Introduction

Vision is one of the most important human organs. Therefore, it is natural that visual images greatly influence us.

It’s not without reason that at all times, all generations of people have always used some kind of paintings, drawings, calling them differently, but the essence is the same. All of these were and are visual images or, as they are called in churches, “images”.

Naturally, we also use the appropriate images to achieve the goals we need: rest, calm down, relax, and so on.

On this page of the site I will show you some visual objects that we use to enhance the effect of crystals and music. I think it’s clear why they are all connected with nature. We miss her so much!

*Prim. I posted thumbnails of the images here, and wrote about the required sizes of the originals at the end of the page. About the sizes, and something else.

The sound of water has always fascinated us with its power and majestic calm.

It’s good to dream under this beautiful, unusual visual image, or think about anything, about something of your own... ... ... .

The rustling of leaves, the singing of birds, the chirping of grasshoppers and the buzzing of bees. Butterflies are flying. Calmness, in a word.

Forest and water

Surely, many of you have been and know well what forest ponds are. Small, like this one, or a whole forest lake, which is located a little lower.

Lake

And this is already a large, beautiful lake, and its calm and grandeur helps us to become the same. Forget minor troubles, immerse yourself in the contemplation of its beauty.

Sea

We can talk endlessly about the sea. The sea is always different, as in these four photographs that you will see here.

Flowers

You can write endlessly about flowers, like the sea... ... ... . After all, they are all different, too, and each flower has its own “mood”, which it can convey to us.

I hope you liked the graphic images shown, and now you know what you can pick up on the Internet to enhance the effect of music and crystals. Choose one that matches the mood and sounding melody.

It is advisable to take the sizes only not very small. But read about this below.

Dimensions of visual images

The size of the image depends on how and on what device you will watch it. I think it’s clear that smartphones won’t be able to provide anything really because of their rather small sizes.

The minimum screen size we use is 7 inches. Moreover(!), this is only when the stone is programmed.
And for normal viewing of the visual image, a TV with a diagonal 26 inches. However, now this is not a problem at all, and many people have TVs even with much higher resolution.

You just need to find the right size online (and meaning!) drawings or photographs so that they are full screen TV or monitor.

In the psychology of art, quite a lot of elements have been developed that make up a pleasant visual image. In addition to the color itself, brightness, contrast, surface structure, outline, shape, composition, movement and much more are of great importance (Arnheim, 1974).

Since our training is not about subtle training in the ability to enjoy life's images, we limited ourselves to focusing on pleasant colors, pleasant color combinations and the ability to perceive the characteristics of the surface of objects. There are no special reasons for such a choice; the trainer can freely choose other aspects of visual images for training.

Exercise 20. NICE COLOR

Exercise 21. COLOR COMBINATION

Exercise 22. FORM AND COMBINATION OF FORMS

Pleasant sounds

The first thing that comes to the group members’ minds when this topic is announced is music, singing, etc. Without denying the pleasures that musical culture creates, in this section of the training we still concentrate on the sounds that we hear in everyday life.

Exercise 23. WARM-UP: RHYTHM COORDINATION

Exercise 24. PLEASANT SOUNDS

Interim discussion

At the end of this section of the training, we usually conduct an interim debriefing, which should integrate the experience gained into the group reality. Therefore, the questions in this interim discussion are focused not only on the experience gained, but also on the dynamic characteristics of interaction in the group.

Exercise 25. NEW AND PLEASANT

The task of the next stage of training is to combine pleasant sensations of different modalities into a single image and learn to enjoy the whole image, first in a static state, then in the process of change. Getting pleasure from actions with a pleasant object is the main task of this stage of training.

Exercise 26. GOLDFISH

Niches of pleasure

In our program, pleasure niches are understood as spaces in which euthymic experiences and actions are possible (Lutz, 1996, p. 117). The presence of such niches in the social space of each individual person significantly helps to achieve a sense of completeness of existence and provides the opportunity to enjoy life.

Most often, hedonic niches coincide with a person’s private space, a space in which it is possible to satisfy the most important biological and social needs.

There are spatial and spiritual niches of pleasure. Spatial pleasure niches mean a spatial environment in which a person feels good and is in a good mood. Usually people create spatial niches for themselves in accordance with their own ideas, sometimes they use spaces created by someone else’s hands. It should also be borne in mind that there is also a reverse influence of spatial niches of pleasure on the person located in them. His mood and well-being improves.

The formation of spatial niches of pleasure is affected by both psychological and economic factors, and often the latter plays a decisive role.

A spiritual niche of pleasure arises when a person concentrates on certain thoughts, images or activities. Typically, with such concentration, feelings of calm, relaxation, pleasure and joy arise. The space of spiritual niches of pleasure extends from intellectual games, entertainment and meditation to solving complex intellectual problems, hobbies and scientific discussions.

In the existence of both spatial and spiritual niches of pleasure, close people play a significant role, thanks to social support or simply their presence, the pleasure of having niches becomes the basis of well-being and health. With these people we feel even better in these niches and we can allow ourselves to be completely open and happy.

Pleasure niches have several essential features.

1. Hedonic niches become such if a person possesses them rightfully and with full right.

2. A person has the ability to completely control his niche. It is he and the people close to him who decide what and how will happen in this niche.

3. The potential of a hedonic niche increases if games take place in its space. The game reduces a person’s dependence on the external characteristics of the niche. Just one ball and a small area is enough to bring a lot of fun to a bunch of people.

Exercise 27. DREAM ISLAND

Exercise 28. NICHES OF PLEASURE

Role play 1. INVITATION TO ENJOY

Archive size: 64.3 Mb

List of images:
-WhiteCap
More than 190 effects for the player, both for WMP and Winamp, RealPlayer, XMPlay...
Author: SoundSpectrum
(9.33 KB).
- G-Force
Free trial of the famous visual image.
Author: SoundSpectrum
(4.98 MB).
- SoftSkies
A visual and splash screen displaying a realistic animated cloudy sky.
Author: SoundSpectrum
(12.55 MB).
- Sparkle of Flowers
Three visual images: acid dance, fiery colors and a can of paint.
Author: Averett & Associates
(169 KB).
- Colored cubes
Three visual images: flower boxes, rhythmic platforms and rectangular delight.
Author: Averett & Associates
(169 KB).
- Dungeon Siege
Contains two visualizations based on the famous game.
Author: Averett & Associates
(837 KB).
- Bliss of energy
WMP10's signature visual identity. In addition to the screensaver, it contains information about the track being played and displays the album cover.
Author:Microsoft and Averett & Associates
(521 KB).
- Ice Storm
Enjoy the snowstorm while sitting at your PC! Additional settings will allow you to make a snowfall, set backgrounds, and more...
Author:Microsoft & Warner Bros.
(3.44 MB).
- Picture Visualizer I
Jump between pictures you select in folders on your computer! (Formats: JPEG, BMP, PNG, TIFF, EXIF, and TGA.)
Author: Averett & Associates
(184 KB).
- Picture Visualizer II
Jump between pictures on your PC (even in subfolders). Over 26 types of picture changes.
Author: Averett & Associates
(199 KB).
- Pulsating Colors
Watch the musical pulse of rhythms in brilliant colors. Contains three visual images: lips, musical island, and steel rhythm.
Author: Averett & Associates
(170 KB).
- Snowman Softie II
Softie the Snowman is more mobile than ever.
Author: Averett & Associates
(562 KB).
- Trilogy I
Contains pulsar, wings, rotation, and random selection.
Author: Averett & Associates
(177 KB).
- Trilogy II
Contains Musical Sine, 4th Dimension, Mathical Music, and Random.
Author: Averett & Associates
(177 KB).
- Trilogy III
Contains lava, mystical cloud, wave motion, and random selection.
Author: Averett & Associates
(177 KB).
- Winter Fun Pack 2004
New Year's visual images and much, much more...
Author: SoundSpectrum
(19.5 MB).
- Windows Media 9 Series
Ride the new wave of digital media with this cool visual.
Author: Averett & Associates
(370 KB).
- Festive fireplace
Feel the taste of winter while sitting by the fireplace. New Year's visual images and much, much more...

Download in one file letitbit.net

Perhaps the most convincing evidence that the visual system is approaching an ideal system for transmitting information is the amazing accuracy with which it works.

Although the signal-to-noise ratio in the visual system is much lower than, for example, in a conventional television system, even operating under not very favorable conditions, we do not see characteristic errors in the transmission of image elements, which are always noticeable on a television screen in the form of noise emissions.

This can be associated not only with the accumulation effect (see Chapter One), but also with the fact that in the visual system coding is not carried out element by element, but as it should be in an ideal communication system - large groups of elements, differences between which allow making error-free choice can be quite large even under conditions where many of the elements included in these groups are distorted. We perceive not just the distribution of brightness in the field of view, but visual images.

At the retinal level, statistical image redundancy is not eliminated and very high throughput is required.

But in the higher parts of the visual analyzer, thanks to statistical coding, the redundancy is reduced so much that much less bandwidth is required here. This is due to the fact that in the higher parts of the visual analyzer, large sets of statistically related elements are encoded in the form of visual images.

Recently, several hypotheses have emerged about how the neural networks that serve to distinguish simple visual images are structured. These hypotheses are partly based on the peculiarities of the anatomical structure of the higher parts of the visual system in such relatively low-organized animals as the octopus, partly on a large amount of factual material obtained during the development of conditioned reflexes to visual stimuli of various shapes, but to a large extent they are speculative.

In a number of works by Sutherland (1960a), performed on the octopus, a large set of stimuli of various shapes was used. Using the conditioned reflex method, the animals developed the ability to distinguish one figure from another. The octopuses were trained to attack one of the figures in a pair and not touch the other. If the figures in one pair are distinguished better than in the other, then you can find out which features are more significant in distinguishing between images. In other experiments, octopuses were first taught to distinguish a vertical line from an inclined line (at an angle of 45°), and then they were presented with a horizontal line. This presentation evoked the same response as the presentation of an inclined line. Experiments of this kind made it possible to judge the degree of similarity of different forms as they were perceived by the animal.

According to Dodwell's hypothesis (Dodwell, 1957), the neural discrimination apparatus is a series of parallel independent chains of neurons. Each neuron is connected to a visual receptor cell or group of cells. The final neurons of each chain on one side of the device are short-circuited. The excitement of one of them causes the excitement of all the others. On the other side of the device, all circuits converge to a common final output, which transmits an already encoded message to the next parts of the nervous system. The passage of excitation along the chain is associated with a delay in each neuron, and in an excited neuron the delay is greater than in a non-excited one. Let us assume that the chains are arranged in such a way that the corresponding photoreceptors represent horizontal rows. Then a horizontal line anywhere in the visual field will cause excitation of one of the neural chains. The response at the device output will be composed of two digits. The first strong discharge occurs when impulses arrive from short-circuited neurons along “empty” chains, the second, weak one - when delayed impulses arrive from an excited chain. Moving the horizontal line up or down will not change the shape of the answer. At the same time, such a device is very sensitive to line turns. Changing the angle of the line will cause a decrease in the delay between discharges. It is assumed that there is a second similar device with vertical rows of receptors. According to this scheme, discrimination is associated with determining the direction of the contours that make up the visual image.

Deutsch's scheme (Deutsch, 1960) takes into account the features of the morphological structure of the octopus' visual system. Each fiber coming from the receptor has synaptic endings at different depths of the optic lobe that contact the dendritic fields of bipolar cells. Bipolars transmit excitation further, to some kind of summing device (these cells should not be mixed with bipolars in the retina of vertebrates). Dendritic fields are segments of unequal length, located parallel to each other and perpendicular to the optic fibers. Excitation in a bipolar occurs only when excitation from two or more optic fibers enters the dendritic field of this bipolar. Therefore, the smaller the distance between two points in the field of view, the greater the excitation that will come to the output of the entire system. Indeed, the shorter the distance between two excited optic fibers, the more dendritic fields these fibers will cross simultaneously. The orientation of the dendritic fields is such that the system takes vertical distances into account. The excitations are summed up in the output device of the system. Thus, the shape of objects is encoded by the magnitude of excitation. Two horizontal segments placed in the field of view of such a device cause the same output response, regardless of their position and distance from the eye. Indeed, bringing such a figure closer to the eye will increase the distance between the segments and, therefore, reduce the response that occurs between each pair of vertical points. But since the length of the segments will increase accordingly, the overall response of the system will not change.

According to Sutherland's first hypothesis (Sutherland, 1957), the cells of the optic lobes, which receive excitations from the eye receptors, are organized in the form of a matrix. Each row (column) of the matrix has a common cell, which sums up the excitations coming from the cells of the row (column). Thus, the vertical dimensions of objects in the field of view are represented by excitations in the summing cells of the columns, horizontal ones - in the summing cells of the rows. The shape of an object is characterized in horizontal and vertical directions by the distribution of excitations. When these excitations are compared using some mechanism that is not specifically considered by the author, a code combination characteristic of a given object arises. Since the excitation ratio is taken into account, the code values ​​do not change when the angular dimensions of the objects change. They are also invariant with respect to the position of objects in the field of view.

Due to the fact that this hypothesis could not explain some experimental data, Sutherland (1960b) proposed another scheme that takes into account the ratios of “horizontal” and “vertical” excitations to the square root of the area of ​​​​the object, and also assumes the existence of a mechanism to compare the overall outline of an object with the square root of its area.

Sutherland's hypothesis emphasizes the importance of horizontal and vertical directions for discrimination. This is in accordance with the morphological data. As Young (1960) showed, dendritic fields are oriented predominantly in the vertical and horizontal directions.

All these hypotheses allow us to satisfactorily explain the discrimination of simple images. In particular, the prediction came true that octopuses should be able to distinguish between horizontal and vertical lines well, but cannot distinguish from each other two mutually perpendicular lines inclined at an angle of 45° to the vertical. However, these hypotheses cannot explain the features of perception of more complex objects.

This is no accident. Although these hypotheses use data obtained by the conditioned reflex method, they all assume the existence of genetically fixed, unchanging mechanisms. It is possible that the mechanisms for encoding simple forms are indeed hereditary. This is evidenced quite convincingly, for example, by Hubel's data on cortical receptive fields apparently detecting lines in the visual field. However, it is impossible to assume the existence of hereditarily transmitted devices that provide for the distinction of diverse forms. It is natural to raise the question of the patterns organized during the learning process. Such schemes must include simpler inherited schemes as elements. Theoretically, this issue has been studied by a number of authors (Macau, 1956; Uttley, 1956; Sokolov, 1960; Bongard, 1961).

The image occupying the field of view can be described by a set of more or less complex images. The entire conceivable set of images available to a given individual constitutes his “alphabet”. This complete alphabet, apparently, should be divided into a number of partial alphabets, located among themselves in complex relationships of “hierarchical subordination.” Alphabets that include simpler, "elementary" images are used to construct more complex alphabets. It is natural to associate these “elementary” images with the encoding of the simplest configurations in the cortical receptive zeros, which were discussed in the third chapter, as well as with the mechanisms for encoding simple images just discussed.

Holmes (1944) observed, with local damage to a certain area of ​​the visual cortex, a selective impairment of the ability to read alphabetic text, although the patient could write it himself or perceive the meaning of the letter by tracing its outline. At the same time, the ability to distinguish numbers was preserved. This observation can serve as proof that letters and numbers belong to different alphabets. Moreover, one can think that the representations of these alphabets are topographically delimited in the visual cortex.

At the same time, there is evidence of the connection and interdependence of various alphabets with each other (Archer, 1954).

Based on work performed on an auditory analyzer (Gershuny, 1957), we can conclude that a simpler alphabet, where there is less information per symbol, is produced faster.

Anderson and Fitts (1958) measured the amount of information transmitted in the visual system depending on the nature of the alphabet. They used three alphabets. The first consisted of uniform colored spots, the second - of black numbers, the third was complex and consisted of different combinations of numbers and spots. By specifying different amounts of information per symbol transmitted, the authors found that the amount of information received was a function of the alphabet used. The more complex the symbol, the more information can be conveyed in it.

The complete system of images, the “alphabet” of the visual analyzer, is not innate, but is acquired through life experience. The teaching of I.P. Pavlov on higher nervous activity shows how the development of new signal systems occurs. Signals become those stimuli or complexes of stimuli that receive unconditioned reflex reinforcement, that is, they become biologically significant for the animal organism.

However, consideration of these much more complex issues related to the problem of higher nervous activity is beyond the scope of this book.

Visual images are colors, shapes, and patterns that move to the beat of music when played in Windows Media Player. In the “Playing” mode (for example, this is exactly what I have, but there is also a “Current Playlist” mode) you can view various visual images - flashes of color and geometric shapes that change with the rhythm of music playback. Visual images are grouped into collections based on specific themes, such as “Alchemy” or “Spectrum and Graph”. The player contains many visuals, but you can download additional visuals from the official Windows Media website.

The video explains how to control the image(s) on the screen during playback.

However, on my menu View Windows Media Player item is missing Visual images(I don’t know why :o(.

However Visual images can be controlled in a slightly different way.

1. Click the Start button, select All Programs, and then select Windows Media Player.

If the player is open and in Library mode, click the "Playing"(or button Switch to current playlist located in the lower right corner of the player).

In the drop-down menu, click on the item Visual images- in the window that opens you can see the collection of images installed by default - click. For example, "Alchemy" - Random selection.

Now, when playing music in the player, it will be accompanied by visual images from the Alchemy collection

Viewing visual images in playback mode

1. Open Windows Media Player as described above.

2. Start playing the song.

3. Right-click an empty space in the player window (for example, to the left of the Stop button) to open the Visualization Control window. Hover your mouse over the visualization collection you want and select the name of the visual you want to install.

For example, the “Battery” collection - images “Strawberry cocktail” (1), “Emerald” (2), “Golden whirlpool” (3), “Fluffy star” (4), etc.

More about Windows Media Player.