An illusion is defined as a false sensory perception in the presence of an external stimulus, in other words a distortion of a sensory experience, and may be recognized as such by the subject.
Although the DRM memory illusion is defined behaviorally based on the heightened false alarm rate for related lures relative to unrelated lures, identification of ERP correlates of false memory based on related vs. unrelated lure comparisons is problematic because of the high degree of semantic dissimilarity for unrelated lures (see Figure 3).
One of the defining illusions of the populist rightwing agenda is that it possesses a unique ability to rally the poor on the basis of race and nation – but even here, it cannot deliver on its own terms.
In spite of a fondness for taxonomy within the literature of the profession, no universally accepted list of illusions defines the conjurer's art.
We must abandon the illusion that the defining issue in the region is a battle between moderates and hardliners.
In the book Housing by People Turner (1978) criticised the traditional ways of inhabiting, characterised by poor flexibility, conveying what Mike Davis defines as "illusions of self-help" (Davis 2006, p. 69): when the inhabitants can contribute to decision-making processes and project achievement, the resulting environment appears as the positive outcome of social and spatial relations.
In this play, Stoppard asks: Are the lives we build with others an illusion, defined by deception?
But they only approximate; it is video that clinches these illusions, defining the machine's abstract forms with colorful, textured, often hyper-realistic skins.
In this scene, Stoppard — a quasi-philologist, who has always treasured the kind of show biz that goes into making thoughts flash and glitter — poses a number of questions that are threaded throughout the play: Are the lives we build with others an illusion, defined by deception?
"Bretons Praying" (1888) has a nonclassical, snapshotlike composition that tends to flatten the imagery into an arrangement of black and white shapes, setting up the kind of tension between abstraction and illusion that defined early Modernist painting.
