Bioptical Art and INTERNET Communications

Bioptical Art - Liviu Iliescu

Bioptical Art provides original modalities of INTERNET-mediated communications, since spatial and kinetic compositions may be achieved while talking with one or several collocutors. The presentations in the volume, supplemented by the patent "Method for stereoscope-type kinetic expressions" explain the techniques necessary to carry out such "wordless" conversations.
These tehniques can be gradually assimilated, by covering certain stages:
I specify that the use of Bioptical Art provides fundamentally different spaces from the 3D sistem, which presents the third dimension only thanks to the perspective.
The tehnique of Bioptical Art create stereoscope type virtual depths.
Figure 43, shows a square which should be turned round diagonal XX, placed on a vertical. In case of 3D, revolving will successively result rhombuses, a vertical line, rhombuses again at, at the end, a square. In the case of Bioptical Art tehnique, a succession of spatial forms is perceived, out of endless posibilities. The Bioptical form, especially oil paintings, provides elements of artistic refinement.
Bioptical paintings, such as those reproduced in R1-R11 may be delivered on request, under certain terms.
The bioptical composition, painting or form in space, as described in part may be watched either by the tehniques M2, M3, M4 which reveal the whole range of bioptical phenomena, or by normal vision.
In this case, painting seems a conventional composition. Forms in Bioptical Art are imaginary and abstract, but when they acquire the third dimension they become objectival (see paintings R1, R3, R6 ). A landscape is also nonconventional but likely (see paintings R4, R5, R7 ).
Special hyperrealistic effects occur in the case of imaginary forms (paintings R2, R9 ).
Another category of applications, meant especially for investments, is represented by the erection of a PSYCHODROME or of a monument with "kinestatic" effects. They refer to two hypotheses by which I interpret Constantin Brancusi`s mysterious sketch, called by him Relativement tel que moi (see figs. 35, 36, 37, 38, 39, and R14, ). These applications may be carried out in stages, by presenting some details, and - on request - by performing a functional model.