Terms : Hide Images
| 101381469 | Transduction | a process during which signals are transferred into neural impulses | |
| 101381470 | Sensory Adaptation | decreased responsiveness to stimuli due to constant stimulation eg. socks on feet | |
| 101381471 | Sensory Habituation | our perception of sensations is partially due to how focused we are on them | |
| 101381473 | Sensation | activation of our senses | |
| 101381474 | Perception | the process of understanding sensations | |
| 101381475 | Energy Senses | Vision (light), hearing (sound waves), and touch (pressure). | |
| 101381476 | Chemical Senses | smell and taste | |
| 101381477 | Vision | the dominent sense in human beings, gather information using their surroundings more than any other sense | |
| 101381478 | Cornea | the protective covering that light first enters through, helps focus light | |
| 101381479 | Pupil | light travels through it, the shutter of a camera | |
| 101381480 | Lens | curved and flexible in order to focus light | |
| 101381481 | Retina | a screen in the back of the eye on which inverted images are projected | |
| 101381482 | Feature Detectors | nerve cells in the brain that respond to specific features of the stimulus, such as shape, angle, or movement | |
| 101381483 | Optic Nerve | the nerve that carries neural impulses from the eye to the brain | |
| 101381484 | Occipital Lobe | the lobe in which the visual cortex is, the point that sensation ends and perception begins | |
| 101381485 | Visible Light | Electromagnetic radiation that can be seen with the unaided eye | |
| 101381486 | Rods | respond to black and white, outnumber 20:1 | |
| 101381487 | Fovea | an indentation in the center of the retina that has the highest concentration of cones | |
| 101381488 | Blind Spot | the spot where the optic nerve leaves the retina and has no cones or rods | |
| 101381489 | Trichromatic Theory | oldest and most simple theory, we have three cones that detect blue red and green | |
| 101381490 | Color Blindness | cannot see certain colors | |
| 101381491 | Afterimages | if you stare at one color for a while then look at a blank space, you will see color, stare at green, it will be red, yellow blue | |
| 101381492 | Opponent-Process Theory | state that sensory receptorsare arranged in retina are in pairs of red/green, yellow/blue, black/white | |
| 101381493 | Hearing | auditory senses, waves are created in the air | |
| 101381494 | Sound Waves | created by vibrations which travel through the air and collect in our ears | |
| 101381495 | Amplitude | the height of the wave and determines the loudness, measured in decibels | |
| 101381496 | Frequency | refers to the length of the waves and determines pitch, measured in megahertz | |
| 101381497 | Cochlea | the snail-shaped tube (in the inner ear coiled around the modiolus) where sound vibrations are converted into nerve impulses by the Organ of Corti | |
| 101381499 | Frequency Theory | theory that we sense pitch because the hair cells fire at different rates | |
| 101381500 | Conduction Deafness | occurs when some goes wrong with the system of conducting the sound to the cochlea | |
| 101381502 | Touch | sense is activated when the skin is indented, pierced, or experiences a change in temperature | |
| 101381504 | Taste/Gustation | chemical sense involved in food | |
| 101381505 | Smell/Olfaction | depends on chemicals emitted by substance | |
| 101381506 | Vestibular Sense | the sense that tells how our body is oriented in space | |
| 101381507 | Kinesthetic Sense | the sense that gives us feedback about the position and orientation of specific body parts | |
| 101381508 | Absolute Threshold | the smallest amount of stimulus we can detect | |
| 101381509 | Subliminal Messages | stimuli below our absolute threshold | |
| 101381510 | Difference Threshold | is the smallest amount of change needed in a stimulus before we can detect a change | |
| 101381511 | Weber's Law | states that the change needed is proportional to the original intensity of the stimulus | |
| 101381512 | Signal Detection Theory | this theory investigates the effects of the distractions and interference we experience while perceiving the world | |
| 101381513 | Top-down Processing | perceive by filling in gaps in what we sense, less accurate but quicker than bottom-up | |
| 101381514 | Perceptual Set | a predisposition to perceive something in a certain way | |
| 101381515 | Bottom-up Processing | we use only the features of the object itself to build a complete perception, automatic process, takes longer but more accurate than top-down | |
| 101381516 | Gestalt Rules | we normally perceive images as groups, not as isolated elements, innate and inevitable | |
| 101381517 | Proximity | objects that close together are more likely to be perceived as belonging to the same group | |
| 101381518 | Similarity | objects that are similar in appearance are more likely to be perceived as belonging to the same group | |
| 101381519 | Continuity | objects that form a continuous form are more likely to be perceived as belonging in the same group | |
| 101381520 | Closure | objects that make a recognizable image are more likely to be perceived as belonging in te same group even if it contains caps | |
| 101381521 | Constancy | our ability to maintain a constant perception of an object despites changes in light, angle, etc. | |
| 101381522 | Size Constancy | objects closer to our eyes will produce bigger images on our retinas, but we take distance into account | |
| 101381523 | Shape Constancy | objects viewed from dfferent angles will produce different shapes, but we know the shape of an object remains constant | |
| 101381524 | Brightness Constancy | objects as being a constant color even as the light reflected off of them changes | |
| 101381525 | Depth Cues | Perceptual features that impart information about distance and three-dimentional space | |
| 101381526 | Light Intensity | how much energy a light contains, how bright the object is | |
| 101381527 | Light Wavelength | determines the particular hue, longer than visible light infrared, microwaves, radio waves, shorter, UV and X | |
| 101381528 | Color Spectum | longest to shortest wavelength: red orange yellow green blue indigo violet | |
| 101381529 | Iris | the muscles that control the pupil, dilate it to let more light in, make it smaller to let less light in | |
| 101381530 | Accommodation | light that centers the pupil is focused by the lens | |
| 101381531 | Cones | respond to color | |
| 101381534 | Left Hemisphere | impulses from the left side of the retina go here | |
| 101381535 | Right Hemisphere | impulses from the right side of the retina go here | |
| 101381536 | Optic Chiasm | the spot where the nerves cross each other | |
| 101381537 | Outer Ear/Pinna | sound waves collected here | |
| 101381538 | Auditory/Ear Canal | waves travel through here to eardrum | |
| 101381539 | Ear Drum/Tympanic Membrane | a thin membrane that vibrates as the sound wave hits it | |
| 101381540 | Hammer/Anvil/Stirrup | three bones as the ossicles, vibration transmitted to the oval window | |
| 101381541 | Oval Window | membrane similar to the eardrum, attached to the cochlea | |
| 101381542 | Organ of Corti | neurons activated by movement of hair cells, fires, impulses then transmitted to the brain via auditory nerve | |
| 101381555 | Monocular Cues | depth cues that do not depend on having two eyes | |
| 101381556 | Binocular Cues | cues that depend on having two eyes | |
| 101381557 | Linear Perspective | to draw train tracks, you would draw two lines that converge at the top of the paper | |
| 101381558 | Relative Size Cue | draw things closer to the viewer as bigger | |
| 101381559 | Interposition Cue | objects that block the view to other objects must be closer | |
| 101381560 | Texture Gradient | we know that we can see details in texture close to us but no far away | |
| 101381561 | Shadowing | by shadowing part of your picture, you can imply where the light source is thus implying depth and position of objects | |
| 101381563 | Convergence | as an object gets closer to our face, our eyes must move toward each other to keep focused on the object |
