another and this phenomenon is known as simultaneous contrast.
Successive contrast causes a similar effect of heightened color.

An effect analogous to dynamic contrast in music may be obtained with
mobile light by varying the intensity of the light or possibly the area.
Melody may be simply obtained by mere succession of lights. Tone-quality
has an analogy in the variation of the purity of color. For example, a
given spectral hue may be converted into a large family of tints by the
addition of various amounts of white light. Rhythm is as easily applied
to light as to music, to poetry, to pattern, or to the dance, but in
mobile lights its limitations already have been suggested. However, it
is bound to play an important part in the art of mobile light because
rhythmic experiences are much more agreeable than those which are
non-rhythmic. Rhythm abounds everywhere and nothing so stirs mankind
from the lowliest savage to the highly cultivated being as rhythmic
sequences.

Many psychological effects of light have been recorded from experiment
and observation and affective values of light have been established in
various other byways. It is possible that the degree of pleasure
experienced by most persons on viewing a color-harmony or the delightful
color-melody of a sunlit opal may be less than that experienced on
listening to the rendition of music. However, if this were true it would
offer no discouragement, because absolute values play a small part in
life. Two events when directly compared apparently may differ enormously
in their ability to arouse emotions, but the human organism is so
adaptive that each in its proper environment may powerfully affect the
emotions. For example, those who have sported in aerial antics in the
heights of cloudland or have stormed the enemy's trench are still
capable of enjoying a sunset or the call of a bird to its mate at dusk.
The wonderful adaptability of the inner being is the salvation of art as
well as of life.

In the rendition of mobile light it is fair to give the medium every
advantage. Sometimes this means to eliminate competitors and sometimes
it means to remove handicaps. On the stage light has had competitors
which are better understood. For example, in the drama words and action
are easily understood, and regardless of the effectiveness of light it
would not receive much credit for the emotive value of the production.
In the wonderful harmony of music, dance, and light in