Science, Art, Litt, Science based Art & Science Communication
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 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.
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:
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)
Stereograms (arranged for crossed-eye viewing)
The vertex of the triangle dives into the black field of the rectangle.
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.
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
So to interpret compositions but also for achieving complex fine art paintings and sculptures
applied in sequence, step by step link:
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)
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:
I have extracted the summary in English:
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.
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.
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.
Malevich practiced Cubism, before he invented Suprematism.
In 1915, Malevich laid down the foundations of Suprematism when he published
his manifesto, From Futurism, Cubism to Suprematism.
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.
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:
I remember the definition of the effect of binocular rivalry.
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
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)
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.
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