As Edward Hundert--a philosopher, psychiatrist, and award-winning educator--makes clear in this eloquent interdisciplinary work, the newly emerging model for ...

Today, knowledge on ideal text legibility and high-quality typefaces support fast reading and are accessible to almost everybody who uses a computer. Instead of accelerating the reading process, the kind of typography discussed in this article invites the observer to play in order to catch attention and go beyond the sheer process of reading. Text, which tricks our perception, is observed more intensely than usual ones. Roman Terpitz’ exhibition poster (Figure 1) and the typeface Wirefox (Figure 2) demonstrate how this (...) works in static images. Currently, there is quick growth of still and moving images. Flickering screens catch attention while their content is exchangeable anytime. Hand-held devices like smart phones, touch pads or large, facade-covering LED billboards allow text to be convertible over time. The experiment Dancing type (Figure 3) shows how animated characters can change between text and texture. Words reveal out of a graphical structure and immediately dissolve afterwards. This claims the observer’s attention. This article will introduce and analyse a typography that leads to questions like where it could be used beyond advertising, which applications make sense, if it could improve communication qualities of certain texts and how it can add benefits to current screen technologies. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. (...) Exploring a range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)

"Fascinating and insightful.... I cannot recall a book that has made me think more about the nature of thinking." -- Richard C. Lewontin Harvard University Everyone knows that optical illusions trick us because of the way we see. Now scientists have discovered that cognitive illusions, a set of biases deeply embedded in the human mind, can actually distort the way we think. In Inevitable Illusions, distinguished cognitive researcher Massimo Piattelli-Palmarini takes us on a provocative, challenging, and (...) thoroughly entertaining exploration of the games our minds play. He opens the doors onto the newly charted realm of the cognitive unconscious to reveal the full range of illusions, showing how they inhibit our ability to reason--no matter what our educational background or IQ. Inevitable Illusions is stimulating, eye-opening food for thought. (shrink)

Tibetan Buddhist writings frequently state that many of the things we perceive in the world are in fact illusory, as illusory as echoes or mirages. In Twelve Examples of Illusion , Jan Westerhoff offers an engaging look at a dozen illusions--including magic tricks, dreams, rainbows, and reflections in a mirror--showing how these phenomena can give us insight into reality. For instance, he offers a fascinating discussion of optical illusions, such as the wheel of fire (the "wheel" seen (...) when a torch is swung rapidly in a circle), discussing Tibetan explanations of this phenomenon as well as the findings of modern psychology, and significantly clarifying the idea that most phenomena--from chairs to trees--are similar illusions. The book uses a variety of crystal-clear examples drawn from a wide variety of fields, including contemporary philosophy and cognitive science, as well as the history of science, optics, artificial intelligence, geometry, economics, and literary theory. Throughout, Westerhoff makes both Buddhist philosophical ideas and the latest theories of mind and brain come alive for the general reader. -/- "This delightful book offers a rich and satisfying philosophical feast to anyone interested in the phenomenon of illusion itself or in the Buddhist analysis of the human condition. Westerhoff draws together classical Buddhist scholarship, contemporary cognitive science and his own judicious philosophical reflection in a serious but refreshingly accessible engagement with the Buddhist tradition in the exploration of the role of illusion in our cognitive and emotional lives." Jay L. Garfield, author of Fundamental Wisdom of the Middle Way: Nagarjuna's Mulamadhyamakakarika -/- "Jan Westerhoff creatively juxtaposes an important Buddhist study of illusion with fascinating modern researches on illusory experiences, using the latter to illuminate the former. The result is a revealing account of the pervasiveness of illusion in our cognitive experience and the very structure of our cognitive apparatus. It brings to life the Buddhist discussion of illusion, making it relevant to our everyday experience instead of being high-minded intellectual exercises only." -/- Tao Jiang, author of Contexts and Dialogue: Yogacara Buddhism and Modern Psychology on the Subliminal Mind -/- "The twelve similes for the illusory nature of this world are very profound, and Westerhoff does them wonderful justice in this excellent book." -/- Robert Thurman, Jey Tsong Khapa Professor of Buddhist Studies, Columbia University. (shrink)

Brentano’s philosophy of perception has often been understood as a special chapter of his theory of intentionality. If all and only mental phenomena are constitutively intentional, and if perceptual experience is mental by definition, then all perceptual experiences are intentional experiences. I refer to this conception as the “standard view” of Brentano’s account of perception. Different options are available to support the standard view: a sense-data theory of perception; an adverbialist account; representationalism. I argue that none of them are real (...) options for the standard view. I suggest that Brentano’s conception of optical illusions introduces a presupposition that not only challenges the standard view - the distinction between the subjectively and objectively given - but that also makes his account more palatable for a naive understanding of perception as openness to and awareness of the world. (shrink)

This article compares investigations of the process of vision that were made in early nineteenth-century Britain and the German lands. It is argued that vision studies differed significantly east and west of the North Sea. Most of the German investigators had a medical background and many of them had a firm grasp of contemporary philosophy. In contrast, the British studies on vision emerged from the context of optics. This difference manifested itself in the conceptual tools for the analysis of vision, (...) deception and illusion and shaped the experiments on visual phenomena that were carried out. Nevertheless, both in Britain and in the German lands vision studies were driven by the same impetus, by epistemological concerns with the nature and reliability of knowledge acquisition in experience. The general epistemological conclusions drawn from researches on vision and deception were optimistic. Precisely because mechanisms of deception and illusion could be uncovered, the possibility of acquiring empirical knowledge could be secured. (shrink)

Just as one line appears to be longer than another in an optical illusion, we can have a spontaneous moral judgment that one individual is more important than another. Sometimes such judgments can lead to moral illusions like speciesism and other kinds of discrimination. Moral illusions are persistent spontaneous judgments that violate our deepest moral values and distract us away from a rational, authentic ethic. They generate pseudo-ethics, similar to pseudoscience. The antidote against moral illusions is (...) the ethical principle to avoid unwanted arbitrariness. Speciesism involves unwanted arbitrariness, and psychological research as well as the problem of wild animal suffering demonstrate that moral illusions such as speciesism can be very persistent. (shrink)

The year 2009 marks the 400th anniversary of the publication of one of the most revolutionary scientific texts ever written. In this book, appropriately entitled, Astronomia nova, Johannes Kepler developed an astronomical theory which departs fundamentally from the systems of Ptolemy and Copernicus. One of the great innovations of this theory is its dependence on the science of optics. The declared goal of Kepler in his earlier publication, Paralipomena to Witelo whereby The Optical Part of Astronomy is Treated , (...) was to solve difficulties and expose illusions astronomers face when conducting astronomical observations with optical instruments. To avoid observational errors that had plagued the antiquated measuring techniques for calculating the apparent diameter and angular position of the luminaries, Kepler designed a novel device: the ecliptic instrument. In this paper we seek to shed light on the role optical instruments play in Kepler's scheme: they impose constraints on theory, but at the same time render astronomical knowledge secure. To get a comprehensive grasp of Kepler's astonishing achievements it is required to widen the approach to his writings and study Kepler not only as a mathematico-physical astronomer, but also as a designer of instruments and a practicing observer. (shrink)

The much larger appearance of the moon near horizon than the perceived size of the moon at zenith has motivated many scientists to develop theories that aim at explaining this puzzling phenomenon. Considering that the size of retinal images of the moon in these positions are very similar, the explanation of difference in their apparent sizes has relied on perceptual cues of distance embedded in the retinal image of their respective contexts. Although this account of the moon illusion is quite (...) popular, it does not explain all aspects of this phenomenon. The theoretical formulation of the moon illusion based on other factors such as size contrast later may have had some advantages but has also created some new problems. Although the moon is perceived in a three-dimensional (3D) environment, the present analysis proposes that an explanation of the moon illusion based on two-dimensional (2D) cues can remove some of the unnecessary problems. The empty space and size contrast that have already been considered in explaining classic geometric-optical illusions play a parallel role in explaining the moon illusion. In other words, the role of open space in interaction with the image of the moon and different objects near horizon, all reflected on the retina, are considered as the main explaining factors. The advantages of this approach will be discussed and some of the facts pertaining to the moon illusion will be explained within this theoretical framework. (shrink)

The Pegram Lectures at Brookhaven National Laboratory are designed to provide a forum to consider the question of the interaction among science, the humanities, and society at large. Just before Maurois was to deliver these lectures in 1967 he became fatally ill. However, the manuscript had been prepared and was delivered by Jacques Barzun. These lectures along with prefatory remarks by Barzun and E. Morot-Sir of the French Embassy comprise Illusions. There are three lectures by Maurois. The first begins (...) by cataloguing various everyday illusions, mostly optical. It discusses dreams, the difference between illusion and hallucination, the role of interpretation of reality in the creation of illusion, and the distinction between who we are as opposed to whom we play. In short it reminds us that, for various reasons, we do not see the world as it is. The second lecture shows how science tries to correct our distorted pictures of reality. Science is largely successful in this effort, says Maurois, although inasmuch as men need to interpret what science discovers, the door is still open for illusion. Moreover, inasmuch as scientists are men, science is not above producing some illusions of its own. The third and perhaps the most contrived lecture explores the world of willful illusions: the fine arts. Here Maurois suggests some differences and similarities between art and science, and explores the technological interaction between the two. He concludes that illusion will always be with us and that in fact it is "the stuff of which our life is made."-S. O. H. (shrink)

I am troubled by the temper of E. H. Gombrich’s response, “Representation and Misrepresentation” , to my “Ambiguities of Representation and Illusion: An E. H. Gombrich Retrospective” and by his preferring not to sense the profound admiration—indeed, the homage—intended by my essay, both for his contributions to recent theory and for their influence upon its recent developments. But I am more troubled by the confusions his remarks may cause in the interpretation of his own work as well as in the (...) judgment of mine. There are important issues at stake, I feel, especially as regards the relation between scientific and aesthetic inquiry.The very irritated tone of his reaction helps make what I see as my major point: his work has contained a conflict between two Gombrichs—one, the skeptical humanist and, the other, the positive scientist—and with the passing years the second has increasingly sought to obliterate signs of the first, becoming increasingly impatient with any attempt to revive those signs or remind us of their existence. On the other side, since the line of literary criticism with which I associate myself has drawn strength from the first Gombrich, this development in his work and in his attitudes has caused some disappointment. Murray Krieger is University Professor of English at the University of California. He is the author of many works, including The Tragic Vision, The Classic Vision, Theory of Criticism: A Tradition and its System, Poetic Presence and Illusion: Essays in Critical History and Theory, and Arts on the Level. His previous contributions to Critical Inquiry are “Fiction, History, and Empirical Reality” , “Poetic Presence and Illusion: Renaissance Theory and the Duplicity of Metaphor” , and “The Ambiguities of Representation and Illusion: An E. H. Gombrich Retrospective”. (shrink)

Lambert développe une conception originale de l’apparence, qui se distingue de la conception classique (Descartes) par le fait que la logique de l’apparence n’est pas déduite de la logique de la vérité, mais est restituée dans son ordre propre : la phénoménologie n’est pas l’alethiologie. L’apparence n’est pas illusion – sur ce point Lambert s’accorde avec les philosophes – mais elle n’est pas non plus réductible à l’ordre du savoir, bien que la connaissance de l’apparence soit une condition de la (...) connaissance elle-même. Pour dégager le langage de l’apparence, et comprendre sa sémiologie, Lambert médite sur l’optique, qui permet de définir un sujet qui ne soit ni pure subjectivité ni constitutif de l’objectivité. (shrink)

This paper questions two prima facie plausible claims concerning switching in the presence of ambiguous figures. The first is the claim that reversing is an instantaneous process. The second is the claim that the ability to reverse demonstrates the interpretive, inferential and constructive nature of visual processing. Empirical studies show that optical and cerebral events related to switching protract in time in a way that clashes with its perceived instantaneity. The studies further suggest an alternative theory of reversing: according (...) to such alternative, seeing the same thing in multiple ways is a matter of uncovering what is already present to the senses through visual search. (shrink)

Philosophers and psychologists often assume that mirror reflections are optical illusions. According to many authors, what we see in a mirror appears to be behind it. I discuss two strategies to resist this piece of dogma. As I will show, the conviction that mirror reflections are illusions is rooted in a confused conception of the relations between location, direction, and visibility. This conception is unacceptable to those who take seriously the way in which mirrors contribute to our (...) experience of the world. My argument may be read as an advertisement of the neglected field of philosophical catoptrics, the philosophical study of the optical properties of mirrors. It enables us to recast familiar issues in the philosophy of perception. (shrink)

In the part of the first Critique known as “The Paralogisms of Pure Reason” Kant seeks to explain how even the most acute metaphysicians could have arrived, through speculation, at the ruefully dogmatic conclusion that the self (understood as the subject of thoughts or "thinking I") is a substance. His diagnosis has two components: first, the positing of the phenomenon of “Transcendental Illusion”—an illusion, modelled on but distinct from, optical illusion--that predisposes human beings to accept as sound--and as known (...) to sound--certain in fact flawed arguments for substantive theses about the nature of the self; second, the identification of the fallacy we commit when we succumb to this illusion. It is explained how these two elements combine to produce a central instance of (what Kant sees as) dogmatic speculative metaphysics, namely, the doctrine that the self is a substance in the sense of a necessarily non-inhering subject of inherence. It is argued that Kant has a novel, ingenious, and even somewhat plausible account of the route by which the rational psychologist arrives--or might arrive--at this view, an account that involves identifying a rather deep-rooted confusion about the very nature of conceivability. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical (...) class='Hi'>illusions of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

According to a poet such as Gottfried Benn or a philosopher such as Arthur Schopenhauer, our experience of happiness is based on an illusion that doesn't agree with the gruesome facts of life. The crucial question is, then, whether such illusions can, as they seem to believe, ever be totally unmasked. Or are there illusions which are so deeply rooted in our psychological and anthropological economy that they are as incorrigible as optical illusions: delusions that can (...) only be uncovered and explained but can never be removed definitively? The insight that such 'necessary illusions' exist may lead to the acceptance of a modest kind of subjectivity — far remote from the conscious, autonomous subject of the Enlightenment — in which the subject is aware of its involuntary illusions, without that awareness being able to submit those illusions to the subject's own discretion. For Nietzsche our illusive way of experiencing serves our self-preservation: it protects us against the terrible truth about our existence. In his view, art is paradigmatic for those life-preserving illusions and therefore deserves priority over knowledge. (shrink)

This is an illustrated guide to a wonderland of reason where nothing is as it seems, through a maze of mental curiosities and contradictions. It discusses paradoxes of all types--mathematical, logical, scientific, philosophical and more. Though many involve sophisticated concepts and logical reasoning, none requires a highly technical background-knowledge of ordinary language and simple arithmetic will do. Twenty-five stand-alone chapters each present and discuss a different paradox, including: the Barber Paradox; the Crocodile's Dilemma, M. C. Escher's Paradoxes, the Liar Paradox, (...) the Prisoner's Dilemma, the Raven Paradox, Zeno's Paradox, and many others. Each chapter features an end note indicating related paradoxes elsewhere in the book. Includes 118 mind-boggling illustrations, optical illusions and visual acrobatics. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances---such as magic lantern shows, optical illusions, and public experiments---were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)

Experimental Phenomenology has already been lauded for the ease with which its author explains and demonstrates the kinds of consciousness by which we come to know the structure of objects and the structure of consciousness itself. The format of the book follows the progression of a number of thought experiments which mark out the procedures and directions of phenomenological inquiry. Making use of examples of familiar optical illusions and multi-stable drawings, Professor Ihde illustrates by way of careful and (...) disciplined step-by-step analyses, how some of the main methodological procedures and epistemological concepts of phenomenology assume concrete relevance. Such formidable fare as epoche, noetic and noematic analysis, apodicticity, adequacy, sedimentation, imaginative variation, field, and fringe are rendered into the currency of familiar examples from the everyday world. (shrink)

This collection of 11 studies provides a new discussion of Lucretius' History of the Human Mankind and of other topics (Lucretius' explanation of sleep, dreams and optical illusions) in relationship to other philosophical and scientific doctrines of Antiquity.