the flat surface; the ambiguity of the reversible cube; the ambiguous limits of the infinitely small and the infinitely
large. . . visual ambiguity goes hand in hand with ambiguity of meaning.
TeuberÆs (p. 133) view is that Escher appears to have been familiar with the work of the Danish psychologist, Edgar Rubin and with the principles of Gestalt psychology. In the work of both Rubin and other Gestaltists, the relationship, expressed as meaning, between figure and ground, is essential. What one ôseesö when looking at and interpreting a work of reversible patterns (such as the vase/profile created by Rubin) depends upon what one is focusing on. In other words, using the Rubin vase/profile as an example, one either sees a central white vase or a pair
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