Work of video art in a
stereoscopic / stereometric three-dimensional vision, a three-dimensional vision which can be taken thanks to special glasses with polarized lenses provided by the author.
This technique of three-dimensional vision (“self-stereometry”, with the aid of polarized lenses) was developed in 1990 by Giosuč Marongiu, also with the scientific contribution of “CRS4” of Cagliari. With these glasses it is
possible to display three-dimensionally large part of Giosuč Marongiu’s art production (video and frames). This new video work, still three-dimensional, "The Implicit Order" was created by Giosuč Marongiu on the 13th of November 2009, and presented for the first time
at the event  “Sound Surrounding” in Cagliari; and now it can be visited in the “Minimo Museum” of Naples from March 2nd to April 2nd 2010, during the event "Artbahnkreuz 2”. After the experience of his most recent kinoplastic works, "Relative movement towards an apparent condition of calm”, presented at the last Venice Biennale 2009 (WORLD PAVILLON "Inside Outside"), with this new video Giosuč Marongiu intends to reconnect the experience of the past 1999 when, during the exposure "Check 8 +1 = 20", at the Contemporary Gallery in the City of Venice, he presented his video work "The Speculum's Factory", also in three-dimensional computer animation, to show more details of his three-dimensional Universes (including the contribution of artistical experience he did until now), ruled by Quantum Physics principles,, with the intent to give life and substance to his "unlikely worlds."
In 1990, when I started my research into mirror images (Speculum production), I penetrated the Gestalt appearance of shapes and colors, linked to the study of perceptual processes in how reality is perceived rather than how it is really. The search for a dynamic that was intrinsic to these visions, when my "Animated Paintings" did not exist yet, led me inevitably to the complex world of
"Stereoscope", discovered by Sir Charles Wheatstone in 1832, images with binocular vision which had aroused, already in 1500, great interest of artists such as Leonardo Da Vinci. This particular research concerns the ability to see a three-dimensional image through two-dimensional images. Different kinds of applications belong to this very large field, both static images and images that are
applied to the cinema; some films to be remembered are: the famous locomotive of the Lumičre brothers, rather than "The monster of the black lagoon” in 1954, or even closer to our time, "Jaws" by Steven Spielberg in 1973, all visible with the aid of film lenses for stereoscopic vision, including the latest technology of 1986, "IMAX 3-D", using all the different techniques which are available:
Anaglyph, polarized lenses and LCD glasses. In the late 80s a new type of stereoscope arose, approaching substantially with those requirements of my computer pictures: the "self-stereograms", commonly known as "Stereograms" (“self”, as they did not use any technological support such as glasses, but a special vision technique): an optical illusion which would create a three-dimensional image from a flat two-dimensional one, creating the illusion of depth with a particular technique: concentrating vision in only one point and focusing, or beyond the image (divergence) or before the image (convergence). The construction of these images is created with some computer programs, combining a texture to a single three-dimensional digital image (unlike the traditional stereoscope, which uses two single stereoscopic images side by side). That kind of pictures were constructed with sequence variations of gray defined by a map that was commonly called "depth map" or "map of heights". In stereometry, on the other hand, geometric constructions (Speculometry) did not conceal any three-dimensional image, but expressed this three-dimensional illusion through the discrepancies of vertical alternations forming horizontal visual axis. Clearly geometric rigidity of these architectures induced a very weak dimensional vision, of 3rd type, on a scale from 1 to 3, and in some cases, of 2nd type, stereometric vision mainly supported by a color difference of elements. The vision of these images was done with the naked eye, as mentioned above, in a so fully analogical way, as “free stereoscopic vision”.
this vision technique created many difficulties in the exhibition of my work, because not everyone was able to
apply it with some ease. In 1990 technology came to my rescue: <<invited by a researcher of "CRS4" of
Cagliari, I received, as a contribution to my research, a pair of glasses for stereoscopic vision with polarized lenses (fully transparent), newly arrived at the Center as an experimental prototype and called "ChromaDepth 3-D" by manufacturer.
With this new visual support, I finally could both facilitate the viewing of visitors and build my new working with an almost nonexistent percentage error, remaining more faith in my initial concept>>. My stereometric research, that collaterally has gone on for several years, should not be seen as a dominant autonomous research, but as a technological support which can transport, concerning metarational static frames, in a totally new and hidden three-dimensional dynamic environment, reducing these frames to their most "natural" size, that of
computer animations, however able to feed a stereometric effect of 1st type. Moreover, as far as the vision of metarational animations is concerned, including my latest “Kinoplastic Works”, I could experience the great effectiveness I reached in this case, with this stereometry of 1st type, capable of representing the animated cosmic three-dimensional environment around us, very close to our perceptual senses related to space and time.
We recommend viewing with these special glasses, should you ever have them, and visit my website “”, so you can observe, in several years of artistic research I published, various achievements of the three levels of three-dimensional stereometric perception, since 1989, when the last "Wunderkamere" were generated, to the most recent artistic research that concerns me, including the future one.
These glasses are supplied by me in support of my work.

Giosuč Marongiu
Maracalagonis, 13th July 2009