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Optical Illusions are one of the most practical ways to learn about vision and perception. Various types of optical illusions illustrate some of the different aspects of vision perception. Furthermore, some of the exercises on the Exploratorium website are not actually illusions but really just tools for teaching about color perception such as the Mix and Match exercise, in which the viewer can learn the difference between mixing colors in print and mixing colored light.
Exercises like "Shimmer," "Depth Spinner," and "Squirming Palm" are similar in that they show how the eye and brain deal with motion. I noted that some of these exercises were actually difficult to do; the effect was not immediately apparent to me. Some of the more traditional optical illusions are exhibited on the Postcard page, where exercises like the old and young woman can show how the eye can be trained to detect various patterns. The "words and colors" exercise also shows how the eye and the brain can sometimes get in each others' way.
Learning about optical illusions through the experiments on these websites has been helpful in understanding the way perception works: our eyes aren't necessarily lying to us but our brain often distorts what we see based on our assumptions or expectations, as in the Leonardo da Vinci "Mona Lisa" exercise. Also, what our eyes take in as visual information is then interpreted by the brain. I was interested in all the illusions and exercises, as it proves that people should not always believe what they see. In the future I will try to apply the information on visual perception to the way I interpret the world. For example, the information on both sites that pertains to motion perception is useful in understanding common every day phenomenon related to driving: when we watch the wheels of cars speeding along a highway, for instance, it can suddenly seem that the wheels are turning in the opposite direction.
Seeing Is Believing Anotonio Zamora produced a series of paradoxes and illusions in a website called "Seeing is Believing." The illusions give a sense for the reader of altered perception; how an individual cannot trust his or her senses to allow the truth of reality. This suggests the old phrase, "seeing is believing" to be inherently flawed as reality even when seen with the eyes, can be completely different than what
Art One-Point Linear Perspective in the Renaissance One-Point Linear Perspective in the Renaissance In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, " Every
Another political and public sidewalk mural done by Beever is his Politicians Meeting Their End, drawn on the night of the 1997 General Elections outside the Bank of England. In this work, Beever creates the illusion of a deep well in the middle of the sidewalk with unpopular politicians being pulled in. Again, like most of his works, this one demands the viewers attention and gives a clear message. Julian Beever's
Art Abjection of the Body & Cyborg Jewelry Design The examples of jewelry located and examined for the purposes of this paper align with the definitions and ideas of the authors that contextualize the conversation. (Refinery 29, 2012) Notice how both of the models are positioned side by side, which immediately prompts the audience, viewer, or consumer to compare and contrast. Though their precise background are unknown, it is presumed that both
Perception How does depth perception occur in a person who gains sight after being congenital blind? Depth perception is necessary for the ability to perform many tasks including driving, and many other activities. The ability to perceive the distance of objects is a complex process. When people are born blind in one eye, regardless of the reason, they do not develop the ability to perceive depths. Their world is flat compared
In the "temple paintings" by Anuszkiewicz, for example, a sense of depth is elicited by the utilization of two contrasting colors. Looking at these works, we are under the impression that we are looking at something in three dimensions. It is almost as though an architectural work is invading the space in which we view the picture. Stanczak went even further in his pictorial compositions with color. As a matter