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| refers to a point above which a stimulus is perceived and below which it is not perceived; determines when we first become aware of a stimulus. |
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| the intensity level of a stimulus such that a person will have a 50% chance of detecting it. |
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| has an intensity that gives a person less than a 50% chance of detecting a stimulus. |
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| created idea of "Absolute Threshold" and found ways to define it. |
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| worked on the problem of how we judge whether a stimulus has increased or decreased in intensity: the "Just Noticeable Difference" (JND). |
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| Just Noticeable Difference (JND) |
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| refers to the smallest increase or decrease in the intensity of a stimulus that a person is able to detect. |
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| states that the increase in intensity of a stimulus needed to produce a JND grows in proportion to the intensity of the initial stimulus. |
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| our first awareness of some outside stimulus: the outside stimulus activates sensory receptors, which in turn produce electrical signals that are transformed by the brain into meaningless bits of information. |
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| the experience we have after our brain assembles and combines thousands of individual, meaningless sensations into a meaningful pattern or image; are rarely exact replicas of the original stimulus; usually changed, biased, colored, or distorted by our unique set of experiences; our personal interpretations of the real world. |
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| believed that you add together hundreds of basic elements to form complex perceptions and you can work backward to break down perceptions into smaller and smaller units, or elements. |
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| believed that our brains followed a set of rules that specified how individual elements were to be organized into a meaningful pattern, or perception: "The whole is more than the sum of its parts." |
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| Rules of Organization: 6 Rules |
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| identified by Gestaltists; specify how our brains combine and organize individual pieces or elements into a meangingful perception: Figure-Ground Rule, Similarity Rule, Closure Rule, Proximity Rule, Simplicity Rule, Continuity Rule. |
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| states that, in organizing stimuli, we tend to automatically distinguish between a figure and the ground: the figure, with more detail, stands out against the background, which has less detail. |
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| states that, in organizing stimuli, we group together elements that appear similar. |
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| states that, in organizing stimuli, we tend to fill in any missing parts of a figure and see the figure as complete. |
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| states that, in organizing stimuli, we group together objects that are physically close to one another. |
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| states that stimuli are organized in the simplest way possible. |
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| states that we tend to favor smooth or continuous paths when interpreting a series of points or lines. |
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| Perceptual Constancy: 4 Types |
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| refers to our tendency to perceive sizes, shapes, brightness, and colors as remaining the same even though their physical characteristics are constantly changing: Size, Shape, Brightness, Color Constancy. |
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| refers to our tendency to perceive objects as remaining the same size even when their images on the retina are continually growing or shrinking. |
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| refers to our tendency to perceive an object as retaining its shape, even though when you view it from different angles, its shape is continually changing its image on the retina. |
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| refers to the tendency to perceive brightness as remaining the same in changing illumination. |
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| refers to the tendency to perceive colors as remaining stable despite differences in lighting. |
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| refers to the ability of our eyes and brain to add a third dimension (depth) to all visual perceptions, even though images projected on the retina are in only two dimensions (height and width). |
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| depend on the movement of both eyes. |
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| refers to a binocular cue for depth perception based on signals sent from muscles that turn the eyes; to focus on near or approaching objects, these muscles turn the eye inward towards the nose, and the brain uses the signals sent by the muscles to determine the distance of the object. |
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| refers to a binocular depth cue that depends on the distance between and the images of the right eye and the left eye; large means close, small means distant. |
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| Monocular Depth Cues: 7 Cues |
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| produced by signals from a single eye; most commonly arise from the way objects are arranged in the environment: Linear Perspective, Relative Size, Interdisposition, Light and Shadow, Texture Gradient, Atmospheric Perspective, Motion Parallax. |
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| MDC that results as parallel lines come together (converge) in the distance. |
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| MDC that results when we expect two objects to be the same size and they are not; the larger of the two objects will appear closer and the smaller one farther. |
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| MDC for depth perception that comes into play when objects overlap; the overlapping object appears closer and the overlapped farther. |
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| make up MDCs for depth perception: brightly lit objects appear close, shadows are far away. |
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| MDC in which areas with sharp, detailed texture are interpreted as being closer and those less sharp farther. |
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| MDC that is created by the presence of dust, smog, clouds, or water vapor; we perceive clearer objects as being nearer, and we perceive hazy/cloudy objects as being farther away. |
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| MDC based on the speed of moving objects; we perceive objects that appear to be moving at high speeds as closer to us than those moving more slowly or appearing stationary. |
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| perceptual experience in which you perceive an image as being so strangely distorted that, in reality, it cannot and does not exist; is created by manipulating the perceptual cues so that your brain can no longer correctly interpret space, size, and depth cues. |
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| a perceptual experience in which a drawing seems to defy basic geometric laws. |
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| Albert Ames; shows that our perception of size can be distorted by changing depth cues. |
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| a brief auditory or visual message that is presented below the absolute threshold, which means that there is less than a 50% chance that the message will be perceived. |
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| learned expectations that are based on our personal, social, or cultural experiences; expectations automatically add information, meaning, or feeling to our perceptions and thus change/bias them. |
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| Extrasensory Perception (ESP) |
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| group of psychic experiences that involve perceiving/sending information outside normal sensory processes or channels; four general abilities: telepathy, precognition, clairvoyance, and psychokinesis. |
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| transfers one's thoughts to another and read other people's thoughts. |
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| perceive events or objects that are out of sight. |
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| ability to exert mind over manner- moving objects with the mind. |
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| refers to the processing of info. or transfer of energy by methods that have no known physical or biological mechanisms and that seem to stretch the laws of physics. |
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| controlled method for eliminating trickery, error, and bias while testing telepathic communication between a sender and receiver. |
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| Phi Movement (Apparent Movement) |
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| refers to the illusion that lights that are actually stationary seem to be moving; flashes stationary lights at regular intervals. |
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| refers to your perception of any stimulus or object that actually moves in space. |
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| refers to an illusion that a stimulus or object is moving in space when, in fact, the stimulus/object is stationary; the illusion is created by rapidly showing a series of stationary images, each of which has a slightly different position or posture that the one before. |
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| refers to a perceptual experience of being inside an object, moving through an environment, or carrying out some action that is created or stimulated by computer. |
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