The Life of a Demoniac: 2012-11-04

#456 - TECHNOLOGY | Photoshop action for revealing demons in the dark (or not)

This is a draft of an upcoming post on processing photos and videos showing demonic possession. Check back often for updates.

A Photoshop action is currently in development that automates the procedure for revealing a possessing demon in a video or photo of the subject sitting in near total darkness; it is intended to expedite the application of a procedure comprised of a significant number of steps, and is particularly useful for processing videos of demonic possession, as it can be quickly and easily applied to still frames, which often number in the hundreds or thousands:

A snippet of the Reveal Demon-in-the-Dark Photoshop Action

Source image quality requirements for the Photoshop Action
The settings for the filters and adjustment layers are set to work with a photo (or video) made with an first-generation iSight camera, and with the subject sitting in front of the camera at a distance where only the head and neck are shown (never less). If you try to use the action with an image that is higher or lower in resolution, one with a smaller colorspace, or one where the subject is not sitting at the specified distance from the camera, then the resulting image from the action will be completely distorted.

Lighting guidelines for isolating the human and demon separately
The lighting on the subject and in the room can be set to exclude the demon, showing on the human, and to exclude the human, and show only the demon. While both can be seen at the same time under certain circumstances, such as when the demon is particularly bright, allowing the light emitted from it to penetrate past the relatively much stronger light reflecting off the human, and/or if the radiation emanating from the demon is strong enough to superimpose its face on the digital image even over that of the human (although, the latter requires the camera and/or the human to be in motion, at just the right speed and the right distance, which are different depending on the variety of demon).

This section only addresses the staging addressed first, on which the subject is seated as described in the previous section, and the goal is to isolate the demon from the human in the video or photo:

Showing only the human. In a completely dark room, use the Increase Display Brightness button (F2) to set the brightness of the display to full; then, in the Desktop & Screen Saver Panel of System Preferences, set the desktop color to White (Solid Colors).
Showing only the demon. Dim the display one step at a time using the Reduce Display Brightness button (F1), stopping right at the point where the human can no longer be seen. Although the human eye cannot contrast between the darkness of the room and the light emanated from the demon, the image sensor can, assigning just a barely different shade of black to the pixels that comprise the demon than to the ones comprising the surrounding darkness. Although the incremental difference between the brightness of each shade of black makes the video window appear completely dark, showing neither the human nor the demon, as long as their is a difference—no matter how small—then the demon can be differentiated from the dark in Photoshop.

The difference between the dark room and the dark demon to a digital camera

At the light level prescribed for showing only a possessing demon (above), the demon is actually brighter than the human because the molecules of a human reflect light, and the room is dark, providing virtually no light to reflect; however, the molecules of a demon are different. They emit light at the same frequency as the light they reflect (meaning that the light you see is not just light reflected off the demon, but is also light that is emanated from the demon at the same frequency that it reflects).

NOTE | Although a demon's molecules amplify light—that is, both reflect light from other sources and emanate its own light—a demon only appears brighter when the light reflected from non-demon molecules (humans, etc.) is less than the light emanated from the demon's. That's because a demon's molecules give off more light than it requires from another source

less light from another source is of light is needed to cause the demon's molecules to give off light of their own, which thabut i a brighter demon than human, because the The caveat is that the light must be low enough to conceal the human, but bright enough to reach the demon so that it can amplify what it receives; if the light is too bright, the demon's

Although the brightness is not enough to create the contrast the human eye needs to perceive the demon on screen, it is for the image sensor of the iSight camera, which will give all pixels comprising the demon a slightly different shade of black. In Photoshop, you increase the contrast between the different shades of black large to make a distinction between them that the human eye can see.

How Photoshop widens the gap between a dark room and a dark demon
This is done by increase that difference by substituting a different color to all shades of black lighter than the darkness of the room (he brightness can be is will be increased until the demon can be seen; the room will stay black, and for every shade of black, another color will be substituted (such as red or green), and the contrast between the shades will be increased so that a distinction between the shades can be made (the room will stay black, and the next highest shade of black will be increased in brightness.

It is the relatively monotone coloring of the demon and the separation of color channels in a digital image that enables Photoshop to isolate only the parts of an image that comprise the demon:

The demonic cloak usually projects red color, but is sometimes green, as shown in the color channel separation image, above; regardless of its color, the image of the demon can be enhanced by applying the requisite adjustments to only the channel in which it is visible

When applying the tone and contrast adjustments to all channels (red, green and blue), the processed image would look like this:

Without first isolating the demon by color, adjustments made to the image will mix the face of the human with that of the demon

It is the contrast in brightness between the polarized light from the cloak of the demon and the reflected light from the surface of the human's face enables Photoshop to exclude the human by narrowing the tonal range of colors in the image to that of the demon:

When adjustments are made to the color channel that contains the parts of the image that comprise only the demon, the underlying human face is revealed

Without the distinction made polarized light and reflected light, and absent the capabilities of Photoshop, the image of the demon is concealed, as it is in the original image:

The original image, without any adjustments applied

In addition to increasing the visibility of the demon while excluding that of the human via adjustments to the tone and contrast of the color channel in which the image of the demon is naturally isolated, the action performs—or will perform—the following steps, in general:

smooths the texture of the demon's skin (blending and blurring the visible areas of the demon's skin until they overlap the dark spaces between)

adds realistic texture to the skin (superimposing the original texture of the skin over the smoothed areas, minus the dark spaces between):

sharpens the edges of the face and facial features:

[pending]

Although incomplete, the Photoshop action (.atn) file currently in development can be downloaded from DropBox. [Download Demonic Actions.atn]

The Reveal Demon-in-the-Dark (green channel) action was applied to this video:

These are the (messy) notes I'm working from right now, as I complete and refine the action:

Adjusting Brightness and Contrast

Duplicate the original layer.
Adjust levels to 0, .47, 31.
Create a Channel Mixer adjustment layer.
Set the blending mode of the adjustment layer to Color Dodge.
Select the duplicate of the original layer, and then apply Auto Contrast.
Fade it by 50 %.
Select the adjustment layer, and then merge down.

Reduce Noise layer

Duplicate the merged layer.
Apply the Median filter (1) to the duplicate layer.
Apply the Dust & Scratches filter (1 and 1) to the duplicate layer.
Set the blending mode of the duplicate layer to Luminosity.
Merge the layers (Merge Down).
Duplicate the new merged layer twice.
Apply a posterize adjustment layer (30).
Select the topmost merged (or posterize-adjusted) layer.
Apply a posterize adjustment layer (32).
Select the topmost merged (or posterize-adjusted) layer (again).
Apply a threshold adjustment layer (2).
Merge the adjustment layers with the new merged layer.
Apply the Gaussian Blur filter (3.0)
Set the blending mode to Exclusion.

Reduce Noise channel mask

Merge Visible, and then duplicate the merged layer.
Copy the original merged layer, and then save it to an alpha channel.
Load the alpha channel as a selection, and then select a duplicate of the original layer.
Select the white color range, while subtracting black (Select | Color Range).
Invert the selection, and then clear it; deselect it.
Duplicate merged layer.
Apply a Gaussian Blur (3) to the duplicate merged layer.
Duplicate the blurred duplicate merged layer, and then invert it, and then set the blending mode to Difference.
Set the blending mode of the original blurred duplicate merged layer to Luminosity.
Merge these three layers, and then copy it to a new alpha channel. This layer will be used to sharpen/smooth edges. (When automating the use of an alpha channel, delete the channel after each use.)

Sharpen Edges layer (using a channel mask)

Create two transparent layers.
Create a channel mask using the Reduce Noise layer,
Load the channel mask as a selection, and fill the top transparent layer with white; invert the selection and then fill the layer with black.
Select the bottom transparent layer, and then fill it with black; then, invert the selection, and fill it with white.
Set the blending mode of the top transparent layer to Exclusion.

Sharpen Edges channel mask

Stack the Reduce Noise layer over the Sharpen Edges to simultaneously smooth texture and sharpen edges using the Median filter.
Set the blending mode of the Reduce Noise layer to Exclusion.
Merge the two layers.
Copy the merged layer to an alpha channel, and then load the channel as a selection.
Select the duplicate of the original (or is it the original) layer, and then apply the median filter...

To run this action for each frame in your video file, create this Photoshop script (using ExtendScript Toolkit), but substitute the name of my action and action set with that of yours (in bold):

var docRef = app.activeDocument;
function recurseLayers(currLayers)

{

for(var i = 0; i < currLayers.layers.length; i++)

{

docRef.activeLayer = currLayers.layers[i];

if(isLayerSet(currLayers.layers[i]))

{
recurseLayers(currLayers.layers[i]);
}
app.doAction ("[action]", "[action set]")
}

}

function isLayerSet(layer)

{

try{

if(layer.layers.length > 0)

return true;}

catch(err)

{return false;}

}

recurseLayers(docRef)

#455 - VIDEO | Flimsy demon hand flails in front of camera

It seems like a lot was going on right in front of my face unnoticed two nights ago. First, there was a parade of floating phantom demons, none of which I saw until a subsequent review of video footage made that night [see VIDEOS | What demons look like when they float (instead of walk)]; in it, you can see me staring blankly at my laptop screen.

Then, there was a hand that leapt right out of the floor in front of me, which, again, I didn't notice until reviewing that night's video footage later:

The portion of a video clip showing a demon's hand rising and falling from the floor

In this clip, the flimsy, cold-blue hand of a demon shoots up from the floor:

NOTE | The woman in the video is the one shown as possessed by a demon in VIDEO | Second woman possessed by demon wearing clown-like makeup.

This is not the first video to show arms and hands coming out of nowhere. In Demon Swings Arm from Above, a demon, perched on an overhead shelf, swings its thin, hairy arm right into me:
Unlike in the new video clip, in which an encounter with a demon was not expected, I was expecting a demon to be somewhere, just not right above me where I couldn't see it.

#454 - Recurring demonic assault leads to permanent disability, self-neglect

Although how the long-term consequences are yet to be revealed, constant attacks to my head by demons—either by the grappling of the back of my head by an imp demon or by the insertion of a cloaked-hand directly into my skull by a centurion-like demon (shown below)—have led to vertigo, fatigue and blurry vision; hearing is occasionally impaired as, well:

This variety of demon inserts its cloaked hand inside the skull of a human to cause dizziness, instant flu-like symptoms, headache, blurry vision and impaired hearing (more info about this photo)

The sensation is just those, but, as the demon causes the injury, I can hear a crackling noise in my ears and back of my head. A headache always ensures.

What precipitates these attacks is a schedule kept by the Voices Demons, which shows the times and number of attacks to be perpetrated in a given day. Between those appointments are pretexts for violence, which are all completely ridiculous.

The point of repetition is to eventually distract the victim from taking initiative in one's life through fear; such thoughts usually quell nascent urges to take care of one's self, start new projects, and any thinking in general that leads to emotional and other types of personal growth.

If the injuries are severe enough, the attacks consistent enough (as to their initiation at the onset of instinctive or creative thought), and the sense by the victim that they are being watched pervasive enough, eventually, only certain visual or auditory triggers can be used to lock a person's development in place, and cease their enjoyment of life.

In order to achieve this, there must be an around-the-clock, second-by-second monitoring of the victim by Voices Demons, as well as demons that can physically attack, and any other demons that may be needed to assist in other the logistical aspects of monitoring and corralling victims 24-hours a day.

Although evident enough from their involvement since my early childhood, it is clear by the aforedescribed work now underway that the demons intend to be involved in my life for the long haul; it is chilling to think of how much effort this costs per person—and the fact that they are resourced enough to accomplish their task—and that they have even developed a way to accomplish what their goal. To think of all the people who have suffered in their plan's development, and of all the people who have suffered since their plan has been put to widespread action.

Now that I am aware of their intent, I wonder whether I will be able to ward it off and push forward as I might have done without this conditioning (for lack of better terms). Based on what I've seen demons do to compensate for the transparency of such conditioning mechanisms such as this, my guess is that, if I am too cognitive of when I'm being dissuaded from following my intuition or applying logic to a problem or need, then they may pacify me with material goods or the like—transparently, of course, and which also makes me feel anchored, and otherwise unable to carry out any plans they may not want me to carry out.

NOTE | The most common way they do that to people these days is with kids. The condom will break, the pill won't work, etc., and couples will get one, even when they didn't want one. Vacations get canceled, people become parents instead of entrepreneurs or what-have-you, and so on.

To persons familiar with demons (a far greater number than I could have ever imagined), constant physical attacks that leave few—if any—external markings or cognizable immediate injury are quite familiar. Demons make Quasimodos out of their victims for those in-the-know. I doubt, however, that the process and plan are disclosed and understood; and, even if so, the relatively short life-span of humans these days does not allow for the kind of understanding gained by the witnessing of the outcome by a single person. Therefore, the overall act cannot be lamented at the depth of its savagery.

How to know if your life has been pared back by demonic conditioning
If your life is anything less than that of what Jesus Christ died for you to have—and, up 'til now, you knew what that was and believed it was possible—then you've been unwittingly adjusted to set your expectations lower than what they should be, and you have been conditioned to deny the part of your being that compels you to grow and create in ways that are likely unimaginable to those who don't believe.

#453 - PHOTOS/VIDEOS | Further demonic possession revealed

This post will eventually contain as many photos and videos showing demonic possession as I have in my collection; however, in the interim, you will have to settle for what is provided in this post, and in previous posts, such as PHOTOS | The demon possessing me, revealed, TECHNOLOGY | Highlighting demons possessing a human as shown on video and PHOTO | The eyes of another demon possessing.

A still frame processed by the latest development version of the Photoshop action applied to videos revealing demonic possession (in the dark)

The following video clip was processed frame-by-frame in Photoshop to highlight my inner demon, which is revealed whenever the light emitted by my laptop screen goes dim:

No custom artwork was performed; rather, the video clip was imported into Photoshop, where each frame was converted into a layer. Then, a Photoshop Action was created to automate the following changes for each of the over 170 frames in this video:

add a Levels adjustment layer to improve contrast;
set the blending mode of the adjustment layer to Color Dodge;
run the Auto Contrast command, and then fade it by 50%; and,
apply the Smart Sharpen filter.

The altered layers/frames were then exported to video, which is shown above.

NOTE | The uncompressed, enhanced video file can be downloaded from DropBox; the original, unaltered video is at the end of this post.

Following is one still frame of many in a video made today, which shows yet another demon possessing me:

A still frame from a video showing a demon possessing me, brightened (you can also kind of see a skull-faced demon on the left; and, if you're as used to making faces out of a bunch of red blobs as I am, you can even-less-so see another demon's head to the right of mine. Its upper teeth in their wide open mouth are very prominent)

In that same video, an orlock demon is revealed under three unusual circumstances for such appearances: (1) it appears in multiple frames; (2) it appears in the dark; and, (3) it appears even when the video is not in motion:

One still frame of many, showing an orlock demon in possession of my body, brightened and sharpened

The first post to show photos of my inner orlock demon was PHOTOS | Physical attributes of orlock expressed during periods of high demonic activity.

Another still frame showing a demon that looks like a cross between man and demon:

A possible cross between man and demon, which is not uncommon, and which is supported by the Bible,
as discussed in SCIENCE | Why some demons wear clothes; why others go naked

It was taken from the same video as the two previous images.

More:

Source video
Following is the video source from which the above three still frames were taken, and from which many more will be taken from, hopefully, in the near future: In this video clip, the light from my laptop alternates between light and dark, revealing my face with the former and a demon's face with the latter:

Note that the reflection of light on the wall behind me is white when my face is shown, but looks kind of like fire (or at least red light) when the demon's face is shown.

NOTE | You will need to increase the brightness of your display to the highest level in order to see the demon in this video; and, even then, you still may not be able to see it very well, particularly, if you are using anything but a Mac.

#452 - PREVIEW | More Voices Demons' Conversation (with me and others)

Things the Voices Demons have said today—all day—written verbatim, from recordings and inter-personal conversation.

Female #1
Listen here, Mr. B: we don't like you; so, we're going to have to create a problem for you.

He's remanded! He's remanded! He's remanded for a lifetime! And, if I have anything to do about it, I wouldn't even let him breathe air.

He masturbated on us, this time, way too much.

When we take Scratchen away from him... [loud bang, intended to hurt my ear, per the Voices Demons]

Female #2
Masturbate a whole problem for us, James B., and we may just get over on you.

Male #1
Pedophile charges are a cogent option for us.

Female #1
James, you're fucking up my program! You're fucking up my program! I won't let you do that!

Male
I'll let them know. [repeats in an echo kind of way that is unique to Voices Demons]

Female #2
Tuzzo people don't get violent, James B. They get even, then they get violent.

Female #1
[singing] He's remanded! He's remanded! He fucked Tuzzo people around; but, they got even. Faggot! Faggot! Faggot! Go Tuzzo! Go Tuzzo!
[accompanying by orchestrated music of poor fidelity, very spooky, although, when written, probably was meant to sound happy; slow-playing, out-of-tune—like an old player piano]

Understand this, James B.: we don't want you in-custody, we need you in-custody.

[mimicking a mock victim of child sexual abuse] "Jimmy Bush put his penis in my mouth, and I didn't like it." And: "Jimmy put it in his mouth and told me not to tell anyone."

Female #2
Basically, they don't want you dead; they want you gone.

Female #3
Let me get [it] or [him] for breakfast.

Male #1
I'm sorry, James. He doesn't like it when you're mean to him; so, he may not call you back. That's what I would say if I knew what I was talking about.

Male #2
Alright! Alright! We could probably go the distance with him; but, we'd have to make him very, very happy, and I just don't think we can do that.

Female #3
Kick his face, kick his face, kick his face in!

Female #2
There's some safety tips in this cabinet that I want removed for another reason.

Demon harm. w/ wrapping on wooden fence
[in cadence written for this phrase by Tuzzo] Masturbate now, tweaker, masturbate!

Male #2
What a dumb-ass tweaker! Now, I have to go home and tell my mom I was molested.

Female #3
If you hadn't masturbated on your dick all day, you wouldn't have any problem with us...not!

#451 - VIDEO | Second woman possessed by demon wearing clown-like makeup

When a female guest leaned into my shot while making video during the period of high demonic activity tonight, her inner demon expressed itself, revealing the fact that it's male, but likes to wear makeup:

While all frames in this portion of the video consistently show the profile of the possessing demon, this one gives the best overall view:

As my guest leans into the shot (upper-right), her face is shown to be superimposed by that of a demon, similar to the mangled and disordered one seen in VIDEO | Porn actor's face morphs into demon's in porn video

The appearance of the demon's face is not caused by any type of distortion, such as motion blurring or the like; in every frame of the portion of the video clip in which it appears, it is consistently that of the demon's:

The demon's face is visible in every frame of the portion of the video in which it is shown; it is not the effect of a motion blur or any other type of distortion

Shortly after the appearance of the demon (within mere seconds), the woman leans into the shot twice more, this time, sans demon:

Seconds later, my guest's face returns to normal

This demon looks similar to the one that revealed itself on video during the production of a porn video, as shown in , and as pictured below:

A porn actor's eyes loll into the back of his head...

...seconds before his inner demon reveals itself, which looks similar to that of the woman's (above)

This is the second demon-possessed woman that I have captured on video; the first woman shown to be possessed can be seen in PHOTO | Video in motion reveals woman's hobgoblin demon underpinnings:

The white mask-like face of a hobgoblin demon, superimposed over the face of a woman it is possessing

Unlike that woman's demon, which was revealed only by video in motion, this demon was revealed in relatively still video, which is rare.

#450 - VIDEOS | What demons look like when they float (instead of walk)

During the period of high demonic activity that occurred tonight, I turned on my iSight camera—as usual—hoping to catch something happening, and, preferably, something new.

I got four something-news, in that I obtained four clips of demons floating by, right in front of my face, which are shown in the reflection on a microwave door.

This is the first such clip, which, as first, I thought was the reflection of one of my house guests until I noticed that they weren't moving up and down as a walker would were moving at a constant forward speed:

When I discovered a second segment showing the same as the first, I was able to compare the two to make sure I wasn't looking at a reflection of something that I thought was a person (or demon), and that the motion comprising its "walk" wasn't coincidental:

Although I was convinced by the first and second segments that I was watching demon float by, a third segment cinched it; it shows two demons of differing size:

This fourth segment, found in another video made shortly thereafter, shows what floating demons look like when they turn around:

I've seen floating demons before—many times, in fact—but they are almost always cloaked, and are rarely observed in routine transit like this. A cloaked demon is a demon on the attack, which means they aren't going to be passing you by; rather, they will be charging you to the point of being in your face.

Still, the fact that they are around—whether attacking or not—portends bad things underway. They wouldn't bother being around people unless they were. They have better everything; there's nothing you have that they want or need, I promise. Our lives, by comparison, are of remote jungle tribe quality to them.

When demons float (instead of walk), only their heads, torsos, and waists are visible; their legs appear to fade downwards into nothing. By contrast, you can see the entire bodies of demons that employ dark cloaks (def. pend.), such as phantom demons and some varieties of eye-spider demons, including their legs, which they actually appear to be using while moving. Only cloaked demons float.

How a microwave door unveiled invisible demons
Following are two copy-and-pasted online articles, which may help explain how a dual-paned, glossy microwave door unveiled otherwise invisible demons (in other words, how the camera saw in a reflection what I could not see in front of my face). When I learn more, I'll make sense of it all; in the meantime, even those with a rudimentary background in science should be able to follow the information presented in them so long as you remember that cloaks are meant to prevent you from seeing light reflective off of a demon.

NOTE | For more information on the science behind the demonic cloak, read SCIENCE | The ethereal glow and semi-transparency of cloaked demons explained.

Polarization
A light wave is an electromagnetic wave that travels through the vacuum of outer space. Light waves are produced by vibrating electric charges. The nature of such electromagnetic waves is beyond the scope of The Physics Classroom Tutorial. For our purposes, it is sufficient to merely say that an electromagnetic wave is a transverse wave that has both an electric and a magnetic component.

The transverse nature of an electromagnetic wave is quite different from any other type of wave that has been discussed in The Physics Classroom Tutorial. Let's suppose that we use the customary slinky to model the behavior of an electromagnetic wave. As an electromagnetic wave traveled towards you, then you would observe the vibrations of the slinky occurring in more than one plane of vibration. This is quite different than what you might notice if you were to look along a slinky and observe a slinky wave traveling towards you. Indeed, the coils of the slinky would be vibrating back and forth as the slinky approached; yet these vibrations would occur in a single plane of space. That is, the coils of the slinky might vibrate up and down or left and right. Yet regardless of their direction of vibration, they would be moving along the same linear direction as you sighted along the slinky. If a slinky wave were an electromagnetic wave, then the vibrations of the slinky would occur in multiple planes. Unlike a usual slinky wave, the electric and magnetic vibrations of an electromagnetic wave occur in numerous planes. A light wave that is vibrating in more than one plane is referred to as unpolarized light. Light emitted by the sun, by a lamp in the classroom, or by a candle flame is unpolarized light. Such light waves are created by electric charges that vibrate in a variety of directions, thus creating an electromagnetic wave that vibrates in a variety of directions. This concept of unpolarized light is rather difficult to visualize. In general, it is helpful to picture unpolarized light as a wave that has an average of half its vibrations in a horizontal plane and half of its vibrations in a vertical plane.
It is possible to transform unpolarized light into polarized light. Polarized light waves are light waves in which the vibrations occur in a single plane. The process of transforming unpolarized light into polarized light is known as polarization. There are a variety of methods of polarizing light. The four methods discussed on this page are:

Polarization by Use of a Polaroid Filter
The most common method of polarization involves the use of a Polaroid filter. Polaroid filters are made of a special material that is capable of blocking one of the two planes of vibration of an electromagnetic wave. (Remember, the notion of two planes or directions of vibration is merely a simplification that helps us to visualize the wavelike nature of the electromagnetic wave.) In this sense, a Polaroid serves as a device that filters out one-half of the vibrations upon transmission of the light through the filter. When unpolarized light is transmitted through a Polaroid filter, it emerges with one-half the intensity and with vibrations in a single plane; it emerges as polarized light.

A Polaroid filter is able to polarize light because of the chemical composition of the filter material. The filter can be thought of as having long-chain molecules that are aligned within the filter in the same direction. During the fabrication of the filter, the long-chain molecules are stretched across the filter so that each molecule is (as much as possible) aligned in say the vertical direction. As unpolarized light strikes the filter, the portion of the waves vibrating in the vertical direction are absorbed by the filter. The general rule is that the electromagnetic vibrations that are in a direction parallel to the alignment of the molecules are absorbed.
The alignment of these molecules gives the filter a polarization axis. This polarization axis extends across the length of the filter and only allows vibrations of the electromagnetic wave that are parallel to the axis to pass through. Any vibrations that are perpendicular to the polarization axis are blocked by the filter. Thus, a Polaroid filter with its long-chain molecules aligned horizontally will have a polarization axis aligned vertically. Such a filter will block all horizontal vibrations and allow the vertical vibrations to be transmitted (see diagram above). On the other hand, a Polaroid filter with its long-chain molecules aligned vertically will have a polarization axis aligned horizontally; this filter will block all vertical vibrations and allow the horizontal vibrations to be transmitted.

Polarization of light by use of a Polaroid filter is often demonstrated in a Physics class through a variety of demonstrations. Filters are used to look through and view objects. The filter does not distort the shape or dimensions of the object; it merely serves to produce a dimmer image of the object since one-half of the light is blocked as it passed through the filter. A pair of filters is often placed back to back in order to view objects looking through two filters. By slowly rotating the second filter, an orientation can be found in which all the light from an object is blocked and the object can no longer be seen when viewed through two filters. What happened? In this demonstration, the light was polarized upon passage through the first filter; perhaps only vertical vibrations were able to pass through. These vertical vibrations were then blocked by the second filter since its polarization filter is aligned in a horizontal direction. While you are unable to see the axes on the filter, you will know when the axes are aligned perpendicular to each other because with this orientation, all light is blocked. So by use of two filters, one can completely block all of the light that is incident upon the set; this will only occur if the polarization axes are rotated such that they are perpendicular to each other.

A picket-fence analogy is often used to explain how this dual-filter demonstration works. A picket fence can act as a polarizer by transforming an unpolarized wave in a rope into a wave that vibrates in a single plane. The spaces between the pickets of the fence will allow vibrations that are parallel to the spacings to pass through while blocking any vibrations that are perpendicular to the spacings. Obviously, a vertical vibration would not have the room to make it through a horizontal spacing. If two picket fences are oriented such that the pickets are both aligned vertically, then vertical vibrations will pass through both fences. On the other hand, if the pickets of the second fence are aligned horizontally, then the vertical vibrations that pass through the first fence will be blocked by the second fence. This is depicted in the diagram below.

In the same manner, two Polaroid filters oriented with their polarization axes perpendicular to each other will block all the light. Now that's a pretty cool observation that could never be explained by a particle view of light.

Polarization by Reflection
Unpolarized light can also undergo polarization by reflection off of nonmetallic surfaces. The extent to which polarization occurs is dependent upon the angle at which the light approaches the surface and upon the material that the surface is made of. Metallic surfaces reflect light with a variety of vibrational directions; such reflected light is unpolarized. However, nonmetallic surfaces such as asphalt roadways, snowfields and water reflect light such that there is a large concentration of vibrations in a plane parallel to the reflecting surface. A person viewing objects by means of light reflected off of nonmetallic surfaces will often perceive a glare if the extent of polarization is large. Fishermen are familiar with this glare since it prevents them from seeing fish that lie below the water. Light reflected off a lake is partially polarized in a direction parallel to the water's surface. Fishermen know that the use of glare-reducing sunglasses with the proper polarization axis allows for the blocking of this partially polarized light. By blocking the plane-polarized light, the glare is reduced and the fisherman can more easily see fish located under the water.

Polarization by Refraction
Polarization can also occur by the refraction of light. Refraction occurs when a beam of light passes from one material into another material. At the surface of the two materials, the path of the beam changes its

direction. The refracted beam acquires some degree of polarization. Most often, the polarization occurs in a plane perpendicular to the surface. The polarization of refracted light is often demonstrated in a Physics class using a unique crystal that serves as a double-refracting crystal. Iceland Spar, a rather rare form of the mineral calcite, refracts incident light into two different paths. The light is split into two beams upon entering the crystal. Subsequently, if an object is viewed by looking through an Iceland Spar crystal, two images will be seen. The two images are the result of the double refraction of light. Both refracted light beams are polarized - one in a direction parallel to the surface and the other in a direction perpendicular to the surface. Since these two refracted rays are polarized with a perpendicular orientation, a polarizing filter can be used to completely block one of the images. If the polarization axis of the filter is aligned perpendicular to the plane of polarized light, the light is completely blocked by the filter; meanwhile the second image is as bright as can be. And if the filter is then turned 90-degrees in either direction, the second image reappears and the first image disappears. Now that's pretty neat observation that could never be observed if light did not exhibit any wavelike behavior.

Thin Film Interference

The emphasis of Lesson 1 of this unit is to present some evidence that has historically supported the view that light behaves as a wave. The reflection, refraction and diffraction of light waves is one strand of evidence. The interference of light waves is a second strand of evidence. In the early nineteenth century, Thomas Young showed that the interference of light passing through two slits produces an interference pattern when projected on a screen. In this section of Lesson 1, we will investigate another example of interference that provides further evidence in support of the wavelike behavior of light.

Perhaps you have witnessed streaks of color on a car windshield shortly after it has been swiped by a windshield wiper or a squeegee at a gas station. The momentary streaks of color are the result of interference of light by the very thin film of water or soap that remains on the windshield. Or perhaps you have witnessed streaks of color in a thin film of oil resting upon a water puddle or concrete driveway. These streaks of color are the result of the interference of light by the very thin film of oil that is spread over the water surface. This form of interference is commonly called thin film interference and provides another line of evidence for the wave behavior of light.

Light wave interference results when two waves are traveling through a medium and meet up at the same location. So what exactly is causing this thin film interference? What is the source of the two waves? When a wave (light waves included) reaches the boundary between two media, a portion of the wave reflects off the boundary and a portion is transmitted across the boundary. The reflected portion of the wave remains in the original medium. The transmitted portion of the wave enters the new medium and continues traveling through it until it reaches a subsequent boundary. If the new medium is a thin film, then the transmitted wave does not travel far before it reaches a new boundary and undergoes the usual reflection and transmission behavior. Thus, there are two waves that emerge from the film - one wave that is reflected off the top of the film (wave 1 in the diagram) and the other wave that reflects off the bottom of the film (wave 2 in the diagram).

These two waves could interfere constructively if they meet two conditions. One condition is that the two waves must be relatively close together such that their crests and troughs can meet up with each other and cause the interference. To meet this condition, the light must be incident at angles close to zero with respect to the normal. (This is not shown in the diagram above in order to space out the waves for clarity sake.) A second condition that must be met is that the wave that travels through the film and back into the original medium must have traveled just the right distance such that it is in phase with the other reflected wave. Two waves that are in phase are waves that are always at the same point on their wave cycle. That is, the two waves must be forming crests at the same location and at the same moment in time and forming troughs at the same location and at the same moment in time. In order for the second condition to occur, the thickness of the film must be just perfect.

If wave 1 and wave 2 meet these two conditions as they reflect and exit the film, then they will constructively interfere. As will be learned in Lesson 2, light that is visible to our eyes consists of a collection of light waves of varying wavelength. Each wavelength is characterized by its own color. So a red light wave has a different wavelength than an orange light wave that has a different wavelength than a yellow light wave. While the thickness of a film at a given location may not allow a red and an orange light wave to emerge from the film in phase, it may be just perfect to allow a yellow light wave to emerge in phase. So at a given location on the film, the yellow light wave undergoes constructive interference and becomes brighter than the other colors within the incident light. As such, the film appears yellow when viewed by incident sunlight. Other locations of the film may be just perfect to constructively reinforce red light. And still others area of the film may be of perfect thickness for the constructive reinforcement of green light. Because different locations of the film may be of appropriate thickness to reinforce different colors of light, the thin film will show streaks of color when viewed from above.

While the mathematics of thin film interference can become quite complicated, it is clear from this discussion that thin film interference is another phenomenon that can only be explained using a wave model of light.

The Life of a Demoniac