Victorian Illusions

This week a new article on illusions from the Golden Age, written by Susana Martinez-Conde and me, came out: Scientific American Mind. The Victorian era was a watershed in brain science and the study of illusions and perception served as the cornerstone for the field of Psychology that grew from it. 

Join Our Community of Science Lovers!

This article was published in Scientific American’s former blog network and reflects the views of the author, not necessarily those of Scientific American


This week a new article on illusions from the Golden Age, written by Susana Martinez-Conde and me, came out: Scientific American Mind.

The Victorian era was a watershed in brain science. The study of illusions and perception, in particular the work of the German scientist Gustav Fechner, served as the cornerstone for the field of Psychology that grew from it. So neuroscience and the study of illusory perception have always gone hand in hand. From this era we inherited a number of illusion based technologies, such as moving pictures—which led to TV, computers and smart phones.

It was with this knowledge that Hull & Train, a science museum exhibition production company, came to us to help them design Eyellusions: a new travelling exhibit of illusory science that was thematically set in the Victorian era. The science is cutting-edge and contemporary: we made sure of that! But the Victorian theme is historically relevant and brings a certain visual wonderfulness to the project, which I love.


On supporting science journalism

If you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.


Come see the show, which recently opened at the Sci-Tech Discovery Science Center in Frisco, Texas,

As part of the exhibit, the creative Canadian duo Hall Train and Alexandra Lemay produced a sci-fi epic video showcasing how magicians, such as Georges Méliès, developed movie effects like forced perspective and stop motion photography, by employing a basic understanding of simple visual illusions. What is really cool here is that they shot the entire film with a smart phone. Check it out!

 

Susana and I also filmed a number of scientific explanations for the exhibitions displays in full Victorian regalia. Here is one video (below) and you may enjoy to see them all here.

Stephen L. Macknik is a professor of opthalmology, neurology, and physiology and pharmacology at SUNY Downstate Medical Center in Brooklyn, N.Y. Along with Susana Martinez-Conde and Sandra Blakeslee, he is author of the Prisma Prize-winning Sleights of Mind. Their forthcoming book, Champions of Illusion, will be published by Scientific American/Farrar, Straus and Giroux.

More by Stephen L. Macknik

Subscribe to Support Independent Journalism

Great science journalism requires human expertise, time, effort and creativity. And it costs money. That’s why I and the journalists here at Scientific American hope you’ll join our community.

When you subscribe, you are supporting staff and freelance journalists who are passionate about telling science stories that are true, important and compelling. Our editors and reporters are often experts in their fields, which means they understand the nuances of big discoveries and can untangle the breakthroughs from the hype. With a subscription, you are also supporting rigorous fact-checking to ensure the words we publish are precise and accurate. And you’re supporting original illustrations, graphics and photos that bring you closer to an advanced laboratory, an ice sheet in Antarctica or a space mission in orbit. You’re helping us craft other types of high-quality journalism as well: Our newsletters are carefully written, edited and curated by staffers you have or will come to know and love. Our Science Quickly podcast is based on original reporting, collaboration with editors and scientists and exacting production.

Subscriptions keep this engine running so we can continue to deliver thoughtful, rigorous and independent science journalism to you. In an era of viral misinformation, this work is crucial. If you value what we do, I hope you’ll consider joining us as a subscriber

Thank you,

Jeanna Bryner, Editor in Chief, Scientific American

Subscribe