It may seem to the reader that the latter part of this chapter departs from the main trend of this book, for most of these illusions of depth are to a degree of hallucinatory origin. Furthermore it has been the intention to discuss only those types of illusions which are experienced quite uniformly and universally. The digression of this chapter is excused on the basis of affording a glimpse along the borderland of those groups of illusions which are nearly universally experienced. Many other phases of depth illusions have been recorded in scientific literature. The excellent records presented by Carr could be drawn upon for further glimpses, but it appears that no more space should be given to this exceptional type. The reader should be sufficiently forewarned of this type and should be able to take it into account if peculiarities in other types appear to be explainable in this manner. However, in closing it is well to emphasize the fact that the hallucinatory aspect of depth illusions is practically absent in types of illusions to which attention is confined in other chapters.
VIII
IRRADIATION AND BRIGHTNESS-CONTRAST
Many interesting and striking illusions owe their existence to contrasts in brightness. The visual phenomenon of irradiation does not strictly belong to this group, but it is so closely related to it and so dependent upon brightness-contrast that it is included. A dark line or spot will appear darker in general as the brightness of its environment is increased; or conversely, a white spot surrounded by a dark environment will appear brighter as the latter is darkened. In other words, black and white, when juxtaposed, mutually reinforce each other. Black print on a white page appears much darker than it really is. This may be proved by punching a hole in a black velvet cloth and laying this hole over a “black” portion of a large letter. The ink which appeared so black in the print, when the latter was surrounded by the white paper, now appears only a dark gray. Incidentally a hole in a box lined with black velvet is much darker than a piece of the black velvet surrounding the hole.
The effects of brightness-contrast are particularly striking when demonstrated by means of lighting, a simple apparatus being illustrated diagrammatically in [Fig. 62]. For example, if a hole H is cut in an opaque white blotting paper and a large piece of the white blotting paper is placed at C, the eye when placed before the opening at the right will see the opening at H filled with the background C. The hole H may be cut in thin metal, painted a dull white, and may be of the shape of a star. This shape provides an intimacy between the hole and its environment which tends to augment the effects of contrasts. R and F are respectively the rear and front lamps. That is, the lamps R illuminate C, which “fills” the hole and apparently is the hole; and the lamps F illuminate the diffusing white environment E. The two sets of lamps may be controlled by separate rheostats, but if the latter are unavailable the lamps (several in each set) may be arranged so that by turning each one off or on, a range of contrasts in brightness between E and H (in reality C) may be obtained. (By using colored lamps and colored papers as discussed in Chapter IX the marvelous effects of color-contrast may be superposed upon those of brightness-contrast.)
Fig. 62.—Simple apparatus for demonstrating the remarkable effects of contrasts in brightness and color.
If, for example, C is very feebly illuminated and E is very bright, C will be pronounced black; but when the lamps F are extinguished and no light is permitted to reach E, the contrast is reversed, and C may actually appear “white.” Of course, it is obvious that white and black are relative terms as encountered in such a case. In fact in brightness-contrasts relative and not absolute values of brightness are usually the more important. In order to minimize the stray light which emerges from H, it is well to paint the inside of both compartments black with the exception of sufficiently large areas of C and E. The use of black velvet instead of black paint is sometimes advisable. It is also well to screen the lamps as suggested in the diagram. This simple apparatus will demonstrate some very striking effects of contrasts in brightness and will serve, also, to demonstrate even more interesting effects of contrasts in color.