The differences in perception of color and objects are naturally related to the interpretation that the brain makes, from the amount of light that strikes our retina.

When near vision is diminished, the perception of colors and elements in proximity undergoes a metamorphosis, which is a discomfort for the soul.

Getting the perfection of detail is like coloring with gold the objects of detail previously blurred.

"Brushstrokes of gold on the city" is the name attributed by me to the unnamed picture of Ricardo Petterman Laires. The painter and ophthalmologist Laires, does not reflect in his painting feelings or emotions, he only evokes memories or dreams or even an archetype of reality, because this too is mysterious both in what it demonstrates and in what underlies it.

He paints memories until memory is the forgetfulness of everything.

Hence probably, the untitled of his paintings, so that we happy observers, will dialogue better not only with the artist, but also with our own inner world. In this dialogical register we are as if impelled to give names to the works we observe. Is this the reality that imposes a mask on our senses, and then develops into something more than immanence?

This colorful and brilliant commitment serves as an opening to a scientific piece, set out in this book on presbyopia, the content of which will surely be as illuminated as the picture shows. "Brushstrokes of gold on the city", translates to me the joy of seeing clear and in color, what was formerly dimmed and dull, in a compromise between science and art.

And it is with the enlightenment of other glances that the work becomes greater, it is the communication between what emerges from the work and the appreciation that we observers do or feel with what we observe, which allows dialogue. Let us dialogue behind the masks, in their intricate complexity, as the vision is represented, with its various nuances.

With imagination at our disposal,