.*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</em></strong></span></p>
<p><span style="font-size: 12pt;"><strong><em> </em></strong></span></p>
<p><span style="font-size: 12pt;">. 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»". </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong><em>* And in the Addendum to the same book, William James, p. 103: "Fine emotions." Organic changes, as well as self-affection, can be extremely feeble in the case of aesthetic emotions: a work of art will often only provoke a connoisseur a pure, purely intellectual judgment without the slightest organic vibration. In many people, however, it will cause emotions from the most intense</em></strong></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">……………………………….</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">In learning the tendencies for fine art evolutions, there are also restrictive criteria reflected by the professionals.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills </span><span style="font-size: 12pt;">genetically inherited in the visual sense like binocular rivalry.</span></p>
<p><span style="font-size: 12pt;">See link:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/fine-art-binocular-rivalry-extrapolation">Fine Art Binocular Rivalry extrapolation</a></strong></span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><strong> It appears to be damaging to say that only artists have the right to propose techniques for development</strong></span></p>
<p><span style="font-size: 12pt;"><strong>in art</strong></span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;"> An example of the application of research with a description more narrow but essential in fine art.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong>Simultaneous contrast</strong> identified by Michel Eugène Chevreul (was a French <a href="https://en.wikipedia.org/wiki/Chemist">chemist</a>)</span></p>
<p><span style="font-size: 12pt;"> 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.</span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;"><strong>Techniques for development in art;</strong></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bioptical-art-updates-completions">Bioptical Art updates completions Space color sensation</a></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bi-optical-di-optical-art-a-continuum-in-fine-art">Bi-optical (Di-optical) Art; a continuum in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/hypotheses-concerning-the-definition-an-sequential-contrast-in-1">Hypotheses concerning the definition an sequential contrast in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Artists have the opportunity to consult Google, which presents selection files by applying hundreds of criteria </span><span style="font-size: 12pt;">published in the order resulting from these criteria.</span></p>
<p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">See</span></p>
<p><span style="font-size: 12pt;"><strong>fine art sense science</strong></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p> Artistic Limits and Virtual Images from Geometry Optics in Fine Art Compositionstag:kkartlab.in,2018-01-16:2816864:Topic:1507782018-01-16T16:54:22.753ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Artistic Limits and Virtual Images from Geometry Optics in Fine Art Compositions.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">In learning the tendencies for fine art evolutions, there are also restrictive criteria reflected by the professionals.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we…</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Artistic Limits and Virtual Images from Geometry Optics in Fine Art Compositions.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">In learning the tendencies for fine art evolutions, there are also restrictive criteria reflected by the professionals.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills</span></p>
<p><span style="font-size: 12pt;">genetically inherited in the visual sense like binocular rivalry.</span></p>
<p><span style="font-size: 12pt;">See link:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/fine-art-binocular-rivalry-extrapolation">Fine Art Binocular Rivalry extrapolation</a></strong></span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;">Fine art, an important section in culture, is mainly the artists' field,</span></p>
<p><span style="font-size: 12pt;">who have been trained with millennium accumulations, pass through generations, almost esoterically, this profession.</span></p>
<p><span style="font-size: 12pt;">In currents and movements, through manifesto, they exhibited compositions in some styles</span></p>
<p><span style="font-size: 12pt;">sometimes with exclusive names like Suprematism.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> To avoid imposture, quite frequent. such as in the case of abstract styles,</span></p>
<p><span style="font-size: 12pt;"> articles are written that reject techniques that come from uninstructed people.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I have studied and proposed techniques from optical research, applicable in fine art.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The attempt to persuade artists to use these techniques failed.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> It appears to be damaging to say that only artists have the right to propose techniques for development</span></p>
<p><span style="font-size: 12pt;">in art</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">I have transposed some compositions into what I have called Bioptic Art (Dioptic - Art for Both Eyes)</span></p>
<p><span style="font-size: 12pt;">with the consent of the respective artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I wrote about this possibility in the chapter:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<ol start="8">
<li><span style="font-size: 12pt;"><a href="http://www.binocular-rivalry.ro/c8.html">About interpretations or exegeses by means of bioptics</a></span></li>
</ol>
<p><span style="font-size: 12pt;">Excerpts</span></p>
<p><span style="font-size: 12pt;">We know about "variations on a theme" in music. Variations are introduced in a certain theme in point of melody (to a certain extent), rhythm, relative values of the notes, harmony. Some composers are known to revive the works of other musicians, as a homage. It is also known that composers use to introduce cadences of their own in the concertos created by others. </span><br/> <span style="font-size: 12pt;">The bioptical art permits to introduce similar modalities, as I shall show in the following lines. Many compositions of the modern plastic art succeed in conveying only a little of the artist's sensitivity. They have a high entropic degree. Art critics try to cover the distance between the artist and the recipient subject. I provide the opportunity to introduce in well-known compositions a different type of wordless comments, with the help of bioptical means. They may complement known types of visual psychotherapy with beneficial effects. </span><br/> <span style="font-size: 12pt;">For illustration, I have chosen compositions from the field of Suprematism, De Stijl, and Minimal Art. </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">…………………….</span></p>
<p><span style="font-size: 12pt;">…………………………</span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bioptical-art-updates-completions">Bioptical Art updates completions Space color sensation</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bi-optical-di-optical-art-a-continuum-in-fine-art">Bi-optical (Di-optical) Art; a continuum in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/hypotheses-concerning-the-definition-an-sequential-contrast-in-1">Hypotheses concerning the definition an sequential contrast in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;"><strong>From the possibilities of cointerest artists of fine art</strong></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> The artistic evaluations belong to the artists in contact with the art loving audience.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The application of techniques resulting from research in various fields belongs to artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Artists have the opportunity to consult Google, which presents selection files by applying hundreds of criteria</span></p>
<p><span style="font-size: 12pt;">published in the order resulting from these criteria, such as the ones below.</span></p>
<p><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691607?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866691607?profile=original" width="562" class="align-center"/></a></span></p>
<p style="text-align: center;"><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691644?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866691644?profile=original" width="300" class="align-center"/></a></span><span style="font-size: 12pt;">Composition in the Conceptual Art Style</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> An example of the application of research with a description more narrow but essential in fine art.</span></p>
<p><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691935?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866691935?profile=original" width="591" class="align-full"/></a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong>Simultaneous contrast</strong> 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.</span></p> Artistic limits and virtual images from geometry optics in fine art compositions.tag:kkartlab.in,2018-01-16:2816864:Topic:1507772018-01-16T13:22:11.539ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
<p></p>
<p><span style="font-size: 12pt;"> In learning the tendencies for fine art evolutions, restrictive criteria reflected by the professional base are also stated.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills</span></p>
<p><span style="font-size: 12pt;">genetically inherited in the visual sense like binocular rivalry.</span></p>
<p><span style="font-size: 12pt;">See…</span></p>
<p></p>
<p><span style="font-size: 12pt;"> In learning the tendencies for fine art evolutions, restrictive criteria reflected by the professional base are also stated.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills</span></p>
<p><span style="font-size: 12pt;">genetically inherited in the visual sense like binocular rivalry.</span></p>
<p><span style="font-size: 12pt;">See link:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">See link:</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/fine-art-binocular-rivalry-extrapolation">Fine Art Binocular Rivalry extrapolation</a></strong></span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;">Fine art, an im</span></p>
<p><span style="font-size: 12pt;">Artistic limits and virtual images from geometry optics in fine art compositions.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> In learning the tendencies for fine art evolutions, restrictive criteria reflected by the professional base are also stated.</span></p>
<p><span style="font-size: 12pt;"> And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills</span></p>
<p><span style="font-size: 12pt;">genetically inherited in the visual sense like binocular rivalry.</span></p>
<p><span style="font-size: 12pt;">See link:</span></p>
<p><span style="font-size: 12pt;">portant section in culture, is mainly the artists' field,</span></p>
<p><span style="font-size: 12pt;">who have been trained with millennium accumulations, pass through generations, almost esoterically, this profession.</span></p>
<p><span style="font-size: 12pt;">In currents and movements, through manifesto, they exhibited compositions in some styles</span></p>
<p><span style="font-size: 12pt;">sometimes with exclusive names like Suprematism.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> To avoid imposture, quite frequent. such as in the case of abstract styles,</span></p>
<p><span style="font-size: 12pt;"> articles are written that reject techniques that come from uninstructed people.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I have studied and proposed techniques from optical research, applicable in fine art.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The attempt to persuade artists to use these techniques failed.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> It appears to be damaging to say that only artists have the right to propose techniques for development</span></p>
<p><span style="font-size: 12pt;">in art</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">I have transposed some compositions into what I have called Bioptic Art (Dioptic - Art for Both Eyes)</span></p>
<p><span style="font-size: 12pt;">with the consent of the respective artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> I wrote about this possibility in the chapter:</span></p>
<p><span style="font-size: 12pt;"> <a href="http://www.binocular-rivalry.ro/c8.html">About interpretations or exegeses by means of bioptics</a></span></p>
<p><span style="font-size: 12pt;">Excerpts</span></p>
<p><span style="font-size: 12pt;">We know about "variations on a theme" in music. Variations are introduced in a certain theme in point of melody (to a certain extent), rhythm, relative values of the notes, harmony. Some composers are known to revive the works of other musicians, as a homage. It is also known that composers use to introduce cadences of their own in the concertos created by others. </span><br/> <span style="font-size: 12pt;">The bioptical art permits to introduce similar modalities, as I shall show in the following lines. Many compositions of the modern plastic art succeed in conveying only a little of the artist's sensitivity. They have a high entropic degree. Art critics try to cover the distance between the artist and the recipient subject. I provide the opportunity to introduce in well-known compositions a different type of wordless comments, with the help of bioptical means. They may complement known types of visual psychotherapy with beneficial effects. </span><br/> <span style="font-size: 12pt;">For illustration, I have chosen compositions from the field of Suprematism, De Stijl, and Minimal Art. </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">…………………….</span></p>
<p><span style="font-size: 12pt;">…………………………</span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bioptical-art-updates-completions">Bioptical Art updates completions Space color sensation</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bi-optical-di-optical-art-a-continuum-in-fine-art">Bi-optical (Di-optical) Art; a continuum in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/hypotheses-concerning-the-definition-an-sequential-contrast-in-1">Hypotheses concerning the definition an sequential contrast in fine art</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong> </strong></span></p>
<p><span style="font-size: 12pt;"><strong>From the possibilities of cointerest artists of fine art</strong></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> The artistic evaluations belong to the artists in contact with the art loving audience.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">The application of techniques resulting from research in various fields belongs to artists.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;">Artists have the opportunity to consult Google, which presents selection files by applying hundreds of criteria</span></p>
<p><span style="font-size: 12pt;">published in the order resulting from these criteria, such as the ones below.</span></p>
<p><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691607?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691607?profile=RESIZE_1024x1024" width="500" class="align-center"/></a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p style="text-align: center;"><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691644?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691644?profile=RESIZE_480x480" width="400" class="align-center"/></a>Composition in the Conceptual Art Style</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> An example of the application of research with a description more narrow but essential in fine art.</span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"><strong>Simultaneous contrast</strong> 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.</span></p>
<p><span style="font-size: 12pt;"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691935?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866691935?profile=original" width="591" class="align-full"/></a></span></p>
<p><span style="font-size: 12pt;"> </span></p>
<p><span style="font-size: 12pt;"> </span></p> Literature of Sciencetag:kkartlab.in,2017-11-27:2816864:Topic:1495492017-11-27T20:48:07.932ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
<p></p>
<p><span class="font-size-3">Literature of Science</span></p>
<h3><span class="font-size-3">In the article</span></h3>
<h3><span class="font-size-3"><a href="http://libguides.humboldt.edu/scientificliterature">Literature of Science - Searching the Scientific Literature - Research ...</a></span></h3>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> It presents the synthesis of the litteristics related to science *)…</span></p>
<p></p>
<p></p>
<p><span class="font-size-3">Literature of Science</span></p>
<h3><span class="font-size-3">In the article</span></h3>
<h3><span class="font-size-3"><a href="http://libguides.humboldt.edu/scientificliterature">Literature of Science - Searching the Scientific Literature - Research ...</a></span></h3>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> It presents the synthesis of the litteristics related to science *)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">There are numerous publications that showcase diverse literature about science.</span></p>
<p><span class="font-size-3"> I join with those who introduce some emotional aspects by avoiding the formalist style and tend towards metaphorical literature.</span></p>
<p><span class="font-size-3">Something in addition to the encyclopaedic description goes without SF exaggeration</span></p>
<p><span class="font-size-3"> Miraculous advances in science are gained, but the people who live there live on the isolated islands, dominated by their own specialty areas.</span></p>
<p><span class="font-size-3"> Perhaps it would be a way of belonging to a less triumphalist climate than that of setting out the successes in the field of human mass destruction.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I try to exemplify it;</span></p>
<p><span class="font-size-3">Professionally in optical systems I am impressed with the appearance and evolution of the eye.</span></p>
<p><span class="font-size-3">………………..</span></p>
<p><span class="font-size-3">From Wikipedia, the free encyclopedia:</span></p>
<p></p>
<p><span class="font-size-3"><b>Trilobites</b> ( <a href="https://en.wikipedia.org/wiki/Help:IPA/English" title="Help:IPA/English">/ˈtraɪləˌbaɪt, ˈtrɪ-, -loʊ-/</a>;<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-2">[2]</a><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-3">[3]</a></sup> meaning "three lobes") are a fossil group of<a href="https://en.wikipedia.org/wiki/Extinction" title="Extinction">extinct</a> marine <a href="https://en.wikipedia.org/wiki/Arachnomorph" title="Arachnomorph">arachnomorph</a> <a href="https://en.wikipedia.org/wiki/Arthropod" title="Arthropod">arthropods</a> that form the <a href="https://en.wikipedia.org/wiki/Class_(biology)" title="Class (biology)">class</a> <b>Trilobita</b>. Trilobites form one of the earliest known groups of arthropods. The first appearance of trilobites in the fossil record defines the base of the <a href="https://en.wikipedia.org/wiki/Atdabanian" title="Atdabanian">Atdabanian</a> stage of the <a href="https://en.wikipedia.org/wiki/Early_Cambrian" title="Early Cambrian">Early Cambrian</a>period (<a href="http://tools.wmflabs.org/timescale/?Ma=521">521</a> million years ago), and they flourished throughout the lower <a href="https://en.wikipedia.org/wiki/Paleozoic" title="Paleozoic">Paleozoic</a>era before beginning a drawn-out decline to eEven the earliest trilobites had complex, compound eyes with lenses made of calcite (a characteristic of all trilobite eyes), confirming that the eyes of arthropods and probably other animals could have developed before the Cambrian.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-McCall2006-20">[20]</a></sup> Improving eyesight of both predator and prey in marine environments has been suggested as one of the <a href="https://en.wikipedia.org/wiki/Evolutionary_pressure" title="Evolutionary pressure">evolutionary pressures</a> furthering an apparent rapid development of new life forms during what is known as the<a href="https://en.wikipedia.org/wiki/Cambrian_Explosion" title="Cambrian Explosion">Cambrian Explosion</a>.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-81">[81]</a></sup></span></p>
<p><span class="font-size-3"> Trilobites disappeared in the <a href="https://en.wikipedia.org/wiki/Permian%E2%80%93Triassic_extinction_event" title="Permian–Triassic extinction event">mass extinction</a> at the end of the <a href="https://en.wikipedia.org/wiki/Permian" title="Permian">Permian</a> about <a href="http://tools.wmflabs.org/timescale/?Ma=252">252</a> million years ago. The trilobites were among the most successful of all early animals, roaming the oceans for over 270 million years.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-4">[4]</a></sup></span></p>
<p><span class="font-size-3">Trilobite eyes were typically <a href="https://en.wikipedia.org/wiki/Compound_eye" title="Compound eye">compound</a>, with each lens being an elongated prism.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-levi-setti93-82">[82]</a></sup> The number of lenses in such an eye varied: some trilobites had only one, while some had thousands of lenses in a single eye. In compound eyes, the lenses were typically arranged hexagonally.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Clarkson98-17">[17]</a></sup> The fossil record of trilobite eyes is complete enough that their evolution can be studied through time, which compensates to some extent the lack of preservation of soft internal parts.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Clarkson79-83">[83]</a></sup></span></p>
<p><span class="font-size-3"><a href="https://en.wikipedia.org/wiki/Lens_(anatomy)" title="Lens (anatomy)">Lenses</a> of trilobites' <a href="https://en.wikipedia.org/wiki/Trilobite_eye" title="Trilobite eye">eyes</a> were made of <a href="https://en.wikipedia.org/wiki/Calcite" title="Calcite">calcite</a> (<a href="https://en.wikipedia.org/wiki/Calcium_carbonate" title="Calcium carbonate">calcium carbonate</a>, CaCO<sub>3</sub>). Pure forms of calcite are transparent, and some trilobites used crystallographically oriented, clear calcite crystals to form each lens of each of their eyes.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Clarkson97-84">[84]</a></sup> Rigid calcite lenses would have been unable to <a href="https://en.wikipedia.org/wiki/Accommodation_(eye)" title="Accommodation (eye)">accommodate</a> to a change of focus like the soft lens in a human eye would; however, in some trilobites the calcite formed an internal <a href="https://en.wikipedia.org/wiki/Doublet_(lens)" title="Doublet (lens)">doublet</a> structure,<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Clarkson75-85">[85]</a></sup> giving superb <a href="https://en.wikipedia.org/wiki/Depth_of_field" title="Depth of field">depth of field</a> and minimal <a href="https://en.wikipedia.org/wiki/Spherical_aberration" title="Spherical aberration">spherical aberration</a>, according to optical principles discovered by French scientist <a href="https://en.wikipedia.org/wiki/Ren%C3%A9_Descartes" title="René Descartes">René Descartes</a> and Dutch physicist <a href="https://en.wikipedia.org/wiki/Christiaan_Huygens" title="Christiaan Huygens">Christiaan Huygens</a> in the 17th century.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-levi-setti93-82">[82]</a><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Clarkson75-85">[85]</a></sup> A living species with similar lenses is the <a href="https://en.wikipedia.org/wiki/Brittle_star" title="Brittle star">brittle star</a> <i><a href="https://en.wikipedia.org/wiki/Ophiocoma_wendtii" title="Ophiocoma wendtii">Ophiocoma wendtii</a></i>.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Aizenberg-etal01-86">[86]</a></sup></span></p>
<p><span class="font-size-3">In other trilobites, with a Huygens interface apparently missing, a <a href="https://en.wikipedia.org/wiki/Gradient_index_lens" title="Gradient index lens">gradient index lens</a> is invoked with the <a href="https://en.wikipedia.org/wiki/Refractive_index" title="Refractive index">refractive index</a> of the lens changing toward the center.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-Bruton03b-87">[87]</a></sup></span></p>
<p><span class="font-size-3"><sup> </sup></span></p>
<p><span class="font-size-3"><sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-McCall2006-20">[20]</a></sup> Improving eyesight of both predator and prey in marine environments has been suggested as one of the <a href="https://en.wikipedia.org/wiki/Evolutionary_pressure" title="Evolutionary pressure">evolutionary pressures</a> furthering an apparent rapid development of new life forms during what is known as the<a href="https://en.wikipedia.org/wiki/Cambrian_Explosion" title="Cambrian Explosion">Cambrian Explosion</a>.<sup><a href="https://en.wikipedia.org/wiki/Trilobite#cite_note-81">[81]</a></sup></span></p>
<p><span class="font-size-3">.................................</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Of course, in neophyte position, I can be in the attention of specialists</span></p>
<p><span class="font-size-3">as an investigative test.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> It was then a somewhat ecological evolution, the eye evolving into both prey and predatory.</span></p>
<p><span class="font-size-3"> The supreme command of survival is the reproduction as a dominant purpose, whatever the form of life has reached.</span></p>
<p><span class="font-size-3"> Being for this must invent the most effective forms of defense and feeding.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Electromagnetic radiation existed and was chosen for the sensation of light,</span></p>
<p><span class="font-size-3"> evolving towards organic elements that select less harmful, but sufficient, radiation to obtain satisfactory optical resolutions. (human eye situation).</span></p>
<p><span class="font-size-3">Of course, specialists' exposures are edifying.</span></p>
<p><span class="font-size-3">Biology and medicine have made miraculous progress</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">An attempt of me to find one of the probable survival vectors is described in the link:</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity" title="blocked::http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">…………………………</span></p>
<p><span class="font-size-3">_<sup>*)</sup> Scientific literature is the principal medium for communicating the results of scientific research and, as such, represents the permanent record of the collective achievements of the scientific community over time …….</span></p>
<p><span class="font-size-3">Scientific literature composing the scientific knowledge base is often divided into two basic categories:</span></p>
<ul>
<li><span class="font-size-3">Primary literature -- publications that report the results of <u>original</u> scientific research. These include journal papers, conference papers, monographic series, technical reports, theses, and dissertations.</span></li>
<li><span class="font-size-3">Secondary literature -- publications that synthesize and condense what is known on specific topics. These include reviews, monographs, textbooks, treatises, handbooks, and manuals. These take time to produce and usually cite key "primary" publications on the topic.</span></li>
</ul>
<p><span class="font-size-3"> </span></p> About correcting aberrations of optical systems and artistic forms in the Readymades classtag:kkartlab.in,2017-11-13:2816864:Topic:1494702017-11-13T10:23:13.028ZLiviu Iliescuhttps://kkartlab.in/profile/LiviuIliescu
<p><span class="font-size-3">About correcting aberrations of optical systems and artistic forms in the Readymades class</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I come back to the discussed artistic forms of science, which</span></p>
<p><span class="font-size-3">belong to the Readymades class evidenced by Marcel Duchamp.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Extract…</span></p>
<p><span class="font-size-3">About correcting aberrations of optical systems and artistic forms in the Readymades class</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I come back to the discussed artistic forms of science, which</span></p>
<p><span class="font-size-3">belong to the Readymades class evidenced by Marcel Duchamp.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Extract from Wikipedia</span></p>
<div><p><span class="font-size-3">Readymades[<a href="https://en.wikipedia.org/w/index.php?title=Marcel_Duchamp&action=edit&section=7" title="Edit section: Readymades">edit</a>]</span></p>
</div>
<p><span class="font-size-3">Main article: <a href="https://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp" title="Readymades of Marcel Duchamp">Readymades of Marcel Duchamp</a></span></p>
<p><span class="font-size-3">"Readymades" were <a href="https://en.wikipedia.org/wiki/Found_objects" title="Found objects">found objects</a> which Duchamp chose and presented as art. In 1913, Duchamp installed a <a href="https://en.wikipedia.org/wiki/Bicycle_Wheel" title="Bicycle Wheel">Bicycle Wheel</a>in his studio. However, the idea of Readymades did not fully develop until 1915. The idea was to question the very notion of Art, and the adoration of art, which Duchamp found "unnecessary".[31]</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I copy from a commercial presentation section through a camera lens</span></p>
<p></p>
<p><span class="font-size-3"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691347?profile=original" target="_self"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691347?profile=RESIZE_320x320" width="300" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p style="text-align: center;"></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> It is interesting to point out some theoretical aspects that come from the scientific substrate that generates such forms,</span></p>
<p><span class="font-size-3">respectively programs for optical computing.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">It has been an effective theoretical basis for photographic objectives, formed over 200 years.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">A historical example extracted from Wikipedia</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> He came up with the Petzval Portrait (modern Austria) in 1840, a four-element lens consisting of a front-cemented achromat and a rear air-spaced achromat that, at f/3.6, was the first wide-aperture portrait lens. It was appropriate for one- to two-minute shaded outdoors daguerreotype exposures. With the faster <a href="https://en.wikipedia.org/wiki/Collodion_process" title="Collodion process">collodion (wet plate)</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Optical computing programs have been perfected gradually, reaching the automatic calculation of aberration corrections,</span></p>
<p><span class="font-size-3">such as zemax programs</span></p>
<p><span class="font-size-3"> Although these programs are very useful, their application is conditional. I give below extracted from</span></p>
<p><span class="font-size-3"> articles published by specialists in the field that have been written over the last decade.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> Thus, in relation to correction steps, account must be taken of the conditions of use</span></p>
<p><span class="font-size-3"> for each product class.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> Excerpts</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Achromat, Apochromat, Superachromat – What is the Difference ...</span><br/> <span class="font-size-3">l./achromat-apochromat-superachromat-what-is-the-difference/</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">by Dr. Hannfried Zügge, (CZ)</span></p>
<p><span class="font-size-3">...............................</span></p>
<p><span class="font-size-3">However, the secondary spectrum features - firstly - a typical profile and - secondly - a typical magnitude, depending to a large extent on the focal length and the lens type. The longer the focal length and the larger the aperture (speed) of the lens, the more the image quality will be impaired by the secondary spectrum. This can be so severe that the secondary spectrum is the main factor limiting the image quality.</span></p>
<p><span class="font-size-3">Hence, the next step required by the optical designer is to also correct the secondary spectrum in these cases. The result is the apochromat. The only aid available for this purpose is the use of very special optical materials: long-crown glass (fluor crown glass and calcium fluoride) and special short flint glass. These can therefore be justifiably called extreme types of glass, since they not only display an unusual behavior with regard to the relative partial dispersion, but are also extremely expensive and difficult to process.</span><br/> <span class="font-size-3">........................</span></p>
<p><span class="font-size-3">And relative to the fact that the use of automated programs should be done after corrections have been made</span></p>
<p><span class="font-size-3">preliminary with lens bending optimization programs</span></p>
<h3><span class="font-size-3"> </span></h3>
<h3><span class="font-size-3"><a href="https://www.google.ro/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjVwqOMtJrWAhUmMJoKHbMIAJwQFgguMAA&url=http%3A%2F%2Fwww.iap.uni-jena.de%2Fiapmedia%2FLecture%2FDesign%2Band%2Bcorrection%2Bof%2Boptical%2Bsystems1351638000%2FDaCOS12_Lecture_Part_12_Correction_of_aberrations_1_112.pdf&usg=AFQjCNF7pRc2Yd2VRBgmWFfRYwQYexnvEQ">Design and Correction of optical Systems</a></span></h3>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">In the same book you see and;</span></p>
<p><span class="font-size-3"><a href="https://www.google.ro/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&cad=rja&uact=8&ved=0ahUKEwjVwqOMtJrWAhUmMJoKHbMIAJwQFghHMAY&url=http%3A%2F%2Fwww.iap.uni-jena.de%2Fiapmedia%2Fde%2FLecture%2FOptical%2BDesign%2Bwith%2BZemax1367359200%2FODZ_Optical%2Bdesign%2Bwith%2BZemax%2B11%2BCorrection%2BI.pdf&usg=AFQjCNGIwlFL4SZljlsxL48EXNfwRqh6xA">ODZ_Optical design with Zemax 11 Correction I.pdf</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">So before the automated program is used, a preliminary correction is required</span></p>
<p><span class="font-size-3">(11 Corection I) where the concept of lens bending appears.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I practice the profession of manufacturer of optical devices including computer, optical systems,</span></p>
<p><span class="font-size-3"> I have also studied the basics of optical computing.</span></p>
<p><span class="font-size-3"> In the specialized articles written in the last century, the Lens Bending method was described as being</span></p>
<p><span class="font-size-3"> based on the aberrations of the optical systems.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> Lens Bending is the method by which lens power is retained</span></p>
<p><span class="font-size-3">modifying the bend radii by computing.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> Decades ago I designed a program to automatically minimize optical systems</span></p>
<p><span class="font-size-3">using the Lens Bending technique</span></p>
<p><span class="font-size-3"> I recently published in ResearchGate details of the algorithm I used</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Link:</span></p>
<p><span class="font-size-3"><a href="https://www.researchgate.net/publication/305655083_Bending_method_for_automatic_optical_aberations_correction?_iepl%5BviewId%5D=gxwHwYONCBxucp0peKf6Nkaf&_iepl%5BprofilePublicationItemVariant%5D=default&_iepl%5Bcontexts%5D%5B0%5D=prfpi&_iepl%5BtargetEntityId%5D=PB%3A305655083&_iepl%5BinteractionType%5D=publicationTitle"><b>Bending method for automatic optical aberations correction</b></a></span></p>