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^"permissions":^"read":ӶӺ,"update":ӶӺ,"delete":ӶӺ,"admin":ӶӺ°,"user":^"id":6,"name":"Sarah Oberbichler"°,"id":"Numzp44srj","ranges":Ӷ^"start":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ40Ӻ","startOffset":0,"end":"/divӶ3Ӻ/divӶ4Ӻ/divӶ1Ӻ/pӶ40Ӻ","endOffset":1372°Ӻ,"quote":"No one uses these conceptual possibilities more skillfully than the professional magician. During a performance he may, for instance, request a spectator’s ring, toss another ring across the room to his assistant, and then let the stunned spectator find his ring in his own coat pocket. The magic consists in directing the spectators’ perception in such a way that they unwittingly construct an individual identity between the first experience of the ring and the experience of the thrown object. Once that has been done, it would, indeed, require magic to transfer the ring from the assistant to the spectator’s pocket. Another case is that of the red ribbon which the magician cuts into little pieces and then – literally with a flick of his hand – produces once more as one whole piece. \nA similar, often cited example, is the movie film which, depending on the conditions of perception, we see as a sequence of individually different images or as one continuously moving image. Irrespective of any “real” horse that may or may not have trotted somewhere at some time and been filmed while doing so, when the film is presented to us, we ourselves must construct the motion by constituting a continuous change of one horse from the succession of images. The fact that we do that unconsciously can not alter the fact that we have to do it in order to perceive the motion.","highlights":Ӷ^"jQuery321054842665956511262":^°°,^"jQuery321054842665956511262":^°°Ӻ,"text":"","order":"mw-content-text","category":"Beispiel","data_creacio":1551175704169°
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