Consistent 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 light source and then close your eyes, then a bright P. o. will be observed for some time. (positive Sequential image). If you then turn your gaze to the white wall, then P. o. This light source will be visible darker than the rest of the wall (negative. Consistent image). With more accurate self-observation, it turns out that the process of attenuation of P. o. more complicated: in the irritated area there is a rapid change of lightening and darkening, which is then replaced by a slower change with a gradual attenuation of all phenomena. If the source of the initial irritation is bright, then the duration of P. o. can reach ten minutes. By. affects the brightness and color of the objects we see.

Intensity, duration and rhythm of change of positive P. o. (the same contrast as the previously observed object) to negative. The sequential image depends on the brightness, contrast and duration of the previously observed object. After each eye jump, P. o. disappears, then appears again during visual fixation, but already weakened. Apparent size of P. o. proportional to the apparent distance of the background surface against which it is observed (Emmert's Law). If P. o. observed in the dark, then during active eye movements it moves phenomenally with them, but during passive movements (for example, when pressing a finger on the eye through the eyelid) it appears stable (which is consistent with the efferent stability theory visible world 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, electric welding flames, etc.), which cause strong P. o.

Editor's addition: Some phases in the development of P. o. assigned anthroponyms: 1st, 2nd and 3rd positive P. o. named after the famous explorers - "P. O. Goering", "P. O. Purkinje" and "P. O. Hess" respectively.

Ordinary visual images undoubtedly represent subjective sensory phenomena, but consider them to be full-fledged images that have the properties of objectivity, constancy, etc. it is forbidden. In this regard, A.N. Leontyev 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 the P. o. or act with it.” This is the same as ringing in the ears ... This is a product of organization, a product of the eye itself, the visual system itself" (Leontyev A.N. Lectures on general psychology. - M., 2000, p. 196). However, unlike tinnitus P. o. (subjectively) have a completely obvious extrasomatic localization (external objectivity).

A sequential image 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 speed of eye adaptation. At the same time, the subject saw an empty field. When the light source was turned off, the subject saw a clear P. o. matrix (6 x 6), which had 36 letters, and during the first phase of P. o. managed to read any 2 lines or 2 columns assigned to him before turning off the light source (Zinchenko V.P., Virgiles N.Yu., 1969).

Syn. for P. r.: standard, reference or background stimulus. (K.V. Bardin)

Great encyclopedia of psychiatry. Zhmurov V.A.

Consistent image- a perceptual image (usually visual), which appears immediately after the stimulus causing it is removed. The appearance of sequential images is associated with the activity of sensory memory. Synonym: Afterimage.

Dictionary of psychiatric terms. V.M. Bleikher, I.V. Crook

Consistent image- a sensation that lingers after the stimulus has ceased to act on the visual analyzer. Cm . Eidetism .

Neurology. Full Dictionary. Nikiforov A.S.

no meaning or interpretation of the word

Oxford Dictionary of Psychology

Consistent image- a perceptual image that appears after the original source of stimulation has been removed. Sequential images most often found in visual perception. Other known forms of sequential images are mentioned in the following packs.

subject area of ​​the term

Main types of memory

Psychology has several main types of memory. We will consider them sequentially, arranging them in order of increasing complexity.

At the same time, we will limit ourselves only to the analysis of those types of memory that are important for cognitive processes, leaving aside consideration of the phenomena of emotional and motor memory.

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

The phenomenon of a sequential image (often denoted by the symbol NB, according to the German term "Nachbild") is as follows: if at some time the subject is presented with a simple stimulus, for example, asking 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 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 appears again only to disappear completely. For different subjects, both the brightness and clarity and duration of successive images may vary.

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

In addition to negative sequential images, there are also positive consistent images. They can be observed if complete darkness place an object in front of your eyes (for example, a hand), and then very a short time(0.5 sec) illuminate the field bright light(for example, the flash of a light bulb). In this case, after the light goes out, the person will continue to see for some period bright image an object located in front of his eyes, this time in natural colors; this image lasts for a short 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 sequential 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 stored in the nervous system from the action of sensory stimuli, and to trace the dynamics of these traces.

Consecutive images reflect primarily the phenomena of excitation occurring in retina of the eye. This is proven by simple experiment. If you present a red square on a gray screen for some time and, by removing this square, obtain its sequential image, and then gradually move the screen away, you can see that the size of the sequential image gradually increases, and this increase in the sequential image is directly proportional to the distance of the screen (“ Emmert's law").

This is explained by the fact that 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 an increasingly larger space on this decreasing area of ​​​​the retinal image of the moving screen. The described phenomenon serves as clear evidence that in this case we really observe the aftereffect of those excitation processes that occur on the retina, and the consistent image is the most elementary form of short-term sensory memory.

It is characteristic that a sequential 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 voluntarily evoked again. This is the difference between sequential images and more complex species memory images.

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

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

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

The phenomenon of a sequential image (often denoted by the symbol KB, according to the German term "Lacill") is as follows: if you present a simple stimulus to the subject for a while, for example, ask 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 a print of the same shape, but usually blue-green (in addition to red) color. This one is from-

the signet 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 appears again only to disappear completely. For different subjects, both the brightness and clarity and duration of successive images may vary.

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

In addition to negative sequential images, there are also positive sequential images. They can be observed if, in complete darkness, you place an object (for example, a hand) in front of your eyes, and then illuminate the field with bright light (for example, a flash from a light bulb) for a very short time (0.5 seconds). In this case, after the light goes out, the person will continue to see for some period 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 sequential 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 stored in the nervous system from the action of sensory stimuli, and to trace the dynamics of these traces.

Consecutive images primarily reflect excitation phenomena occurring on the retina of the eye. This is proven by simple experiment. If you present a red square on a gray screen for a while and, having removed this square, get its sequential image, and then gradually move the screen away, you can see that the size of the sequential image gradually increases, and this increase in the sequential image is directly proportional to the distance of the screen (“Emmert’s law ").

This is explained by the fact that 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 moving screen. The described phenomenon serves as clear evidence that in this case we really observe the aftereffect of those excitation processes that occur on the retina, and subsequent

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

It is characteristic that a sequential 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 voluntarily evoked again. This is the difference between sequential images and more complex types of memory images.

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

Despite the fact that sequential images are a reflection of processes occurring on the retina, their brightness and consistency significantly depend on the state of the visual cortex. Thus, 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 are not evoked at all (I. N. Zislina). On the contrary, with the introduction of certain stimulating substances they can become brighter and longer lasting.

More on the topic Sequential images:

1. COMBINED METHOD OF MEMORIZING A SEQUENCE OF IMAGES
2. Short-term memory: sequential imagery and iconic memory.
3. Chapter 7 Secondary phenomenological model of hypnosis based on the neurophysiological model of visual sequential images
4. 7.2. Comparison of the phenomenology of color sensations reproduced in hypnosis and visual sequential images

Color vision– the ability of the visual analyzer to respond to changes in the wavelength of light with the formation of a sensation of color. Specific wavelength electromagnetic radiation corresponds to the feeling of a certain color. Thus, the sensation of red color corresponds to the action of light with a wavelength of 620 - 760 nm, and violet - 390 - 450 nm, the rest of the colors of the spectrum have intermediate parameters. Mixing all the colors gives the feeling white. As a result of mixing the three primary colors of the spectrum - red, green, blue-violet - in different proportions, you can also obtain the perception of any other colors. The sensation of colors is related to illumination. As it decreases, red colors cease to be distinguished first, and blue ones cease to be distinguished later. The perception of color is determined mainly by processes occurring in photoreceptors. The most widely accepted is the three-component theory of color perception by Lomonosov-Jung-Helmholtz-Lazarev, according to which the retina of the eye contains three types of photoreceptors - cones, which separately perceive red, green and blue-violet colors. Combinations of stimulation of different cones lead to the sensation of different colors and shades. Uniform stimulation of the three types of cones gives the sensation of white color. The three-component theory of color vision was confirmed in the electrophysiological studies of R. Granit (1947). Three types of color-sensitive cones have been named modulators, cones that were excited when the brightness of light changed (the fourth type) were called dominators. Subsequently, using microspectrophotometry, it was possible to establish that even a single cone can absorb rays of different wavelengths. This is due to the presence in each cone of various pigments that are sensitive to light waves of different lengths.

Despite the convincing arguments of the three-component theory, facts have been described in the physiology of color vision that cannot be explained from these positions. This made it possible to put forward the theory of opposite, or contrasting, colors, i.e. create the so-called opponent theory of color vision by Ewald Hering.

According to this theory, there are three opponent processes in the eye and/or brain: one for the sensation of red and green, a second for the sensation of yellow and blue, and a third that is qualitatively different from the first two processes - for black and white. This theory is applicable to explain the transmission of information about color in subsequent parts of the visual system: retinal ganglion cells, external geniculate bodies, cortical vision centers, where color-opponent RPs function with their center and periphery.

Thus, based on the data obtained, it can be assumed that the processes in cones are more consistent with the three-component theory of color perception, while Hering’s theory of contrasting colors is suitable for the neural networks of the retina and overlying visual centers.

In the perception of color, processes occurring in the neurons different levels of the visual analyzer (including the retina), which are called color-opponent neurons. When the eye is exposed to radiation from one part of the spectrum, it is excited and inhibited by the other. Such neurons are involved in encoding color information.

Abnormalities in color vision are observed, which can manifest as partial or complete color blindness. People who cannot distinguish colors at all are called achromats. Partial color blindness occurs in 8–10% of men and 0.5% of women. It is believed that color blindness is associated with the absence in men of certain genes in the sexual unpaired X- chromosome. There are three types of partial color blindness: protanopia (color blindness) – blindness primarily to the color red. This type of color blindness was first described in 1794 by the physicist J. Dalton, who observed this type of anomaly. People with this type of anomaly are called “red-blind”; deuteranopia – decreased perception of green color. Such people are called “green-blind”; tritanopia - a rare anomaly. However, people do not perceive blue and violet colors; they are called “violet-blind”.

From the point of view of the three-component theory of color vision, each type of anomaly is the result of the absence of one of the three cone color-perceiving substrates. To diagnose color vision disorders, they use E. B. Rabkin’s color tables, as well as special devices called anomaloscopes. Identification of various color vision anomalies has great importance when determining a person’s professional suitability for various types works (driver, pilot, artist, etc.).

The ability to estimate the wavelength of light, manifested in the ability to perceive color, plays a significant role in human life, influencing emotional sphere and activities various systems body. The red color causes a feeling of warmth, has a stimulating effect on the psyche, enhances emotions, but quickly tires, leads to muscle tension, increased blood pressure, and increased breathing. Orange color promotes a feeling of cheerfulness and well-being and promotes digestion. Yellow creates a good, uplifting mood, stimulates vision and nervous system. This is the most “fun” color. Green color has a refreshing and calming effect, is useful for insomnia, overwork, reduces arterial pressure, the general tone of the body and is the most favorable for a person. Blue color causes a feeling of coolness and has a calming effect on the nervous system, and is stronger than green (blue color is especially favorable for people with increased nervous excitability), lowers blood pressure and muscle tone more than green. Purple It doesn’t so much calm as it relaxes the psyche. It seems that the human psyche, following a spectrum from red to violet, runs through the entire gamut of emotions. This is the basis for the use of the Luscher test to determine emotional state body.

Visual contrasts and consistent images. Visual sensations may continue after the irritation has stopped. This phenomenon is called sequential images. Visual contrasts are altered perception of a stimulus depending on the surrounding light or color background. There are concepts of light and color visual contrasts. The phenomenon of contrast can manifest itself in an exaggeration of the actual difference between two simultaneous or sequential sensations, therefore we distinguish between simultaneous and successive contrasts. A gray stripe on a white background seems darker than the same stripe located on dark background. This is an example of simultaneous light contrast. If we consider grey colour against a red background, it appears greenish, and if we consider gray against a blue background, it takes on a yellow tint. This phenomenon simultaneous color contrast. Consistentcolour contrast consists in changing the color sensation when looking at a white background. So, if you look at a red-painted surface for a long time and then turn your gaze to a white one, it acquires a greenish tint. The cause of visual contrast is the processes that occur in the photoreceptor and neuronal apparatus of the retina. The basis is the mutual inhibition of cells belonging to different receptive fields of the retina and their projections in the cortical part of the analyzers.

Hearing analyzer

With the help of an auditory analyzer, a person navigates sound signals environment, forms appropriate behavioral reactions, for example defensive or food-procuring. The ability of a person to perceive spoken and vocal speech, musical works makes the auditory analyzer a necessary component of the means of communication, cognition, and adaptation.

An adequate stimulus for the auditory analyzer is sounds, i.e. oscillatory movements of particles of elastic bodies propagating in the form of waves in the most different environments, including the air, and perceived by the ear. Sound wave vibrations (sound waves) are characterized by frequency And amplitude. The frequency of sound waves determines the pitch of the sound. A person distinguishes sound waves with a frequency from 20 to 20,000 Hz. Sounds with a frequency below 20 Hz - infrasounds and above 20,000 Hz (20 kHz) - ultrasounds, are not felt by humans. Sound waves that have sinusoidal, or harmonic, vibrations are called tone. A sound consisting of unrelated frequencies is called noise. When the frequency of sound waves is high, the tone is high, when it is low, the tone is low.

The second characteristic of sound that is distinguished by the auditory sensory system, is his force, depending on the amplitude of sound waves. The power of sound or its intensity is perceived by a person as volume. The sensation of loudness increases as the sound intensifies and also depends on the frequency of sound vibrations, i.e. The loudness of a sound is determined by the interaction of intensity (strength) and pitch (frequency) of sound. The unit of measurement for sound volume is white, in practice it is usually used decibel(dB), i.e. 0.1 white A person also distinguishes sounds by timbre, or "coloring". The timbre of the sound signal depends on the spectrum, i.e. on the composition of additional frequencies (overtones) that accompany the fundamental tone (frequency). By timbre, you can distinguish sounds of the same height and volume, which is the basis for recognizing people by voice. Sensitivity of the auditory analyzer determined by the minimum sound intensity sufficient to produce an auditory sensation. In the range of sound vibrations from 1000 to 3000 per second, which corresponds to human speech, the ear has the greatest sensitivity. This set of frequencies is called speech zone. In this area, sounds are perceived that have a pressure of less than 0.001 bar (1 bar is approximately one millionth of normal atmospheric pressure). Based on this, in transmitting devices, in order to ensure adequate understanding of speech, speech information must be transmitted in the speech frequency range.

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

The sequential image will be positive if it matches the initial image in brightness and color. A rocket taking off, for example, gives the impression of a luminous jet, a smoldering coal spinning in the dark gives the impression of a fiery circle, and movie frames flashing on the screen give the impression of continuous movement. These are examples in sequence positive images visual sensation.

Dark marks left by luminous or bright objects when subsequently looking at a white surface would be examples of sequentially negative images. These also include traces that are opposite in color: a green trace left by a red color, or a yellow trace left by a blue color, etc.

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

The name “complementary colors” indicates that each of a pair of colors complements its opposite color to white. Complementary colors make up the main paired or two-part color harmonious 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).

Opposite complementary colors in a circle will be simple pairs of color combinations. They create the greatest color contrast. When mixed optically, they produce a white or gray color; when mixed mechanically, they produce gray or black.

Additional colors, viewed sequentially, become more saturated.

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

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

On a light background the color appears darker, on a dark background it appears lighter. Moreover, against a blue background it appears warmer, and against a yellow background it appears bluer.

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

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

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

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

Rice. 29. Spectral circle and color combinations. At the top, the twelve colors of the spectrum are arranged in a circle, in which additional colors are placed diametrically opposite. In the middle - two from the spectral circle are highlighted additional colors. Below - three colors are selected from the circle, equally spaced from each other and well harmonized in relation to each other.

Harmonious color combinations are based on successive and adjacent contrasts. Color harmony can be a topic for much research. But of the many possible harmonic combinations, we will focus on the simplest and most proven by 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 juxtaposes in the painting in an abundance of developed variations (Fig. 25).

The combination of colors in the painting by artist M. A. Vrubel “Lilac” (Fig. 26) is based on the contrast of the dark green color of the foliage and the pink-purple color of the flowering branches. From point of view color scheme The painting represents a rich, multivariate development of a combination of two complementary colors: green and lilac. The combined colors, following the chiaroscuro of the clusters and leaves, acquire numerous shades of pink and purple, which together make up the overall color of lilac, which is contrasted with the overall green color of the leaves with its many shades.

The best of our works ancient painting- “Trinity” by Andrei Rublev - can serve as a classic example of color harmony (Fig. 31). First of all, the golden 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. central figure and light green clothes of the side figures. The color harmony scheme of the painting “Trinity” is based on a combination of four equally spaced complementary colors that we can observe in the spectral circle.

In the painting by E. Delacroix “Moroccan saddling a horse” (Fig. 30), the color scheme is based on a harmonious combination of equally spaced colors of the spectral circle; in this case, color saturation is inversely proportional to the area of ​​the color spot. The secondary objects depicted in the painting are painted brown-gray and other inconspicuous colors that do not violate the basic 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 acquire 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, platbands, porches, etc. With a special color harmony comes out powerfully in winter; when the surrounding nature is shrouded in snow and fog, the ensemble receives a wide silver-gray background. Colored architectural masses majestically dominate the snowy expanses.

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