Use Of Illusion Research Articles

Illusion in Architecture: An Alternative for Creating Virtual Environment to Support Efficient Site Utilization

Virtual materiality has become a reality due to technological advancements. This affects the evolution of architecture. Land utilization in residential designs is currently unrestricted. Humans still exploit natural land and food supplies to build homes. Conversely, houses that merely use the land for viewing rather than traversing it are an example of inefficient land usage. In architecture, virtual materiality plays a part in creating an artificial world. In order to minimize land consumption, an architectural strategy that may introduce virtual materiality into the real world is required. Illusion is one tactic. Tricks and deceit are given priority in the illusion technique. This program is intended for home users who want to replace their natural surroundings with an artificial one. By using this method, nature can improve without requiring interference from the original environment. Modeling experiments and qualitative research are used in the research methodology. Create suggested concepts by using an architectural methodology. Rendering models and sketches are the research outputs. The findings demonstrate that home design can make use of illusion as a representation of virtual materiality. Through the application of matter illusion techniques, manufactured environments can be made to resemble natural ones. Implementing the material illusion in a trapezoidal home. Screen technology is used to do this. The center of the design is where screen technology is used to display environmental content. big horizontal and vertical sides are necessary. However, this can be a substitute for the natural environment for residents, especially in dwelling design.

In the Dark: The Afterlife of a Horror Hoax

In the Dark, a 2007 webseries directed by Andrew Cull that purports to be the YouTube channel of a young woman documenting a haunting in her apartment, is arguably the first horror hoax webseries on YouTube. Two decades after the popular rise of two horror media traditions that make use of the storytelling power of hoaxes, the found footage horror film and creepypasta, this article returns to In the Dark as an early work that draws on both these modes and asks: what happens when a hoax gets old? If the credibility of a hoax is inherently time-limited, how might a work of hoax horror whose time has passed speak to us now? To explore the afterlife of In the Dark, I discuss this foundational but little-studied work in the context of earlier scholarship on genres and modes that make use of illusions of authenticity, like creepypasta, found footage film, and alternate reality games (ARGs). I discuss how In the Dark functioned as a hoax when it was originally published in 2007, examining its amateur aesthetics, its interactions with viewers, and its inclusion of apparently meaningless material to create a sense of authenticity and implicate the reader in the storytelling process. Reflecting on how the last fifteen years have changed the way this hoax appears to and works on viewers, I suggest that as the immediate credibility of a horror hoax diminishes, a different kind of horror effect takes over, allowing the hoax to function in new, unintended ways.

AN ANALYSIS ON ILLOCUTIONARY ACTS AS USED BY “SONIC” IN SONIC THE HEDGEHOC MOVIE

Language is a tool for communication. This means that apart from being a communication tool, it is also a channel for formulating intentions, ideas, opinions, giving birth to feelings and making a collaboration. Communication as an opening to extend far beyond the domain of words. Illocutionary acts are actions that are difficult to identify. Not only imparting knowledge to someone, but also doing something. Permissions, requests, offers, promises and other illocutionary behavior are common. Therefore, the writer is interested in conducting a study on the film Sonic the Hedgehoc, and wants to explore the utterances and illocutionary acts contained in the film Sonic The Hedgehog. Sonic the Hedgehoc was produced in 2020. This film is an animated film adapted from a game. The research was conducted using a qualitative descriptive method. The author investigates and evaluates the conversations of the main character Sonic in the film Sonic The Hedgehog. The findings show that, the type of illocutionary act that is often used by Sonic is the type of expressive illocutionary act with a value of 56% with 156 utterances. It can be concluded that the most use of illusion acts in the film "Sonic The Hedgehoc" is expressive.

A Deceptive Curing Practice in Hunter–Gatherer Societies

The claim of possessing supernatural abilities is a commonly reported phenomenon across human societies. To bolster the credibility of such claims, performers may make use of illusions and sleight of hand to give the appearance of impressive powers. One common trick found among culturally independent hunter–gatherers on every continent they inhabit involves a healer ostensibly extracting from a sick person an object, such as a pebble or insect, that is supposedly causing the patient’s illness. The use and functions of the ‘extraction trick’ are here explored across a global sample of hunter–gatherer societies (N = 74), with attention given to the possible costs and benefits accrued by performers and their patients or audiences. This and similar tricks can be highly deceptive, but they can also be undertaken for entertainment, symbolic reasons, their placebo-like utility to sick patients, or some mixture of each. The recurrent invention of the trick across independent societies, as well as its cultural inheritance and diffusion between groups, indicates that it likely appeals to certain universal facets of human psychology, where experiences of sickness and pain commonly induce one to seek interventive cures from specialists, who in turn may use deceptive displays to give the appearance of greater skill and powers.

Инклюзивный дизайн: взаимодействие систем «социум»-«текстильные средства реабилитации»-«ребенок»

One of the goals of rehabilitation of children with disabilities (HHS) is to improve their quality of life. For this purpose, various technical means, devices and adaptations which solve a number of problems in life of the child are developed. But there is another aspect that affects the quality of life of such children — is the attitude of people around them. The child is emotionally unstable individual, his psyche is very vulnerable to react to negative emotions. In this case the saying that ‘meet on clothes’ is very applicable. And if the child looks aesthetically pleasing, then others perceive him positively. But in some diseases (physical deviations from the norm) there is no ergonomic and aesthetic clothing. The paper considers the interaction of the systems Society — Textile means of rehabilitation — Child. It is revealed that textile means of rehabilitation, including inclusive clothing have an impact not only on the child’s condition, but also on the emotional state of the society in contact with him, especially his parents. Research on the systematization of information about violations of the structure and function of the body allowed to identify and group the possible causes of violations of the proportions of the child’s body. Some can be compensated by the use of fixing products, others through the use of illusions that contribute to the visual alignment of the proportions of the child. The article formulates the basic principles of designing textile means of rehabilitation and inclusive clothing for children with disabilities, aimed at harmonizing the perception of the external appearance of the child.

About the good use of illusions in oncology. End-of-life experiences and communications in adolescent patients.

The issue of quality of life, particularly of patients affected by cancer, is very controversial, especially with adolescent patients who have no prospects of recovery. This article aims to describe the psychological mechanisms, which affect teenage patients with terminal cancer, in order to allow the best quality of life possible. The adaptation of teenager patients suffering from terminal illnesses is also related to other non-medical issues such as psychological, legal and ethical considerations. A correct and balanced communication with such patients is needed, in order of maintaining a positive mental approach ("hope") so that the teens are able to come to terms with the hard reality. Several case studies are presented, that according to the authors show the importance of developing an area of illusion, which allows patients to face up to the extreme distress and anxiety of their reality, without completely denying the reality itself. These hypotheses at the moment need more empirical evidences but they demonstrate the complex mental process involved with terminally ill adolescent patients coming to terms with their situations and show the importance of considering such process in all aspects of clinical care and treatment, in order to best address their physical and psychological well-being.

Illusory Facets of Sport: The Case of the Duke University Basketball Team

Abstract In the society of the spectacle, illusion is an omnipresent phenomenon. It is used to distract the masses from issues crucial to their existence and to support a system of oppression. However, there is also a “lighter” side of illusion: it creates celebrities and helps sell products (films, music albums, sneakers, etc.). While the connotation is that spectacle uses illusion in order to present the ordinary or negative as extraordinary and positive (e.g., promiscuous athletes talking about family values), it is also possible for a reverse illusory process to take place, resulting in the regular being presented as irregular (e.g., a physical player presented as “aggressive”, such as Kermit Washington). Unlike the deliberate use of illusion by the architects of the spectacle, this reverse process happens spontaneously. This spontaneously generated illusion is especially evident in the world of sports. In this study, we focus on the Duke basketball team during the Mike Krzyzewski era. Since the early 1990s, Duke’s basketball team has been considered a team of unathletic, clean-cut, and well-off individuals. As these qualities are stereotypically associated with white players or “white America” in general, Duke was categorized as a white, privileged team, with its African American players being perceived as tokens or “Uncle-Toms.” We are not calling these illusions – at least not yet – as the validity of that opinion needs to be measured first. Before making our definite claim, we will analyze Duke’s history during the era of Krzyzewski in order to determine whether the common perception regarding the roster (mostly white and privileged) is true or just an illusion. Our aim is to present why both the hate and reverence of the Duke University basketball team are caused by various illusions concerning the team in particular and academic sports in general.

Use of Illusion of Motion by the Tendon Vibration to Improve Acute Pain in Patients with Distal Radius Fractures

Use of Illusion of Motion by the Tendon Vibration to Improve Acute Pain in Patients with Distal Radius Fractures

The Divine Instinct? Rousseau and Conscience

Political theorists have long disagreed about what Rousseau's account of conscience means. While most approaches to that account focus on the “Profession of Faith of the Savoyard Vicar,” this essay focuses on another aspect of Emile, the development of conscience in Emile himself. First, I argue that conscience is transformed from problem to solution when self-love is transformed, first into gratitude, then, with the aid of religion, rhetoric, and imagination, into duty. Those who insist that conscience is rooted in passion are right, though that passion is not necessarily low. Second, those who argue that Rousseau's teaching on conscience, as set forth in the First Discourse and elsewhere, is a salutary untruth are right. Emile's conscience shouts “virtue!” not because conscience always does so in uncorrupted souls once they enter the moral world but because it has had voice lessons from Emile's governor, who makes liberal use of illusion and rhetoric.

Awakening Words: John Bunyan and the Language of Community by David Gay , James G. Randall , Arlette Zinck (review)

reasonablespreadof plays, though with a recurrentfocus on Shakespearethat does not leave a great deal of space for other dramatists.Janet Adelman's opening essay provides an important antidote to the tendency amongst Renaissance scholars to treatThomas Laqueur'saccount of the one-sex model as orthodoxy.Adelman looks closely at a range of English vernacular medical treatises and finds the Galenic model not only notablyabsent,but subject,where present,to vigorouscritique.She uses this finding not only to question broad assumptions about early modern understandingsof gender, but alsoto contest, throughbriefbut suggestivereference to Antony andCleopatra, the widespreadtendency to write about boy-actorsas though they necessarilyhighlighted female absence. Anne Walworth'sessay also takes up the question of oppositional constructions of gender via contemporary medical theory, demonstrating how the theatrical use of illusion to cure delusion (both in stage-fictionand in documented medical practice)exposes the ambivalence of such constructions. Michael Shapiro'saccount of the advent of actressesto the Englishstage usefully complicates Stephen Orgel's recent work (in Impersonations) by shifting Orgel's view of England as uniquely insistent on an all-male acting profession to one that sees England simply as later than other European countries in introducing women to the stage. Shapiro also returns to the question Orgel was asking when he first began work on the subject of boy-actors in the late I98os: 'Why were women more upsetting than boys to the English?' Where Orgel's own discussion, stimulating and suggestive as it is, considers the question within a context that assumes sexual anxiety and thus necessarily loads the answers in that direction, Shapiro brings together the available evidence on actresses before and just after I660 succinctly and helpfully, and reframes the argument in economic rather than sexual terms. Laurie Osborne's article offers some illuminating discussion of the female playgoer. Concentrating on Love's Labour's Lost and Hamlet, she argues that Shakespeare's representations of female spectators on stage play out Stephen Gosson's concern that women in effect provoke theatricality by their presence. Her analysis shows how when men become the spectacle their female audience may be empowered by thereby becoming established as spectators, but demonstrates at the same time how compromised by issues of class and formality that empowerment is. Other essays look at plays by women (Cary; Cavendish and Brackley), Marlowe's Dido, Webster's WhiteDevil, and other Shakespearean plays. The book offers a range of thoughtful and stimulating approaches to gender on the Renaissance stage. UNIVERSITY OF NOTTINGHAM JANETTE DILLON Awakening Words.John Bunyan and the Languageof Community. Ed. by DAVID GAY, JAMES G. RANDALL, and ARLETTE ZINCK. Cranbury, NJ: University of Delaware Press; London: Associated University Presses. 2000. 223 pp. f30. This volume is offered as a reflection of 'the community of scholarship formed around the International John Bunyan Society'. In his introduction, Richard L. Greaves reminds us, 'Words were Bunyan's sole means to reach his disparate audience. He had no traditional liturgy, pageantry, or clerical costume and virtually no material symbolism.' A 'threefold investigation' is counselled for the grasping of Bunyan's meaning: 'to date each work as precisely as possible [.. .], to assess Bunyan's remarks in the context of contemporary writings; and to subject [his] language' to an appropriate 'biblical reading'. Bunyan's commitment to the invisible makes contextualization difficult. We are reminded (p. 27) that the complex intertextuality of the more materialist Milton reasonablespreadof plays, though with a recurrentfocus on Shakespearethat does not leave a great deal of space for other dramatists.Janet Adelman's opening essay provides an important antidote to the tendency amongst Renaissance scholars to treatThomas Laqueur'saccount of the one-sex model as orthodoxy.Adelman looks closely at a range of English vernacular medical treatises and finds the Galenic model not only notablyabsent,but subject,where present,to vigorouscritique.She uses this finding not only to question broad assumptions about early modern understandingsof gender, but alsoto contest, throughbriefbut suggestivereference to Antony andCleopatra, the widespreadtendency to write about boy-actorsas though they necessarilyhighlighted female absence. Anne Walworth'sessay also takes up the question of oppositional constructions of gender via contemporary medical theory, demonstrating how the theatrical use of illusion to cure delusion (both in stage-fictionand...

Hans Holbein the younger: a guide to research

In this quincentennial year of Holbein's birth, this is the first comprehensive annotated bibliography of texts relating to this important Northern European Renaissance artist, with an accompanying historiographic essay on various aspects of Holbein's reception. first part of the book, Some Notes on Reception, contains overviews of texts about specific works such as The Dead Christ, Solothurn Madonna, and The Meyer Madonna. Other themes addressed include the perception of Holbein's character and his place among other Renaissance masters, his work as a portraitist, his use of illusion, authenticity controversies, and a brief chronicle of Holbein collectors. Previously unaddressed topics include Holbein's influence on later artists, and his impact on fiction, including his influence seen in the works of writers such as Dostoevsky, Henry James and Edith Wharton. This part of the book also contains synopses of the most significant and recent Holbein scholarship. These vignettes constitute a multi-dimensional approach to Holbein reception, sharpened by selected quotations from his critics. second part of the book is a comprehensive listing of over 2,500 bibliographic citations for works dealing with Holbein and his oeuvre, each accompanied by an annotation outlining the authors' principal contributions. range of material covered includes not only books and scholarly journals but also newspapers and other popular publications. Individual sections include texts dealing with primary sources, monographs, compendia, and exhibition catalogues. Others are devoted to texts about Holbein's paintings, drawings and prints, as well as to iconography, technical studies, patronage, collections, influences on Holbein, and Holbein reception. General Index. Author Index.

Parenting in later life: Adaptive illusion in elderly mothers of one child

This article explores (1) the relationship between elderly mothers of one child and their son or daughter and (2) the impact of that relationship on mothers' current and future well-being. Data from ethnographic interviews of twenty mothers of one, and twenty mothers of four or more children were compared for thematic content. Mothers of only children were found to be child-focused to the exclusion of other life-enriching activities, and singularly dependent on their son or daughter for self-validation. Significant in the interview material of single-childed mothers was the use of illusion as a tool for defusing disappointment in, or fabricating closeness to the child.

The Limits of Illusion: A Critical Study of Calderon by Anthony J. Cascardi

374Comparative Drama whom the theatre of his time could not deal (much less understand). Like Craig, Meyerhold, and Reinhardt, Barker began as an actor, but fled the traditional theatre as soon as he could. If he was perhaps also the son Shaw never had (to point to another key friendship of his life) , he was indeed the onUe begetter of the modern British theatrical renaissance . His moral courage and valiant industry (also quite Shavian in their own way) are reminders of what dreamers in the playhouse can accomplish. Unhonored (and probably forgotten) as a prophet today, he is still a bright example of one who understood the theatre's deep responsibilities to the community. His sadly truncated career marks him as a perplexing figure at a thrilUng time in theatre history. To call him flawed, strange, secretive (as many have done) is to be reminded of the difficulties of genius. His legacy today is the work of the companies bred in his dreams more than eighty years ago, his writings a source of inspiration to those who continue the theatre's artistic and spiritual mission. Future editions should correct the juxtaposed type (p. xiii), and Louis (not Lewis) Calvert in the caption (p. 69), plus other bothersome typographical tics and infelicities which mar this otherwise admirable study. JAMES COAKLEY Northwestern University Anthony J. Cascardi. The Limits of Illusion: A Critical Study of Ca'derón. New York: Cambridge University Press, 1984. Pp. 181. $39.50. The theater of Pedro Calderón de la Barca encompasses a considerable number of religious, moral, and social themes whose relation to Spanish society is not always easily discernible. Cascardi seeks to illuminate these dark areas and proposes as a working thesis the interplay between reality and illusion evident in the dramatist's greatest work, La vida es sueño, and supported by his equally important auto sacramental, El gran teatro del mundo. Cascardi holds that although Calderón was inherently opposed to the use of illusion as a guiding principle for Ufe, he came to the conclusion that a proper understanding of the meaning of existence could be achieved only by passing through illusion rather than by circumventing it. Caught between illusion and reality, man risks remaining frozen in skepticism. The theater, itself a purveyor of illusion, can help spectators absorb this paralyzing skepticism and transform it into the means by which they can deal with their illusory world while learning to recognize its definite Umitations. The author takes the reader through a discussion of illustrative plays, from La vida es sueño to the dramatist's last work, Hado y divisa de Leonido y Marflsa, to unfold Calderón's early position as well as the changes that develop with the passage of time. According to Cascardi, Calderón's plays concern themselves with the dilemma between the reaüty that surrounds his personages and their doubts about its permanence . The theater, by providing a mirror in which illusion is balanced by Reviews375 reality, becomes the vehicle through which self-criticism is engendered. However, not all the characters that inhabit Calderón's plays are capable of achieving self-awareness. Indeed, they oscillate between Segismundo's critical acceptance of man's limitations and Gutierre's failure to separate himself from the deceptions that dominate him. Cascardi argues his point well and approaches the question that bedevils us all: if we grant that our existence is an illusion, how are we to deal with this deceptive reaüty? One begins to appreciate the complexities inherent in the dilemma when the author moves away from the ontological discussion of La vida es sueño to the sphere of social life where the Augustinian dualities are not so apparent. Throughout the book, Cascardi underscores the importance of the self-affirmation contained in the words "soy quien soy" (I am what I am). The personages who utter them are under great pressure and must summon from within energies that wiU help them survive the supreme challenge to their identity. This often-repeated formula, as a consequence, comes to express an overriding principle, an absolute reaUty that controls the very existence of the personage. It is difficult, therefore...