This older blog post demonstrates this more clearly:
"1. If your eyes follow the movement of the rotating pink dot, you will only see one color, pink.
2. Green Catastrophe: If you stare at the black + in the center, the moving dot turns to green.
3. Reality Shatter: Now, concentrate on the black + in the center of the picture. After a short period of time, many if not all of the pink dots will slowly disappear, and you may only see a green dot rotating.
What does this tell us about the nature of reality? There really is no green dot, and the pink ones really don’t disappear. If our brains are so easily fooled, what aspects of reality are we missing?" - http://acidbrainfather.tumblr.com/post/55215137747
What Leonardo had to say about Color:
"The appearance of a color can to a certain extent be modified without directly acting on it with any actual material mixture. One need only put it next to another color which, depending on whether it is similar or opposite, will attenuate or enhance its intensity. Thus, if one paints a small square of paper in a rather dull red and then puts it on the pure red disc, the tint of the former will seem much more lusterless than if it were seen separately. But if one places this same shade on a sheet of paper colored with its complementary in blue-green, it will be exalted to the point of seeming as bright as the pure tone of the disc. These are effects of contrasts.
When two surfaces of different color are juxtaposed their adjacent edges are mutually tinged with the complementary of each color. And this occurs by virtue of what we have just ascertained in the previous experiment, namely: that the edges of yellow turned blue-violet. At times, when the colors are still wet, not only the edges, but even the entire surface of each color may be altered. On account of their vividness, our eyes cannot stand their tiring effect for long, though long enough for them to be able to see the secondary color. The eye goes from one to the other, thus carrying with it the complementary element of the neighboring color. In addition to a simultaneous contrast, there is here a subsequent contrast.
On making the colors in your paintings vivid and beautiful Again with reference to those colors which you want to be beautiful you must first prepare the perfectly white ground; and this I say of those colors which are transparent, because those that are not transparent do not benefit by a light ground; and the example of this is taught by the colors of glasses, which, when interposed between the eye and the luminous air, show themselves to be of excellent beauty, which they cannot do when they have shady air or other darkness behind them.
Which part of the color must reasonably be more beautiful If a is the light, b will be lit in line by this light; c, which cannot see this light, sees on y the illuminated part, which we shall say is red; being thus, the light which is generated on the part will resemble its cause, and will tinge the face c in red; and if c is likewise red, you will see that it is much more beautiful than b; and if c were yellow, you would see created an iridescent color between yellow and red.
Upon how reflected color is simple but is mixed with the species of other colors No color which reflects in the surface of another body tinges that surface with its own color, but will be mixed with the intersections of the other reflected colors standing out in the same place: as the yellow color a which reflects in the part of the sphere c or e, and in the same place reflects the pale blue color b. I say that because of this mixed reflection of yellow and blue the percussion of it concourse will tinge the sphere: if it was in itself white, it will turn green, because it is proven that yellow and blue mixed together make a very beautiful green."