KNOW – HOW
(The practice of bioptics)
In order to learn the modalities of creating and understanding bioptical compositions, it is necessary to first peruse the chapters:
Chapters (e) and (f) are written in Romanian, with abstracts in English.
On request, chapters (c) and (d) may be provided also in English.
Bioptical Art and all its opportunities, may be learned especially from lessons taught "ex cathedra", by the author, who conveys to students all details.
Bioptical Art counts among human creations or artefacts with a useful aspect. It exceeds the definition, provided by some philosophers to arts, as creating only a disinterested interest in subjects.
In point of usefulness, account should be taken of the following:
Plastic artists may acquire additional stimuli in their style, enhancing the contents, the same as by learning the laws of perspective.
They need not practice bioptical compositions, but may be trained to create forms in space, to acquire a higher sensitivity in perceiving shades of colors, to get a better perception of extreme visual angles a.s.o.
Psychologists, aestheticians and psychiatrists find effects which influence the perceptive structure by means of stimuli included in the same composition; additional retinal disparities occur, as against normal ones (one does not use two pictures, as in stereoscopy).
By alternating direct vision and vision by means of the optical device, the possibilities to communicate by affective means increase (see Glossary definitions on the psychic cycle and residual impressions).
Fragments quoted from the reports concerning the bioptical art, provided by the Romanian Academy.
"Francisc I.Rainer" Center
of Research in Anthropology
December 16, 1994
. . . As early as three years ago, the Board of the Academy favourably received those studies. In the meantime, Mr.Liviu Iliescu has carried on his investigations, supplementing and improving his theoretical and practical instruments. His approach led him to the conclusion that the physiology of binocular vision is involved in the functions of the brain, especially in the process of lateralization/integration of binocular vision. New phenomena and processes were outlined:
- psychophysiological mixture of colors - retinal cooperation
- dynamics of space depth - spatial harmony
- space and time in bioptical art - plastic bispace
- residual impressions - spatial distance
Appropriate arguments and proofs were provided
Dan Grigorescu, member of the Romanian Academy, wrote on May 22, 1995, in a report to the Board of the Romanian Academy:
. . . .
"I am in no position to offer an opinion as to the questions of physics implied, but I cannot help noticing that they seem to continue the research initiated by KLEE at the BAUHAUS decades ago". . .
The learning of bioptical art – in spite of the numerous details included in the descriptions provided by this site – faces difficulties in approach.
These may be grouped in two categories:
The author is willing to teach lessons, namely to impart his experience by courses and demonstrations.
Category (a), which implies observation exercises meant for psychology, philosophy, psychiatry, military training, requires about 6 hours a day during a fortnight.
Category (b) requires at least 12 hours, during 30 days, for students in the last grade of training in fine arts and architecture (with selected students).
The author may be contacted by e-mail: email@example.com