Abstract.— An attempt was made to determine, primarily, along what dimensions a classification takes place, and secondarily whether the same dimensions appear in different style periods: renaissance, baroque, and rococo, when paintings and pieces of music were judged by the “semantic differential” technique. The factor‐analysis produced six factors, which were interpreted as follows: I Aesthetic‐qualitative evaluation, II Emotional tone, III Symbolism, IV Dynamics, V Clarity, and VI Stillness. Factors I, II, and III occurred in all style periods, both in painting and in music.
Apparent size as a determiner of figural after-effects. 11. Scand. J. Psychol., 1968, 9 , 237-~40.-A brightly illuminated circle (TF) was flashed at distance d. The subject projected the after-image of T F on a screen placed at distance 4 2 , and fixated the after-image, which appeared to be half the size of the stimulus figure. Then T F and a comparison circle (CF) of equal size were shown, faintly illuminated, at distance d. A clear-cut figural after-effect occurred T F was perceived to be larger. It is suggested that T F appeared dimmer after the fixation and was perceived to be farther away than CF. As a consequence of this T F looked larger.
KOLEHMAINEN, K. & TUOMISAARI, R. The locus of visual after-images. Scand. J . Psychol., 1969, ro, 4~-48.-Three bright spots of light aligned horizontallywere presented, so that the distances between them were equal. Two adjacent lights were flashed on simultaneously and the third one somewhat later. The subjects reported the distance between the midmost light and the light which appeared later to be longer than the distance between the simultaneous lights (the 'tau-effect'). As to the after-images, however, the intervening distances were judged equal. The results are, accordingly, suggestive of a peripheral basis of the after-images.
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