@article{oai:geitan.repo.nii.ac.jp:00000376,
 author = {大村, 敏輔 and Ohmura, Tosisuke},
 journal = {大分県立芸術短期大学研究紀要},
 month = {Apr},
 note = {P(論文), Colour constancy is considered as follows, from the relationship between the perception of surface colour and of illumination in achromatic area. 1. One of the necessary conditions to permitt the perception of illumination is coexisting of more objects of different albedo than one in the visual field, and percepting the colour of the objects as surface colour. 2. So, we can regard colour constancy as the phenomenon resulted from the separation of the illuminated object from the illumination. 3. Illumination can be percepted not only on the surface of object, but also in empty space surrounding it. 4. Hue, saturation and brightness are called a colour value, which belongs to all the impression of colour, independent of the phenomenal modes. 5. Colour constancy is concerned in the system of surface colour of all the phenomenal modes. 6. In the achromatic surface colour, we should notice two perceptual dimensions, Ausgepragtheit and Eindringlichkeit. The latter is prescribed only by the value of retinal stimulus (luminance). Luminance can be changed by either the albedo of object or illumination. In the perceptual dimension of Eindringlichkeit, therefore, so-called constancy in the meaning of phenomenal regression does not occur, though there exists a constant tendency concerning to the combination between retinal stimulus and the response for it. On the other hand, in the situation to permitt the perception of illumination, the brightness, one component constituting Eindringlichkeit, can be perceived corresponding to the intensity of illumination. 7. The coexistence of two dimensions means the perception of different intendity of illumination in the visual field, and colour constancy is based upon such situation. 8. One may usually estimate the brightness of chromatic colour, according to the degree of whiteness of it. But strictly, this is concerned with the unit of colour value, and does not mean "brightness" in colour constancy. That is, in the latter, both the brightness of the surface of object and of empty space are depend upon the intensity of projected illumination. 9. Therefore, if one insists on the brightness constancy of illumination, this situation should be the same one as the situation in which not luminance but illuminance can be perceived. 10. If colour constancy may be defined as the deviation from visual stimulus, its qualitative aspect and quantitative one should not be confounded each other. In the impression "white but dark", "white" is prescribed by illuminance (I), and "dark" by albedo (A). Therefore, psychological amount i'=I'・A' as their product keeps the invariant relationship to i=I・A as physical amount. Moreover the base on which we have the selectivity of two psychic sets, subjective and objective one, may be connected with such the fact. The experimental results concerning to the conditions of the illumination of space and the effects of serial stimulus are as follows. 1. When pieces of gray paper with different brightness coexist around Ss, it can't be said, that to an increase in the number of them follows a direct increase in the degree of constancy. 2. The way in which such additive oajects existing together around Ss take influences the apparent brightness of Ss depends upon either the assimilative mechanism or the contrastive one. The articulating of the field is especially related to the latter. 3. Such cognitive ability relies remarkably upon the position of the object used as Ss even if the stimulus configuration is the same. 4. The influence which the serial stimuli coexisting around Ss has upon Ss, is conditioned not merely by the brightness in the geometrical mean of all the serial stimuli, but also by the configurational character of the brightness-constellation of each constituent constructing the serial stimuli. 5. Both the contrastive mechanism and the assimilative mechanism are prescribed by the relation of brightness gradient constituted by the appurtenance of serial stimuli. 6. When each constituent constructing the brightness in the geometrical average of the serial stimuli assimulate functionally with Ss, and is grasped as a closed whole, centration is had. 7. Ss is more easily subjected to central tendency when each component of the serial stimuli is arranged continuously in order as regards brightness. 8. The conditions which check the situation where Ss is subject to the centration (or darkening) by the serial stimuli change into the articulating of depth of space. In other words, the articulation of depth and darkening are in an antagonistic relation. 9. Darkening is not merely prescribed by the geometrical mean; therefore the phenomenal level of illumination in empty space which varies together with darkening is not prescribed clearly by such a geometrical mean. 10. In the experiment used serial stimuli, the condition under which causes the articulation of visual field to increase the degree of constancy is the perceptual situation that the perception of surface colour depends upon constrastive mechanism and the perception of illumination upon assimilative mechanism, and that such antagonistic mechanism corresponds to Katz's convariant phenomenon. 11. When the illumiination in the space in which a subject stands and that in the space in which Ss is presented are equally dark, the degree of constancy increases remarkably: and on the contrary, when the illumination in the subject's space and that in the space in which Ss is presented are equally bright, it decreases to almost the some extent. So, dakening effect of the serial stimuli is extremely high in the latter ease. 12. This difference can be interpreted by Katz's "laws of field size," and also it can be said that this difference is brought about because in the former case the assimilative lightening of the illumination im empty space is produced and in the latter contrastive darkening. 13. At the white-end which has high reflectance, N-D effect can't be found; but on the other hand, in accordance with a decrease in the reflectance of the object, this effect can be clearly found. 14. In caseof the N-D arrangement the degree of constancy increases in proportion as the reflectance decreases, but, in case of the N-H arrangement, the decrease in the reflectance follows a decrease in the degree of constancy. 15. So far as this is concerned, it can be said the N-D effect means antagonism in the direction in the variation of the degree of constancy which is brought about in proportion as Ss moves away from the white-end, either when Ss is presented in a light-room or a dark-room.},
 pages = {67--78},
 title = {色彩恒常性の現象学的分析(一般教養関係)},
 volume = {1},
 year = {1959},
 yomi = {オオムラ, トシスケ}
}