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PSYC 304: Sensation & Perception > Ch. 5-6 > Flashcards

Ch. 5-6 Flashcards

1
Q

three steps to perceiving color

A

1) detection –> detecting wavelengths; photoreceptors convert light into signals in the nervous system
2) discrimination –> neurons compare inputs from different kinds of photoreceptors
3) appearance –> assign perceived colors to lights and surfaces in the world

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1
Q

three types of cone receptors

A

S-cone, M-cone, L-cone

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2
Q

S-cone

A

a cone that is preferentially sensitive to short wavelengths; blue cone

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3
Q

M-cone

A

a cone that is preferentially sensitive to middle wavelengths; green cone

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4
Q

L-cone

A

a cone that is preferentially sensitive to long wavelengths; red cone

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5
Q

spectral sensitivity

A

the sensitivity of a cell or a device to different wavelengths on the electromagnetic spectrum

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6
Q

photopic

A

referring to light intensities that are bright enough to stimulate the cone receptors and bright enough to “saturate” the rod receptors, that is, drive them to their maximum responses

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7
Q

scotopic

A

referring to light intensities that are bright enough to stimulate the rod receptors but too dim to stimulate the cone receptors

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8
Q

principle of univariance

A

the fact that an infinite set of different wavelength-intensity combinations can elicit exactly the same response from a single type of photoreceptor; one photoreceptor type cannot make color discriminations based on wavelength

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9
Q

trichromacy/trichromatic theory of color vision

A

the theory that the color of any light is defined in our visual system by the relationships of three numbers— the outputs of the three cones

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10
Q

metamers

A

different mixtures of wavelengths that look identical, or more generally, any pair of stimuli that are perceived as identical in spite of physical diffferences

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11
Q

example of metamers

A

single wavelength that produces equal M- and L-cone activity will look yellow and the correct mixture of longer- and shorter-wavelength lights will also look yellow

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12
Q

additive color mixture

A

a mixture of lights; if light A and light B are both reflected from a surface to the eye, in the perception of color the effects of those two lights add together

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13
Q

subtractive color mixture

A

a mixture of pigments; if pigments A and B mix, some of the light shining on the surface will be subtracted by A, and some by B; only the remainder will contribute to the perception of color

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14
Q

to tell the difference between lights…

A

the nervous system will look at differences in the activities of the three cone types

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15
Q

convert the three cone signals into three new signals

A
  • L-M
  • (L+M)-S
  • L+M
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16
Q

cone-opponent cell

A

a cell type— found in the retinal, LGN, and visual cortex— that, in effect, subtracts one type of cone input from another

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17
Q

equiliminant

A

referring to stimuli that vary in color but not in luminance

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18
Q

mesopic

A

referring to the middle range of light intensities

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19
Q

color space

A

the three-dimensional space, established because color perception is based on the outputs of three cone types, that describes the set of all colors

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20
Q

because we have exactly three different types of cone photoreceptors…

A

the light reaching any part of the retina will be translated into three responses, one for each local population of cones

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21
Q

nonspectral hues

A

hues that can arise only from mixtures of wavelengths

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22
Q

opponent color theory

A

the theory that perception of color is based on the output of three mechanisms, each of them resulting from an opponency between two colors: red-green, blue-yellow, and black-white

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23
Q

hue cancellation

A

cancelling a color through their opposite; ex. finding out how much blue or yellow we need to cancel the yellow or blue in a light of that color

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24
Q

unique hue

A

in the context of opponent color theory, any of four colors that can be described with only a single color term: red, yellow, green, blue; other colors can also be described as compounds

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25
Q

achromatopsia

A

an inability to perceive colors that is caused by damage to the central nervous system

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26
Q

transformations that produce perceived color take place in…

A

visual cortex

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27
Q

basic color terms

A

color words that are single words are used with high frequency and have

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28
Q

cultural relativism

A

the idea that basic perceptual experiences may be determined in part by the cultural environment

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29
Q

number of basic color terms in English

A

11

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30
Q

tetrachromatic

A

referring to the rare situation where the color of any light is defined by the relationships of four numbers— the outputs of those four receptor types

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31
Q

determining factors of color blindness

A
  • type of cone affected
  • type of defect –> either the photopigment for that cone type is anomalous (different from the norm) or the cone type is missing altogether
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32
Q

most common defects in color blindness

A

M- and L-cone defects

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33
Q

deuteranope

A

an individual who suffers from color blindness that is due to the absence of M-cones

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34
Q

protanope

A

an individual who suffers from color blindness that is due to the absence of L-cones

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35
Q

tritanope

A

an individual who suffers from color blindness that is due to the absence of S-cones

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36
Q

color anomalous

A

most color-blind individuals can still make discriminations based on wavelength; those discriminations are different from the norm

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37
Q

cone monochromat

A

an individual with only one cone type; truly color-blind

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38
Q

rod monochromat

A

an individual with no cones of any type; in addition to being truly color-blind, they are badly visually impaired in bright light

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39
Q

agnosia

A

a failure to recognize objects in spite of the ability to see them; typically due to brain damage

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40
Q

anomia

A

an inability to name objects in spite of the ability to see and recognize them; typically due to brain damage

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41
Q

synesthesia

A

the perceptual experience (e.g., a color) elicited by a stimulus (e.g., a music note) that does not typically produce that experience while the stimulus (e.g., wavelength information) that does normally produce the experience is absent

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42
Q

color contrast

A

a color perception effect in which the color of one region induces the opponent color in a neighboring region

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43
Q

color assimilation

A

a color perception effect in which two colors bleed into each other, each taking on some of the chromatic quality of the other

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44
Q

unrelated color

A

a color than can be experienced in isolation

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45
Q

related color

A

a color, such as brown or gray, that is seen only in relation to other colors

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46
Q

negative afterimage

A

an afterimage whose polarity is the opposite of the original stimulus; light stimuli produce dark negative afterimages; colors are complementary

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47
Q

adapting stimulus

A

a stimulus whose removal produces a change in visual perception or sensitivity

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48
Q

neutral point

A
  • the point at which an opponent color mechanism is generating no signal
  • if red-green and blue-yellow mechanisms are at their neutral points, a stimulus will appear achromatic
  • the black-white process has no neutral point
49
Q

color constancy

A

the tendency of a surface to appear the same color under a fairly wide range of illuminants

50
Q

illuminant

A

the light that illuminates a surface

51
Q

spectral reflectance function

A

the percentage of a particular wavelength that is reflected from a surface

52
Q

spectral power distribution

A

the physical energy in a light as a function of wavelength; relative amount of light at different visible wavelengths

53
Q

reflectance

A

the percentage of light hitting a surface that is reflected and not absorbed into the surface; typically given as a function of wavelength

54
Q

What is color vision good for?

A
  • makes it easier to find candidate foods and to discriminate good food from bad food
  • color can have a significant impact on your experience of the flavor of a food
  • central role in searching for and assessing potential mates
55
Q

realism

A

a philosophical position arguing that there is a real world to sense

56
Q

positivists

A

a philosophical position arguing that all we really have to go on is the evidence of the senses, so the world might be nothing more than an elaborate hallucination

57
Q

problem that the visual system needs to solve

A

how to construct a three-dimensional world based on the inverted images on the retina of each eye

58
Q

Why have two eyes?

A
  • allow you to see more of the world
  • if you lose one eye you can still see with the other
59
Q

binocular

A

referring to two eyes

60
Q

probability summation

A

the increased detection probability based on the statistical advantage of having two (or more) detectors rather than one

61
Q

binocular summation

A

the combination of signals from both eyes in ways that make performance on many tasks better than with either eye alone

62
Q

binocular disparity

A

the differences between the two retinal images of the same scene; disparity is the basis for stereopsis, a vivid perception of the three-dimensionality of the world that is not available with monocular vision

63
Q

monocular

A

referring to one eye

64
Q

stereopsis

A

the ability to use binocular disparity as a cue to depth

65
Q

monocular depth cue

A

a depth cue that is available even when the world is viewed with one eye alone

66
Q

binocular depth cue

A

a depth cue that relies on information from both eyes

67
Q

pictorial depth cue

A

a cue to distance or depth used by artists to depict three-dimensional depth in two-dimensional pictures

68
Q

occlusion

A

a cue to relative depth order in which, for example, one object obstructs the view of part of another object

69
Q

nonmetrical depth cue

A

a depth cue that provides information about the depth order (relative depth) but not depth magnitude (e.g., his nose is in front of his face)

70
Q

metrical depth cue

A

a depth cue that provides quantitative information about distance in the third dimension

71
Q

projective geometry

A

for purposes of studying perception of the three-dimensional world, the geometry that describes the transformations that occur when the three-dimensional world is projected onto a two-dimensional surface

72
Q

texture gradient

A

a depth cue based on the geometric fact that items of the same size form smaller images when they are farther away; an array of items that change in size smoothly across the image will appear to form a surface titled in depth

73
Q

relative height

A

as a depth cue, the observation that objects at different distances from the viewer on the ground plane will form images at different heights in the retinal image; objects farther away will be seen as higher in the image

74
Q

relative size

A

a comparison of size between items without knowing the absolute size of either one

75
Q

familiar size

A

a depth cue based on knowledge of the typical sizes of objects

76
Q

occlusion is a…

A

nonmetrical cue

77
Q

relative metric depth cue

A

a depth cue that could specify, for example, that object A is twice as far away as object B without providing information about the absolute distance to either A or B

78
Q

absolute metrical depth cue

A

a depth cue that provide quantifiable information about distance in the third dimension

79
Q

haze/aerial perspective

A

a depth cue based on the implicit understanding that light is scattered by the atmosphere; more light is scattered when we look through atmosphere; thus, more distant objects are subject to more scatter and appear fainter, bluer, and less distinct

80
Q

linear perspective

A

a depth cue based on the fact that lines that are parallel in the three-dimensional world will appear to converge in a two-dimensional image

81
Q

vanishing point

A

the apparent point at which parallel lines receding in depth converge

82
Q

anamorphosis/anamorphic projection

A

use of the rules of linear perspective to create a two-dimensional image so distorted that it looks correct only when viewed from a special angle or with a mirror that counters the distortion

83
Q

triangulation

A

in vision, this refers to the triangle formed by the two eyes and the point on which they fixate in the 3D world; the angles of that triangle are related to the location of the fixated point in depth

84
Q

motion parallax

A

depth cue based on head movement; the geometric information obtained from an eye in two different positions at two different times in similar to the information from two eyes in different positions in the head at the same time

85
Q

optic flow

A

the pattern of apparent motion of objects in a visual scene produced by the relative motion between the observer and the scene

86
Q

accommodation

A

the process by which the eye changes its focus (in which the lens gets fatter as gaze is directed toward nearer objects)

87
Q

convergence

A

the ability of the two eyes to turn inward, often used in order to place the two images of a feature in the world on corresponding locations in the two retinal images (typically on the fovea of each eye); reduces the disparity of that feature to zero (or nearly zero)

88
Q

divergence

A

the ability of the two eyes to turn outward, often used in order to place the two images of a feature in the world on corresponding locations in the two retinal images (typically on the fovea of each eye); reduces the disparity of that feature to zero (or nearly zero)

89
Q

vergence angle

A

the angle formed by lines from each eye to the current object of fixation; a larger vergence angle implies a closer object

90
Q

absolute disparity

A

the difference in the angular distance of the images of an object from the foveas of the two eyes

91
Q

relative disparity

A

the difference in the absolute disparities of two objects

92
Q

corresponding retinal points

A

two monocular images of an object in the world are said to fall on corresponding points are the same distance from the fovea in both eyes; the two foveas are also corresponding points

93
Q

Vieth-Müller circle

A

the location of objects whose images fall on geometrically corresponding points in the two retinas

94
Q

zero binocular disparity

A

if the two eyes are looking at one spot then there will be a surface of zero disparity running through that spot

95
Q

horopter

A

the location of objects whose images lie on corresponding points; the surface of zero disparity

96
Q

diplopia

A

double vision; if visible in both eyes, stimuli falling outside of Panum’s fusional area will appear diplopic

97
Q

Panum’s fusional area

A

the region of space, in front of and behind the horopter, within which binocular single vision is possible

98
Q

crossed disparity

A

the sign of disparity created by objects in front of the plane of fixation (the horopter); the term crossed is used because images of objects located in front of the horopter appear to be displaced to the left in the right eye and to the right in the left eye

99
Q

uncrossed disparity

A

the sign of disparity created by objects behind the plane of fixation (the horopter); the term uncrossed is used because images of objects located behind the horopter will appear to be displaced to the right in the right eye and to the left in the left eye

100
Q

stereoscope

A

a device for simultaneously presenting one image to one eye and another image to the other eye; can be used to present dichoptic stimuli for stereopsis and binocular rivalry

101
Q

free fusion

A

the technique of converging or diverging eyes in order to view a stereogram without a stereoscope

102
Q

stereoblindness

A

an inability to make use of binocular disparity as a depth cue; typically used to describe individuals with vision in both eyes

103
Q

random dot stereograms (RDSs)

A

a stereogram made of a large number of randomly placed dots; contain no monocular cues to depth

104
Q

cyclopean

A

referring to stimuli that are defined by binocular disparity alone

105
Q

correspondence problem

A

in reference to binocular vision, the problem of figuring out which bit of the image in the left eye should be matched with which bit in the right eye

106
Q

uniqueness constraint

A

in reference to stereopsis, the observation that a feature in the world is represented exactly once in each retinal image; simplifies the correspondence problem

107
Q

continuity constraint

A

in reference to stereopsis, the observation that, except at the edges of objects, neighboring points in the world lie at similar distances from the viewer; helpful in solving the correspondence problem

108
Q

Bayesian approach

A

a way of formalizing the idea that our perception is a combination of the current stimulus and our knowledge about the conditions of the world

109
Q

binocular rivalry

A

the competition between the two eyes for control of visual perception, which is evident when completely different stimuli are presented to the two eyes

110
Q

binocular rivalry chooses…

A

the more interesting stimuli

111
Q

development of vision

A
  • infants essentially blind to disparity until about 3-4 months
  • infants 6 months and older are sensitive to depth based on pictorial cues
  • infants as young as 4 months are sensitive to relative height
  • infants are essentially stereoblind before 3 months, with most infants showing a sudden onset of stereopsis between 3 and 5 months
112
Q

stereoacuity

A

a measure of the smallest binocular disparity that can generate a sensation of depth

113
Q

once an infant develops stereopsis…

A

stereoacuity increases rapidly to near adult levels

114
Q

dichoptic

A

referring to the presentation of two different stimuli, one to each eye

115
Q

critical period

A

a period of time during development when the organism is particularly susceptible to developmental change

116
Q

strabismus

A

a misalignment of the two eyes such that a single object in space is imaged on the fovea of one eye and on a nonfoveal area of the other (turned) eye

117
Q

estropia

A

strabismus in which one eye deviates inward

118
Q

exotropia

A

strabismus in which one eye deviates outward

119
Q

suppression

A

in reference to vision, the inhibition of an unwanted image

120
Q

three types of dichromatic vision

A

protanopia (red-blindness), deuteranopia (green-blindness), tritanopia (blue-blindness)

121
Q

five principles of middle vision

A
  1. Bring together that which should be brought together
  2. Split asunder that which should be split asunder
  3. Use what you know
  4. Avoid accidents
  5. Seek consensus and avoid ambiguity

PSYC 304: Sensation & Perception (4 decks)

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