Optical Illusion

Color and brightness constancies

Perceptual constancies are sources of illusions. Color constancy and brightness constancy are responsible for the fact that a familiar object will appear the same color regardless of the amount of or colour of light reflecting from it. An illusion of color or contrast difference can be created when the luminosity or colour of the area

surrounding an unfamiliar object is changed. The contrast of the object will appear darker against a black field which reflects less light compared to a white field even though the object itself did not change in color. Similarly, the eye will compensate for colour contrast depending on the colour cast of the surrounding area.

Object consistencies

Like color, the brain has the ability to understand familiar objects as having a consistent shape or size. For example a door is perceived as rectangle regardless as to how the image may change on the retina as the door is opened and closed. Unfamiliar objects, however, do not always follow the rules of shape constancy and may change when the perspective is changed. The Shepard illusion of the changing table is an example of an illusion based on distortions in shape constancy.

Depth and motion perception

Illusions can be based on an individual's ability to see in three dimensions even though the image hitting the retina is only two dimensional. The Ponzo illusion is an example of an illusion which uses monocular cues of depth perception to fool the eye.

In the Ponzo illusion the converging parallel lines tell the brain that the image higher in the visual field is further away therefore the brain perceives the image to be larger, although the two images hitting the retina are the same size. The Optical illusion seen in a diorama/false perspective also exploits assumptions based on monocular cues of depth perception. The M. C. Escher painting Waterfall exploits rules of depth and proximity and our understand of the physical world to create an illusion.

Like depth perception, motion perception is responsible for a number of sensory illusions. Film animation is based on the illusion that the brain perceives a series of slightly varied images produced in rapid succession as a moving picture. Likewise, when we are moving, as we would be while riding in a vehicle, stable surrounding objects may appear to move. We may also perceive a large object, like an airplane, to move more slowly, than smaller objects, like a car, although the larger object is actually moving faster. The Phi phenomenon is yet another example of how the brain perceives motion, which is most often created by blinking lights in close succession.

Explanation of cognitive illusions

Perceptual organization

To make sense of the world it is necessary to organize incoming sensations into information which is mea

ningful. Gestalt psychologists believe one way this is done is by perceiving individual sensory stimuli as a meaningful whole.G

estalt means "whole" in German. However, another explanation of the Kanizsa Triangle is based in evolutionary psychology and the fact that in order to survive it was important to see form and edges. The use of perceptual organization to create meaning out of stimuli is the principle behind other well-known illusions including impossible objects. Our brain makes sense of shapes and symbols putting them together like a jigsaw puzzle, formulating that which isn't there to that which is believable.

Cognitive illusions

Cognitive illusions are assumed to arise by interaction with assumptions about the world, leading to "unconscious inferences", an idea first suggested in the 19th century by Hermann Helmholtz. Cognitive illusions are commonly divided into ambiguous illusions, distorting illusions, paradox illusions, or fiction illusions.

1. Ambiguous illusions are pictures or objects that elicit a perceptual 'switch' between the alternative interpretations. The Necker cube is a well known example; another instance is the Rubin vase.
2. Distorting illusions are characterized by distortions of size, length, or curvature. A striking example is the Café wall illusion. Another example is the famous Müller-Lyer illusion.
3. Paradox illusions are generated by objects that are paradoxical or impossible, such as the Penrose triangle or impossible staircases seen, for example, in M. C. Escher's Ascending and Descending and Waterfall. The triangle is an illusion dependent on a cognitive misunderstanding that adjacent edges must join.
4. Fictional illusions are defined as the perception of objects that are genuinely not there to all but a single observer, such as those induced by schizophrenia or a hallucinogen. These are more properly called hallucinations.

Physiological illusions

Physiological illusions, such as the afterimages following bright lights or adapting stimuli of excessively longer alternating patterns (contingent perceptual aftereffect), are presumed to be the effects on the eyes or brain of excessive stimulation of a specific type - brightness, tilt, color, movement, etc. The theory is that stimuli have individual dedicated neural paths in the early stages of visual processing, and that repetitive stimulation of only one or a few channels causes a physiological imbalance that alters perception.

The Hermann grid illusion and Mach bands are two illusions that are
best explained using a biological approach. Lateral inhibition, where in the receptive field of the retina light and dark receptors compete with one another to become active, has been used to explain why we see bands of increased brightness at the edge of a color difference when viewing Mach bands. Once a receptor is active it inhibits adjacent receptors. This inhibition creates contrast, highlighting edges. In the Hermann grid illusion the grey spots appear at the intersection because of the inhibitory response which occurs as a result of the increased dark surround.[1] Lateral inhibition has also been used to explain the Hermann grid illusion, but this has been disproved.