The Illusion Of Perception

Our contact with the world is through perception, and therefore the study of the process is of obvious importance and signi?cance. For much of its long history, the study of perception has been con?ned to natural- tic observation. Nonetheless, the phenomena considered worthy of note have not been those that nurture our survival—the veridical features of perception—but the oddities or departures from the common and c- monplace accuracies of perception. With the move from the natural world to the laboratory the oddities of perception multiplied, and they received ever more detailed scrutiny. My general intention is to examine the interpretations of the perc- tual process and its errors throughout history. The emphasis on errors of perception might appear to be a narrow approach, but in fact it enc- passes virtually all perceptual research from the ancients until the present. The constancies of perception have been taken for granted whereas - partures from constancies (errors or illusions) have fostered fascination.

We delight in using our eyes, particularly when puzzling over pictures. Art and illusionists is a celebration of pictures and the multiple modes of manipulating them to produce illusory worlds on flat surfaces. This has proved fascinating to humankind since the dawning of depiction. Art and illusionists is also a celebration of the ways we see pictures, and of our ability to distil meaning from arrays of contours and colours. Pictures are not only a source of fascination for artists, who produce them, but also for scientists, who analyse the perceptual effects they induce. Illusions provide the glue to cement the art and science of vision. Painters plumb the art of observation itself whereas scientists peer into the processes of perception. Both visual artists and scientists have produced patterns that perplex our perceptions and present us with puzzles that we are pleased to peruse. Art and illusionists presents these two poles of pictorial representation as well as presenting novel ‘perceptual portraits’ of the artists and scientists who have augmented the art of illusion. The reader can experience the paradoxes of pictures as well as producing their own by using the stereoscopic glasses enclosed and the transparent overlay for making dynamic moiré patterns.

In this book, the author develops a comprehensive disjunctive theoory, incorporating detailed accounts of the three core kinds of visual experience--perception, hallucination, and illusion--and an explanation of how perception and hallucination could be indiscriminable from one another without having anything in common.

Why do we need two eyes? Why are all cats grey at night and appear to move faster the day? Why is the sky blue and the setting sun red? This book explains the multifaceted nature of perception, and discusses the mysteries of vision. It provides readers with experiments to help them discover optical illusions and the features of their own perception. Illusions of Seeing begins with a discussion on the essence of light and its perception to the human eye. It presents a comprehensive overview of the basic laws of human perception as well as the fundamentals of good gestalt. Subsequent chapters discuss geometric-optical illusions; the perception of form, brightness, and translucency and their interaction with each other; ambiguous perception, color vision, spatial vision. The book ends with a discussion of the perception of motion and its interaction with color, form, and spatial depth with a full chapter devoted to illusions in our everyday life. Consider this your travel guide in the marvelous world of sight, to experience a completely individual way to understand and improve your own perception. Illusions of Seeing will be of interest to psychologists, physicists, biologists, and undergraduate and graduate students within the field of cognitive psychology.

In this volume, originally published in 1978, the authors survey the historical and contemporary research literature pertaining to two-dimensional visual-geometric illusions. They bring together much of the known data, summarising and evaluating theories that have been offered to explain these phenomena. Coren and Girgus provide a new conceptual framework that suggest that visual illusions are not unitary phenomena. Within this framework, illusions do not represent a breakdown in normal perceptual processing. Rather, it is proposed that each illusion is produced by a number of mechanisms operating at different levels in the visual information processing system. The book contains an extensive collection of illusion figures. It will be essential reading for all of those concerned with vision and visual perception, since it integrates the study of illusions into the main body of psychological and perceptual theories at the time.

This intriguing collection contains more than 275 optical illusions that appear to change before your eyes. Al Seckel carefully selected both well-known images, such as Shepard's tabletop, Wade's spiral, Ames room and Rubin's face/vase, and many lesser-known, but no less effective, illusions. Every type of optical illusion is here, along with notes about the science of each visual perception and how the illusions work. Among the baffling images and shapes are: Figure/ground illusions, in which one shape switches into another then back again Ambiguous figures Impossible objects Trompe l'oeil Stereo illusions. With illusions rendered in photography, artwork and computer imaging, and a huge variety of themes and effects, Optical Illusions dazzles both the mind and the eye.

Jody Azzouni argues that we involuntarily experience certain physical items, certain products of human actions, and certain human actions themselves as having meaning-properties. We understand these items as possessing meaning or as having (or being capable of having) truth values. For example, a sign on a door reading Drinks Inside strikes native English speakers as referring to liquids in the room behind the door. The sign has a truth value--if no drinks are found in the room, the sign is misleading. Someone pointing in a direction has the same effect: we experience her gesture as significant. Azzouni does not suggest that we don't recognize the expectations or intentions of speakers (including ourselves); we do recognize that the person pointing in a certain direction intends for us to understand her gesture's significance. Nevertheless, Azzouni asserts that we experience that gesture as having significance independent of her intentions. The gesture is meaningful on its own. The same is true of language, both spoken and written. We experience the meanings of language artifacts as independent of their makers' intentions in the same way that we experience an object's shape as a property independent of the object's color. There is a distinctive phenomenology to the experience of understanding language, and Semantic Perception shows how this phenomenology can be brought to bear as evidence for and against competing theories of language.

As humans, we rely on our senses to perceive the world around us. We trust that what we see, hear, touch, taste, and smell is an accurate representation of reality. But what if our senses are not as reliable as we think? "The Illusion of Perception: How Our Minds Trick Us" explores the fascinating and sometimes unsettling ways in which our minds can deceive us. Through the lens of psychology and neuroscience, this book examines the many ways in which our perceptions can be influenced by factors such as expectation, context, memory, and emotion. From optical illusions that challenge our visual system to the ways in which our memories can be altered, "The Illusion of Perception" uncovers the complexities of our perceptual experience. We'll explore the surprising ways in which our senses can be fooled, and the implications of these illusions for our understanding of ourselves and the world around us. Ultimately, this book offers a thought-provoking exploration of the relationship between perception and reality. It challenges readers to consider the ways in which their own perceptions may be influenced by factors beyond their conscious awareness, and to think critically about the world they inhabit.