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| Perception and cognition are largely innate. |
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| Perception is the sum total of sensory-input. The world is understood through bottom-up processing. |
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| Revolves around perception and asserts people tend to see the world as comprised as organized wholes: world is understood through top-down. |
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| Perceptual Development (James Gibson) |
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Definition
| Explained as the increasing ability of a child to make finer discriminations among stimuli. The optic array trains people to perceive. |
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| Figure and ground relationship |
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Definition
| Relationship between meaningful part of a picture and the ground. |
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| Depth perception (the cues) |
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Definition
| Binocular disparity, apparent size, interposition (overlap of objects), linear perspective, texture gradient, motion parallax (closer seems faster). Important: the visual cliff to see if innate. |
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| Eleanor Gibson and Richard Walk (depth perception) |
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Definition
| Developed the visual cliff, where children and animals would approach the edge of a table with a piece of solid glass extending. Both avoided continuing on the glass. |
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| Afterimages (McCollough effect) |
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Definition
| Perceived due to fatigued receptors. Because the eyes have partially oppositional system for seeing colors, once one side is overstimulated and fatigued, it is overshadowed by its opposite. |
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| Result of regeneration of retinal pigment. |
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| Experience will be organized as meaningful, symmetrical, and simple whenever possible. |
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| Gestalt ideas (list them) |
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Definition
| Pragnanz, closure, proximity, continuation (good continuation), symmetry, constancy, minimum principle. |
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| Tendency to complete incomplete figures. |
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| Tendency to group together items that are near each other. |
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Definition
| Tendency to create a whole or detailed figure based on our expectations rather than what is seen. |
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Definition
| Tendency to make figures out of symmetrical images. |
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| Constancy (size and color) |
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Definition
| How people perceive objects, regardless of the retinal image. For example, a book is always perceived as rectangular regardless of the angle seen. Size constancy is knowing the size of an object, while color is knowing the color even when changed with filters. |
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| Tendency to see what is easiest or logical to see. |
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Definition
| Ambiguous figures, figure-ground reversal patterns (Rubin vase), impossible objects, moon illusion, phi phenomenon, Muller-Lyer illusion, Ponzo illusion. |
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| Figure-ground reversal patterns |
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Definition
| Ambiguous figures, such as the Rubin vase. They can be perceived as two different things depending on which part you see as the figure, and which part is seen as the background. |
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| Objects that have been drawn and can be perceived, but are geometrically impossible. |
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| Shows how context affects perception. The moon looks larger when we see it on the horizon than when in the sky. This is due to the larger number of visual cues when its on the horizon. |
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| Tendency to perceive smooth motion. Explains why motion is inferred when there is none (flashing light patterns), cartoons. This is apparent motion. |
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Definition
Two horizontal lines of equal length appear unequal due to arrow marks on the ends: one facing out, the other in.
>-<
<-> |
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| When two horizontal lines of equal length appear unequal because of two vertical lines slanting inwards. |
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| The way that a single point of light viewed in darkness will appear to shake or move. This is due to the constant movements of our own eyes. |
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| Teh way perceived color brightness changes with the level of illumination in the room. |
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Definition
| Most often explained by template matching and feature detection. In order to pick out the letter 'o' out of a page of letters, we'd concentrate only on letters with rounded edges. |
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Definition
| Found that infants prefer relatively complex and sensical displays (Fantz faces). |
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Definition
| The minimum amount of a stimuli that can be detected 50% of the time. |
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| Differential threshold (just noticeable differnce or jnd) |
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| Minimum difference that must occur between two stimuli in order to have them perceived as having different intensities. Defined by E.H. Weber. |
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| Upperlimit after which the stimuli can no longer be perceived. Ex. high pitched tones. |
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Applies to all senses but only to a limited range of intensities. Law states that stimulus needs to be increased by a constant fraction of its original value in order to be noticed as jnd. This formula is:
K(constant fraction)= change I/I |
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Definition
| Built upon Weber's. Strength of stimulus msut be significantly increased to produce slight difference in sensation. S = k log R. |
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| Swet's Theory of Signal Detection |
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Definition
| Subjects detect stimuli not because they can, but also because they want to (response bias applies). Interplay between false alarms, hits, misses, and correct rejection. From this, ROC (Receiver operating characteristic)curves were made as graphical representations of a subject's sensitivity to a stimulus. |
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| Used in theories of auditory perception and selective attention. Subject is presented with two different verbal messages in each ear, and asked to shadow one. |
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