WEEK 5: Perception Flashcards

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1
Q

Refers to the way sensory information is organized, interpreted, and consciously experienced.

A

PERCEPTION

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2
Q

The process by which sensations are organized into an inner representation of the world.

A

PERCEPTION

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3
Q

Refers to the fact that perceptions are built from sensory input

A

BOTTOM-UP PROCESSING

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4
Q

How we interpret sensations is influenced by our knowledge, experiences, and thoughts

A

TOP-DOWN PROCESSING

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5
Q

Giving sensible meaning to everything we see, feel, touch, and so on.

A

PERCEPTION

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6
Q

Relies on what properties/nature of the object/stimulus (patterns of light and dark areas)

A

BOTTOM-UP PROCESSING

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7
Q

Relies on higher level information (prior knowledge and experience)

A

TOP-DOWN PROCESSING

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8
Q

Looking at an image without any context, what process must we use?

A

BOTTOM-UP PROCESSING

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9
Q

You use context to give meaning to an image.

A

TOP-DOWN PROCESSING

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10
Q

Using models, ideas, and expectations to interpret sensory information

A

TOP-DOWN PROCESSING

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11
Q

Taking sensory information and then assembling and integrating it

A

BOTTOM-UP PROCESSING

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12
Q

Neurons in the sensory cortex that fire in response to specific features of sensory information such as lines or edges of objects; they help our brain recognize and understand what they’re seeing

A

FEATURE DETECTORS

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13
Q

The process by which organisms become more sensitive to stimuli that are low in magnitude and less sensitive to stimuli that are constant or ongoing magnitude

A

SENSORY ADAPTATION

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14
Q

Is like your brain’s way of adjusting to what it sees and feels. When something is very weak or not changing much, your brain becomes more alert to notice it. But if something stays the same, your brain becomes less interested in it.

A

SENSORY ADAPTATION

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15
Q

The type of sensory adaptation in which we become more sensitive to stimuli that are low in magnitude; positive adaptation

A

SENSITIZATION

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16
Q

The type of sensory adaptation in which we become less sensitive to constant stimuli; negative adaptation

A

DESENSITIZATION

17
Q

Failure to notice something that is completely visible because of a lack of attention is called…

A

INATTENTIONAL BLINDNESS

18
Q

The view that the perception of sensory stimuli involves the interaction of physical, biological, and psychological factors

A

SIGNAL-DETECTION THEORY

19
Q

Your skill in noticing something important when it’s hidden in a noisy or busy environment. It’s like finding a whisper in a loud crowd.

A

SIGNAL-DETECTION THEORY

20
Q

People’s ability to detect stimuli depends not only on the intensity of the blips, but also on their __________ or learning, ___________, and ____________ _______ such as fatigue or alertness

A

TRAINING, MOTIVATION, PSYCHOLOGICAL

21
Q

Part of the perception process, in which we focus our attention on certain incoming sensory information. We tend to only pay attention to information that we perceive to meet our needs or interests.

A

PERCEPTION SELECTIVITY

22
Q

Through this, one arranges otherwise meaningless or disorganized stimuli into meaningful patterns

A

PERCEPTUAL ORGANIZATION

23
Q

Perceptual Grouping: The mind groups similar elements into collective entities or totalities. This similarity depend on relationships of form, size, color, or brightness

A

LAW OF SIMILARITY

24
Q

The mind continues visual, auditory, and kinetic patterns. We link things that form a predictable pattern.

A

LAW OF CONTINUITY

24
Q

The mind may experience elements it does not perceive through sensation, in order to complete a regular figure

A

LAW OF CLOSURE

25
Q

The tendency of ambiguous perceptual experiences to pop back and forth unstable between two or more alternative interpretations

A

LAW OF MULTI-STABILITY

26
Q

The ability of the brain to perceive objects as constant and unchanged despite changes in the retinal focus

A

CONSTANCY

27
Q

A distortion in perception characterized by changes in the actual perceptual cues thereby perceiving something as improbable

A

ILLUSIONS

28
Q

The ambiguous sensory information that creates more than one good form

A

REVERSIBLE FIGURES

29
Q

The objects that can be represented in 2-dimensional pictures but cannot exist in 3-dimensional space despite our perceptions

A

IMPOSSIBLE FIGURE

30
Q

Originated in binocular disparity, the brain is used in a little degree of differences in interpreting data received from eye to perceive depth

A

DEPTH PERCEPTION

31
Q

Refers to the fact that objects moving at a constant speed across the frame will appear to move a greater amount if they are closer to an observer (or camera) than they would if they were at a greater distance

A

MOTION PARALLAX

32
Q

A type of monocular cue in which we see an object covering part of another object, giving us the sensation that the covered object is further away compared to the other

A

INTERPOSITION

33
Q

The apparent merging of two parallel lines at a distant

A

LINEAR PERSPECTIVE

34
Q

The nearer an object is to you, the more texture you can see. As object gets farther, the object appears smoother

A

TEXTURE GRADIENT

35
Q

Refers to the fact that the more distant an object, the smaller its image will be on the retina

A

RELATIVE SIZE

36
Q

Sometimes you can tell that an object is close to you because you have to pull your eyes toward the center to focus on the object. This cue to distance is known as

A

CONVERGENCE

37
Q

The phenomenon of size constancy depends on accurate judgments of the distances of objects. If we misjudge distances, we are likely to experience

A

OPTICAL ILLUSIONS