Exactly this I believe. We can swizzle to our heart’s content as long as we don’t cross that neurophysiological null energy point.
I believe creative film (outside of the complexities of DIRs and DIARs etc.) followed a similar pattern; swizzling “down”. I suppose there was a double guard with the spectral sensitivity of the photosensitive layers as well?
An interesting side note might be to think along the “whiteness” dimension, where the picture is afforded a decomposition by way of the magnitude of the differentials perhaps? Note how peculiar a maximal blackness region would manifest in the furthest right strip? It is almost as though there is a cognitive “layer” that if we cross too far down, we end up with an inverse HK effect; we cross some blackness threshold, perhaps.
No clue how to calculate that differential “intercept” though, or what the hell it even is. Interestingly, we can increment as far as we wish in the left most strip and it would integrate fine. It seems blackness has some sort of a “floor”.
At any rate, it is interesting to think of a 21 step chart sweep as “cognitive layers”, perhaps involved in the decomposition in picture reading.
From what I have seen, the transducer mechanic is further along the chain, applied to the differentials. This shouldn’t impact the null, given the signals are discretized and decomposed in the increment and decrement directions. There is literally no neurophysiological signal in non-differential regions, and the On-Off / Off-On are different paths.
Along a constant null “no change” region, the firing is literally null, and the area mechanic performs the cognitive fill, based on the boundary condition. The watercolor effect is an elegant demonstration of the null “area” mechanic.
Interestingly, the boundary condition wholly drives the cognitive area mechanic, which becomes evident in the after image tests. Fixating on the chromatic star will induce different cognitive area “fills” based on the differential boundary mechanic:
