Illusion and Illusoriness

Pinna, Baingio

doi:10.1002/9781118329016.ch13

Cited by 9 publications

(5 citation statements)

References 26 publications

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“…These outcomes clearly challenge many theoretical assumptions and suggest a special organizational role to reversed contrast based on the accentuation principle (Pinna, 2010a, 2010b, 2011a, 2011b, 2013a, 2015). The phenomenal notion of salience becomes more and more necessary and even sufficient to explain these limiting conditions to the detriment of more complex notions like unitariness, symmetry, regularity, simplicity, minimization of description length, likelihood, Kolmogorov complexity, priors, constraints, and knowledge.…”

Section: Reversed Contrast In Limiting Casesmentioning

confidence: 63%

“…Given the segmentation induced by T-junctions, to perceive the intense sensory experience of completeness and unity of the amodal completion, it is necessary to perceive an occluding object and, thus, the perception of illusory depth. The continuous and smooth edges usually belong to the occluding object, whereas the intersecting (differently oriented) edges belong to the occluded object according to the unilateral belongingness of the boundaries (Rubin, 1915, 1921), also called “border ownership” (Nakayama & Shimojo, 1990; Pinna, 2010a, 2011c, 2013a , 2013b; Singh & Hoffman, 2001; Singh & Fulvio, 2005; von Helmholtz, 1867, 1924).…”

Section: Amodal Completion and Reversed Contrastmentioning

confidence: 99%

“…As a matter of fact, the question that mostly attracted vision scientists was: What is the role of amodal completion in shape formation? (e.g., Michotte, 1946; Michotte & Burke, 1951; Michotte et al, 1964; Kanizsa, 1972, 1975, 1979; Kanizsa & Gerbino, 1982, Pinna, 2013a). This entails that the partially occluded shape is assumed as the result of the process of amodal completion.…”

Section: Amodal Completion and Reversed Contrastmentioning

confidence: 99%

See 2 more Smart Citations

On the role of contrast polarity in perceptual organization: A Gestalt approach.

Pinna¹,

Conti²,

Porcheddu³

2021

Psychology of Consciousness: Theory, Research, and Practice

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In this work we demonstrated, in the same scientific spirit as used by Gestalt psychologists, unique and effective properties imparted by contrast polarity in perceptual grouping and figure-ground organization. These unique properties have been demonstrated by putting contrast polarity against the Gestalt principles of visual organization, by extending the phenomenon of amodal completion to a new kind of contour-junction (the so-called I-junction) and, finally by demonstrating new functional effects under limiting conditions. Our result showed the domination of contrast polarity against all the Gestalt principles, T-junctions, and regularity. These results suggest that the reversed contrast accentuates and instills a phenomenal salience that triggers a process of object segregation and figure-ground segregation.

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Section: Reversed Contrast In Limiting Casesmentioning

confidence: 63%

Section: Amodal Completion and Reversed Contrastmentioning

confidence: 99%

Section: Amodal Completion and Reversed Contrastmentioning

confidence: 99%

See 1 more Smart Citation

On the role of contrast polarity in perceptual organization: A Gestalt approach.

Pinna¹,

Conti²,

Porcheddu³

2021

Psychology of Consciousness: Theory, Research, and Practice

Self Cite

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“…A perceptual illusion usually refers to ‘the mismatch/disagreement between the geometrical/physical domain and the phenomenal one’ (Pinna, 2013: 317). Both Williams and Goshima intend to construct such illusions by creating visual worlds that perceptually deviate from or are mismatched with actual, lived reality.…”

Section: Expanded Visuality and Perceptionmentioning

confidence: 99%

Expanded stereoscopy: Alternative aesthetics for artistic expression in 3D films

Hattler

Cheung

2023

Convergence: The International Journal of Research into New Med

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3D cinema has been defined by a quest for increased realism and immersion and the recreation of realistic depth perception. However, instead of merely seeing stereo vision as a visual enhancement of 2D cinema, some contemporary moving image artists explore unique types of perceptual illusions and ambiguous perceptions in their stereoscopic films. Through the experimental stereoscopic films of Blake Williams and Kazuhiro Goshima, and interviews with the artists, this paper focuses on the artists’ motivations behind their works and their intended impacts on audiences. Drawing mainly on aesthetic, perceptual and technical perspectives, the paper examines how artists use experimental approaches to stereoscopic imaging and theorises the resulting aesthetics and perceptual forms for S3D films.

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“…Several authors (Hecht, 2013; Pasquinelli, 2012; Pinna, 2013; Savardi et al., 2012) have discussed the role of awareness of illusoriness of a perceptual content, “the fact that the subject who undergoes an illusion can … become aware that something is wrong with his experience, in a broad sense” (Pasquinelli, 2012, p. 61). Hecht (2013) suggested that the experience of a discrepancy should be a defining feature of illusions.…”

Section: Differing Conceptions Of Illusionsmentioning

confidence: 99%

What Are Visual Illusions?*

Todorović

2020

Perception

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Visual illusions have been a popular topic of study for a long time, but in recent years, a number of authors have questioned the coherence of this notion. This article deals in depth with ways in which illusions have been, could be, and should be defined and with various criticisms and different conceptions of the notion of illusions. After a review of definitions of illusions in the relevant literature, a more comprehensive but also more restrictive framework is presented, involving both veridicality and illusoriness, and is illustrated using two variants of a 2 × 2 scheme for the presentation of illusions. Many different aspects of illusions are discussed. A set of criteria for illusionhood is listed. Criticisms of the notion of illusions are presented, commented upon, and responded to. Conceptions of illusions differing from the one advocated here are discussed. Throughout the paper, novel variations of illusions are shown, and problems with accounts of some well-known illusions are noted. Examples of strong context effects which are not considered to be illusions are presented. It is concluded that the notion of visual illusions, suitably reformulated, is still viable.

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Illusion and Illusoriness

Cited by 9 publications

References 26 publications

On the role of contrast polarity in perceptual organization: A Gestalt approach.

On the role of contrast polarity in perceptual organization: A Gestalt approach.

Expanded stereoscopy: Alternative aesthetics for artistic expression in 3D films

What Are Visual Illusions?*

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