A device used in art, particularly in Europe in the sixteenth and seventeenth centuries, whereby an image is constructed in such a way that it can only be seen by viewing the painting from a specific angle. Today one most often sees it in sport---corporate logos are painted onto the pitch at slightly distorted angles so as to improve their visibility on TV. French psychoanalysis Lacan, Jacques uses the example of Holbeinâs The Ambassadors (1533), which contains an image of a skull concealed in its foreground, to explain desireâs inability to perceive what it wants. The object of desire, or more particularly the object of the drive, cannot be perceived head-on. ĆœiĆŸek, Slavoj makes extensive use of this concept in his account of ideology in order to explain how it is possible for ideological statements to appear non-ideological.