Quiz 4 - Chapters 10-12 Flashcards

(25 cards)

1
Q

Merrill watches his finger with both eyes as he brings it closer to his nose. As the finger gets closer, his eyes move inward and he feels his eye muscles working. Which depth cue is associated with the feeling he is getting from his eye muscles?

A

c. both accommodation and convergence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Vinod is standing on a rooftop in a city. The buildings closer to him look sharper, and the buildings in the distance look hazier. This is an example of the depth cue

A

a. atmospheric perspective.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

_______ is defined as depth perception created by input from both eyes.

A

c. Stereoscopic depth perception

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

The depth cue that is responsible for perceiving depth in ViewMasters™ and “3-D” movies is

A

c. binocular disparity.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

The approximate visual angle of the width of your thumb held at arm’s length is ___ degrees.

A

b. 2.0

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

If you hold one quarter about 12 inches from your eyes, and another quarter at arm’s length, the two quarters will be perceived to be about the same size when

A

a. both eyes are open.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Ambrozia is a 4-month-old infant. Which depth cue is she most likely able to use?

A

d. binocular disparity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Helen Keller, who was born deaf and blind, felt that being ____ was worse because _________.

A

a. deaf; it isolated her from people

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

As you increase the decibel level from 80 dB to 100 dB, the sound pressure ratio goes from _____ to ______.

A

d. 10,000; 100,000

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Kat wants to buy a “dog whistle” that her dog can hear but she can’t. She should get a whistle that emits sounds in the range between ____ and _____ Hz.

A

d. 30,000; 40,000

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

The sound quality that is related to the sounds clarity, “nasalness” or “reedy-ness” is

A

c. timbre.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Which of the following does not need an outer or middle ear to hear effectively?

A

c. fish

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Békésy discovered the traveling wave motion of the basilar membrane by

A

a. stimulating the ear of human cadavers.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

If a pregnant mother reads the original version of The Cat in The Hat aloud while pregnant, which version of The Cat in The Hat would the infant prefer after birth?

A

a. the original version, as it had been read to them prenatally.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

If there is an interaural time difference, we interpret the sound as coming from

A

c. the side.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

The ____ is important for binaural localization because it is where signals from the left and right ears first meet.

A

d. superior olivary nucleus

17
Q

Sound that reaches the ears after bouncing off a wall or a floor is called

A

b. indirect sound

18
Q

The anecdote about the construction of New York’s Philharmonic Hall demonstrates that

A

a. an ideal reverberation time does not always predict good acoustics.

19
Q

Vision: figure-ground segregation :: Audition: ________________.

A

c. auditiory scene analysis

20
Q

Seven-month-old infants listened to a regular repeating ambiguous rhythm while they were bounced up and down at two bounces per beat or at three bounces per beat. Later, they were tested to see how they had perceived the rhythm. The results suggest that

A

c. the infants’ perception was influenced by how they were bounced.

21
Q

Discuss research that supports the hypothesis that a person’s action in the environment affects depth perception.

A

specifically, deletion/accretion and motion parallax

Deletion is the gradual occlusion of a moving object as it passes behind another object. Accretion is the gradual reappearance of a moving object as it emerges from behind another object. Think about being in a library. You watch someone emerge from behind one bookshelf and then disappear behind another bookshelf. When the person first becomes visible, you note that the bookshelf was not moving, but the person suddenly emerged. This provides information about relative depth. The person must be behind the shelf. Similarly when the person is “deleted” as she moves behind the next shelf, you again see from her movement the relative positions of her and the furniture. Thus, we can formalize this in the following way. The object that is being deleted and then later accreted is the object that is farther away than the object we can see continuously, which is therefore closer.

Motion parallax is a monocular depth cue arising from the relative velocities of objects moving across the retinae of a moving person. The term parallax refers to a change in position. Thus, motion parallax is a change in position caused by the movement of the viewer. Motion parallax arises from the motion of the observer in the environment. It is perhaps easier to think of what motion parallax is by imagining yourself as a passenger in a car looking out the side window. The car is moving very fast down the highway. The objects very close to the window, such as the small trees planted by the highway, seem to rush by. Beyond the small trees, you can see a distant farmhouse. The farmhouse appears to move more slowly relative to you in the car. You know that the trees and the farmhouse are standing still; you are the object that is moving. You can observe this phenomenon in the video below. This video shows clouds moving by a plane. The closer the cloud to the plane, the faster it appears to move.

22
Q

(a) How are random-dot stereograms created?
(b) What is the importance of random-dot stereograms?
(c) How is the correspondence problem related to the concept of random-dot stereograms?
(d) What have the results of infant studies with random-dot stereograms revealed?

A

A) Random-dot stereograms are first constructed by creating two identical random-dot patterns on a computer and then shifting a squared-shaped section of the dots one or more units to the side.

B) Experiments using random-dot stereograms show that retinal disparity creates a perception of depth.

C) The correspondence problem emphasizes how the visual system must compare the images from two pictures on the right and left retina. If there is a tree and a ball in 2 separate images, the visual system must compare the ball ont he left and right retina and the images of the tree on the right and left retina. When you have random-dot stereograms, matching points from the left and right of the stereograms is very difficult. However, the visual system is able to match similar parts of the two stereogram images, calculates their disparities and creates a perception of depth.

D) Random-dot stereogram experiment on infants reveled that infants between 3 1/2 and 6 months of age were able to use disparity information to perceive depth.

23
Q

Discuss the structures and functions of the middle ear.

A

middle ear is a small cavity that separates the outer and inner ears.

the middle ear contains three ossicles ( malleus, incus and stapes). Vibration moves through each of these until stapes transmits to inner ear by pushing on membrane covering the oval window.

The ossicles are necessary because the outer ear and middle ear are filled with air but the inner ear contains a watery liquid that is much denser than air. This affects the way pressure changes in the air are transmitted. If vibrations had to pass directly from the air in the middle ear to the liquid in the inner ear, not a lot of them would pass. The ossicles fix this problem by concentrating the vibration of the large tympanic membrane onto the much smaller stapes, which increase the pressure and by being hinged to to create a level action - an effect similar to what happens when a fulcrum is placed under a board, so that pushing down on the long end of the board makes it possible to lift a heavy weight on the short end.

24
Q

Describe the method, results, and implications of the Hofmann et al. research on the role of spectral cues for localization.

A

In this research, listeners were measured for performance localization before the mold was inserted.

After measuring the initial performance, Hofmann fitted his listeners with molds that altered the shape of the pinnae and therefore changed the spectral cue.

Right after the molds were inserted, performance was poor for elevation but unaffected for azimuth.

After 19 days, performance for elevation was close to original performance

Once the molds were removed, performance stayed high.

Apparently, training with the molds created a new set of correlations between spectral cues and location, but the old correlation was still there as well. One way this could occur is if different sets of neurons were involved in responding to each set of spectral cues.

25
What factors are important to consider when designing concert halls? What differences exist between designing concert halls and classroom?
In addition to reverberation time, engineers should consider the following physical measures that are associated with how music is perceived in concert halls: 1) intimacy time: the time between when sound arrives directly from the stage and when the first reflection arrives. This is related to reverberation but involves just comparing the time between the direct sound and the first reflection, rather than the time it takes for many reflections to die down. 2) Bass ratio: The ratio of low frequencies to middle frequencies that are reflected from walls and other surfaces. 3) Spaciousness factor: The fraction of all of the sound received by a listener that is indirect sound. Differences between concert halls and classrooms: Concert halls should have an optimum 2.0-second reverberation time but a small classroom should have about 0.4 to 0.6 seconds. Concert halls are made to present a main sound by the performers. Classrooms have other noises, called background noises, such as the fan, a projector sound, besides the sound from the instructor speaking. Therefore, in designing a classroom, an engineer should take in consideration signal to noise ratio. This is the level of the instructor's voice in dB minus the level of the background noise in the classroom. Ideally, it should be +10dB to +15dB more. At lower signal to noise ratio students may have trouble hearing the instructor.