PERCEPTION Flashcards

1
Q

the method by which the brain takes all the
sensations a person experiences at any given
moment and allows them to be interpreted in
some meaningful fashion.

A

Perception

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2
Q
  1. Size constancy 2. Shape constancy 3. Brightness constancy
A

Constancies

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3
Q

the tendency to interpret an object as always
being the same size, regardless of its distance
from the viewer (or the size of the image it casts
on the retina).

A

Size constancy

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4
Q

So if an object that is normally
perceived to be about 6 feet tall appears very small on the retina, it will be interpreted as
being very far away.

A

Size constancy

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5
Q

why a person still perceives a coin as a circle
even if it is held at an angle that makes it
appear to be an oval on the retina.

A

Shape constancy

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6
Q

the tendency to perceive the apparent
brightness of an object as the same even when
the light conditions change.

A

Brightness constancy

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7
Q
  1. Figure-Ground Relationships
  2. Proximity
  3. Similarity
  4. Closure
  5. Continuity
A

Gestalt Principle

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8
Q

Refer to the tendency to perceive objects or
figures as existing in a background. People
seem to have a preference for picking out
figures from backgrounds even as early as birth.

A

Figure-Ground Relationships

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9
Q

the tendency to perceive objects that are
close to one another as part of the same
grouping.

A

Proximity

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10
Q

refers to the tendency to perceive things that
look similar as being part of the same group.

A

Similarity

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11
Q

the tendency to complete figures that are
incomplete.

A

Closure

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12
Q

refers to the tendency to perceive things as
simple as possible with a continuous pattern
rather than with a complex, broken-up pattern.

A

Continuity

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13
Q

It is the capability to see the world in three
dimensions

A

Depth Perception

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14
Q
  1. Linear Perspective
  2. Relative Size
  3. Overlap or interposition
  4. Aerial Perspective
  5. Texture Gradient
  6. Motion Parallax
  7. Accommodation
A

7 Monocular Cues

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15
Q

are often referred to as pictorial depth cues
because artists can use these cues to give the
illusion of depth to paintings and drawings.

A

Monocular Cues

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16
Q

the tendency for lines that are actually
parallel to seem to converge on each other.

A

Linear Perspective

17
Q

tendency when the objects that people
expect to be of a certain size appear to be small
and are, therefore, assumed to be much farther
away.

A

Relative Size

18
Q

happens if one object seems to be blocking
another object, people assume that the blocked
object is behind the first one and, therefore,
farther away.

A

Overlap or interposition

19
Q

occurs when the farther away an object is, the
hazier the object will appear to be due to tiny
particles of dust, dirt, and other pollutants in
the air.

A

Aerial Perspective

20
Q

is another trick used by artists to give the
illusion of depth in a painting.

A

Texture Gradient

21
Q

makes use of something that happens inside
the eye. The lens of the human eye is flexible
and held in place by a series of muscles, process of visual accommodation
as the tendency of the lens to change its shape,
or thickness, in response to objects near or far
away.

A

Accommodation

22
Q

perception of motion of
objects in which close objects appear to move
more quickly than objects that are farther
away

A

Motion Parallax

23
Q

cues for perceiving depth
based on both eyes

A

Binocular cues

24
Q

1 Convergence
2 Binocular disparity

A

2 Binocular cues

25
Q

a perception that does not correspond to
reality: People think they see something when the
reality is quite different.

A

ILLUSIONS

26
Q

visual stimuli that “fool” the eye

A

ILLUSIONS

27
Q

a distorted perception of something that is really there

A

ILLUSIONS

28
Q

originates in the brain, not in reality

A

HALLUCINATIONS

29
Q

Hermann Grid

A

Perceptual Illusions

30
Q

One explanation for this illusion is attributed to
the responses of neurons in the primary visual
cortex that respond best to bars of light of a
specific orientation

A

Hermann Grid

31
Q

3 neurons discovered by David Hubel and
Torsten Wiesel

A

simple cells, complex cells, end-stopped cells

32
Q

neurons in the primary visual
cortex that respond best to bars of light of a
specific orientation

A

simple cells

33
Q

which respond to orientation
and movement

A

complex cells

34
Q

respond best to corners, curvature, or sudden
edges

A

end-stopped cells