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AP Psychology > 4: Sensation and Perception > Flashcards

4: Sensation and Perception Flashcards

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0
Q

wavelengths longer than visible light (3)

A
  • INFRARED waves
  • MICROWAVES
  • RADIO waves
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1
Q

vision, hearing n touch (2)

A
  • ENERGY senses

- gather energy in the form of LIGHT, WAVES, n PRESSURE

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2
Q

wavelengths shorter than visible light (2)

A
  • ULTRAVIOLET waves

- X-RAYS

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3
Q

FACTORS that determine the COLOURS we see (2)

A
  • LIGHT INTENSITY (BRIGHTNESS)

- LIGHT WAVELENGTH (HUE)

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4
Q

colors of VISIBLE SPECTRUM from LONGEST to SHORTEST wavelength (1)

A
  • Roy G. Biv
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5
Q

transduction

A
  • TRANSLATION of INCOMING stimuli into NEURAL signals
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6
Q

rods (3)

A
  • cells activated by BLACK n WHITE
  • OUTNUMBER cones 20 to one
  • distributed THROUGHOUT retina
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7
Q

cones (2)

A
  • cells that respond to COLOR

- concentrated toward CENTER of RETINA

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8
Q

fovea

A
  • INDENTATION at the CENTER of the RETINA that contains the highest CONCENTRATION of CONES
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9
Q

transduction in vision (steps: 5)

A
  • FIRST LAYER of cells (CONES n RODS) are activated by light –> activate next layer of BIPOLAR CELLS –> activate GANGLION CELLS (optic nerve) –> LATERAL GENICULATE NUCLEUS/LNG (thalamus) –> VISUAL CORTICES (occipital lobe)
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10
Q

blind spot

A
  • spot where OPTIC NERVE leaves the RETINA (because it has no rods or cones)
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11
Q

optic chiasm

A
  • spot where the OPTIC NERVES CROSS each other
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12
Q

ganglion cells (in retina)

A

(NERVE CELL whose body is outside the CNS)

- AXONS make up the OPTIC NERVE nerve that sends impulses to specific region in the thalamus (LNG)

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13
Q

David HUBEL n Tom WIESEL (2)

A
  • PERCEPTION researchers
  • discovered that GROUPS of NEURONS in the VISUAL CORTEX respond to different TYPES of visual images –> FEATURE DETECTORS for vertical lines, curves, motion…
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14
Q

Theories of color vision (2)

A
  • TRICHROMATIC THEORY

- OPPONENT-PROCESS THEORY

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15
Q

TRICHROMATIC theory (3)

A
  • hypothesizes that we have 3 types of CONES in the retina: detect BLUE, RED n GREEN
  • activated in different COMBINATIONS to PRODUCE all the colors of the VISUAL SPECTRUM
  • cannot explain some visual phenomena: AFTERIMAGES n COLOR BLINDNESS
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16
Q

Afterimages (2)

A
  • when u STARE at a color for awhile, then look at a WHITE space, you see a color afterimage
  • GREEN: afterimage is RED; YELLOW: after image is BLUE
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17
Q

OPPONENT PROCESS THEORY (3)

A
  • SENSORY RECEPTORS arranged n the retina comes in PAIRS: red/green; yellow/blue; black/white
  • if ONE sensor is STIMULATED, its pair is INHIBITED from firing
  • explains color blindness n afterimage
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18
Q

sound wave measurements (2)

A
  • AMPLITUDE: HEIGHT of wave + LOUDNESS (DECIBELS)

- FREQUENCY: LENGTH of the waves + PITCH (MEGAHERTZ)

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19
Q

parts of the ear (7)

A
  • EAR CANAL
  • EARDRUM (tympanic membrane)
  • HAMMER (malleus)
  • ANVIL (incus)
  • STIRRUP (stapes)
  • OVAL WINDOW
  • COCHLEA
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20
Q

organ of Corti

A
  • NEURONS activated by MOVEMENT of the HAIR cells on the BASILAR MEMBRANE
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21
Q

basilar membrane (2)

A
  • on the FLOOR of the COCHLEA

- lined with HAIR CELLS

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22
Q

pitch theories (2)

A
  • PLACE theory

- FREQUENCY theory

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23
Q

PLACE theory

A
  • holds that HAIR CELLS in the cochlea RESPOND to different FREQUENCIES of sound based on where they are LOCATED in the COCHLEA
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24
Q

FREQUENCY theory

A
  • we sense PITCH because the HAIR CELLS fire at different RATES (frequencies) in the cochlea
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25
Q

types of deafness (2)

A
  • CONDUCTION deafness : occurs when sth goes wrong w. the SYSTEM of CONDUCTING SOUND to the cochlea
  • NERVE (sensorineural) deafness : hair cells in cochlea are damaged
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26
Q

gate control theory (3)

A
  • explains how we EXPERIENCE PAIN the way we do
  • some pain MESSAGES have HIGHER PRIORITY than others
  • when you scratch an itch, you feel scratching so itch is temporarily gone
27
Q

color blindness (2)

A
  • DICHROMATIC color blindness (can’t see red/green or blue/yellow shades)
  • MONOCHROMATIC (see only shades of gray)
28
Q

papillae

A
  • BUMPS you can see on your TONGUE

- TASTE BUDS are located on papillae

29
Q

types of taste (5)

A
  • sweet
  • sour
  • salty
  • bitter
  • unami (“meaty” “savory” taste)
30
Q

Chemical senses (2)

A
  • TASTE

- SMELL

31
Q

how we smell (4)

A
  • MOLECULES of SUBSTANCES rise into the AIR n DRAWN into NOSE
  • molecules settle into MUCOUS MEMBRANE at the top of each nostril
  • absorbed by OLFACTORY RECEPTOR CELLS (researchers estimate approx 100 different types)
  • receptor cells linked to OLFACTORY BULB
32
Q

olfactory bulb (2)

A
  • gathers messages from OLFACTORY RECEPTOR CELLS n sends the information to the AMYGDALA, then the HIPPOCAMPUS (vs. thalamus)
  • explains reason why POWERFUL trigger for memories?
33
Q

Body position senses (2)

A
  • VESTIBULAR SENSE

- KINESTHETIC SENSE

34
Q

VESTIBULAR sense (4)

A
  • tells us how our BODY is ORIENTED in SPACE
  • 3 SEMI-CIRCULAR CANALS in INNER EAR give the brain feedback about body orientation
  • when POSITION of HEAD changes, FLUID in canal moves, ACTIVATING HAIR CELL SENSORS, which sends info to brain
  • NAUSEA n DIZZINESS when FLUID in CANALS is AGITATED
35
Q

KINESTHETIC sense (3)

A
  • keeps track of POSITION and ORIENTATION of SPECIFIC BODY PARTS
  • allows you to touch kneecap w. finger bcos kinesthetic sense provides INFORMATION about where your finger is IN RELATION to your kneecap
  • RECEPTORS in our MUSCLES n JOINTS send information to brain
36
Q

Psychophysics DEF

A
  • study of INTERACTION b.w SENSATION n PERCEPTION (how we experience sensation)
37
Q

absolute threshold

A
  • SMALLEST amount of STIMULUS we can DETECT 50% of the time
  • absolute threshold for VISION: single candle flame about 30 miles away on a perfectly dark night
  • SMELL: single drop of perfume a room away
38
Q

subliminal messages

A
  • STIMULI BELOW our ABSOLUTE THRESHOLD

- COMPANIES claim that subliminal messages can change UNWANTED BEHAVIOR; “lose weight”, “increase your vocabulary”

39
Q

difference threshold (3)

A
  • JUST-NOTICEABLE DIFFERENCE
  • SMALLEST amount of CHANGE needed in a STIMULUS before we DETECT a change
  • computed by WEBER-FECHNER law
40
Q

WEBER-FECHNER law (3)

A
  • Ernst WEBNER n Gustav FLECHNER (psychophysicists)
  • states that the CHANGE NEEDED is PROPORTIONAL to the ORIGINAL INTENSITY of the stimulus (the more INTENSE the stimulus, the MORE CHANGE it will need be4 we detect a difference)
  • e.g. amount of spice to a dish that didn’t have any spice be4 vs +spice in a dish that already has spice
41
Q

WEBER additional discovery (3)

A
  • esch sense VARIES ACCORDING to a CONSTANT
  • e.g. constant for hearing is 5 percent: tone would have to increase 5 decibels (100-105) be4 we notice it is louder
  • e.g. constant for vision is 8 percent: 8 candles would have to be added to 100 candles be4 we notice any difference
42
Q

perceptual theories (3)

A
  • SIGNAL DETECTION theory
  • TOP-DOWN processing
  • BOTTOM-UP processing
43
Q

SIGNAL DETECTION theory (4)

A
  • investigates the effects of the DISTRACTIONS n INTERFERENCE we experience while percieving the world
  • tries to predict what we see among COMPETING CRITERIA
  • takes into account RESPONSE CRITERIA
  • tries to EXPLAIN n PREDICT the different PERCEPTUAL MISTAKES we make (FALSE POSITIVE/FALSE NEGATIVE)
44
Q

response criteria (3)

A
  • RECIEVER OPERATING CHARACTERISTICS
  • how MOTIVATED we are to detect a certain stimuli
  • e.g. more likely to smell pumpkin pie if i am hungry and like the taste of pumkin pie
45
Q

perceptual mistakes (2)

A
  • FALSE POSITIVE: when we think we PERCIEVE a stimulus that is NOT THERE; seeing a friend on a crowded street and end up waving at a stranger
  • FALSE NEGATIVE: NOT PERCIEVING a STIMULUS that is present; not notice the directions at the top of the test that instruct not to write on the test
46
Q

TOP-DOWN processing (4)

A
  • occurs when you use BACKGROUND KNOWLEDGE to FILL IN GAPS in what you percieve
  • FASTER but more PRONE to ERROR
  • e.g. see images in CLOUDS
  • e.g. backmasking
47
Q

schemata (2)

A
  • MENTAL REPRESENTATIONS of how we EXPECT the world to be

- schemata can create a PERCEPTUAL SET

48
Q

perceptual set DEF.

A
  • PREDISPOSITION to PERCIEVING sth a CERTAIN WAY
49
Q

backmasking (2)

A
  • supposed HIDDEN MESSAGES MUSICIANS RECORDED BACKWARD in their music
  • ppl who listened to the songs played backward and had SCHEMATA of this music as dangerous or evil PERCIEVED the THREATENING messages due to TOP-DOWN processing
50
Q

BOTTOM-UP processing

A
  • aka FEATURE ANALYSIS
  • use FEATURES of an OBJECT itself to build a COMPLETE PERCEPTION
  • takes LONGER but is more ACCURATE
51
Q

figure-ground relationship (3)

A
  • a PERCEPTUAL DECISION
  • what PART of the VISUAL IMAGE is the FIGURE and what part is the ground or the BACKGROUND
  • several OPTICAL ILLUSIONS play w. this rule (picture of the vase that is also two faces)
52
Q

FACTORS that influences how we GROUP OBJECTS (4) (GESTALT RULES)

A
  • SIMILARITY: similar in appearance
  • PROXIMITY:
  • CONTINUITY: form a continuous form (trail, geometric figure)
  • CLOSURE: similar to top down processing; objects that make up a recognizable image are more likely to be percieved as objects belonging to the same group.
53
Q

constancy DEF.

A
  • our ABILITY to MAINTAIN a CONSTANT PERCEPTION of an OBJECT despite VARIATIONS in LIGHT, ANGLE of VISION, and so on…
54
Q

types of constancy (3)

A
  • SIZE constancy: we keep a CONSTANT SIZE in MIND of an object and know that it does not GROW or SHRINK in size as it moves CLOSER n FARTHER away
  • SHAPE constancy: objects viewed from DIFFERENT ANGLES will PRODUCE different SHAPES on our RETINAS, but we know the shape of an object is CONSTANT; e.g coffee mug viewed from side and above.
  • BRIGHTNESS constancy: we PERCIEVE objects as being CONSTANT in COLOR, even as the LIGHT REFLECTING off of the object CHANGES; e.g. Brick red wall at night
55
Q

situations where we perceive objects to be MOVING, when they are NOT (3)

A
  • STROBOSCOPIC effect
  • PHI phenomenon
  • AUTOKINETIC effect
56
Q

STROBOSCOPIC effect (2)

A
  • IMAGES on a SERIES of STILL PICTURES PRESENTED at a CERTAIN SPEED will appear to be MOVING
  • movies, flipbooks
57
Q

PHI phenomenon (2)

A
  • a SERIES of LIGHTBULBS turned ON and OFF will appear to be ONE MOVING LIGHT
  • holiday lights
58
Q

AUTOKINETIC effect (1)

A
  • if a SPOT OF LIGHT is PROJECTED steadily onto the same place on a wall of an otherwise DARK FOOM and people are asked to STARE at it, they will REPORT seeing it MOVE
59
Q

CUES that we use to perceive DEPTH (2)

A
  • MONOCULAR cues

- BINOCULAR cues

60
Q

MONOCULAR cues (5)

A
  • LINEAR perspective: railroad track that runs awayf rom viewer into the distance: draw two lines that converge somewhere toward top of paper
  • RELATIVE SIZE cue: draw boxcars closer to viewer as LARGER than the engine off in the distance
  • INTERPOSITION cue: objects that BLOCK the VIEW of other OBJECTS must be CLOSER to us
  • TEXTURE GRADIENT: draw rocks closest to the viewer in detail, while the landscape of int he distance would not be as detailed
  • SHADOWING: IMPLY where LIGHT SOURCE is and thus imply DEPTH and POSITION of OBJECTS
61
Q

BINOCULAR cues (2)

A
  • BINOCULAR (RETINAL) DISPARITY: EACH of our EYES sees an object from a SLIGHTLY DIFFERENT ANGLE. (the closer an object, the more DISPARITY there will be B.W the IMAGES COMING frome EACH eye)
  • CONVERGENCE: the more the eyes CONVERGE, the CLOSER the object must be (brain recieves feedback from the muscles controlling eye movement)
62
Q

effects of culture on perception examples (2)

A
  • cultures that do not use MONOCULAR DEPTH CUES in their ART do NOT SEE DEPTH in PICTURES using those CUES
  • some OPTICAL ILLUSIONS are NOT PERCEIVED the SAME WAY by PEOPLE from DIF. CULTURES: people who come from NON CARPENTERED cultures that do not use right angles and corners are not fooled by the MULLER-LYER illusion
63
Q

Gestalt psychologists (4)

A
  • beginning of 1900s
  • described the PRINCIPLES that GOVERN how we PERCEIVE groups of objects
  • pointed out that we NORMALLY PERCEIVE images as GROUPS, not as ISOLATED ELEMENTS
  • thought that this process was INNATE and INEVITABLE
64
Q

Eleanor GIBSON (3)

A
  • VISUAL DEPTH experiment: INFANT placed on top of a GLASS TOPPED TABLE that creates the IMPRESSION of a CLIFF
  • RESULTS: infant old enough to CRAWL will NOT crawl across the visual cliff, IMPLYING the child has depth perception
  • other experiments demonstrate that we develop depth perception at about THREE MONTHS OLS

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