Harvard Psychological Studies, Volume 2

by Unknown

A Porter kymograph was used on which to register the reactions. Resting on the top of the drum, and revolving with it, was a circular band of white paper, upon which were pasted the different figures to be observed. A screen was placed in front of the kymograph, thus concealing the figures; but at their level was a little square window in the screen, which, when the eye was placed in the proper position, allowed the subject to see one of the figures but nothing more. A few inches in front of this window was an eye-rest which kept the eye properly placed. A tambour received the movement from the subject and communicated it to a straw which made a scratch on the smoked paper which covered the drum.

The figures used in this experiment form two series, one, composed of geometrical figures, varying in complexity from a circle to a very complex figure consisting of many overlapping squares, triangles, etc., and the other composed of colored figures varying in complexity from a simple square of one color to a very complex mixture of various colors. The area of the visual field is about the same in all cases,—an inch square. The geometrical figures were formed of black lines on a white background. The figures used are shown in the accompanying illustrations.

The subject would be seated in front of the screen, his eye at the eye-rest a few inches in front of the window in the screen, and the forefinger of the right hand on the tambour, which is to the right of and behind the screen, and thus not seen while the eye is at the rest. Then as the drum revolves and brings a figure in front of the window, the subject observes this figure carefully, and when it is all in the field of vision he presses down with his forefinger, thus producing a curve on the drum surface. He tries to make the same finger-movement every time, whatever the figure at the window may be. But his attention is not to be too much taken up with the making of the movement, for he must be closely observing the figure. If he looks at the figure until he observes its characteristics clearly and then turns his attention from this to the finger-movement, it is evident that the optical sensation would not have much effect upon the movement. The movement must be performed while his interest in the figure is highest. Now, after a little practice, any one can accustom himself to make a certain definite movement in about the same way every time, and he can then agree that he shall make this movement as a reaction to a given stimulation. Then when the stimulus comes he makes the movement without any longer thinking of the character of the movement. It has become, to a certain extent, automatic and can look out for itself.

This is the state into which I have tried to get my subjects. Their whole attention is to be taken up with the seeing of the figures in the window, and to these figures they are to react as automatically as possible. Thus, though finger-movements are usually voluntary, all the capricious character of voluntary action will be removed here, and if the stimulus is the same in all cases, the reaction tends to assume the form of a uniform movement. There is, then, a chance to see the influence of different optical stimuli upon this action.

FIG. 2

Six different geometrical figures were seen at each revolution of the drum and six reactions given by the subject. Between figures a white surface would occupy the field of vision. The simple and complex figures were distributed so that the subject never knew what kind of a figure would come next. The purpose of the experiment was kept as much as possible from the knowledge of the subjects; but some, knowing my general problem, surmised quite correctly my main object here.

Ten revolutions were made at each sitting, thus causing the subject to react ten times to each figure. Then a new drum paper was taken and the case with the colored figures placed upon it. This had five colored figures, and ten revolutions were made also in this case. Thus, in all, in any one day, the subject would make one hundred and ten of these finger-movements.

Since we have in all these experiments tried to find out in the different figures merely differences in the amount of the reaction, and not differences in the character of the reaction, we shall keep up this method here. Now a stronger reaction makes a higher curve, and since the drum is all the while revolving, and since the higher the curve, other things being equal, the longer it takes, the stronger reaction will also make a wider curve. So it would seem that if we wish to observe the differences in the amounts of reaction the most natural course to pursue would be to measure the heights and widths of the curves we have registered. This accordingly has been done.

In our discussion of these measurements let us, then, first, take up the curve heights, and of these, those of the geometrical figures which we call U, V, W, X, Y, Z. The height is measured from a base-line [drawn by revolving the drum after the subject has taken his finger from the tambour] to the highest point reached. These measurements are taken from two hundred reactions to each figure, divided among seven different subjects.