Beau Lotto: Optical Illusions Summary

Annie Dillard's "Seeing" demonstrates the intricacies of Dillard's relationship between the true place of matter in our world and how expectations and preconceptions shape how that matter is defined.

Our study of the distinctively visual deepens our understanding of the world and those who inhabit it.

Sometimes, it seems that the best representation of fiction is reality, not the other way

In life, what we perceive tends to show misconception in how the thought plays out. A good example would be the character Jay Gatsby in F. Scott Fitzgerald’s American classic: The Great Gatsby. Gatsby was unable to distinguish between his love for Daisy, a reality, versus the illusion that he could recapture her love by establishing and inventing a fraudulent past. He believed he could repeat the past, and acquire a flaunting wealth. In the novel, Jay Gatsby seems incompetent in establishing a difference between the realities of his life versus the illusion he made out.

Authors use a number of different tones, settings, themes, characterizations, and points of view in order to create a fictional world inside the readers head. We see these tools used in contrasting ways in “The Cask of Amontillado” by Edgar Allan Poe and “The Lottery” by Shirley Jackson. The distinctive techniques used in these short stories leave you feeling uneasy once you finish them. Using different methods, both authors create a story of horror for their readers.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

He says that even a minimal amount of bottom up data can produce detailed hypothesises, which is shown in Johansson's study in 1975, whereby in darkness, just a few lights attached to a moving person evoke clear perceptions of people walking or dancing. However, Gregory's theory is questioned by many. For example, if perception is essentially constructive, then how does it gets started and why is there such commonality among the perceptions of different people, all of whom have had to construct their own idiosyncratic worlds. Also, given that perception is typically accurate, it seems unlikely that our retinal images are really as ambiguous and lacking in detail as Gregory suggests.

The following is a thought experiment by Jackson to undermine Physicalism. “Mary is a brilliant scientist who is, for whatever reason, forced to investigate the world from a black and white room via a black and white television monitor. She specialises in the neurophysiology of vision and acquires, let us suppose, all the physical information there is to obtain about what goes on when we see ripe tomatoes, or the sky, and use terms like ‘red’, ‘blue’, and so on. She discovers, for example, just which wavelength combinations from the sky stimulate the retina...What will happen when Mary is released from her black and white room or is given a colour television monitor? Will she learn anything or not? It seems just obvious that she will learn something about the world and our visual experience of it. But then it is inescapable that her previous knowledge was incomplete. But she had all the physical information. Ergo there is more to have than that, and Physicalism is false” (Jackson 130). At this point of time, Mary supposedly

Every single body of work contains a motif, which the author shows through the plot of the story. Before showing the common motif of my stories let there be an understanding of the word. Motif is a recurring element which helps develop the theme of a story. The short stories, “The Lottery” by Shirley Jackson, “The Masque of the Red Death” by Edgar Allan Poe, and “Story of an Hour” by Kate Chopin all include the same motif, which is facing reality.

Beginning at birth (some say earlier) humans begin the process of enculturation or immersing themselves into the culture in which they live. Through enculturation, we learn acceptable behaviors and morals. While the initial teachings come first from our parents and close family members, as we age and become active in our communities we are able to discern even more from teachers, religious leaders, and even our peers.

The working of our mind as humans extraordinarily has no set limit or rules on the interpretation of certain stimuli. As life goes on we take in so many different visuals, audio, and our senses work like labor workers in the fields of grapes during the Great Depression. It would be quite unusual to actually see our minds as fields and view ourselves as workers in any way other than in our respective careers. Sometimes, we tend to glide and simply skip over the unusual and hard to explain complexity presented before us at corners of our life. We fixate on looking for visuals in every way possible. Whether it be viewing our own minds as fields of grapes or how David Foster Wallace brings to life the idea of choosing. We seek out reality in the

The Lottery begins like any other day. Clear and sunny skies, flowers blossoming, and green grass. Seemingly nothing out of the ordinary. Then people begin to gather in the town square. What is this lottery that is taking place? Do the people of the town agree with it? These questions can only be answered by exploring the minds of the people in the town.

Color fills our world with beauty. We delight in the colors of a magnificent sunset and in the bright red and golden-yellow leaves of autumn. We are charmed by gorgeous flowering plants and the brilliantly colored arch of a rainbow. We also use color in various ways to add pleasure and interest to our lives. For example, many people choose the colors of their clothes carefully and decorate their homes with colors that create beautiful, restful, or exciting effects. By their selection and arrangement of colors, artists try to make their paintings more realistic or expressive.

Perception is quite an important piece in real life as well. The power of perceptions is amazing how it can actually help one or bring one down. One has the power to determine the response from events. “Perceptions begin when the human brain receives data from the body’s five sense.” (Enayati, A., 2012, p.2). An example that demonstrates how perception is able to help is Victor Frankl, a Jewish psychiatrist who lived three years in a Nazi concentration camp during World War II. Frankl became aware that he had only one freedom during that time which was the freedom to determine his response for a sorrowful truth. To imagine is to have the power to decide the response to events. Frankl decided that he would image seeing his wife, teaching students about what happened during the Holocaust, and the lessons learned while being in camp.

Strictly speaking, blue is nothing but light that is reflected off the surface of an object and into receivers. These receivers then send electrical impulses to the brain that then interprets the impulses as blue. In that case, what more is color other than the interpretation of electrical signals? Without the stimuli and the receiver, there would be no color. In that case, color is only defined by the measurement of something else. A scientific approach to seeing color reveals a puzzling explanation.