simultaneous contrast

si·mul·ta·ne·ous con·trast

the enhancement of the visual sensation of white when a white object is viewed adjacent to a black object; the black object also appears blacker as a result of the contiguity of white. Adjacent complementary colors also appear brighter; for example, green appears a brighter green and red a brighter red if these two colors are viewed side by side.
Farlex Partner Medical Dictionary © Farlex 2012
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The latter half of the chapter tackles spatial vision and the law of simultaneous contrast, assimilation, and the impact of spatial frequency, again with effective accompanying illustrations.
In Chapter 3, "Light & Color," the author examines color temperature, value, and simultaneous contrast (the optical phenomenon that, simply put, occurs when a hue is placed beside its opposite).
The neo-impressionists instituted a new form of impressionism based on two theories of color relationships presented by the French chemist Michel Eugene Chevreul: optical mixing, in which two juxtaposed colors can be seen to blend together to suggest a third, and simultaneous contrast, in which the perception of a particular hue is influenced by the ones that are placed next to it.
They became painters together, arranging shapes to provoke rhythm from the simultaneous contrast of certain colors.
Chromatic induction is simultaneous contrast based on chromatic adaptation (Brown & Macleod, 1997).
For the reader unfamiliar with Chevreul, I begin by summarizing his theory of simultaneous contrast, although my reading of Chevreul necessarily highlights those aspects of his text that resonate with Baudelaire.
Simultaneous contrast also affects the intensity of colored light perceived during total lunar eclipses.
Through an examination of the phenomena of approximate color constancy, metamerism, and simultaneous contrast, as well as the mechanisms that underlie them, the present paper argues that although Tye's candidate for surface color, spectral reflectance, satisfies (P2), it does not satisfy (P1).--Correspondence to: chardin1@twcny.rr.com
His attempt to understand why some colors seemed unexpectedly dull resulted in the law of "simultaneous contrast." This suggested that colors appear most intense when juxtaposed with their complements: green next to red, for example, yellow next to violet, or orange next to blue.
Possibilities for simultaneous contrast are enhanced - if not revolutionized - by the art of digital sampling so prevalent in hip hop and yet so seldom elaborated within the hip hop texts themselves.
Perhaps so we can't miss his point--that variation in scale necessarily alters our perception of a shape and how we relate to it--Smith multiplied the colors and textural modalities in the series: In some the paint is brushed with bravado, allowing the white ground to breathe through, and the color contrasts are gentle; in others the paint is applied as flatly as possible, the edges are sharp, and the optical, simultaneous contrast of color dizzying.
These vivid hues were literally in the eye of the beholder, the products of an optical illusion known as simultaneous contrast. This phenomenon was discovered in 1839 by the chemist M.

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