consecutive visual images. Color vision, visual contrasts and sequential images

The most elementary form of sensory memory is represented by the so-called successive images.Οʜᴎ are manifested both in the visual and in the auditory and general sensitive spheres and are well studied in psychology.

The phenomenon of a serial image (often denoted by the symbol NB, corresponding to the German term ʼʼNachbildʼʼ) consists in the following: if for some time a subject is presented with a simple stimulus, for example, to invite him to look at a bright red square for 10-15 seconds, and then remove this square, then the subject continues to see an imprint of the same shape in place of the removed red square, but usually blue-green (in addition to red) in color. This imprint sometimes appears immediately, sometimes after a few seconds and persists for a certain period (from 10-15 seconds to 45-60 seconds), then gradually begins to fade, lose its clear contours, as if spreading, then disappears; sometimes it reappears only to disappear completely. For different subjects, both the brightness and the clarity and duration of successive images should be different.

The phenomenon of successive images is explained by the fact that irritation of the retina has its aftereffect: it depletes that fraction of visual purple (the color-sensitive component of the cone), which provides the perception of red color. In this regard, when looking at a white sheet, an imprint of an additional blue appears. e-green. This type of sequential image is called in a negative sequential manner. It must be regarded as the most elementary form of sensory trace preservation, or the most elementary form of sensitive memory.

In addition to negative sequential images, there are also positive sequential images. They can be observed if, in complete darkness, an object (for example, a hand) is placed in front of the eyes, and then for a very short time (0.5 seconds) the field is illuminated with bright light (for example, a flash of an electric light bulb). In this case, after the light goes out, the person for some period will continue to see a bright image of the object located in front of his eyes, this time in natural colors; this image persists for some time and then disappears.

The phenomenon of a positive sequential image is the result of a direct aftereffect of short-term visual perception. The fact that it does not change its color is explained by the fact that in the coming darkness the background does not excite the retina, and a person can observe the immediate aftereffect of the sensory excitation caused at one moment.

The phenomenon of successive images has always been of interest to psychophysiologists, who saw in this phenomenon an opportunity to directly observe the processes of those traces that are preserved in the nervous system from the action of sensory stimuli, and to trace the dynamics of these traces.

Consistent images reflect, first of all, the phenomena of excitation that occur on retina of the eye. This is proved by simple experience. If you present a red square on a gray screen for a while and, removing this square, get its sequential image, and then gradually move the screen away, you can see that the value of the sequential image gradually increases, and this increase in the sequential image is directly proportional to the removal of the screen (ʼʼlaw Emmertʼʼ).

This is because as the screen moves away, the angle that its reflection begins to occupy on the retina gradually decreases, and the sequential image begins to occupy more and more space on this decreasing area of the retinal image of the receding screen. The described phenomenon is a clear proof that in this case we really observe the aftereffect of those excitation processes that occur on the retina, and a consistent image is the most elementary form of short-term sensory memory.

Characteristically, the successive image is an example of the most elementary trace processes that cannot be regulated by conscious effort: it can neither be extended at will, nor arbitrarily recalled. This is the difference between sequential images and more complex types of memory images.

Sequential images can be observed in the auditory and in the skin sensations, but there they are less pronounced and last for a shorter time.

Despite the fact that successive images are a reflection of the processes taking place on the retina, their brightness and sequence significantly depend on the state of the visual cortex. So, in cases of tumors of the occipital region of the brain, successive images can appear in a weakened form and persist for a shorter time, and sometimes they are not evoked at all. (N. N. Zislina). On the contrary, with the introduction of certain stimulating substances, they can become brighter and longer.

Sequential images - concept and types. Classification and features of the category "Sequential images" 2017, 2018.

visual sensations, preserved for a certain, usually short time after the cessation of the action of the optical stimulus. Differ:

1) a consistent positive image - after the cessation of the action of bright light - is colored in the same way as the stimulus, and is very short-lived;

2) a consistent negative image - after shifting the gaze to a light background - persists for a longer time, darker than the background and colored in an additional color in relation to the color of the stimulus so that a green image appears in response to the presentation of red.

With prolonged or intense action of the stimulus, several successive changes of positive and negative images can be observed, lasting for tens of seconds or even minutes (-> eidetism; representation).

SEQUENTIAL IMAGE

visual sensation that remains immediately after the cessation of the stimulus. So, after the action of bright light has ceased, a bright sequential image (positive sequential image) is observed for some time, and after shifting the gaze to a light background, this image will be darker than it (negative sequential image). The duration of action can be up to ten minutes.

SEQUENTIAL IMAGE

English afterimage, letters, afterimage) - a sensation that occurs after the cessation of the stimulus, a "trace" of irritation. For example, if you look at a bright source of light, and then close your eyes, then for some time a bright P. o will be observed. (positive P. about.). If you then look at the white wall, then P. o. this light source will be seen already darker than the rest of the wall (negative P. o.). With more accurate self-observation, it turns out that the process of attenuation of P. o. more difficult: on the irritated place there is a rapid change of lightening and darkening, followed by a slower change with the gradual attenuation of all phenomena. If the source of initial irritation is bright, then P.'s duration of the lake. can be up to ten minutes. By. affects the brightness and color of the objects we see.

Intensity, duration and rhythm of change of positive P. about. (of the same contrast as the previously observed object) to negative. By. depend on the brightness, contrast and duration of the previously observed object. After each jump of P.'s eyes about. disappears, then during visual fixation reappears, but already weakened. The visible size of P. about. is proportional to the apparent remoteness of the background surface against which it is observed (Emmert's Law). If P. o. observed in the dark, then with active eye movements it phenomenally moves with them, but with passive movements (for example, when pressing a finger on the eye through the eyelid), it seems stable (which is consistent with the efferent theory of the stability of the visible world of G. Helmholtz). Color negative. By. is complementary to the color of the chromatic object. Under normal conditions, P. o. are not observed due to their "erasing" by saccadic movements and masking by other objects of perception; the exception is very bright objects (the sun, an electric welding flame, etc.) that cause strong P. o.

Addendum ed.: Some phases in the development of P. o. anthroponyms were assigned: 1st, 2nd and 3rd positive P. o. named in honor of the famous researchers - "P. o. Goering", "P. o. Purkinje" and "P. o. Hess", respectively.

Ordinary P. O., undoubtedly, are subjective sensory phenomena, but they cannot be considered full-fledged images that have the properties of objectivity, constancy, etc.. In this regard, A. N. Leontiev drew attention to the accuracy of the internal form of the term "afterimage" (English afterimage and German nachbild) - "following the image": "No one tries to catch P. o. or act with him" This is so the same as ringing in the ears ... This is a product of organization, a product of the eye itself, the visual system itself "(Leontiev A.N. Lectures on General Psychology. - M., 2000, p. 196). However, unlike ringing in P.'s ears of the lake (subjectively) possess absolutely explicit extrasomatic localization (external objectivization).

By. can be observed without a clear vision of the original (direct) image. This is shown under conditions of image stabilization relative to the retina. The brightness of the stabilized image increased more slowly than the rate of adaptation of the eye. At the same time, the subject saw an empty field. When the light source was turned off, the subject saw a distinct P. o. matrix (6 x 6), on which there were 36 letters, and during the first phase of P. o. he managed to read any 2 lines or 2 columns given to him before turning off the light source (Zinchenko V.P., Vergiles N.Yu., 1969).

IMAGE CONSISTENT

after-image) - the preservation of a vivid representation of an object captured by the human brain for a short time after the object has disappeared from view or when the eyes are closed.

Consistent image

Specificity. So, after the action of bright light has ceased, a bright sequential image (positive sequential image) is observed for some time, and after shifting the gaze to a light background, this image will be darker than it (negative sequential image). Usually, afterimages are not observed due to their obliteration by saccadic eye movements and masking, but very bright objects (the Sun, a flame of fire, etc.) cause fairly persistent afterimages. The afterimage is clearly visible against a homogeneous background with stable visual fixation of a fixed point. After each jump of the eyes, it disappears, and during visual fixation it reappears, already weakened. The afterimage color is complementary to the object color. The duration of action can be up to ten minutes.

Synonym. Afterimage

SEQUENTIAL IMAGE

The perceptual image that occurs after the original source of stimulation has been removed. Sequential images are most often encountered in visual perception. Other known forms of successive images are mentioned in the following flocks.

Visual sensation has its duration in time. After the external irritation through the visual apparatus has reached consciousness and stopped, we continue to feel it for some time. The trace of irritation is called a sequential image.

A successive image will be positive if it matches the initial image in terms of brightness and color. A rocket taking off, for example, gives the impression of a luminous jet, a smoldering coal rotating in the dark gives the impression of a fiery circle, and film frames flashing on the screen give the impression of continuous movement. These are examples of consistently positive visual experiences.

The dark marks left by luminous or bright objects when one looks at a white surface afterwards would be examples of consistently negative images. These also include traces that are opposite in color: a green trace left by red, or a yellow trace left by blue, and others.

The apparent change in color is called sequential contrast. According to the law of successive contrast, colors change in the direction of a complementary color.

The name "complementary colors" indicates that each of the pair of colors complements its opposite color to white. Complementary colors make up the main pair or two-part color harmonic combinations.

The most convenient system for analyzing color combinations can be considered a spectral circle, in which the colors of the spectrum are arranged sequentially, in a ring (Fig. 29).

Complementary colors opposite in a circle will be simple pairs of color combinations. They create the greatest color contrast. When mixed optically, they give white or gray color, when mechanically mixed - gray or black.

Complementary colors, sequentially considered, acquire greater saturation.

The phenomenon of consistent contrast is used by artists as one of the important artistic means of painting. As we shift our gaze from one part of the image to another, painted in a complementary color, we feel that the colors in the picture light up more and more. This quality of the colors of the picture leaves us with a sense of color harmony. Many compositions of great masters are built on the harmonious unity of the consistent perception of complementary colors.

In addition to successive contrasts, simultaneous or adjacent contrasts arise in combinations of different colors.

On a light background, the color appears darker; on a dark background, the color appears lighter. Moreover, on a blue background it seems warmer, on a yellow one - more blue.

The change in color in lightness is called achromatic contrast. Change in color - chromatic. Chromatic contrast is most noticeable with equivalent lightness of the compared colors and with their low saturation.

Chromatic and achromatic contrasts, as well as sequential contrasts of colors, increase the saturation and lightness of the color in the picture and therefore serve as a means of color enrichment of the limited possibilities of the artist's palette.

Color harmonies can be built on several colors equally spaced along the spectral circle (Fig. 29).

We can often observe in pictures that the background of the illuminated part of the face is darkened, while the background of the shadow is highlighted. The aggravation of the adjacent contrast enhances the light-and-shadow ratio and gives greater brightness to the illuminated parts of the depicted object.

Rice. 29. Spectral circle and color combinations. Above - the twelve colors of the spectrum are arranged in a circle in which complementary colors are placed diametrically opposite. In the middle - two additional colors are selected from the spectral circle. Below - three colors are selected from the circle, equidistant from each other and in good harmony with each other.

Harmonious color combinations are based on successive and adjacent contrasts. Color harmony can be a topic for a lot of research. But of the many possible harmonic combinations, we will focus on the simplest and most proven visual practice.

F. A. Vasiliev’s painting “Barges on the Volga” shows an example of the masterful use of the harmony of two additional colors - orange and blue, which the artist compares in the picture in an abundance of developed variations (Fig. 25).

The combination of colors in the painting by the artist M. A. Vrubel "Lilac" (Fig. 26) is built on the opposition of the dark green color of the foliage and the pink-purple color of the flowering branches. From the point of view of the color scheme of the picture, it is a rich, multi-variant development of a combination of two additional colors: green and lilac. The combined colors, following the chiaroscuro of the clusters and leaves, acquire numerous pink and purple shades, which together make up the overall color of lilac, which is opposed to the general green color of the leaves with its many shades.

The best of the works of our ancient painting - "Trinity" by Andrei Rublev - can serve as a classic example of the harmony of color (Fig. 31). First of all, the gold background of the picture and the blue clothes of the figures attract attention; there is a feeling of harmony in the color composition of gold and blue. It is complemented by the dark cherry color of the clothes of the central figure and the light green clothes of the side figures. The scheme of color harmony of the picture "Trinity" is based on a combination of four complementary colors that are equally spaced from each other, which we can observe in the spectral circle.

In E. Delacroix's painting "A Moroccan saddling a horse" (Fig. 30), the scheme of color construction is based on a harmonic combination of equally spaced colors of the spectral circle; while color saturation is inversely proportional to the area of the color spot. The secondary objects that are depicted in the picture are painted in brown-gray and other inconspicuous colors that do not violate the main harmony of its color composition.

The scope of the widespread use of color in Russian architecture reaches incomparable strength in the majestic ensemble of the Trinity-Sergius Lavra. The harmonious combination of colors gives the architecture a solemn significance, and color harmonies receive monumental power. A fragment of the watercolor "Trinity-Sergius Lavra" (Fig. 32) shows how the gold of the central dome of the cathedral is in harmony with the blue domes surrounding it, how the red color of the walls of the bell tower is combined with the green colors of the roofs, tiles, architraves, porches, etc. With a special color harmony acts as a force in winter; when the surrounding nature is shrouded in snow and fog, the ensemble receives a wide silvery-gray background. Color architectural masses majestically dominate the snowy expanses.

Color harmony is one of the essential aspects of a painting and comes to the fore in decorative painting, architectural plafonds, wall paintings, etc., in furniture, costumes, ornaments, carpets, fabrics and other types of applied art. It is as important in painting as the proportion of magnitudes in architecture or harmonic consonance in music.

The most elementary form of sensory memory is represented by the so-called successive images. They manifest themselves both in the visual and in the auditory and general sensitive spheres and are well studied in psychology.

The phenomenon of a serial image (often denoted by the symbol NB, corresponding to the German term Nachbild) consists in the following: if a subject is presented with a simple stimulus for a while, for example, by asking him to look at a bright red square for 10–15 seconds, and then remove this square, the subject continues to see an imprint of the same shape in place of the removed red square, but usually blue - green (in addition to red) colors. This imprint sometimes appears immediately, sometimes after a few seconds and persists for a certain period (from 10-15 seconds to 45-60 seconds), then gradually begins to fade, lose its clear contours, as if spreading, then disappears; sometimes it reappears only to disappear completely. For different subjects, both the brightness and the clarity and duration of successive images may be different.

The phenomenon of successive images is explained by the fact that retinal irritation has its aftereffect: it depletes that fraction of visual purple (the color-sensitive component of the cone), which provides the perception of red, therefore, when looking at a white sheet, an imprint of an additional blue-green color appears. This type of sequential image is called in a negative sequential manner. It may be regarded as the most elementary form of sensory trace retention, or the most elementary form of sensitive memory.

The phenomenon of successive images has always interested psychophysiologists, who have seen in this phenomenon an opportunity to directly observe the processes of those traces that are preserved in the nervous system from the action of sensory stimuli, and to trace the dynamics of these traces.

Consistent images primarily reflect the phenomena of excitation that occur on retina of the eye. This is proved by simple experience. If you present a red square on a gray screen for a while and, removing this square, get its sequential image, and then gradually move the screen away, you can see that the value of the sequential image gradually increases, and this increase in the sequential image is directly proportional to the removal of the screen ("Emmert's law ").

Sequential images can be observed in the auditory and in the skin sensations, but there they are less pronounced and last for a shorter time.

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A psychologist who studies language as a system of codes that makes it possible to reflect external reality and formulate a thought must carefully study not only the means by which it is formulated in

The evolution of the logical and grammatical structures of the utterance
The description of the main means and types of logical and grammatical structures of a speech utterance allows you to see how complex those language matrices that form a thought are, and how

By speech, we mean the process of transmitting information using the means of language.
If language is an objective system of codes that has developed in social history and is the subject of a special science - linguistics (linguistics), then speech is a psychological process.

Types of speech utterance and their structure
We focused on the structure of the speech utterance and its individual components. Now we should consider different types of speech utterance, which have a completely different structure and in

Pathology of speech utterance
The psychological structure of speech utterance becomes distinct if we follow the forms of disturbances that appear in certain pathological conditions of the brain, especially in local

The problem of decoding (understanding) the message
The process of understanding the perceived message is by no means a simple process of assimilating the meaning of words: understanding the message "your brother broke his leg" is not at all the same as understanding the meaning of the words "wa

Decoding (understanding) the meaning of words
Many linguists rightly argue that a word is always ambiguous and that every word is, in fact, a metaphor. The word "handle" means primarily a small hand ("handle p

Decoding (understanding) sentence meanings
The second major part of the process of decoding a message is understanding the sentence, the second, larger unit of the utterance. Decoding a sentence confronts the perception

Understanding the meaning of the message
Decoding the meaning of a phrase or logical-grammatical construction does not exhaust the process of understanding. It is followed by the most difficult stage - understanding the meaning of the entire message as a whole.

Pathology of speech understanding
The process of decoding a speech statement (or incoming information) can be significantly impaired in pathological conditions of the brain, and the forms of this disorder allow us to come closer to the description.

Problem
We have elucidated the question of the structure of the word and its role in the formation of concepts and have given an analysis of the path from thought to extended speech, which underlies the formation of an utterance. Also showed the path from r

Logical structures as the basis of thinking
Considering the process of formation of concepts, we saw what role the word plays in this process, which itself is a product of socio-historical development, it has a complex meaning.

Development of logical inference in a child
Mastering the operation of logical inference goes through a series of successive stages, which can be clearly observed in the process of a child's development. We have already indicated that by the beginning of preschool

Problem Solving Process
In the cases we have just considered, the operation of thought was to assimilate the logical system that was contained in the speech message or in the syllogism, and to make

Research Methods for Productive Thinking
Methods for studying productive speech thinking fall into two groups. One of them is aimed at studying the prerequisites for speech complex discursive (reasoning) thinking

Pathology of productive thinking
Thinking disorders in pathological brain conditions can be the result of one of two factors: a defect in abstraction and generalization and a change in the very structure of thought processes (

The most elementary form of sensory memory is represented by the so-called sequential images. They manifest themselves both in the visual and in the auditory and general sensitive spheres and are well studied in psychology.

The phenomenon of a sequential image (often denoted by the symbol KV, corresponding to the German term "NacLIM") consists in the following: if you present a simple stimulus to the subject for a while, for example, invite him to look at a bright red square for 10-15 seconds, and then remove this square, then the subject continues to see in place of the removed red square an imprint of the same shape, but usually blue-green (in addition to red) color. This one from-

the seal sometimes appears immediately, sometimes after a few seconds and persists for a certain period (from 10-15 seconds to 45-60 seconds), then gradually begins to turn pale, lose its clear contours, as if spreading, then disappears; sometimes it reappears only to disappear completely. For different subjects, both the brightness and the clarity and duration of successive images may be different.

The phenomenon of successive images is explained by the fact that irritation of the retina has its aftereffect: it depletes that fraction of visual purple (the color-sensitive component of the cone), which provides the perception of red, so when looking at a white sheet, an imprint of an additional blue-green color appears. This kind of serial image is called a negative sequential image. It may be regarded as the most elementary form of sensory trace retention, or the most elementary form of sensitive memory.

In addition to negative sequential images, there are also positive sequential images. They can be observed if, in complete darkness, an object (for example, a hand) is placed in front of the eyes, and then for a very short time (0.5 seconds) the field is illuminated with a bright light (for example, a flash of an electric light bulb). In this case, after the light goes out, the person for some period will continue to see a bright image of the object located in front of his eyes, this time in natural colors; this image persists for a while and then disappears.

Sequential images primarily reflect the phenomena of excitation occurring on the retina of the eye. This is proved by simple experience. If you present a red square on a gray screen for a while and, removing this square, get its sequential image, and then gradually move the screen away, you can see that the value of the sequential image gradually increases, and this increase in the sequential image is directly proportional to the removal of the screen ("Emmert's law ").

This is because as the screen moves away, the angle that its reflection begins to occupy on the retina gradually decreases, and the sequential image begins to occupy more and more space on this decreasing area of the retinal image of the receding screen. The described phenomenon serves as a clear proof that in this case we really observe the aftereffect of those excitation processes that occur on the retina, and the subsequent

The body image is the most elementary form of short-term sensory memory.

Sequential images can be observed in the auditory and in the skin sensations, but there they are less pronounced and last for a shorter time.

Despite the fact that successive images are a reflection of the processes taking place on the retina, their brightness and sequence significantly depend on the state of the visual cortex. So, in cases of tumors of the occipital region of the brain, successive images can appear in a weakened form and persist for a shorter time, and sometimes they are not evoked at all (IN Zislina). On the contrary, with the introduction of certain stimulating substances, they can become brighter and longer.