Psychological pictures with double meaning. Deceived eye

Dual or polysemantic images, as the Big Psychological Dictionary tells us, are explained by the fact that when perceiving such pictures, a person experiences different views, identically corresponding to the one depicted.

How many women do you see?

At first glance, 90% of people see attractive girl 20-25 years old, the remaining 10% see an old woman over 70 with a huge nose. For those who see the picture for the first time, it is difficult to see the second image.

Clue: A girl's ear is an eye elderly woman, and the oval of a young face is the nose of an old woman.

The first impression, according to psychologists, usually depends on what part of the picture your gaze fell on at the first moment.

After a little training, you can learn to order yourself who you want to see.
Psychiatrist E. Boringou used the portrait in the 1930s as an illustration for his work. The author of such an image is sometimes called the American cartoonist W. Hill, who published the work in 1915 in the magazine “Pak” (translated into Russian as “elf”, “fairy-tale spirit”).

But back in the first years of the 20th century, a postcard was issued in Russia with the same picture and the inscription: “My wife and my mother-in-law.”

The picture with two ladies can be found in many psychology textbooks.

Hare or duck?

Which character did you see first on modern version"Ehrenstein illusions"? The very first "duck-hare" drawing was published in Jastrow's book in 1899. It is believed that if children are shown the picture on Easter Day, they will be more likely to see it as a rabbit, but if shown to them in October, they will tend to see a duck or similar bird

Clue: In the picture you can see a duck, which is directed to the left, or a hare, which is directed to the right.

Singing Mexicans or old men?

Mexican artist Octavio Ocampo is the author of quite unusual paintings with hidden meaning. If you look closely, you will see another, hidden image in each of his drawings. He made the scenery of more than 120 Mexican and American films. Created several portraits famous people the Western world in a surreal style (“Portrait of the singer Cher”, “Portrait of the actress Jane Fonda”, “Portrait of Jimmy Carter”, etc.).

Clue: The old man and the old blonde woman look at each other. Their eyebrows are the hats of Mexican musicians, and their eyes are the faces of musicians.

Just Rose?

At first glance, yes. An ordinary flower and nothing more. But it was not there. The author of this image, Sandro del Pre, formed a new direction in art, which he called “illusorism,” focusing on the creation optical illusions when painting.

Clue: In the center of the rose you can see a couple kissing.

Old man or cowboy?

This painting by Ya. Botvinnik, first half of the twentieth century, USA, is called “My husband and my father-in-law.”
Who did you see first? Young man in a cowboy hat or an old man with a big nose?
Psychologists say that a person’s attitude towards himself influences the choice of image: with a positive attitude, people are more likely to perceive a young image in the first seconds.

Clue: The cowboy's neck is the old man's mouth, the ear is the eye, the chin is the nose.

What do you see in the sixth picture?

Leave your options in the comments to this article. The answer will appear at 13:00 on October 8, 2013.

Answer: Skull or young couple

Optical illusion - unreliable visual perception any picture: incorrect assessment of the length of segments, the color of the visible object, the size of the angles, etc.

The reasons for such errors lie in the peculiarities of the physiology of our vision, as well as in the psychology of perception. Sometimes illusions can lead to completely wrong quantitative estimates specific geometric quantities.

Even looking carefully at the “optical illusion” picture, in 25 percent or more of cases you can make a mistake if you do not check your visual assessments with a ruler.

Pictures of optical illusion: size

So, for example, let's look at the following figure.

Pictures of optical illusion: circle size

Which of the circles located in the middle is larger?

Correct answer: the circles are the same.

Pictures of optical illusion: proportions

Which of the two people is taller: the dwarf on foreground or the person walking behind everyone?

Correct answer: they are the same height.

Pictures of optical illusion: length

The figure shows two segments. Which one is longer?

Correct answer: they are the same.

Pictures of optical illusion: pareidolia

One type of visual illusion is pareidolia. Pareidolia is an illusory perception of a specific object.

Unlike illusions of perception of length, depth, dual images, pictures with images that are specially created in order to provoke the occurrence of illusions, pareidolia can arise on their own when viewing the most ordinary objects. So, for example, sometimes when examining a pattern on wallpaper or a carpet, clouds, spots and cracks on the ceiling, you can see fantastic changing landscapes, unusual animals, people’s faces, etc.

The basis of various illusory images can be the details of a real-life drawing. The first to describe such a phenomenon were Jaspers and Kahlbaumi (Jaspers K., 1913, Kahlbaum K., 1866;). Many pareidolic illusions can arise when perceiving well-known images. In this case, similar illusions can occur simultaneously in several people.

For example, in the following picture, which shows the World Trade Center building on fire. Many people can see the scary face of the devil on it.

The image of the devil can be seen in the next picture - the devil in the smoke


In the following picture you can easily distinguish a face on Mars (NASA, 1976). The play of shadow and light has given rise to many theories about ancient Martian civilizations. Interestingly, late photographs of this area of ​​Mars do not show a face.

And here you can see a dog.

Pictures of optical illusion: color perception

Looking at the drawing, you can observe the illusion of color perception.


In fact, the circles on different squares are the same shade of gray.

Looking at the following picture, answer the question: are the chess squares on which points A and B are the same or different colors?

It's hard to believe, but yes! Don't believe me? Photoshop will prove it to you.

How many colors are you drawing in the following picture?

There are only 3 colors - white, green and pink. You might think there are 2 shades of pink, but that's actually not the case.

What do these waves look like to you?

Are the brown stripe waves colored? But no! It's just an illusion.

Look at the following picture and say the color of each word.

Why is this so difficult? The fact is that one part of the brain is trying to read the word, while the other perceives the color.

Pictures of optical illusion: elusive objects

When looking at the following image, look at the black dot. After some time, the colored spots should go away.

Do you see the gray diagonal stripes?

If you look at the center point for a while, the stripes will disappear.

Pictures of optical illusion: shapeshifter

Another view visual illusion- changeling. The fact is that the image of the object itself depends on the direction of your gaze. So, one of these optical illusions is the “duck hare.” This image can be interpreted as both an image of a hare and an image of a duck.

Take a closer look, what do you see in the next picture?

What do you see in this picture: a musician or a girl’s face?

Strange, it's actually a book.

A few more pictures: optical illusion

If you look at the black color of this lamp for a long time, and then look at a white sheet of paper, then this lamp will be visible there too.

Look at the dot, and then move away a little and move closer to the monitor. The circles will spin in different directions.

That. peculiarities optical perception complex. Sometimes you shouldn’t believe your own eyes...

Snakes crawl in different directions.

Aftereffect illusion

After looking at an image continuously for a long period of time, there will be some impact on vision for some time afterwards. For example, prolonged contemplation of a spiral leads to the fact that all objects around will rotate for 5-10 seconds.

Shadow figure illusion

This is a common type of erroneous perception when a person guesses a figure in the shadows with peripheral vision.

Irradiation

This is a visual illusion that leads to a distortion of the size of an object placed on a background of contrasting color.

Phosphene phenomenon

This is the occurrence of unclear points different shades in front of closed eyes.

Depth perception

This is an optical illusion, implying two options for perceiving the depth and volume of an object. Looking at the image, a person does not understand whether an object is concave or convex.

Optical illusions: video

Information about the outside world comes to a person primarily through the visual senses, which include the eyes, optic nerves and the visual center in the brain. For brevity, in the following chapters we will refer to all these organs with one word EYE (In cases where the word eye is written in lower case, the eye is meant as an optical instrument.)

As noted in the previous chapter, the visual process begins with a projected image of the surrounding world, passed through the lens, onto the retina. The information obtained from the retina is extremely complex. For our purposes, we will distinguish two categories of information: image information, based on pictographic elements that reproduce represented objects, and spatial information, composed of stereographic elements, which reproduces spatial relationships between objects.

Basically, these two types of information appear together, as a simple example illustrates. In the picture with two fishermen on the bank of the canal (Fig. 1), pictographic elements show us two human figures and a canal (or ditch). Stereographic elements tell us the following: one figure is larger than the other and partially obscures it, the figures are partly light and partly dark, two shadows fall behind the dark parts of the figures, the banks of the canal converge towards each other.

The EYE transforms both types of information, pictographic and stereographic, into a meaningful interpretation. In our normal environment, this does not cause any difficulties, and the entire process takes a split second. But sometimes deviations occur and this process reaches a dead end, which allows us to find out the peculiarities of the functioning of the EYE.

Perhaps you have also experienced a phenomenon similar to what happened to me. One day, lying on the bed and looking at the objects on the bedside table, I noticed something completely foreign: a small frame with a metallic glare only on its left side. I knew for sure that I did not have such an object, and there was no way it could be there. I did not move and continued to carefully examine the unusual object, hoping to understand the mystery. Suddenly I recognized my lighter on the left, standing upright, and on the right, a glass partially obscured by a postcard. There was much to this more meaning, and subsequently it was difficult for me to reproduce the original impression and frame in my brain.

There are other cases when the EYE offers us two (and in some cases even more) equally correct interpretations for the same configuration of objects. Note that such interpretations do not come from our mental conclusions about what we see, but directly from the EYE. We are aware of ambiguity as we first see one interpretation, then another, and a few seconds later the first again, and so on. Here we are dealing with a process that we can neither control nor stop, since it occurs automatically. In these cases we are talking about dual retinal images, and about dual figures, if the switching occurs due to some graphic figure. By its nature, duality can be pictographic or stereographic. Because the this book associated mainly with stereographic (spatial) duality, I would not like to deprive the reader of some of the particularly interesting ambiguities that arise in the pictographic field. Therefore, to clarify the difference between these two areas, I have added a few examples below.

Pictographic duality

Almost all of us have encountered the phenomenon of pictographic duality, especially in the form of “Freudian” paintings. A good example is the image "My wife and my mother-in-law" (Fig. 2), published in 1915 by cartoonist W.E. Hill, which presents a well-balanced selection of interpretations to the exclusion of extraneous details. See who you see first - this can be a difficult task even for psychologists. A few years later, Jack Botwinick created a companion image to the previous one - “My husband and my father-in-law” (Fig. 3). Many similar paintings were created in subsequent years, among which “Eskimo-Indian” (Fig. 4) and “Duck-Rabbit” (Fig. 5) are also widely known.

There are also dual figures, whose interpretation depends on the angle from which we look at them. A remarkable example is the series of cartoons by Gustave Verbeek, which were published in the New York Herald from 1903 to 1905.

Each picture must first be viewed in its normal position, and then turned upside down. Figure 6 shows the little girl Lady Lovekins caught by the giant Rock bird. The upside-down painting shows a large fish capsizing an old man's canoe, Muffaroo, with its tail. Also very famous are "double images", in which the purpose and function of objects and backgrounds change with each other. At first glance, in Sandro del Prete's painting "The Window Opposite" (Fig. 7), you will probably see something more than just a vase of flowers, a glass and a pair of stockings hanging to dry.

Stereographic duality

The images formed on our retina are two-dimensional. An important task EYE is the reconstruction of three-dimensional reality from these two-dimensional images. When we look with both eyes, the two images on the retinas of our eyes contain slight differences. An independent EYE program uses these differences to calculate (with high degree accuracy for objects located at a distance of no more than 50 meters) spatial relationships between objects and our body, giving us a direct understanding of the surrounding space. But even an image from the retina of one eye is enough to create a believable three-dimensional picture of the world around us. The transformation of three-dimensionality into two-dimensionality forms the basis of duality, as illustrated by a simple example. Segment AB in Fig. 8a can be interpreted by the EYE in several ways. For example, it can be considered simply as a segment drawn with ink on paper, or as a straight line segment in space, but we cannot say which of points A and B is closer to us. As soon as we provide the EYE with a little more information, for example, by placing the segment AB inside the drawing of the cube, the positions of points A and B will be determined in space. In Fig. In Figure 8b, point A looks closer to point B, and also point B looks lower than point A. In Figure 8c, these relationships are reversed. In Fig. 8d the same segment AB is located horizontally in the direction from the trees in the foreground to the horizon.

A cube in which all twelve edges are depicted by identical straight lines (Fig. 9) is called a Necker cube in honor of the professor of mineralogy L.A. Necker from Germany, who was the first to study stereographic duality c scientific point vision.

Necker cube

On May 24, 1832, Professor Necker wrote a letter to Sir David Brewster, with whom he had recently visited in London. He devoted the second half of the letter to what has since become known as the Necker cube. This letter is important not only because it is the first time a scientist described the phenomenon of optical inversion, but also because this phenomenon surprised the author himself. It also sheds light on typical scientific practice at a time when it was not yet common to use test samples of participants or to create special scientific instruments. Instead, the researcher recorded his own observations and tried, often in very general terms, to guess what was hidden behind the appearance in the hope of reaching a conclusion within the limits of his knowledge.

"The object to which I would like to draw your attention relates to the phenomenon of perception in the field of optics, a phenomenon that I have observed many times while studying images crystal lattices. I'm talking about a sudden, unintentional change in the apparent position of a crystal or other three-dimensional body depicted on a two-dimensional surface. What I mean is easier to explain with the help of the illustrations attached to the letter. The segment AX is depicted in such a way that point A is closer to the viewer, and point X is further away. Thus ABCD represents the frontal plane and triangle XDC is on the posterior plane. If you look at the figure a little longer, you will see that the apparent orientation of the figure sometimes changes so that point X appears to be the closest point, and point A appears to be the farthest point, and the ABCD plane moves back behind the XDC plane, giving the entire figure a completely different orientation.

For a long time it was unclear to me how to explain this random and unintentional change that I regularly encounter in various forms in books on crystallography. The only thing I could detect was an unusual sensation in the eyes at the moment of change. It determined for me that there was an optical effect, and not just a mental one (as it seemed to me at first). Having analyzed the phenomenon, it seems to me that it is associated with focusing the eye. For example, when the focal point on the retina (i.e., the macula) points to an angle with its vertex at point A, that angle has a sharper focus than the other angles. This naturally suggests that the corner is closer, that is, in the foreground, while the other corners being less clearly visible create the feeling that they are further away.

The "switch" occurs when the focal point moves to point X. After discovering this solution, I was able to find three different proofs of its correctness. First, I can see the object in the desired orientation of my choice by moving the focus between points A and X.

Secondly, by concentrating on point A and seeing the figure in the correct position with point A in the foreground, without moving either the eyes or the figure, slowly moving the concave lens between the eyes and the figure from bottom to top, the switch occurs the moment the figure becomes visible through the lens. Thus, an orientation is assumed in which point X is visible even further away. This only happened because point X replaced point A at the focus point without any spatial adjustment to the latter.

In conclusion, when I look at a figure through a hole made in a piece of cardboard with a needle, so that either point A or point X is not visible, the orientation of the figure is determined by the angle that is visible in currently, since this angle is always the closest. IN in this case the figure cannot be seen in any other way and no switching occurs.

What I said about angles is also true for individual sides. Planes located on the line of sight (or opposite macular spot retina) always appear to lie in the foreground. It became clear to me that this small, and at first glance mysterious phenomenon, is based on the law of eye focusing.

No doubt you can draw your own conclusions from the observations I have described here, which I, in my ignorance, cannot predict. You can use these observations as you wish."

Many people who have conducted the same experiment as Necker have come to the conclusion that switching occurs spontaneously and independently of the point of focus. However, Necker's original assumption that this phenomenon occurs when retinal images are processed in the brain is correct. In the Necker cube, the EYE cannot determine which of the points (or planes) is closer or further. Figure 10 shows the Necker cube as solid lines ABCD-A"B"C"D" between two other illustrations of two possible interpretations. When we look at a Necker cube, we first see the figure in the center, then the figure on the right, and a little later the figure on the left, etc. Switching from "A is closer than A" to "A is further than A"" is called perceptual inversion: the central cube inverts the representation of the cube on the right to the cube on the left and vice versa.

However, the alternation of relative distances ABCD and A"B"C"D" is not the strongest impression for the viewer. Most noticeable is the fact that both cubes have completely different orientations, as Necker pointed out in his letter. Thus, the segments AD and AD" look intersecting, although in the figure they are depicted in parallel. The phenomenon of perceptual inversion can be described more precisely: all lines have the same orientation on the retinal image, but as soon as the interpretation of the figure changes to inverse, all lines (in space) look as if they have changed orientation. As we can see, such changes in orientation can be very unexpected. The perceptual inversion in the top pair of dice in Figure 11 is caused by the choice of the angle at which the dice are drawn. These figures are based on two photographs of one and the same configuration of dice made at different angles. The left dice is located next to the wall. The wall and floor are marked with squares that match the size of the face of the dice. The bottom drawing forms the different orientations of the dice more clearly.

The angle at which the cube is depicted also determines the angle at which its sides will be visible after perceptual inversion. The left pair of cubes in Figure 12 has a very small angle, and the right pair has a maximum angle (which corresponds to the top image of Figure 11)

Convexity and concavity

Although the Necker cube offers two different geometric shapes, the terms “convexity” and “concavity” cannot be applied to them. We can always see both the inside and outside of the cube. The situation changes when we remove from the figure three planes that meet near the center of the cube, as shown above in the figure with dice. Now we have a figure which again suggests two opposite spatial bodies, but now these bodies are of a different nature: one is convex, as we see the cube from the outside, and the other is concave, in which we perceive three planes inside the cube. Most people recognize a convex shape immediately, but have some difficulty perceiving a concave shape until secondary supporting lines are added to the drawing.

In the lithograph “Concave and Convex” (Fig. 14) M.K. Escher demonstrates how, through specific geometric techniques, the viewer is forced to interpret the left side of the drawing as convex, and right side like a concave In particular, the transition between the two parts of the picture is interesting. At first glance, the building looks symmetrical. The left side is more or less mirror image on the right side, and the transition in the center of the picture is not rough, but smooth and natural. But when we look past the center, we find ourselves plunging into something worse than a bottomless abyss: everything is literally inside out. The top side becomes the bottom, the front becomes the back. Only figures of people, lizards and flower pots resist this inversion. We continue to perceive them as real, since we do not know their “inside out” form. Yet they, too, must pay to reach the other side: they are forced to inhabit a world in which upside-down relationships leave the viewer dizzy. Take the man climbing the stairs in the lower left corner: he has almost reached the platform in front of the small temple. He may wonder why the jagged pool in the center is empty. He could then try to place a ladder on the right. And now he has a dilemma: what he thought was a flight of stairs is actually the lower part of the arch. He will suddenly realize that the ground is much lower than his feet and has become a ceiling to which he is strangely stuck, defying the laws of gravity. The woman with the basket will find something similar happening to her if she goes down the stairs and crosses the center. However, if she remains on the left side of the picture, they will be safe.

The greatest discomfort is caused by two trumpeters located on opposite sides of the vertical line passing through the center of the picture. The top trumpeter, on the left, looks out the window over the vaulted roof of the small temple. From his position, he could easily climb out (or in?) through the window, climb down to the roof and then jump to the ground. On the other hand, the music played by the bottom trumpeter on the right will flow upward to the vault above his head. This trumpeter better give up all thoughts of climbing out of his window, because there is nothing under his window. In his part of the painting, the earth is inverted and lies below him, out of his field of vision. The emblem on the flag in the upper right corner of the painting cleverly sums up the content of this composition.

By allowing our eyes to move slowly from the left side of the painting to the right, it is possible to see that the arch on the right side is like a flight of stairs, in which case the flag looks completely implausible... But let me leave you to explore for yourself the many other mixed dimensions of this intriguing painting.

We often experience geometric ambiguity in our retinal images, even where this was not intended. For example, when studying a photograph of the moon, after some time we may discover that the craters have spontaneously transformed into hills, despite the fact that we know that they are craters. In nature, the interpretation of an image as "concave" or "convex" is highly dependent on the angle of incidence of the light. When light comes from the left, the crater on the left will have a bright outer surface and a dark inner surface.

When we study a photograph of the moon, we assume some kind of certain angle light incidence to enable crater recognition. If next to the first photograph of the moon we place the same photograph, but turned upside down, the lighting conditions that we assumed for the first photograph will be used to perceive the second, and it will be very difficult to resist the “inverted” interpretation. Almost all of the crater depressions in the first photo will appear bulging in the second.

The same phenomenon can sometimes be observed by simply turning over an ordinary photograph upside down. This effect is illustrated here by a Belgian village postcard (Fig. 16) and a fragment of an Escher painting (Fig. 17), which are printed upside down.

Even perfectly normal everyday objects can suddenly suggest ambivalence, particularly if we view them in silhouette or almost in silhouette.

Mach illusion

The Mach illusion is a phenomenon observed when viewing three-dimensional objects, and cannot be reproduced in the form of two-dimensional reproductions. Can be demonstrated with a simple and fun experiment. Take a rectangular sheet of paper measuring approximately 7x4 cm and fold it in half lengthwise. Open the sheet to form a V-shape (Fig. 18) and hold it vertically with the corner pointing into the distance. Now look at it with only one eye. After a few seconds, the vertical sheet inverts into a shape similar to a horizontal roof. Now if you turn your head left, right, up and down, you will be looking at a "roof" - a rotating roof in a still background. Two things are striking: first, this rotational movement occurs contrary to our expectations; secondly, the inverse form remains stable as long as the movement continues. (Naturally, the experiment can also be carried out with the paper placed horizontally with the fold pointing upward. In this case, the inverse shape will be vertical.)

We can come up with many models to demonstrate this illusory movement. Paolo Barreto came up with a simple but very effective inversion model in his Holocube (Fig. 19), a composition of three concave cubes. However, the inverse shape of the figure (convex) is more stable than its actual concave shape. Thus, when viewed from some distance, the figure appears as three convex cubes that float strangely in space when we turn our heads. This phenomenon, first described by Ernst Mach, also appears spontaneously in images of concave figures. We see such images as convex, since the concave shape seems implausible to us (Fig. 20 and 21). When we move, the inverse image follows us. This is especially surprising when the image in question is someone's face!

Pseudoscopy

In connection with the painting Convexity and Concavity, Escher told me that although he could see many objects inverted with one eye, he could not do this with a cat. Around the same time, I introduced him to the phenomenon of pseudoscopy, in which this kind of "inside-out" vision is formed in the EYE. We can cause our 3D vision program to go the wrong way by presenting the left eye with an image intended for the right eye, and vice versa. The same effect could be achieved a little more easily by using two prisms, showing mirror images to both eyes.

Escher was delighted with these prisms and for a long time carried them with me everywhere to look at various three-dimensional objects in their pseudoscopic form. He wrote to me: “Your prisms are the simplest means of experiencing the same type of inversion that I tried to achieve in the painting “Convexity and Concavity.” The small white staircase made of sheet steel, given to me by mathematics professor Schouten, inverts as soon as you look at it through prisms, as in the painting "Convexity and Concavity". I attached the prisms between two pieces of cardboard and secured them with an elastic band. It turned out something similar to "binoculars". On a walk, this device entertained me. So, some leaves that fell into the pond suddenly rose, the water level became lower than the air level, but there was no “fall” of water! Also interesting is the change in where is left and where is right. If you look at your legs in motion, moving right leg the left leg will appear to be moving."

You can use Figures 23 and 24 to create your own pseudoscope to experience illusory movement for yourself.

Thiéry's figure

In 1895, Armand Thiéry published a detailed article about his research in the specific field of optical illusions. It is the first mention of the figure that today bears his name, and which was used in countless variations by artists of the Op Art movement. Most known variant The figure consists of five rhombuses with angles of 60 and 120 degrees (Fig. 26). To many people, this figure appears to be very dual, in which two cubes are successively represented either in a convex or in a concave form. Thierry carefully carried out all experiments under the same conditions. He recruited several participants for tests "to make the observations more reliable." However, he was far from the methods of modern statistics, since he did not calculate the arithmetic mean for his results, and, moreover, he selected test participants from specialists in related fields, such as experimental psychology, applied graphics, aesthetics, etc. which, in particular, the modern researcher should avoid.

Thierry writes: “All drawings with perspective reflect a certain position taken by the eye of the artist and the observer. Depending on the distance at which we perceive this position, the drawings can be interpreted differently. Figure (27) is an illustration of a prism viewed from below, drawing ( 28) is a prism seen from above. But these drawings become dual when the two figures are combined so that both prisms share one common side (Fig. 29). When viewing the drawing from right to left, the drawing appears as a wrapped screen viewed from above."

Strangely, Thierry does not mention the second interpretation, but emphasizes that the figure has similarities in the Schröder staircase (a drawing of the same staircase that the processor Prof. Schouten gave to Escher) and notes: “Here, too, there are two possible interpretations.” He comes to the conclusion that we can see the figure in two versions - as a prism from Figure 27 and as a prism from Figure 28, each of which has a unique extension.

Less well known is the fact that the symmetrical figure of Thierry (Fig. 26) can be represented as a completely non-dual figure. One day Professor J.B. Deregowski brought me wooden block, having exactly the same shape. For those who saw this object, the figure of Thierry ceases to be ambiguous. If you transfer the “drawing” of the figure’s development (Fig. 30) to another sheet of paper, cut along the lines and glue, you will immediately see how this illusion works. Looking at the paper model from above, you will see the figure of Thierry, and then it will be difficult to ever see it again as dual. EYE prefers simple solutions!

When geometrically dual figures are presented to the EYE, it spontaneously alternately offers us two spatial solutions. Something is either concave or convex, depending on whether we are looking up at the bottom side or looking down at the top side. The obvious question is whether it is possible to confront the EYE with a situation where the alternatives "either/or" become simultaneous "both/and". Such a situation can produce an impossible object, since two interpretations cannot be true at the same time. In Chapter 4 we will meet figures in which such an extraordinary situation arises.

An optical illusion is a trick of human vision. Observations of some images leave visual illusions in our minds.

Optical illusion is the unreliable perception of certain visual information. A person, looking at an illusion, incorrectly estimates its size or shape, creating a deceptive image in his mind.

The reason for erroneous perception is the structural feature of our visual organ. The physiology and psychology of vision allow us to make the wrong final result and instead of round shapes, a person is able to see square ones, and large pictures will seem small.

Illusion - error of visual perception

Optical illusion can be divided into several main types:

• incorrect color perception
• misperception based on contrast
• misperception of object size
• incorrect perception of image depth
• twisted illusion
• "shifter"
• illusions that move
• 3D pictures
• optical illusion contour

The human brain can react deceptively to some images. It feels like the image is moving or even changing color just because of what the brain perceives visible light some pictures.

Moving pictures optical illusion, photo

One of the most popular are the so-called moving pictures. Secret of this type lies in color and contrast perception.

It is enough to look at the center of this picture for a few seconds, then look away to one of the sides of the salad frame of the image, and the picture will literally “float”.

This illusion can be classified into two types: “curvature of shape” and “moving illusion”. Firstly, the uneven placement of the cubes allows us to conclude that the lines are crooked.

However, they are absolutely smooth. Secondly, if you move the picture up and down using the slider on your monitor on the right, you can see how the cubes move and run.

Thanks to the textured image, it seems that the squares in the center of the picture are moving.

Thanks to contrasting image round disks, it seems that they are moving in different directions: clockwise and counterclockwise.

Patterns in the picture different sizes and stand out with bright contrasting colors. This is why the lines and curves appear to be moving.

What kind of visual illusion pictures are there for children?

• Visual illusions are one of the most popular intellectual entertainments for children. Observing such pictures allows you to develop your child’s thinking.
• He tries to understand why this happens, that what is desired is not presented as reality.
• In addition, groups of eye muscles are exercised. This helps improve blood circulation to the optic canal, which means it serves as a kind of prevention of blindness and other problems.

While observing illusions, the child exercises his logical thinking and develops the brain.

The most popular illusions for children:

This illusion helps the child understand which animal is shown in the picture: a cat or a dog. The child analyzes everything external features and remembers the characteristics, in addition, he tries to visually reverse the image, which trains his eye muscles.

This illusion provides the child with the opportunity to see three-dimensional image. In order to do this, you need to bring your face closer to the image, direct your gaze to the middle, diffuse your vision for five seconds and then quickly focus. This activity intensively trains the eye muscles and allows the child to develop vision.

Uniform prints located mirror to each other allow the baby to find common features external parameters in different animals.

This image allows you to develop abstract thinking: in the proposed picture you can see a simple branched tree. But if you read the contours correctly, the image of a newborn child will appear before your eyes.

What are hypnosis pictures, optical illusion?

Some images are called “pictures of hypnosis” because they are capable of misleading and a kind of trance, when a person diligently tries to understand the secret of the drawn objects and why they move.

There is a belief that if you look for a long time at the center of a moving image, a person imagines himself plunging into a deep tunnel without a bottom or edge. It is this immersion that distracts him from other thoughts and his trance is comparable to hypnosis.

Illusion pictures in black and white, optical illusion in contrasts

Black and white colors- are absolutely opposite. These are the most contrasting colors of all that exist. Looking at such a picture, the human eye literally “doubts” which color to pay the main attention to, and that is why it turns out that the pictures “dance”, “float”, “move” and even appear in space.

The most popular black and white illusions:

The secret of the image is that the lines on the lines are drawn in different directions and that is why it seems that the lines are not at all parallel.

These images allow us to see two images in one picture. The drawing is based on the principle of contour and contrasts.

In this illusion, for the effect you need to look for a long time at the red dot located in the image.

One minute will be enough. After this, your gaze is averted to the side and on any object you see what you previously observed only on the monitor.

What is optical illusion 3d pictures?

This type of illusion allows a person to literally “break his brain.” This is because the picture displays the arrangement of objects in such a way that, firstly, they become three-dimensional on a plane, and secondly, sometimes they are too difficult to understand.

This picture makes it unclear to a person the location of objects: their sides and surfaces. Nevertheless, the drawing is perceived in volume.

More complex images involve a person peering into the depths of the picture for a long time. It is worth completely dissipating and splitting vision and after some time sharply restoring it.

On a completely flat picture it will appear volumetric figure(in this case a woman) with clear contours.

Optical illusions pictures optical illusions

Optical illusions are errors that can occur in our vision. The causes of optical illusions are errors of perception.

While looking at a picture, inexplicable movements, disappearances and appearances may occur. All this is justified physiologically and psychological aspect visual perception.

The secret of the illusion is that when we notice a small black object in the center, we do not pay attention to our surroundings.

The unclear image of the contours allows us to see that the elephant has eight legs instead of four.

Contrasting colors and unclear boundaries of the picture allow the image to literally vibrate the moment we look at it and remain immobilized when we turn our gaze to something else.

Based on a mirror image with exact repetition of all forms.

Optical illusion pictures: dress, explanation of the illusion

• The famous online “virus” and the “blue or gold dress” joke are based on visual perception, depending on the individual characteristics of each person
• Once upon a time, everyone received a picture on social networks from friends with the caption “What color is the dress?” And many of your friends answered this question in completely different ways: either blue or gold
• The secret to perceiving a picture lies in how your visual organ is built and under what conditions you observe this picture.
• In the retina human eye in each specific case there is a certain number of cones and rods. It is the quantity that plays the role of perception: for some it will be blue, for others it will be golden

It is important to pay attention to the fact of lighting. look at the image in bright light - you will see blue dress. Go into a dark room for half an hour and then look back at the picture - most likely you will see a golden dress.

Double pictures are an optical illusion, what's the secret?

As mentioned earlier, the secret of this illusion is hidden in the complete repetition of the lines of the drawing when it is mirrored. Of course, this can not be done in practice with every picture, but if you carefully choose the form, you will get quite an interesting result.

Looking at this image, you need to decide for yourself: “What do you see first?” Of the possible options, you will see a young girl, turned in profile with a feather in her headdress, or an old woman with a long chin and a large nose.

From more modern options Double images can be distinguished by paintings that simultaneously depict two separate drawings. In such cases, the features of one image are read in different lines.

Video: “Five of the most incredible optical illusions. Optical illusion"