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unit 3 topic 2
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- 1visual perception (SENSATION) 1. receptionstimulus energy is collected by the eye
- 22. transductionstimulus energy is converted by the receptor cells into electrochemical nerve impulses
photoreceptor: layer of nerve cells that detect visual stimuli (make up retina at back of eye and convert visual light energy into electrochemical energy)
receptive field: a particular region of the visual space - 33. transmissionreceptor cells send the nerve impulses to primary sensory cortex where specialised receptor cells respond as the process of perception begins
- 4visual perception (PERCEPTION) 4. selectionwe can't pay attention to all the millions of stimuli that we receive at the same time, so we pick out the ones that are important to us and pay attention to those
feature detectors: cells in the optic nerve that individually respond to lines of a certain length, angle or direction to break up an image for visual perception - 55. organisationthe information reaches the brain and is organised so that we are able to make sense of it
- 66. interpretationour past experiences, motives, values and context (including stimulation) give the stimulus meaning
- 7when we see something, the image (or visual stimulus) that appears on our retina is____- upside down
- back to front
- blurred
- crisscrossed by a network of veins
- patched by holes - 8sensationthe process whereby our sensory organs or receptors receive information about the environment and transmit it to the brain
- 9rodsthe photoreceptors providing peripheral vision in black and white; they work in dim light
- 10conesthe photoreceptors providing clear vision in colour; they work in bright light
- 11optic nervethe two tracts of neurons that transmit visual information from the eyes to the occipital lobes of the brain
- 12retinal ganglion cella type of neuron that is located near the surface of the retina; visual information from the photoreceptors is received by the retinal ganglion cells
- 13perceptionthe process whereby the brain organises and interprets sensory information
- 14biological influences on visual perceptionphysiological make-up, ageing, genetics
- 15physiological make-upAchromotopsia: a lack of cone vision that causes people to see only black, white and grey
--> it can also result from damage to the neural pathways between the eye and the brain as well as damage to specific areas in the brain that help us perceive colour - 16ageing: presbyopiaa condition that develops as the lens loses elasticity and causes difficulties in focusing on objects that are close
- 17ageing: floatersclumps of matter that appear as small specks or spots in central vision
- 18ageing: cataractscloudy spots in the lens that cause vision to become blurred when proteins in the lens break down
- 19ageing: glaucomaa disease affecting the optic nerve that interferes with the transmission of peripheral visual information to the brain
- 20age-related macular degenerationa build-up of grainy deposits in the centre of the retina causing deterioration of central vision
- 21genetics: inherited visual disordersvisual disorders passed down from parents to children due to genetic factors
- 22genetics: congenital visual disordersvisual disorders present at birth
- 23genetics: colour vision deficiencya genetically inherited disorder affecting how people perceive colour
- 24genetics: retinis pigmentosaa genetic degenerative disease affecting the retina
- 25psychological influences on visual perception perceptual seta predisposition to attend to certain aspects of the visual scene, or to interpret stimuli in a particular way, according to certain preconceptions
influenced by: past experiences, context, motivation, emotion - 26visual perception principles: perceptual constanciesthe tendency to maintain a stable perception of a stimulus, although the properties of the image on the retina may change
- 27visual perception principles: size constancythe constant perception of an object’s size, even though the size of the image on the retina alters as the object moves nearer to or further from us
- 28visual perception principles: shape constancyan object is perceived to maintain its known shape despite the changing perspective from which it is observed
- 29gestalt principlesused to organise and interpret perceptual stimuli; including figure–ground organisation, closure, similarity and proximity
- 301. figure–ground organisationwherein images are organised into the central object of attention (figure) and a background (ground)
- 312. camouflagefigureground is used to ‘blend’ the contour of the figure (which usually stands out) against the ground (background), making it more difficult to see
- 323. closurewhen an object is perceived as being whole despite actually being incomplete
- 334. similaritythe principle that elements that are similar in appearance will tend to be seen as a unit
- 345. proximitythe individual parts of a stimulus pattern are close together, allowing those parts to be perceived visually as a whole
- 35depth perceptionthe ability to accurately judge three-dimensional space and distance by using cues in the environment
- 36binocular depth cuesdepth cues that use both eyes to gauge distance and space
- 37retinal disparitythe binocular depth cue that arises as the brain compares and contrasts the two slightly different images obtained because of the distance between the two eyes
- 38convergencea binocular cue for depth perception; the automatic turning of the eyes inwards as we watch an object approaching
- 39monocular depth cuesdepth cues that use one eye independently or both eyes together to gauge distance and space
- 40accommodationthe process by which the ciliary muscles of the eye change the curvature of the lens to focus an image on the retina
- 41pictorial depth cuesa monocular depth cue used by artists to create a three-dimensional perception of something that exists on a two-dimensional surface
- 421. linear perspectiveparallel lines appear to converge as they retreat into the distance
- 432. interpositionobjects further from the observer are partially obscured by those in the foreground
- 443. texture gradienttexture in the foreground is seen in finer detail than that further away
- 454. relative sizebased on our tendency to perceive the object producing the largest retinal image as being the nearest, and the object producing the smallest retinal image as being the farthest
- 465. height in the visual fieldshows depth by portraying objects further away as being closer to the horizon
- 47social influences on visual perception Hudson (1960)Theory: understanding 3D image requires observance and acceptance of certain visual/graphic conventions (depth/height/size cues)
Focus: South African culture (Bantu workers) n=85 - various background/education levels
Findings: Bantu culture/African cultural members failed to correctly interpret depth cues in images - 48social influences on visual perception Deregowski (1972)Focus: multiple cultural groups (cross-cultural groups)
Findings: he found people from different African cultures preferred split views that don't show perspective; split-view is preferred until learning occurs (they haven't learnt that birds eye view is possible); therefore knowledge lacking in African cultural group - 49what do both Deregowski and Hudson tell us?Through formal education and cultural norms --> people are able to learn how to interpret images that are relevant to their culture/society; lack of perception due to limited exposure/unfamiliarity with stimulus and lack of utilisation of depth cues
- 50Aimes room illusioncauses an individual to perceive people or objects of similar size as vastly different in size; shape and size constancy interfered with
- 51Ponzo illusionan illusion where people perceive two lines of the same length as different; linear perspective and height in the visual field interfered with
- 52Muller-lyer illusiontwo lines of equal length, each with opposite-shaped patterns on the ends. One has regular arrowheads; the other has inverted arrowheads (feather-tails) which is perceived longer than the arrow-headed line; size constancy is misplaced due to the feathered line appearing further away
- 53impossible figuresinvolving a two-dimensional figure which people interpret as three dimensional; exploit perceptual cues
- 54ambiguous figuresexploits visual similarities; because of gestalt principles
- 55Muller-Lyer carpentered world hypothesisour familiarity with the right angles and straight lines of the built environment informs our interpretation of linear perspective in pictorial depth perception
- 56Muller-Lyer perceptual compromise theorywe perceive the line with feather-tails as being longer than the arrow-headed line because our minds apply the Gestalt principle of closure
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- Year 12 Psychology Fichas sobre unit 3 topic 2, creado por Isla Jenkins el 02/08/2020.
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- Isla Jenkins
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