Illusionism is the view that phenomenal consciousness (in the philosophers' sense) is an illusion. This book is a reprint of a special issue of the Journal of Consciousness Studies devoted to this topic. It takes the form of a target paper by the editor, followed by commentaries from various thinkers, including leading defenders of the theory such as Daniel Dennett, Nicholas Humphrey, Derk Pereboom and Georges Rey. A number of disciplines are represented and different viewpoints are discussed and defended. The colleciton is tied together with a response to the commentaries from the editor.

Illusionism is the view that phenomenal consciousness (in the philosophers' sense) is an illusion. This book is a reprint of a special issue of the Journal of Consciousness Studies devoted to this topic. It takes the form of a target paper by the editor, followed by commentaries from various thinkers, including leading defenders of the theory such as Daniel Dennett, Nicholas Humphrey, Derk Pereboom and Georges Rey. A number of disciplines are represented and different viewpoints are discussed and defended. The colleciton is tied together with a response to the commentaries from the editor.

Unlock the secrets of the mysterious world of magic and illusionism with this comprehensive guide, designed for aspiring magicians and enthusiasts alike. This course offers an in-depth exploration of the art of magic, from the fundamentals to advanced techniques that will captivate and amaze any audience. Beginning with the history and evolution of magic, you'll delve into the rich traditions that have shaped this ancient craft. The course covers a wide range of magic styles, including close-up magic, stage magic, mentalism, and sleight of hand. Each chapter is filled with detailed explanations, step-by-step instructions, and practical tips to help you master a variety of illusions. Learn how to perform classic tricks, such as card manipulations, coin tricks, and vanishing acts, as well as more elaborate illusions that require careful preparation and showmanship. You'll also discover the psychology behind magic, understanding how to create the perfect illusion and leave your audience in awe. Whether you're a beginner looking to learn the basics or an experienced magician seeking to refine your skills, this course offers valuable insights and techniques to elevate your performance. With illustrations and clear guidance, "Complete Course in Magic and Illusionism" is your ultimate resource for mastering the art of deception and becoming a skilled illusionist. Prepare to amaze, mystify, and entertain as you embark on a journey into the captivating world of magic and illusionism!

Drawing together a wealth of primary sources, J.A. Sokalski examines the aims, inventions, and methods of the pictorial style that defined MacKaye's art. Sokalski shows how MacKaye's famous Madison Square Theatre, which featured a double stage reminiscent of an elevator, created whirling pictorial illusions for fashionable New York. He argues that MacKaye's infamous failure, the colossal Spectatorium theatre for the 1893 Chicago World's Fair, was the most complete realization of this illusionary aesthetic. Sokalski also explores MacKaye's influence on Buffalo Bill Cody and how civil war cycloramas expanded his concept of pictorial space.

This volume explores illusionism as a much larger phenomenon than optical illusion, magic shows, or special effects, as a vital part of how we perceive, process, and shape the world in which we live. Considering different cultural practices characterized by illusionism, this book suggests a new approach to illusion via media theory. Each of the chapters analyses a specific kind of illusionistic practice and the concept of illusionism it entails in a given context, including philosophy, perception and cognitive theory, performance magic, occultism, optics, physiology, early cinema, cartomancy, spiritualism, architecture, shamanic rituals, and theoretical physics, to show the diversity of shapes that illusionism and illusions can take. The book provides detailed analyses of illusions within performance and ritual magic, philosophy, art history and psychology as well as a first approach to the study of illusions outside of these established fields. It aims to find ways of identifying and analysing a wider range of illusions in the humanities. This multidisciplinary and comprehensive volume will appeal to scholars and students with an interest in media and culture, theatre and performance, philosophy, sociology, politics and religion. This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM Books Volume 47 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-Share Alike 4.0 license https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003188278-8/vanishing-lady-railway-illusions-movement-1-katharina-rein?context=ubx&refId=fe124e6e-8290-43e9-9d48-753bad162c50 Chapter 9 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003188278-13/talking-rocks-illusory-sounds-projections-otherworld-julia-shpinitskaya-riitta-rainio?context=ubx&refId=3aa829a8-8c0b-4103-870a-6fe5a4393e71

Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image. Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects. Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception. “An elegant and honourable synthesis.”—Keith Miller, Times Literary Supplement

Saul Smilansky presents an original treatment of the problem of free will, which lies at the heart of morality and human self-understanding. He maintains that we have most of the resources we need for a proper understanding of the problem; and the key to it is the role played by illusion. The major traditional philosophical approaches are inadequate, Smilansky argues: their partial insights need to be integrated into a hybrid view, which he calls Fundamental Dualism. Common views about justice, responsibility, human worth, and related notions are radically misguided, and the absurd looms large. We do, however, find some justification for enlightened moral views, and grounding for some of our most cherished views of human nature. The bold and perhaps disturbing claim of Free Will and Illusion is that we could not live adequately with a complete awareness of the truth about human freedom: illusion lies at the centre of the human condition. The necessity of illusion is seen to follow from the basic elements of the free will issue, helping keep our moral and psychological worlds intact. Smilansky offers the challenge of recognizing the centrality of illusion and trying to free ourselves to some extent from it; this is not only a philosophical challenge, but a moral and psychological one as well.

How magicians exploit the natural functioning of our brains to astonish and amaze us How do magicians make us see the impossible? The Illusionist Brain takes you on an unforgettable journey through the inner workings of the human mind, revealing how magicians achieve their spectacular and seemingly impossible effects by interfering with your cognitive processes. Along the way, this lively and informative book provides a guided tour of modern neuroscience, using magic as a lens for understanding the unconscious and automatic functioning of our brains. We construct reality from the information stored in our memories and received through our senses, and our brains are remarkably adept at tricking us into believing that our experience is continuous. In fact, our minds create our perception of reality by elaborating meanings and continuities from incomplete information, and while this strategy carries clear benefits for survival, it comes with blind spots that magicians know how to exploit. Jordi Camí and Luis Martínez explore the many different ways illusionists manipulate our attention—making us look but not see—and take advantage of our individual predispositions and fragile memories. The Illusionist Brain draws on the latest findings in neuroscience to explain how magic deceives us, surprises us, and amazes us, and demonstrates how illusionists skillfully “hack” our brains to alter how we perceive things and influence what we imagine.

In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas. In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of “scenic illusion paintings” (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong’s world. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/imperial-illusions