Sensation and Perception Final Flashcards

1
Q

Why Do We Perceive Colour?

A

Aids in perceptual organization: Helps segregate elements.

Classification and identification: Helps us recognize and distinguish objects.

Evolutionary advantage: Helps in food foraging (e.g., spotting ripe fruit).

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2
Q

What is Colour?

A

Colour = Light wavelength reflected, emitted, or transmitted by an object.

Chromatic colours (hues): Objects reflect some wavelengths more than others (selective reflectance).

Achromatic colours: White, black, and grey (reflect all wavelengths equally).

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3
Q

Key Colour Properties

A

Wavelength: Determines hue (e.g., blue, red).

Intensity: Changes perceived brightness.

Saturation: Adding white reduces saturation (e.g., red → pink).

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4
Q

Color and Light - Newton’s Discovery

A

White light = mixture of all colours.

Different wavelengths are bent differently by a prism.

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5
Q

Reflectance curve

A

% of light reflected at each wavelength.

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6
Q

Transmission curve

A

% of light transmitted through a transparent object.

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7
Q

Additive colour mixing

A

Mixing lights of different wavelengths.

Example: Blue + yellow light = white.

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8
Q

Subtractive colour mixing

A

Mixing paints/pigments (fewer wavelengths reflected).
Example: Blue + yellow paint = green.

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9
Q

Perceptual Dimensions of Colour

A

Hue: Colour type (e.g., red, green).

Saturation: Intensity/purity of colour.

Value/Lightness: Brightness of the colour.

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10
Q

Trichromatic Theory (Young-Helmholtz)

A

Three cone types in the retina:
Short-wavelength cones (S-cones): Peak at 419 nm.
Medium-wavelength cones (M-cones): Peak at 531 nm.
Long-wavelength cones (L-cones): Peak at 558 nm.

Colour perception = combination of cone responses.

Evidence: Colour-matching experiments (Maxwell) show people need at least 3 wavelengths to match any colour.

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11
Q

Opponent-Process Theory (Hering)

A

Opponent pairs:
Red ↔ Green
Blue ↔ Yellow
White ↔ Black

Opponent neurons: Found in the retina & LGN, they respond to one colour while inhibiting the opposite.

Evidence:
Colour afterimages: Seeing green after staring at red.
Simultaneous contrast: A grey square looks greenish on a red background.

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12
Q

How the Theories Work Together

A

Trichromatic theory: Explains cone responses in the retina.

Opponent-process theory: Explains neural signals processed “higher up” in the visual system (e.g., LGN, visual cortex).

Both of these are correct and expain different stages of visual processing

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13
Q

Metamers

A

Different wavelengths can produce the same colour perception if they stimulate cones in the same way.

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14
Q

Colour Deficiency & Vision Disorders -Monochromatism

A

One receptor type (rods only).
See only shades of grey.
Poor visual acuity, very sensitive to light.

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15
Q

Colour Deficiency & Vision Disorders - Dichromatism

A

Two cone types: See chromatic colours like blue and green but with limitations.

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16
Q

Protanopia

A

missing L-cones

No red-green distinction.

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17
Q

Deuteranopia

A

missing M-cones

No green-yellow distinction.

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18
Q

Tritanopia

A

missing S-cones

No blue-yellow distinction.

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19
Q

Colour Deficiency & Vision Disorders - Anomalous Trichromatism

A

Three cones, but one is abnormal.

Needs different wavelength proportions to match colours.

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20
Q

Colour Deficiency & Vision Disorders - Unilateral Dichromatism

A

One eye trichromatic, the other dichromatic.

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21
Q

Why Are Three Cone Types Necessary

A

One receptor type: No colour vision (same response to any wavelength).

Two receptor types: Limited colour vision (like dichromats).

Three receptor types: Full colour spectrum perception.

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22
Q

Color Constancy

A

Perception of colors remains relatively constant even under varying lighting conditions.

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23
Q

Examples of Light Sources

A

Sunlight: Balanced energy across visible wavelengths.

Tungsten Lighting: More energy in long wavelengths (red/yellow tones).

Fluorescent Lighting: More energy in short wavelengths (blue tones).

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24
Q

Chromatic Adaptation

A

Prolonged exposure to a particular color reduces sensitivity to that color and helps maintain color constancy

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25
Q

Lightness Constancy

A

Perception of achromatic colors (e.g., black, white, gray) remains constant even when lighting changes

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26
Q

Lightness Constancy
- Ratio Principle

A

Two areas that reflect different amounts of light look the same if their intensity ratios are consistent.

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27
Q

Lightness Constancy - Reflectance Edges vs. Illumination Edges

A

Reflectance Edges: Light changes between surfaces.

Illumination Edges: Light changes due to shadows or different lighting conditions.

Our perceptual system identifies shadows based on their contours and meaning, helping us distinguish between illumination and reflectance edges.

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28
Q

Penumbra

A

The fuzzy edge of a shadow, signaling an illumination edge.

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29
Q

Color as a Neural Construction

A

Light waves themselves are not “colored.”

Perceptions vary between species (e.g., honeybees perceive UV colors).

Perceived colors are created by the brain’s interpretation of light waves.

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30
Q

Functions of Motion Perception

A

Survival: Predators detect prey through motion; prey avoids detection by remaining still.

Perceiving Events: Movement helps organize stimuli in our environment.

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31
Q

Akinetopsia

A

Blindness to motion; inability to perceive motion as a continuous stream.

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32
Q

Real Motion

A

Actual physical movement of an object.

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33
Q

Illusory Motion

A

Perceived motion without physical movement (e.g., movies, animated signs).

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34
Q

Induced Motion

A

Motion of one object causes the perception of motion in another object.

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35
Q

Motion Aftereffect

A

Observing stationary objects moving in the opposite direction after prolonged viewing of motion (e.g., waterfall illusion).

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36
Q

Ecological Approach (Gibson)

A

Information about motion is directly available in the environment.

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37
Q

Ecological Approach (Gibson) - Local Disturbance in Optic Array

A

Movement relative to a background indicates motion.

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38
Q

Ecological Approach (Gibson) - Global Optic Flow

A

Observer’s movement causes the entire scene to appear to move.

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39
Q

Corollary Discharge Theory

A

Movement perception depends on three signals:
Image Displacement Signal (IDS): Movement of an image across the retina.
Motor Signal (MS): Signal sent to the eye muscles to move the eyes.
Corollary Discharge Signal (CDS): A copy of the motor signal sent to other parts of the brain.
Movement Perception: When the comparator receives only one of the above signals.

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40
Q

Corollary Discharge Theory - Image Displacement Signal (IDS)

A

Movement of an image across the retina.

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41
Q

Corollary Discharge Theory - Motor Signal (MS)

A

Signal sent to the eye muscles to move the eyes.

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42
Q

Corollary Discharge Theory- Corollary Discharge Signal (CDS)

A

A copy of the motor signal sent to other parts of the brain.

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43
Q

Corollary Discharge Theory - Movement Perception

A

When the comparator receives only one of the above signals.

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44
Q

Reichardt Detectors

A

Neurons that respond to movement in one direction.

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45
Q

Medial Superior Temporal Area (MST)

A

Damage to this area can cause the perception of environmental motion during eye movements.

46
Q

Aperture Problem

A

Viewing a moving object through a small opening can lead to incorrect conclusions about the direction of motion.

47
Q

What do neurons in the MT Cortex respond to

A

Respond to specific directions of motion.

48
Q

Microstimulation Experiments

A

Stimulating motion-detecting neurons alters motion perception.

49
Q

Biological Motion

A

Perception of movement produced by living organisms.

50
Q

Biological Motion - Point-Light Walker Stimulus

A

Visual display of lights at specific points on a person’s body to detect biological motion.

51
Q

Biological Motion
- Processing Regions

A

Superior Temporal Sulcus (STS) and Fusiform Face Area (FFA).

52
Q

Representational Momentum

A

Perceiving implied motion in still images.

Example: A photograph of a running person may be perceived as “moving” in the viewer’s mind.

53
Q

Cue Approach to Depth Perception

A

Relies on information from the retinal image that correlates with depth in the scene.

54
Q

Occlusion

A

When one object partially blocks another, indicating depth.

55
Q

Automatic Processing

A

We learn these cues through repeated exposure until they become automatic.

56
Q

Oculomotor Cues

A

Based on sensing eye position and muscle tension.

57
Q

Oculomotor Cues - Convergence

A

Inward movement of eyes when focusing on nearby objects.

58
Q

Oculomotor Cues
- Accommodation

A

Lens shape changes when focusing on objects at various distances.

59
Q

Monocular Cues (Using One Eye) - Pictorial Cues

A

Found in 2D images like pictures.

60
Q

Monocular Cues (Using One Eye) - Relative Height

A

Objects below the horizon higher in the field of vision are more distant.

61
Q

Monocular Cues (Using One Eye) - Relative Size

A

When objects are the same size, the closer one appears larger.

62
Q

Monocular Cues (Using One Eye) - Familiar Size

A

Knowing an object’s size helps determine distance.

63
Q

Monocular Cues (Using One Eye) - Atmospheric Perspective

A

Distant objects appear fuzzy and bluish.

64
Q

Monocular Cues (Using One Eye) - Texture Gradient

A

Objects packed closer together as distance increases.

65
Q

Monocular Cues (Using One Eye) - Shadows

A

Provide information about object placement and enhance 3D appearance.

66
Q

Movement-Based Cues - Motion Parallax

A

Closer objects move quickly across our visual field compared to distant objects.

67
Q

Movement-Based Cues - Deletion & Accretion

A

Objects are covered or uncovered as we move relative to them.

68
Q

Binocular Disparity

A

The difference in images between the two eyes due to their different positions.

69
Q

Horopter

A

Imaginary sphere that passes through the point of focus, where objects fall on corresponding points on the two retinas.

70
Q

Absolute Disparity

A

Angle difference between points not on the horopter.

71
Q

Relative Disparity

A

Difference in absolute disparity between two objects.

72
Q

Stereopsis

A

Depth information derived from binocular disparity, demonstrated by stereoscopes and random-dot stereograms.

73
Q

Neural Processing and Binocular Disparity

A

Some neurons respond best to binocular disparity, allowing depth perception.

74
Q

Size-Distance Relationship

A

Our perception of an object’s size depends on our perception of its distance.

75
Q

Size Constancy

A

We perceive an object’s size as constant even when its image on the retina changes size (due to distance).

76
Q

Size-Distance Scaling Equation

A

S = K (R × D)

S = perceived size
K = constant
R = retinal image size
D = perceived distance.

77
Q

Müller-Lyer Illusion

A

Lines with inward or outward fins appear different in length despite being the same length.

78
Q

Emmert’s Law

A

Perceived size of an afterimage changes depending on the distance of projection.

79
Q

Ponzo Illusion

A

Objects placed over converging lines (e.g., railroad tracks) appear different in size despite being the same.

Explanation: Misapplied size-constancy scaling.

80
Q

Visual Illusions
- Ames Room

A

A distorted room making people appear different in size due to altered shape and distance cues.

Explanation: Size-distance scaling and relative size comparison.

81
Q

Visual Illusions
- Moon Illusion

A

The moon appears larger near the horizon than when higher in the sky.

Explanation: Apparent-distance theory and angular size-contrast theory.

82
Q

Physical definition of Sound

A

Sound is created by vibrations in a medium (such as air or water) that produce changes in air pressure.

83
Q

Perceptual definition of Sound

A

Sound is what we hear when these vibrations reach our ears and are processed by the brain.

84
Q

How Sound Waves Work

A

Sound waves are produced by objects that vibrate.

These vibrations cause alternating areas of condensation (high-pressure regions) and rarefaction (low-pressure regions) in the surrounding air.

85
Q

Types of Sound Waves - Pure Tones

A

Consist of a single frequency (e.g., a tuning fork).

Defined by two key characteristics:

  • Amplitude
  • Frequency
86
Q

Amplitude

A

How strong the vibrations are, determining loudness. Measured in decibels (dB).

87
Q

Frequency

A

The number of vibrations per second, determining pitch. Measured in Hertz (Hz).

88
Q

Complex Tones

A

Contain multiple frequencies.

The fundamental frequency is the lowest and most dominant frequency.

Harmonics are additional frequencies that shape the tone’s quality.

89
Q

Loudness

A

Depends on amplitude—higher amplitude = louder sound.

Measured in decibels (dB) (e.g., whisper: ~30 dB, rock concert: ~120 dB).

90
Q

Pitch

A

Determined by frequency (Hz)—higher frequency = higher pitch.

Humans hear frequencies from 20 Hz to 20,000 Hz.

Lower frequencies = deep sounds (bass), higher frequencies = high-pitched sounds (squeaks).

91
Q

Timbre (Sound Quality)

A

Why a piano and a violin sound different even when playing the same note.

Affected by harmonics, attack (start of a sound), and decay (end of a sound).

92
Q

Ear Structure Parts

A

Outer Ear (Captures Sound):
- Pinna
- Auditory Canal

Middle Ear (Amplifies Sound):
- Tympanic Membrane (Eardrum)
- Ossicles

Inner Ear (Processes Sound into Neural Signals):
- Cochlea
- Basilar Membrane
- Organ of Corti

93
Q

Outer Ear - Pinna

A

The visible part of the ear, helps with sound localization (knowing where a sound is coming from).

94
Q

Outer Ear - Auditory Canal

A

Protects the inner structures and amplifies certain frequencies to enhance hearing.

95
Q

Middle Ear - Tympanic Membrane (Eardrum)

A

Vibrates in response to sound waves.

96
Q

Middle Ear - Ossicles

A

Three small bones (Malleus, Incus, Stapes) that transmit and amplify vibrations from the eardrum to the inner ear.

97
Q

Inner Ear (Processes Sound into Neural Signals) - Cochlea

A

A spiral, fluid-filled structure that contains

Basilar Membrane
Organ of Corti

98
Q

Inner Ear (Processes Sound into Neural Signals) - Basilar Membrane

A

Moves in response to vibrations.

99
Q

Inner Ear (Processes Sound into Neural Signals) - Organ of Corti

A

Contains hair cells that convert sound vibrations into electrical signals.

100
Q

How Hair Cells Work

A

Hair cells inside the cochlea bend when vibrations pass through the basilar membrane.

This bending generates electrical signals sent to the auditory nerve, which then transmits them to the brain.

101
Q

Place Coding

A

Different parts of the basilar membrane respond to different frequencies:

High frequencies: Activate the base of the cochlea.

Low frequencies: Activate the apex (tip) of the cochlea.

102
Q

Temporal Coding

A

Neurons fire in sync with the frequency of the sound (phase locking).

Volley principle: Multiple neurons work together to capture higher frequencies.

103
Q

Pathway to the Brain

A

Cochlea →
Auditory Nerve → Brainstem →
Auditory Cortex (in the temporal lobe).

104
Q

Presbycusis

A

Age-Related Hearing Loss

Gradual loss of high-frequency sounds, more common in men.

105
Q

Noise-Induced Hearing Loss

A

Caused by exposure to loud sounds (e.g., concerts, machinery, headphones).

Damage to hair cells is permanent.

106
Q

Interaural Time Difference (ITD)

A

If a sound comes from the right, it reaches the right ear slightly earlier than the left.

The brain measures this tiny delay to determine direction.

107
Q

Interaural Level Difference (ILD)

A

The head blocks some sound waves, making them quieter in the far ear.

This cue is stronger for high-frequency sounds.

108
Q

Spectral Cues

A

The shape of the pinna changes how sound waves reflect, helping determine if a sound is coming from above, below, or behind.

109
Q

Cone of Confusion

A

Some sounds give the same ITD and ILD, making it hard to tell where they are coming from.

Moving the head helps resolve this confusion.

110
Q

Cues for grouping sounds

A

Sounds from the same location tend to be grouped together.

Pitch and timbre similarity help distinguish different voices or instruments.

111
Q

Vision and hearing interact

A

Seeing a speaker’s lips move helps process speech (McGurk effect).

112
Q

Hearing in Infants

A

Infants have higher hearing thresholds (need louder sounds to hear).

Can recognize their mother’s voice soon after birth.

Early exposure to speech sounds is crucial for language development.