Brief introduction

See also: Bioptical Art - preliminary explanations
Introduction to bioptical terminology

1. The Bioptical Art involves compositions and procedures related to fine arts - painting and sculpture (studies performed by me for more than half a century, as a specialist in optical systems).
A synthesis of these studies is provided by this site and by the book "Arta Bioptica - Bioptical Art" (1999, Crater, Bucharest).
2. For the sake of simplification, I shall first refer to painting.
3. The bioptical picture proper is divided into two areas, called fields, generaly placed one under the other.
4. Every element, line, colour spot or form in a field has its correspondent in the other field, with modifications required by the bioptical procedures.
5. The painting is to be looked at though a device specially created.
6. The left eye looks at the painting freely and the right eye looks through two plane mirrors. After a while, the left eye looks though the pair of mirrors and the right eye looks freely.
7. Important inversions occur in point of form and color perception.
8. Thus, when looking at a bioptical painting, there exist three stages:
a) looking with the naked eye, when the bioptical composition appears to be an ordinary painting
b) looking with the naked left eye and with the right eye through a pair of mirrors.
c) Looking with the naked right eye and with the left eye through a pair of mirrors.
9. In cases b) and c) one perceives a triptych set on a vertical.
10. Painted correspondences evince differences similar to those existing in pairs of stereoscopic images, but not only.
11. Other differentiations, with fundamentally different effects were added as compared to stereoscopic representations. Thus:
11.1 differently coloured forms (based on the test called Helmholtz colour fusion
11.2 reversal of the linear perspective;
11.3 altogether different forms at the correspondence spot (based on the test called Helmholtz retinal rivalry);
11.4 reversal of the chromatic perspective
11.5 correspondences towards the limit of perceive acceptability.

Remark: In bioptical compositions, Helmholtz tests have a much greater impact on the psyche than in their simple presentation.

12. When looking at a picture made in oil, tempera or Wter-colours, using the optical device, one contemplates pigment turning to account, not encountered in ordinary painting and even less in cinematography, holographs, television or other means of electronic reproducing of images.
13. Bioptical Art requires education, the same as in music or art in general. A psycho-physical education is necessary.
14. Throughout years, I presented bioptical art to the four grade students of the Ion Mincu Institute of Architecture in Bucharest. More than 700 students were tested by me. Some of them evinced a special sensitivity in perception, similar to the so called "ear for music".
15. To practice bioptical Art and turn into artists, apprenticeship is required.
16. The education of vision (psychophysical training) is very important - in my opinion - for extending the range of intellectual creative abilities, especially in fine arts, in a style of one`s own, in enriching the imagination, to create new forms and colour combinations.
17. The conclusions of my studies may be of interest for neuropsychiatrist.
18. Beyond the sphere of the normal, a kind of "stratosphere" of the metanormal could be induced.
19. Images perceived by bioptical procedures have a virtual character, which differs from that of processes defined by geometrical optics. They should be considered metavirtual images.
20. The site also presents the bioptical form in space (sculpture). It permits the transition from forms determined in a tactile space, to forms with other depths inducing perceptions in a range which might be considered a "tactile - visual" one.
21. The dual and plurivalent character of the bioptical art has led me to the developments in adjacent fields. The site present a study on the physionomy representations (the absence of simultaneity between the characteristic expression ofhte eyes area and that of the mouth). A possible architectural composition meant to contemplate both the outer and the inner world, called Psychodrom, is also presented.
22. Methods for the dynamic study of bioptical effects with the aid of computers have been provided (a demonstrative programme is included in the site. These methodsenable the participation of several persons (by the Internet) in creating dynamic bioptical compositions (according to my Patent RO 112061, registered in 1995).
23. I have designed and made observations devices equipped with a stand, to permit the display of bioptical compositions in exhibitions halls. Other devices are used to notice kinetic bioptical effects on the computer screens. Bioptical devices on stands meet the standards for binocular vision, for persons of different heights, irrespective of the position for eye adaptation.

Author`s exercises following bioptical art modalities training
Study G - oil on canvas 74x100 cm
The Desert in metavirtual images stimulation
The last survivor - oil on canvas 65x45 cm
Confrontation - oil on cardboard 45x35 cm
Coloristic depth study - oil on cardboard 45x36 cm
Coloristic depth study - oil on cardboard 55x90 cm