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

In this richly illustrated study, the first book-length exploration of illusionistic art in the early United States, Wendy Bellion investigates Americans' experiences with material forms of visual deception and argues that encounters with illusory art shaped their understanding of knowledge, representation, and subjectivity between 1790 and 1825. Focusing on the work of the well-known Peale family and their Philadelphia Museum, as well as other Philadelphians, Bellion explores the range of illusions encountered in public spaces, from trompe l'oeil paintings and drawings at art exhibitions to ephemeral displays of phantasmagoria, "Invisible Ladies," and other spectacles of deception. Bellion reconstructs the elite and vernacular sites where such art and objects appeared and argues that early national exhibitions doubled as spaces of citizen formation. Within a post-Revolutionary culture troubled by the social and political consequences of deception, keen perception signified able citizenship. Setting illusions into dialogue with Enlightenment cultures of science, print, politics, and the senses, Citizen Spectator demonstrates that pictorial and optical illusions functioned to cultivate but also to confound discernment. Bellion reveals the equivocal nature of illusion during the early republic, mapping its changing forms and functions, and uncovers surprising links between early American art, culture, and citizenship.

We live in a time of great uncertainty about the future. Those heady days of the late twentieth century, when the end of the Cold War seemed to be ushering in a new and more optimistic age, now seem like a distant memory. During the last couple of decades, we’ve been battered by one crisis after another and the idea that humanity is on a progressive path to a better future seems like an illusion. It is only now that we can see clearly the real scope and structure of the profound shifts that Western societies have undergone over the last 30 years. Classical industrial society has been transformed into a late-modern society that is molded by polarization and paradoxes. The pervasive singularization of the social, the orientation toward the unique and exceptional, generates systematic asymmetries and disparities, and hence progress and unease go hand in hand. Reckwitz examines this dual structure of singularization and polarization as it plays itself out in the different sectors of our societies and, in so doing, he outlines the central structural features of the present: the new class society, the characteristics of a postindustrial economy, the conflict about culture and identity, the exhaustion of the self resulting from the imperative to seek authentic fulfillment, and the political crisis of liberalism. Building on his path-breaking work The Society of Singularities, this new book will be of great interest to students and scholars in sociology, politics, and the social sciences generally, and to anyone concerned with the great social and political issues of our time.

Bayart provides an examination of the fluidity of ideas of culture with relation to identity, state-building and political action.

As far back as we know, there have been individuals incapacitated by memories that have filled them with sadness and remorse, fright and horror, or a sense of irreparable loss. Only recently, however, have people tormented with such recollections been diagnosed as suffering from "post-traumatic stress disorder." Here Allan Young traces this malady, particularly as it is suffered by Vietnam veterans, to its beginnings in the emergence of ideas about the unconscious mind and to earlier manifestations of traumatic memory like shell shock or traumatic hysteria. In Young's view, PTSD is not a timeless or universal phenomenon newly discovered. Rather, it is a "harmony of illusions," a cultural product gradually put together by the practices, technologies, and narratives with which it is diagnosed, studied, and treated and by the various interests, institutions, and moral arguments mobilizing these efforts. This book is part history and part ethnography, and it includes a detailed account of everyday life in the treatment of Vietnam veterans with PTSD. To illustrate his points, Young presents a number of fascinating transcripts of the group therapy and diagnostic sessions that he observed firsthand over a period of two years. Through his comments and the transcripts themselves, the reader becomes familiar with the individual hospital personnel and clients and their struggle to make sense of life after a tragic war. One observes that everyone on the unit is heavily invested in the PTSD diagnosis: boundaries between therapist and patient are as unclear as were the distinctions between victim and victimizer in the jungles of Southeast Asia.

Everyone, everyday, everywhere has to cope with climatic cold or heat to satisfy survival needs, using money. This point of departure led to a decade of innovative research on the basis of the tenet that climate and affluence influence each other's impact on culture. Evert Van de Vliert discovered survival cultures in poor countries with demanding cold or hot climates, self-expression cultures in rich countries with demanding cold or hot climates, and easygoing cultures in poor and rich countries with temperate climates. These findings have implications for the cultural consequences of global warming and local poverty. Climate protection and poverty reduction are used in combination to sketch four scenarios for shaping cultures, from which the world community has to make a principal and principled choice soon.

Nature and Illusion is the first extended study of the portrayal of nature in Byzantine art and literature. It provides a new view of Byzantine art in relation to the medieval art of Western Europe.

Pulitzer prize–winner Chris Hedges charts the dramatic and disturbing rise of a post-literate society that craves fantasy, ecstasy and illusion. Chris Hedges argues that we now live in two societies: One, the minority, functions in a print-based, literate world, that can cope with complexity and can separate illusion from truth. The other, a growing majority, is retreating from a reality-based world into one of false certainty and magic. In this “other society,” serious film and theatre, as well as newspapers and books, are being pushed to the margins. In the tradition of Christopher Lasch’s The Culture of Narcissism and Neil Postman’s Amusing Ourselves to Death, Hedges navigates this culture — attending WWF contests as well as Ivy League graduation ceremonies — exposing an age of terrifying decline and heightened self-delusion.

For many illusions it is easy to find owners—people who proudly declare their belief in things such as life after death, human reason, or the self-regulation of financial markets. Yet there are also different kinds of illusions, too, for example, in art: trompe l'oeil painting pleases its observers with "anonymous illusions"—illusions where it is not entirely clear who should be deceived. Anonymous illusions offer a universal pleasure principle within culture. They are present in games, sports, design, eroticism, manners, charm, beauty, and so on. However, it seems that this pleasure principle is increasingly misinterpreted. The proud proprietors of certain illusions are no longer capable of recognizing that they also follow anonymous illusions. As a consequence, they mistake happy, polite others for naïve idiots or "savages"—the possessors of stupid illusions whose happiness is an obscene intrusion into the lives of more rational creatures. The misrecognition of anonymous illusions thus becomes a crucial ideological bedrock for contemporary neoliberal policy. Hatred of the other's happiness leads to the destruction of the public sphere and to a state that, rather than fostering and stimulating its citizens' capacities, interpellates them as victims and limits itself to providing "protective" or repressive measures directed against them.