Perspective Illusion Research Articles

The Illusion of Perspective (translated by Carmine Di Biase)

The Illusion of Perspective (translated by Carmine Di Biase)

Compliance‐without‐pressure techniques to enhance the implementation of psychosocial interventions in Alzheimer’s research

AbstractBackgroundOver the past 30 years more than 200 interventions, targeting the caregivers of dementia patients, have been examined and found to be effective on the basis of randomized clinical trials. Only 3% of this large collection of psychosocial interventions was translated into daily practice. The primary objective of this study is to determine facilitators and barriers for implementing psychosocial interventions in Alzheimer’s research and to come up with communicational strategies to overcome possible obstacles and resistance. The secondary objective is to describe the different challenges between implementing a digital tool in the home environment versus the residential setting.MethodWe recruited professional caregivers in homecare (n=14) and the residential setting (n=24). Both groups were enrolled in a similar intervention trajectory of 36 weeks to assist people with dementia and their loved ones using a mobile health application (‘MemoryHome’). Participants were trained in employing the technology to construct personalized memory walks through the known environment of dementia patients. The participants kept a diary to report all types of resistance and possible obstacles specific to homecare or the residential setting. Simultaneously, the caregivers received a communicational training (4 monthly sessions of 120min) based on several compliance‐without‐pressure‐techniques to encourage dementia patients and their significant others to cooperate with the intervention and to continue performing the walks regularly.ResultThe implementation of psychosocial interventions in Alzheimer’s research can be enhanced through communicational training focusing on compliance‐without‐pressure‐techniques (f.i. foot‐in‐the‐door, illusion of choice, errorless learning, sensory variety, future perspective, sense‐of‐agency and positive reinforcement). The condition of homecare and residential setting had specific facilitators (f.i. more involved family members in homecare) and barriers (f.i. decreased health conditions in the residential care setting).ConclusionThe results suggest that the challenge for the future of psychosocial interventions is not so much to come up with new inventions, but to motivate people to actually use existing instruments. Adapting the intervention to the possibilities of the living environment and stimulating the significant others to collaborate, for example by means of compliance‐without‐pressure techniques, can provide a crucial added value for upcoming Alzheimer’s treatments.

Illusion of life in Bob Dylan’s “murder most foul”

ABSTRACT This article examined the Bob Dylan song, “Murder Most Foul,” using the illusion of life rhetorical perspective. The song’s music and lyrics together speak to an American experience defined by the fallout of the JFK assassination: a public consumed with doubt, distrust, and conspiracy; however, a public that can perhaps still spark change. Overall, the song presents an incongruity between music and lyrics whereby the quietness of the music is at odds with the horrible scene recreated for the listener lyrically. In the song, the dramatic illusion is overtaken by the poetic, and the comic rhythm is flooded by the tragic. Concurrently, in the virtual time, optimism is overtaken by tragedy, life gives way to death, and death becomes release and transformation. The song, without a chorus and 17-minutes long, represents an unfamiliar form of song containing elements of the murder and apocalyptic ballad as well as protest music.

The Visual Illusion of the Game Interface*_Take Monument Vally as an example

As a novel and unique visual form, visual illusion enriches the visual perception of the audience with its vivid and interesting visual charm from beginning to end. “Monument Valley” a large number of the use of visual illusion principle, in which perspective illusion, geometric illusion and light and dark illusion for players to bring a different visual experience, combined with the game picture of the unit object scattered reconstruction, the application of visual illusion in this game has jumped.

Projection Mapping Technology in Architecture from the Perspective of Optical Illusion Art

Optical Illusion art is one of the artistic trends that emerged as a result of the artists’ interaction with the scientific interpretation of the phenomenon of optical illusion, which scientists have benefited from its thoughts about the way the human eye and brain works to create illusions in their artistic work. The research discusses the emergence of the optical illusion art and the related concepts and its impact on human perception, as this art relies on an optical vision of shapes, lines, colors and spaces that gives illusion of movement, depth and perspective. The research deals with the applications of the philosophy of optical illusion art in architecture in addition to the various architectural surfaces and their subsequent developments up to the projection mapping technology, as it’s considered the actual dynamic development of the optical illusion art and the impact of this technology in creating new levels of illusions for the viewer and clarify the similarities and differences between them, Especially the projection mapping technology considerations; how it is planned, and the various aesthetics that it adds to architecture visually only as a digital technology that is displayed by projectors, so it takes the viewer to another imaginary world inside the real world. It is considered one of the design solutions to achieve the visual pleasure for the viewer and enhance his belonging to the place.

La escultura. Engañando a la gravedad

Sculptures are not capable of creating as complex scenes as painting does, except sculptural relief that creates the illusion of perspective and narration through the different planes. And it is not a question of establishing conceptual criteria in the manner of El Paragone, but rather discovering the constructive possibilities of sculpture in certain proposals, such as the representation of content through mass, height and depth, that is, the three-dimensionality. Already in the past, sculptors made an effort to obtain complex results such as the challenge to gravity (deceiving gravity), by means of optical effects, the colour, using movement, light and other components. The Niké by Peonio, the Ecstasy of Saint Teresa by Bernini, the Annunciation by Günther or many of the works by Canova, Orrico, Quinn, Bethencourt, etc. are samples of those professional boasting, always depending on the materials used. The Baroque period is the most fruitful stage in the production of these sculptural purposes, creating, as Quirin Asam did, authentic theatrical productions where the characters seem to float.

Perspective Illusions Based On Convergence Vectors.

When pictures containing perspective cues are viewed simultaneously, the visual system combines the perspective cues using convergence vectors creating perspective illusions.

Talbotowski paradygmat wizualności fotografii

The concept of visuality proposed by Norman Bryson, which refers to conscious perception determined by a system of concepts and knowledge of the visible, is related in the paper to the relationship between two kinds and ideas of photography, introduced respectively by Louis J. Daguerre and William H. Fox Talbot. The discourse about daguerrotypy stresses the quasi-telescopic properties of the picture whose visually ungraspable surface triggers an effect of reaching with the eye far beyond it toward even the farthest details, invisible without a looking glass but still clearly visible in the picture. In response to this feature, Talbot connected the photographic picture primarily with the effects of transferring the relations of shadow and light to contrast on the surface of photosensitive paper. He referred the “photogenic drawing” to a tradition older than the Albertian paradigm of the illusion of perspective adopted by Daguerre in his famous views of the streets of Paris from the window. His technique, called “skiagraphy,” Talbot associated with an ancient legend about the origin of drawing as the art of fixing shadows on a flat surface. His photographs of Lacock Abbey windows were a paradigmatic example that determined the understanding of each photo on the level of its basic self-reflexive content: in the first place, the photographic picture shows how reality before the camera lens projects its “skiagraphic” drawing – a “stamp,” as it were – on the paper surface, and how the forms of objects are reduced to that surface and grasped on it. In his Pencil of Nature, Talbot connected photographic pictures with text, determining the visual status of print photography as replica – both repetition of the highly appreciated daguerrotypy, and a rival response to it, showing the advantages of Calotypy based on the visible proximity of the picture and the surface. Thanks to the properties of Calotypy, precise “fixing of shadows” allows one to arrest despite the flow of time and fix in a visual structure what is the most volatile and changeable.

Optical illusions and life-threatening traffic crashes: A perspective on aerial perspective

Aerial perspective illusion is a feature of visual perception where landscapes appear relatively close in clear light and distant in dim light. We hypothesized that bright sunlight might cause drivers to perceive distant terrain as relatively close and misinterpret the approach speed of surrounding landscape as unduly slow. This hypothesis would mean, in turn, that drivers in bright sunlight may underestimate their progress on the road, compensate by traveling at a faster baseline speed, and ultimately increase the prevailing risk of a life-threatening traffic crash.We conducted three pilot studies to illustrate how the illusion might contribute to a life- threatening traffic crash. The first illustration used a questionnaire to demonstrate that most respondents were mistaken when judging the distance between simple balls in different positions. The second illustration involved an experimental manipulation to assess whether aerial perspective influenced judgments about the relative positions of vehicles in traffic. The third illustration analyzed a segment of high-volume fast-speed traffic and found an increased frequency of speeding under bright sunlight.Together with past work based on the visual arts, these examples illustrate how an aerial perspective illusion can affect distance perception, may appear in realistic traffic situations, and could potentially contribute to the risk of a life-threatening traffic crash. An awareness of this hypothesis might lead to applications on how optical illusions could extend to everyday traffic and might potentially inform safety warnings to prevent life- threatening crashes.

How do great bowerbirds construct perspective illusions?

Many animals build structures to provide shelter, avoid predation, attract mates or house offspring, but the behaviour and potential cognitive processes involved during building are poorly understood. Great bowerbird (Ptilinorhynchus nuchalis) males build and maintain display courts by placing tens to hundreds of objects in a positive size–distance gradient. The visual angles created by the gradient create a forced perspective illusion that females can use to choose a mate. Although the quality of illusion is consistent within males, it varies among males, which may reflect differences in how individuals reconstruct their courts. We moved all objects off display courts to determine how males reconstructed the visual illusion. We found that all individuals rapidly created the positive size–distance gradient required for forced perspective within the first 10 objects placed. Males began court reconstruction by placing objects in the centre of the court and then placing objects further out, a technique commonly used when humans lay mosaics. The number of objects present after 72 h was not related to mating success or the quality of the illusion, indicating that male skill at arranging objects rather than absolute number of objects appears to be important. We conclude that differences arise in the quality of forced perspective illusions despite males using the same technique to reconstruct their courts.

From a Geometry of Vision to a Geometry of Light in Early-Modern Perspective

Must the architect or artist understand how the world is perceived on the convex surface of the eye to simulate the three-dimensional world on a two-dimensional plane? For many early-modern artists, optics – defined as the science of vision – was fundamental. Yet, for architects, the integration of optical theories into two-dimensional representations of buildings remained more tenuous. Architectural drawing depended on orthographic projection and the representation of built form through plan, section and elevation, which did not seek to mimic the process of vision. If anything, architectural drawing separated itself from the illusion of vision in its attempt to account for the discrepancies between the represented and the built form. Nevertheless, the shifting science of optics would come to influence the two-dimensional representation of the built world for both architects and painters. This essay covers a broad survey of perspectival treatises from the fifteenth to the eighteenth century in order to consider how changes in the science of optics shifted the means by which artists and architects theorized the representation of space and the simulated illusion of perspective. As will be seen, the seemingly innocuously obvious geometric parts for the creation of perspectival space – the Euclidean point and line – became obsolete in the eighteenth century due to fundamental shifts in the science of optics. Whereas once optics was a study of vision through points and lines, in the seventeenth century with the works of Johannes Kepler (1571–1630) and René Descartes (1596–1650), among many others, optics transformed into a study of light. As light rather than vision became the focus of optics and its geometrical laws, the connection between a geometry of vision and a geometry of spatial representation became challenged. When light – not vision – became subject to the laws of geometry, the eye became one instrument among many (lenses, camera obscuras, microscopes and telescopes) capable of deception and fault. In turn, geometry lost its intellectual and metaphysical resonances and became a practical tool of application. The influence of the visioning technology of geometry on perspectival drawing for both the built and the figurative world lost its theoretical foundation. No longer a technology of vision, the art of geometry became reduced to non-theoretical rudimentary forms for beginning draftsmen.

A Mission Impossible? Learning the Logic of Space with Impossible Figures in Experience-Based Mathematics Education

Most visual effects based on mathematically and physically describable phenomena and formalizable processes. Creating visual illusions, paradox structures and ‘impossible’ figures through playful and artistic procedures, holds an exciting pedagogical opportunity for raising students’ interest towards mathematics and natural sciences and technical aspects of visual arts. The Experience Workshop Math-Art Movement has a number of pedagogical methods, which are connected to visual paradoxes and perspective illusions. In the first part of our article, we introduce classroom exercises connected to the Hungarian artist Tamás F. Farkas’s paradox structures and impossible figures. There are certain digital games as well, which employ visual illusions as a part of their game mechanic. Most of these games were not designed as an educational game, but they may be used for educational purposes, to clarify mathematical concepts behind and related to visual illusions (symmetry, perspective, isometric projection etc.). In the second part of the article we analyze which characteristics of these games can contribute to the pedagogic impact, and how to best take advantage of them in an educational context.

Real and Illusory Architectures in the Pompeian Frescoes

This paper shows the results of a series of graphical experiments conducted as part of a PRIN research project on the ancient architectural perspectives in Campania. The study was undertaken by the Universities of Salerno and Naples. Critically studying the origin, the development and the magnification of the perspective, we try to emphasize the power of this method, that alludes to the space’s three-dimensionality. Particularly, the paper is focused on the frescoes of the Poppaea’s villa, in Oplontis: through rigorous photogrammetric procedures of reverse modelling, which reconstruct their not real architectures, it is possible to clarify the project of illusion, implemented by these paintings. The analysis of its frescoes’ perspective illusions, allows us to reconstruct there presented architectures and the virtual space that they conform. Then, the use of advanced technologies allows to create an unusual visual experience which, linking the real space and the drawn one, shows the influences between painted and built space.

Owning the body in the mirror: The effect of visual perspective and mirror view on the full-body illusion.

Mirrors allow us to view our own body from a third-person (observer) perspective. However, how viewing ourselves through a mirror affects central body representations compared with true third-person perspective is not fully understood. Across a series of experiments, multisensory full-body illusions were used to modulate feelings of ownership over a mannequin body that was viewed from a third-person perspective through a mirror, from a third-person perspective without a mirror, and from a first-person perspective. In contrast to non-mirror third-person perspective, synchronously touching the participant’s actual body and the mannequin body viewed in the mirror elicited strong feelings of ownership over the mannequin and increased physiological responses to the mannequin being threatened compared to the equivalent asynchronous (non-ownership) control condition. Subjective reports of ownership viewing the mannequin through a mirror were also statistically equivalent to those following the first-person perspective illusion. These findings suggest that mirrors have a special role for viewing the self. The results also support the importance of egocentric reference frames for body ownership and suggest that mirror reflections of one’s own body are related to peripersonal space, which enables updating of central body representations.

From the Museum: the Art of Thinking. Part Twelve: Meta-thinking

Spatial Concept , “Waiting” is all simplicity that can't be trusted as it offers us both a revolutionary book-end to the art of the Renaissance that began in Florence some 500 years ago and a revelational breaking of new artistic ground. In one slashing gesture, Fontana dramatically overcame the illusionistic nature of painting and integrated real space and real voids into two-dimensional art. The medium now becomes the message in keeping with science, technology and art of the time as well as with his earlier plea for a new art (Manifiesto Blanco, 1946) that embraced modernity and movement. Spatial Concept , “Waiting” is one of a series of works Fontana made which featured a slashed canvas and are collectively known as the Tagli (‘cuts’). The physical opening of this picture's surface not only “discovered” the space behind the canvas, thereby blurring the distinction between two and three dimensionality, it also implied that a continuum existed between a viewer's space, the pictorial surface and what lay behind. Liberation from the Renaissance heritage of depth using the illusion of perspective is at hand. A general sense of mystery and depth is enhanced by careful attention to detail: canvas front is monochromatically painted (also ensures that the surface edges curl away backwards when slashed) and its reverse is lined with black gauze so that darkness shimmers behind the open cuts.

Hyperbola: Under Construction!

SummaryWe show how a perspective illusion in a picture of a building under construction leads to the design of a classical linkage for drawing a hyperbola.

Visual effects in great bowerbird sexual displays and their implications for signal design

It is often assumed that the primary purpose of a male's sexual display is to provide information about quality, or to strongly stimulate prospective mates, but other functions of courtship displays have been relatively neglected. Male great bowerbirds (Ptilonorhynchus nuchalis) construct bowers that exploit the female's predictable field of view (FOV) during courtship displays by creating forced perspective illusions, and the quality of illusion is a good predictor of mating success. Here, we present and discuss two additional components of male courtship displays that use the female's predetermined viewpoint: (i) the rapid and diverse flashing of coloured objects within her FOV and (ii) chromatic adaptation of the female's eyes that alters her perception of the colour of the displayed objects. Neither is directly related to mating success, but both are likely to increase signal efficacy, and may also be associated with attracting and holding the female's attention. Signal efficacy is constrained by trade-offs between the signal components; there are both positive and negative interactions within multicomponent signals. Important signal components may have a threshold effect on fitness rather than the often assumed linear relationship.

What the Eye Cannot See: Interior Landscapes in Mansfield Park

Austen’s Mansfield Park (1814) indicates the wide-ranging significance that popular devices for perceptual illusion such as the camera obscura carry when it constructs one of its morally pregnant moments around the “ha-ha” at Mr. Rushworth’s estate. A sunken ditch that creates the illusion of a boundary-less perspective, the ha-ha functions as a model for the dark room—camera obscura--of the heroine’s mind. Like the ha-ha, Fanny’s mind neutralizes the boundaries that exclude her and allows her to inhabit the space that belongs to others. It is through this novel’s renderings of Fanny’s interior life through the narrative technique of free indirect discourse that we may witness the way fiction and landscape design came to function as related mediums for the invisible pains and pleasures of the imagination by the time the long eighteenth century came to a close.

Male great bowerbirds create forced perspective illusions with consistently different individual quality

Males often produce elaborate displays that increase their attractiveness to females, and some species extend their displays to include structures or objects that are not part of their body. Such "extended phenotypes" may communicate information that cannot be transmitted by bodily signals or may provide a more reliable signal than bodily signals. However, it is unclear whether these signals are individually distinct and whether they are consistent over long periods of time. Male bowerbirds construct and decorate bowers that function in mate choice. Bower display courts constructed by male great bowerbirds (Ptilonorhynchus nuchalis) induce a visual illusion known as forced perspective for the female viewing the male's display over the court, and the quality of illusion is associated with mating success. We improved the quality of the forced perspective to determine whether males maintained it at the new higher level, decreased the perspective quality back to its original value, or allowed it to decay at random over time. We found that the original perspective quality was actively recovered to individual original values within 3 d. We measured forced perspective over the course of one breeding season and compared the forced perspective of individual males between two successive breeding seasons. We found that differences in the quality of visual illusion among males were consistent within and between two breeding seasons. This suggests that forced perspective is actively and strongly maintained at a different level by each individual male.

Illusions Promote Mating Success in Great Bowerbirds

Sexual selection studies normally compare signal strengths, but signal components and sensory processing may interact to create misleading or attention-capturing illusions. Visual illusions can be produced by altering object and scene geometry in ways that trick the viewer when seen from a particular direction. Male great bowerbirds actively maintain size-distance gradients of objects on their bower courts that create forced-perspective illusions for females viewing their displays from within the bower avenue. We show a significant relationship between mating success and the female's view of the gradient; this view explains substantially more variance in mating success than the strength of the gradients. Illusions may be widespread in other animals because males of most species display to females with characteristic orientation and distance, providing excellent conditions for illusions.