视幻觉

This amounts to the dispossession of the capacity of mankind to know.

从认知的角度|讲，视幻觉不同于传统视觉经验的视知觉，它是直观的刺激，不需要认知和理解力的参与便可接受，这就意味着对认知能力的剥夺。

"Since the early Renaissance, European painters have used trompe l'oeil to create false frames from which the contents of still lifes or portraits seemed to spill and to paint windowlike images that appeared to be actual openings in a wall or ceiling."

从文艺复兴早期起，欧洲的画家们开始使用视幻觉法来给静物或肖像画加上一个假的画框，使人物形象栩栩如生，而风景则像是在墙上或天花板上的真实景色一样。

In terms of knowledge, visual illusion is different from the visual perception of traditional visual experience, in the way in which it is an intuitive stimulation, which does not mobilize knowledge and comprehension to be accepted.

心理学家认为，视幻觉带给人们的的两个影响是：对认知的剥夺。

Xie Li was later obsessed in Li Hongzhi's fallacies and had heteroptics and hallucination. On January 27, 1997, she abruptly told her family that she had "opened the Third Eye" and "I see Master Li Hongzhi is summoning me in heaven".

谢立相信李洪志的歪理邪说，达到痴迷的程度，并出现幻视、幻觉。1999年1月27日，她突然告诉家人，自己&开了天目&，&看到李洪志老师在天上召唤我&。

"Since the early Renaissance, European painters have used trompe l'oeil to create false frames from which the contents of still lifes or portrait s seemed to spill and to paint windowlike images that appeared to be actual openings in a wall or ceiling."

从文艺复兴早期起，欧洲的画家们开始使用视幻觉法来给静物或肖像画加上一个假的画框，使人物形象栩栩如生，而风景则像是在墙上或天花板上的真实景色一样。

"Since the early Renaissance, European painters have used trompe l'oeil to create false frames from which the contents of still lifes or portraits seem ed to spill and to paint windowlike images that appeared to be actual openings in a wall or ceiling."

从文艺复兴早期起，欧洲的画家们开始使用视幻觉法来给静物或肖像画加上一个假的画框，使人物形象栩栩如生，而风景则像是在墙上或天花板上的真实景色一样。

However, such fallacies and trickeries of Li Hongzhi poisoned a lot of Falun Gong practitioners and caused a lot of tragedies that brought misfortunes to individuals, families and the society in that many Falun Gong practitioners became mentally disordered and had self-mutilation, committed suicide or committed crimes.

然而，李洪志的这些谎言、邪说和骗术却毒害了无数&法轮功&练习者，还使许多练习者出现幻视、幻觉、幻想，精神失常，自残、自杀，有的走上杀人的犯罪道路，制造了一幕幕人间悲剧，给练习者个人、家庭和社会带来不幸，造成严重的社会恶果。

On the top of the painting, the white background is infused with a few red and yellow brushworks, and thus presents its inner meaning, awe, and strength. In addition, the artist's placement of materials is never like what comprises formalism. It does not explain whether the painting is abstract or concrete. Rather, it refers to its metaphor, making the materials speak for themselves.

而在画面的上端，白色的背景有着红与黄的融渗、漫漶，深度的隐喻因此被显现出来，老虎的王气、红星的霸气、佛光的苍茫，是以内敛的张力混成的；其平面铺展并不容纳形式主义教条，不是用平面的物质真实克服视幻觉，也不是回到物象或具象本身，而是迂回到被隐喻的所指腹地，达到现象学的还原，让材料是其所是。

The options are limitless: Venetian plaster to American Clay, faux painting to color washing, murals and trompe l'oeil to foils and commercial vinyl.

你的选择多得不得了：从威尼斯灰泥到美国黏土，模拟涂饰到刷色，壁画、视幻觉法到箔片与商用乙烯树脂。

Riley and Vasarely are two noteable artists who made contributions in the illusory world of op art.

利用几何图形和色彩对比给人以摸棱两可的视幻觉艺术。起源于20世纪中期。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。