Interestingly, Lacan’s contemporary Salvador Dalí (you know, the designer of the Chupa Chups logo) also believed that our perception deceive us. This assumption relies upon the premise according to which we ,people, are all dependant on our sensory mechanisms, that is what we are not capable of is that we can’t sense the world objectively. Our five-six?-senses are,again, illusiory.
This is NOT what the lacanian Mirror Stage is mainly about, but my humble opinion is that it partly supports the notion of méconnaissance (misrecognition,fr.) As we are unable to see the world objectively, how can we see ourselves as we are? If we can NOT see ourselves as we are-think of your own audiotaped voiced that seemed strange to you, or what about the experience of you standing in a changing room, where mirrors surround you and you immediately meet the peculiarity of seeing your back and your front at the same time-so, then, how can we KNOW ourselves? The mirror is one thing in which we can perceive ourselves as others see us.
This change of perspective is what Salvador Dalí refers to as paranoiac state of existence.(this is a roughly translated notion) Paranoia is a state of mind that reclines upon a different point of view. Different in the sense that is unusal or mostly unaccepted by society. Science draws conclusions from certain observations, using a different point of view.
However, in the case of Art, now of Dalí, these different observations or representations can be and are projected onto the canvas. For this reason I think, Dalí’s Le jeu lugubre is a good example of changing perspectives. We have an eye that is common to a fish,a rabbit and a parrot. We, as viewers are being looked upon in this case, so it is basically an inversion of perspectives.