Visual illusion - a query.

1916 ◽  
Vol 13 (5) ◽  
pp. 228-228
Author(s):  
English Bagby
Keyword(s):  
1999 ◽  
Vol 16 (2) ◽  
pp. 1-26
Author(s):  
Omar Khaleefa

The study is an investigation of the origins of psychophysics and experimentalpsychology. According to historians of psychology. FrancisBacon had the most crucial influence in the history of the experimentalmethod, because he emphasized the importance of induction, skepticism,quantification, and observation. The present study, however,attempts to show that Ibn al-Haytham laid the foundations of the aboveaspects of the experimental method. Furthermore, a number of historiansof psychology believe that Fechner was the founder of psychophysicswith his application “Filements of Psychophysics” in 1860.This study shows that in the eleventh century, Ibn al-Haytham made anoriginal contribution to the study of vision, wherein his psychophysicsborrowed its structure from physics and its spirit from psychology.Several aspects of visual perception were investigated by him, includingsensation (which occupies a central place in psychophysics), variationsin sensitivity, perception of colors. sensation of touch, perceptionof darkness, the psychological explanation of moon illusion, and binocularvision. This study presents five experiments by Ibn al-Haythamregarding the errors of vision, which is called in contemporary psychology“visual illusion.” These experiments have been applied andverified in Bahrain from both the physical and psychological perspectives.Finally, the study concludes that Ibn al-Haytham deserves the title“founder” of psychophysics as wellp the “founder” of experimentalpsychology. In this respect. Kitab ul-Manazir by Ibn al-Haytham.which appeared in the fmt half of the eleventh century, and not the“Elements of Psychophysics” by Fechner. which was published in thenineteenth century, marks the official “founding” of psychology,because it provides not only new concepts and theories but new methodsof measurement in psychology.


Author(s):  
Takumi SHIGEOKA ◽  
Masato OKADA ◽  
Mitsutoshi UEHARA ◽  
Yuto OHWADA ◽  
Hirohito KOJIMA

Perception ◽  
1996 ◽  
Vol 25 (10) ◽  
pp. 1177-1187 ◽  
Author(s):  
Frans A J Verstraten

Scientists agree that Aristotle in his Parva Naturalia was the first to report a visual illusion known as the motion aftereffect (MAE). But there is less consensus as to who was the first to report the direction of the MAE. According to some, Aristotle only described the phenomenon without saying anything about its direction. Others have defended the position that Aristotle did report a direction, but the wrong one. Therefore, it has been suggested that Lucretius in his poem De Rerum Natura was the first to report the correct direction of the MAE. In this paper it is shown why and how it can be inferred that Aristotle did not write about the direction of the MAE, only about its occurrence. It is also argued that it is indeed likely that Lucretius was the first person to report the direction of the MAE. However, this is not as obvious as it might appear at first sight.


1976 ◽  
Vol 7 (1) ◽  
pp. 63-64 ◽  
Author(s):  
W. H. Tedford ◽  
C. F. Gray

BMJ ◽  
1966 ◽  
Vol 2 (5513) ◽  
pp. 573-573
Author(s):  
H. J. Eysenck
Keyword(s):  

Author(s):  
Gundula Kreuzer

Gundula Kreuzer challenges common assumptions about the ‘screenification’ of contemporary opera productions by reconsidering historical screening techniques within staged opera. Beginning with the Baroque picture-frame stage, she highlights how a desire for visual illusion on stage came into conflict with the increasingly complicated array of equipment, scenery, and props required to produce such elaborate scenes. Retracing strategies tested out at Wagner’s Festspielhaus at Bayreuth, she argues that the theatre’s curtain line came to imply an invisible screen with the capacity to organize the various media on the deep stage into a unified whole, a perception fostered by the visual and acoustic environment of the auditorium. Rather than a part of the telos of modernist painting, she highlights this flattened planar format as the outcome of technical and aesthetic conflict, whose legacy proves highly relevant to contemporary experiments with operatic staging.


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