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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Space - time - colour

The Paired off Visual Signal   Liviu Iliescu

The observer subjected to experiments sees painted forms, not reminiscent of objects from the surrounding world (abstract forms), which seem to stand out in space, with depths that gradually increase in a time period ranging up to several minutes. This duration greatly exceeds the one requested to perceive objects in space with normal vision. This "dynamics" does not occur by modifying the vanishing lines, in the way in which the objects that come closer to or go farther from the observer are perceived in motion. We may say that psychophysiological mechanisms have not been subjected to such experiences and, therefore, they are not trained. This is also proved by the fact that the adaptation time gradually diminishes as the experiment is repeated. However, this duration is several times as high as the adaptation time in normal vision, when we successively stare at closer or farther objects from the surrounding area. It seems that in this respect habituation does not occur as concerns quickly seizing differences of depth.
It seems that space associated to a time period which does not result from an objectual movement could be perceived, in this case, following nonconditioned reflexes, available to consciousness by comparison with the already assimilated space and time. As I have studied a relatively isolated field for more than forty years, I feel that I am "standing stone-still in a project", according to Gabriel Liiceanu's definition in Despre limite [On limitations], Humanitas, 1997. And also according to Liiceanu's words, it seems that after carrying out the reproducible experiments which confined me to the area of preciseness, I dared express ideas on vague things.
Colour fusion is another effect for which observers are not trained. This effect is enhanced when coloured fields are outlined by black contours or have marks of the same shade. The outcome is the so-called "psychophysical mixture of colours". In this case, the effect does not seem to become available to awareness by the comparison with elements from assimilated representations, but it is still due to a nonconditioned reflex. The resulting colour fluctuates, has nacreous shades and is hallucinating (binocular rivalry). Perhaps it may be agreed upon that this colour due to binocular rivalry is the fourth dimension in plastic arts. I have denoted it by 4-DA.
My experiments have also pointed out that a psychological test introduced in a composition is more efficient than when used separately. In plastic arts as well, communication by affective means should prevail and the elements that lead to rational interpretation should decrease.
Time is one of the fundamental dimensions in science and therefore far from affective life experiences. I. Prigogine and I. Stengers present the latest concepts of rational time in their book on Eternity and Time (Romanian translation, Humanitas, 1997). I have applied Liiceanu's statements to the definitions provided by those authors, which seem to range within the area of preciseness, not trying to approach vague things. They even emphasize their own limitations:
"Classical dynamics does not pose a problem of interpretation, as we have already said. And yet, this problem has led us to the roots of modern physics, to the ideal of omniscientia, which has allowed physicists to compare their knowledge to that of Lord, the Creator."(p. 199)
" should be completely free, so that he would not be reduced to a mere phenomenon among others. This knowledge has a rightfully acknowledged power, to confront us with a world as transparent as it is in front of the divine eye..." (p.210)
The value of the book in the limits of the rational should certainly not be denied. Yet, poets, in their transitoriness, seem sometimes to echo and interpret mysterious waves.
In Cantec de adormit Mitzura [Song to Put Mitzura to Sleep], Tudor Arghezi wrote:
Si mai da-i Doamne vopsele
Si hartie chinezeasca
Pentru ca manjind cu ele
Slava ta s-o zmangaleasca."
[And, Lord, give her colours/ And Chinese paper/ So that by using them/ She would smear Your Glory]
The endeavours of researchers to find continuous structures, from material stimuli to sensation and perception, have not yet ended in results. It seems that the being in the making accumulated properties in an infinite time. Maybe, as we are not supposed to comprehend the beginning and the end of the existing one, we cannot understand how qualities may be accumulated in an infinite time. Some metaphysical philosophers assert that one day we shall be enlightened, others are of the opinion that this will never happen.
The machine or the being to be created should be able to produce works of art. During this action, its own artistic sensitivity should induce self-corrections in time successions shorter than one second.