Compatibility in Bioptical Art

Bioptical Art - Liviu Iliescu

The revolution in the fine arts, starting with the Impressionism and going on in the twentieh century, has resulted in several artistic currents. The rules of academism were given up, but every current has a rational foundation (Dada excepted).
In fine arts, wordless art should rule over emotional communication. The rational is present both in the intention and in its materialization and it should forecast emotional communication. Rational criteria are more obvious in the case of cubism, futurism, surrealism or hyperrealism. The rational foundation is necessary for the artistic organizing, which is a sine qua non of emotional communication.
It seems that the rational prevails over the emotional in some of the art of the twentieh century.
It is as if we are told "you should like it because..." and not "I notice that you like what you see".
In the chapter on Retunal cooperation, I point out a psychic bipolarity.
Compositions which stand out by successful emotional communications have a solid rational foundation. In analytic cubism, the rational foundation consist in projecting a portrait or a well-known form on the plane of the painting, or lines resulting from vision several angles.
In the case of Bioptical Art, the rational foundation is provided by the totality of geometrical procedures of transpoising in non conformal spaces.
But the rational foundation of Bioptical Art permits to transpose two important variants in the emotional field:
This two-fold ability is called "compatibility in Bioptical Art".
To achieve that compatibility, it is necessary to create an apparently common form (as in figures 44 and 45 ) in the central area (between field I and field II).
This form is only apparently common since, as may be noticed, all elements have bioptical correspondences in the two fields. The central form induces, however, a modification of antisymetry in normal vision, necessary for bioptical representation, so that composition looks conventional.
In this category, I mention reproductions R3, R4, R5, R6, R7 and the coresponding tests cards DR3, DR4, DR5, DR6, DR7. I also mention the tridimensional form of figure 24 (author`s drawing for a bioptical sculpture) which also occurs as a conventional composition.
To conclude, compatibility in Bioptical art is defined as a transposition from the rational to the emotional, relevant for both bioptical and normal vision. We may thus consider that the techniquees of Bioptical Art are meant both for subjects who have aquired the skills of bioptic vision and for those who cannot perceive the spatial and colour structures provided by techniques.