Skip to main content

Science Friday: Physicists embrace the splatter master | Checkers Optical Illusion Video | What is Dark Matter? Video

Submitted by Tjadendevries on Fri, 08/19/2011 - 12:51pm


physicists embrace the splatter master

    What is it about painter Jackson Pollock that physicists find so entrancing? His notorious drip paintings have earned the artist as many naysayers as admirers over the years, but within today's art community his genius is largely undisputed. A genuine Pollock canvas is worth millions. And now a couple of physicists have published an intriguing article in the June issue of Physics Today on Pollock's seemingly intuitive grasp of the mathematical connection between viscosity and flow rate of a fluid (in Pollock's case, paint).

    [...]

    According to Andrzej Herczynski, a physicist at Boston College, and Harvard mathematician Lakshminarayanan Mahadevan, along with Boston College art historian Claude Cernuschi, the hand of Jackson Pollock was also the hand of a brilliantly intuitive physicist of sorts.

    [...]

    So, what's the specific physics we're talking about here? It's a phenomenon in fluid dynamics known as "coiling instability," first described in physics papers in the late 1950s. Anyone who has ever played with the syrup on their morning pancakes -- and who among us has not? -- knows what this is. It's a mathematical way of describing the way in which a thick, viscous liquid folds onto itself like a coiling rope.

    [...]

http://twistedphysics.typepad.com/cocktail_party_physics/2011/07/physicists-embrace-the-splatter-master.html


Why does the illusion work?

    The visual system needs to determine the color of objects in the world. In this case the problem is to determine the gray shade of the checks on the floor. Just measuring the light coming from a surface (the luminance) is not enough: a cast shadow will dim a surface, so that a white surface in shadow may be reflecting less light than a black surface in full light. The visual system uses several tricks to determine where the shadows are and how to compensate for them, in order to determine the shade of gray "paint" that belongs to the surface.

    The first trick is based on local contrast. In shadow or not, a check that is lighter than its neighboring checks is probably lighter than average, and vice versa. In the figure, the light check in shadow is surrounded by darker checks. Thus, even though the check is physically dark, it is light when compared to its neighbors. The dark checks outside the shadow, conversely, are surrounded by lighter checks, so they look dark by comparison.

    A second trick is based on the fact that shadows often have soft edges, while paint boundaries (like the checks) often have sharp edges. The visual system tends to ignore gradual changes in light level, so that it can determine the color of the surfaces without being misled by shadows. In this figure, the shadow looks like a shadow, both because it is fuzzy and because the shadow casting object is visible.

    The "paintness" of the checks is aided by the form of the "X-junctions" formed by 4 abutting checks. This type of junction is usually a signal that all the edges should be interpreted as changes in surface color rather than in terms of shadows or lighting.

    As with many so-called illusions, this effect really demonstrates the success rather than the failure of the visual system. The visual system is not very good at being a physical light meter, but that is not its purpose. The important task is to break the image information down into meaningful components, and thereby perceive the nature of the objects in view.

http://web.mit.edu/persci/people/adelson/checkershadow_description.html