Contents (PVS)

1. Introduction
2. Binocular rivalry and stereoscopy in bioptical art
3. Bioptical effects, definitions
4. Bioptical means for psychotherapy
5. Laboratory hall for visual therapy
6. Aspects relative to the applications of plastic arts in psychotherapy
7. Psychodrom
8. About interpretations or exegeses by means of bioptics
9. About a didactic experiment in bioptical art
10. Space - time - colour
11. Contributions
12. Visual-sense-storming
13. Visual binarity
14. Some additions and resumptions on the bioptical composition
15. Psychical satiety in affectivity

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Visual Binarity
Two Parts on Psychic Vision Processes

The Paired off Visual Signal   Liviu Iliescu

See olso www.artabioptica.ro

A series of concepts, included in enunciations grouped under the title of Visual Binarity, appears to me as a discursive modality.

Such concepts could be: comparison, contrast, rivalry, cinestatism, to which others could be added.

Obviously, joining these concepts would be debatable under the aspect of the level of generality and correlation.

Grouping could be subjected to the attention of specialists, logicians, psychologists, who shall assess, consolidate or reject it.

However, I believe that systematization is necessary, for the attempt to raise the interest that could be borne by primitive perceptions, provable by the paintings and sculptures accomplished and experimented (compositions I named bioptical art).

Phenomena and effects in fine arts are known under denominations derived from the above, such as:
simultaneous contrast, successive contrast, clear obscure.

In describing bioptical techniques, along with the denominations of known visual phenomena, I had to introduce other denominations as well, for what it appeared to me as new in the adaptation experiments in fine art.

They are found in the publications:

Bioptical Art: Liviu Iliescu
The Paired Off Visual Signal: Liviu Iliescu

Cinestatism (cinestatics) could be a denomination for the perception that derives from contemplating these static shapes in fine art, causing the sensation of movement or changing essentially their shape by modifying the observation position.

An example: perception in changing shape from 2D to 3D

This denomination could emphasize the difference as compared to the perception caused by the movement of shapes (as compared to kinetics, cinematography).

Relativement tel que moi: RTQM

By lines that delimit divergently from the eyes, the shape of Brancusi, (RTQM), appears as in the famous design projected on the sky, without depths, while seen gradually from the profile, it acquires shapes evolving tri-dimensionally, shapes residing in total compositional transformations. The evolution from apparently plane shapes to unexpected, tridimensional shapes, respectively the essential modification of perception with the vision angle could be denominated cinestatism. Although the denomination seems improper, it expresses essential modifications of visual perception with the vision angle of a static shape ….


RTQM

Liviu Campeanu developed a huge activity for what it may be called: from the Will of Constantin Brancusi (Testamentul lui Constantin Brancusi), consulting specialists, artists, art critics, professors, writers, collecting opinions, suggestions that he shows in the book Icoana Sinelui ISBN 973-9003-70-2 adding his metaphoric descriptions, pleading for the materialization in any way of the draft Relativement Tel Que Moi.

Unfortunately, in his book Liviu Campeanu, plagiarize from my publications (Ctrl+Click
Informare despre plagiatul lui Liviu Câmpeanu)

I was also requested, taking over in his book my sketches and texts that were already published in: Arta Bioptica; 1998; ISBN 973-9029-37-X

By summarizing the interpretations, the intention of C. Brancusi appears evident to conceive a monument expressing the relation between the sensations caused by the exterior universe and the internal universe, reduced to a point (the central design point).

In the book Bioptical Art, which I published in 1998 and transposed in www.artabioptica.ro.

I described the manner in which I saw the space shapes suggested by the design of Brancusi, namely in the chapters:

Psychodrome
Monument for the Heroes of 1989 Revolution

Psychodrome, in my opinion, is the most appropriate designation for a monumental ensemble meant to give purpose to man’s aspirations for getting in touch with the outer world, by means of sensory pathways. That monumental complex shall provide areas for interhuman communications by means of emotions, mediated by bioptical techniques.

To this effect, the psychodrome shall include two components:

Psycho-A, that is functional statuary forms, liable to pick up and amplify stimuli from the outer world.
Psycho-B, that is a group of areas comprising facilities for bioptical images for interhuman communications by means of sensory pathways.

"Constantin Brancusi (quoted passage) (1876-1957) is the father of modern sculpture. He expressed reality in idealized forms. The author of Bioptical Art suggest the creation of a monumental complex starting from a sketch entitled Relativement tel que moi, made by Brancusi at the end of his life.

Brancusi intended to achieve a monumental sculpture, aimed at symbolizing the concentration of the outer world within man`s inner world.

This bivalence of the „existing” and of the meaning of „being” induced Liviu Iliescu, the author of Bioptical Art, to transpose Brancusi intention in a monumental complex, a PSYCHODROME, apt to capture stimuli from the PSYCHO-A universe stimuli and the stimuli of human intercommunication, by means of emotional ways, PSYCHO-B (see the chapter on the PSYCHODROME, figures and reproduction ). R14

The author takes part in the Contest for projects of statuary compositions aimed at commemorating Constantin Brancusi.

He presents:

Brancussi`s The beginning of the world with Endless Columns, The Cock and Maiastra
Design - author: Liviu Iliescu
 
Psihodromul derived from "Relativement tel que moi"
 
Design - author: Liviu Iliescu

Dinamics of space depth Stereoscopic effects in bioptical art, by which composition elements are perceived as being placed in a space which becomes deeper with visual accommodation, within a lapse of time ranging to a few minutes. Elements leading to accommodation with time succession may be designed. The artist also acquires a role of "stage director". Therefore, the apparent modifications of depths in time are due to static forms.

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, 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.
(Wikipedia)

I drafted techniques for the application of binocular rivalry in fine art



Monument for the Heroes of 1989 Revolution
(Project - Designs)

Chapter from Bioptical Art - Liviu Iliescu

By lines that delimit divergently from the eyes, the shape of Brancusi appears as in the famous design projected on the sky, without depths, while seen gradually from the profile, it acquires shapes evolving tri-dimensionally, shapes residing in total compositional transformations. The evolution from apparently plane shapes to unexpected, tridimensional shapes, respectively the essential modification of perception with the vision angle could be denominated cinestatism. Although the denomination seems improper, it expresses essential modifications of visual perception with the vision angle of a static shape.

In a different line of ideas, there is the issue of the estheticizing process faced by each artist during the performance of their work, which, in many cases, is substantially alienated from the initial designs, by maintaining the essential from the spontaneous vision.

The artist that could be invited to transpose the design of Brancusi in a feasible composition, would feel his personality somewhat affected, and, on the other hand, would experience a feeling of frustration, following the shading of the eventual important contributions, by the fame of the grand artist.

Disregarding all these, and as we are not in the position to display affectation, in case of transposing the design of Brancusi, following the attempts I performed, the need to introduce new elements occurred in developing the estheticizing process.

In case of rigorously concentric circles, they would appear at a front vision as a trivial target used for shooting exercises, hence the imperfections and trembled circles from the design of Brancusi comprise an incomparably more artistic composition. Those curved, closed lines had to be found, which should gradually confirm esthetically the central point (circles with concentricity differences that give the illusion of movement towards a spiral).

Nevertheless, perfection, as currently accepted, is illusory. The planet orbits are not circles, yet perhaps trembled ellipses, expressed with approximation of very complicated mathematical formulas. Their exact shape is known only by God, and we approach the essences of all things asymptotically, to the extent of His will for the earth bound creature He created.

The triangle above is also irregular and appears to me as a biprism in the estheticizing process.

In conceiving the pedestal, trivial shapes must be avoided; it must present the lines of the universe, no up or down, no vertical and horizontal, inscribing it harmonically in the front shape, as well as in the profile shape, which, as presented herein above, is represented with essential changes. Brancusi was obliged to do so in the estheticizing process, obviously in his genius manner … however it was not meant to be and we do not know how it would have been.

 

 



Certain Details for Materializing the Monument RTQM
(materialization performed by Liviu Iliescu)




(1) Concave mirror; with a curve ray approximately as the distance between the observer and mirror – extra-axis deviations are admissible – distortion below 10%
(2) Plane mirror, automatically controlled > maximum projection angle of a celestial body in a perpendicular plane on the polar axis ~ 140 degrees.
3,4 Ray incident beams
6,7 mirror holders (1) and (2)
5 Optoelectronic response transducer (feedback)
8 Successive celestial body images
6,7 mirror holders (1) and (2)




The positions, the adjustments are performed in polar coordinates



Two controlled positions of the mirror (2)




Mirror safety items


Mirror safety sistem (1)
11 – concave mirror (1); 12 cover; 13 rotation axle; 14 rotated head
position 12
(it spins by 270gr - remotely actuated)


Mirror safety system (2)
15 –plane mirror (2); 16 ellipsoidal cupola;
17 rotated position of the ellipsoidal cupolas (remotely controlled) ;
18 rotation axles