How brain interpret the colours emotions and images

The Swiss psychiatrist Herman Rorschach used ink blots to assess the mental state of his patients. In 1921, he developed the famous ink blot test which was named after him. Today, psychologists still use the Rorschach test to uncover hidden emotions and experiences. The underlying principle of the test is easy to grasp; the viewer looks at random ink blots and describes what he or she sees but only after the person who is carrying out the test has told the patient that there is no such thing as a right or wrong interpretation.

The patients personal interpretation of the ink blots reveals a great deal about his or her psyche for example, a particular blot looks like a ravenous monster in the imagination of the observer, then such an interpretation can point to hidden fears that may be lurking deep in the psyche.

  The Thematic Apperception Test uses different images to the Rorschach test. In this case, the patient is presented with pictures of ambiguous scenes, which he or she uses to make up a story. Thus, a person who appears neutral in the picture can be used to make a sad or a funny story. Form this, the therapist reads the emotional condition of the patient and gets clues regarding deeper problems. Critics of these so called projective tests argue that psychologists strongly influence their patients in their interpretations of the test results. In fact, it is a psychologist’s skill and experience that plays the decisive role in discussions with a patient. Respectable therapists never rely completely on the results of tests such as the TAT or Rorschach.

  Every time we go to the cinema, our senses are deceived. When Hero knocks a villain down with a well placed blow, the magic of technology is much faster than our perception. In the cinema, moving pictures are created by the projection of a sequence of individual images, known as frames about 25 frames per second. Our eyes are lazy, though, for they cannot register the short breaks between the individual frames of a film.

 The spectacular neon advertising signs of casinos in Las Vegas or the grand circus deceive our grey cells in a similar manner. Clever programming ensures that, at night, the neon signs light up in certain sequences, thus conveying the illusion that the lights are moving. Sometimes the objects appear to be moving when they are in fact at rest. For example if you are waiting at a red signal in the traffic, suddenly you get a fright, as your car appears to be moving backwards. You step on the brake pedal, but nothing happens. Then you see that, in fact, the car next to you has simply moved forward because of the traffic light turned green.