Out planned comparison was the interaction between Condition and Question type, i.e. a greater difference between the illusion and control questions during the synchronous stimulation than during the asynchronous stimulation.
Next, we compared the illusion-related statements and the control statements, and found that the difference between the illusion statements and control ones was greatest in the synchronous conditon (the statistical analysis can be found in Text S1 in Supporting Information).
This observation again reinforces the qualitative differences between the present illusion and the original rubber hand illusion.
(Thus, ignoring the difference between an illusion and a delusion, for example, lends credence to the view that the objects of immediate perception are not physical objects but sense data).
The train rushing towards the audience was featured in early Lumière posters or sketches (see Emmanuelle Toulet: Cinematographe, invention du siècle, Paris: Gallimard, 1988, p.11, 14.) The motive also appeared in early films about a fool who cannot tell the difference between reality and illusion in the cinema, such as The Countryman and the Cinematograph (R.W.Paul, 1901).
"I wanted to deal with that and also pursue this theme that interested me, which is the difference between illusion and reality, the way people and things appear to be versus how they really are.
What is the difference between an illusion, a fantasy, and ideology?
So, what's the difference between the loss of an illusion and a death?
What is more interesting, though, is that the constant awareness of the difference between reality and illusion (for instance through irony) also shows the fundamental fragility of difference itself in a much more compelling way than a rigorous classicist work of art does.
Although not always explicit in his writings, Schlegel constantly stresses the idea that in the contemplation of a work of art, the spectator must still perceive the craftedness of the whole; i.e. the difference between reality and illusion.
This also explains Schlegel's admiration of Old Comedy, because in this case the spectator is constantly forced to remain aware of the experience in which s/he is partaking, namely the experience of the difference between reality and illusion.
