Module 3 Lesson 3: Perception
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This document provides an overview of perception and optical illusions. It defines perception as interpreting information received through the senses to produce meaning, which involves stimuli like sight, sound, texture, smell and taste. The perception process is influenced by Gestalt laws of visual organization, including figure-ground relationships, proximity, closure, and similarity. It also discusses perception constants like size constancy and shape constancy. Optical illusions are then introduced as images that create a perception that does not match reality, using techniques like color, light, and patterns to mislead the brain. Examples of shape, kinetic, and impossible shape illusions are listed.
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This document discusses perception and optical illusions. It defines perception as the process of selecting and interpreting sensory information to produce meaning. The perception process involves stimuli from the five senses. Gestalt laws of visual perception are described, including figure-ground relationships, proximity, closure, and similarity. Perception constants like size constancy and color constancy are mentioned. Optical illusions are defined as images that create misleading perceptions that do not match reality, using techniques like color, light, and patterns to trick the brain. Examples of shape, kinetic, and impossible shape illusions are provided.
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This document discusses perception and optical illusions. It defines perception as the process of interpreting sensory information to produce meaning. It describes the Gestalt laws of visual perception and some perception constants, like size and shape constancy. It defines optical illusions as images that create perceptions that do not match reality, using techniques like color, light, and patterns to mislead the brain. It provides examples of shape, kinetic, and impossible shape illusions, as well as Op Art, which investigates perceptual effects through art.
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This document discusses perception and optical illusions. It defines perception as the process of interpreting sensory information to produce meaning. It describes the Gestalt laws of visual perception and some perception constants, like size and shape constancy. It then discusses optical illusions, which create perceptions that do not match reality, using techniques like color, light, and patterns to mislead the brain. Several types of optical illusions are mentioned, including shape, kinetic, and impossible shape illusions.
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- Convention theory holds that representation depends on symbolic conventions that link depictions to their subjects.
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Chapter 6: Perception
Selective Attention
At any moment we are conscious of a very limited amount of all that we are capable of experiencing. One example of this selective attention is the cocktail party effect—attending to only one voice among many. Another example is inattentional blindness, which refers to our blocking of a brief visual interruption when focusing on other sights.
Perceptual Illusions
Visual and auditory illusions were fascinating scientists even as psychology emerged. Explaining illusions required an understanding of how we transform sensations into meaningful perceptions, so the study of perception became one of psychology’s first concerns. Conflict between visual and other sensory information is usually resolved with the mind’s accepting the visual data, a tendency known as visual capture.
Perceptual Organization
From a top-down perspective, we see how we transform sensory information into meaningful perceptions when we are aided by knowledge and expectations.
The early Gestalt psychologists were impressed with the seemingly innate way we organize fragmentary sensory data into whole perceptions. Our minds structure the information that comes to us in several demonstrable ways:
Form Perception
To recognize an object, we must first perceive it (see it as a figure) as distinct from its surroundings (the ground). We must also organize the figure into a meaningful form. Several Gestalt principles—proximity, similarity, continuity, connectedness, and closure—describe this process.
Depth Perception
Research on the visual cliff revealed that many species perceive the world in three dimensions at, or very soon after, birth. We transform two-dimensional retinal images into three-dimensional perceptions by using binocular cues, such as retinal disparity, and monocular cues, such as the relative sizes of objects.
Motion Perception
Our brain computes motion as objects move across or toward the retina. Large objects appear to move more slowly than smaller objects. A quick succession of images, as in a motion picture or on a lighted sign, can also create an illusion of movement.
Perceptual Constancy
Having perceived an object as a coherent figure and having located it in space, how then do we recognize it—despite the varying images that it may cast on our retinas? Size, shape, and lightness constancies describe how objects appear to have unchanging characteristics regardless of their distance, shape, or motion. These constancies explain several of the well-known visual illusions. For example, familiarity with the size-distance relationships in a carpentered world of rectangular shapes makes people more susceptible to the Müller-Lyer illusion.
Perceptual Interpretation
The most direct tests of the nature-nurture issue come from experiments that modify human perceptions.
Sensory Deprivation and Restored Vision
For many species, infancy is a critical period during which experience must activate the brain’s innate visual mechanisms. If cataract removal restores eyesight to adults who were blind from birth, they remain unable to perceive the world normally. Generally, they can distinguish figure from ground and can perceive colors, but they are unable to recognize shapes and forms. In controlled experiments, animals have been reared with severely restricted visual input. When their visual exposure is returned to normal, they, too, suffer enduring visual handicaps.
Perceptual Adaptation
Human vision is remarkably adaptable. Given glasses that shift the world slightly to the left or right, or even turn it upside down, people manage to adapt their movements and, with practice, to move about with ease.
Perceptual Set
Clear evidence that perception is influenced by our experience—our learned assumptions and beliefs—as well as by sensory input comes from the many demonstrations of perceptual set and context effects. The schemas we have learned help us to interpret otherwise ambiguous stimu
Signs Film is not a language in the sense that English.docx
Signs
Film is not a language in the sense that English, French, or mathematics is. First of
all, it's impossible to be ungrammatical in film. And it is not necessary to learn a
vocabulary. Infants appear to understand television images, for example, months
before they begin to develop any facility with spoken language. Even cats watch
television. Clearly, it is not necessary to acquire an intellectual understanding of
film in order to appreciate it—at least on the most basic level.
But film is very m u c h like language. People w h o are highly experienced in
film—highly literate visually (or should we say "cinemate"?)—see more and hear
more than people w h o seldom go to the movies. An education in the quasi-lan-
guage of film opens up greater potential meaning for the observer, so it is useful to
use the metaphor of language to describe the phenomenon of film.
In fact, no extensive scientific investigation of our ability to comprehend artifi-
cial sounds and images has yet been performed, but nevertheless we do k n o w
through research that while children are able to recognize objects in pictures long
before they are able to read, they are eight or ten years of age before they can
comprehend a film image the way most adults do. Moreover, there are cultural
differences in the perception of images. In one famous 1920s test, anthropologist
William Hudson set out to examine whe ther rural Africans w h o had had little
contact wi th Western culture perceived depth in two-dimensional images the
same way that Europeans do. He found, unequivocally, that they do not. Results
varied—there were some individuals w h o responded in the Western manner to
the test—but they were uniform over a broad cultural and sociological range.
Signs 153
Figure 3-1. CONSTRUCTION-TASK FIGURES. Subjects asked to reconstruct these figures in
three dimensions using sticks or rods, respond in different ways. People f rom Western cul-
tures, trained in the codes and conventions that artists use to convey three-dimensionality in a
two-dimensional drawing, see A as three-dimensional and B as two-dimensional. The operat-
ing code for three-dimensionality here insists that the dimension of depth be portrayed along
the 45° oblique line. This works well enough in A, but not in B, where the oblique lines are not
in the depth plane. Subjects from old African cultures tend to see both figures as two-dimen-
sional, since they are not familiar with this Western three-dimensional code. Figures C and D
illustrate the models of A constructed by Western and African observers, respectively. (From
"Pictorial Perception and Culture," Jan B. Deregowski. © 1972 by Scientific American, Inc. Ah
rights reserved.)
The conclusions that can be drawn from this seminal experiment and others
that have followed are two: first, that every normal h u m a n being can perceive
and identify a visual image; second, that even the simplest visual images are inter-
prete.
IVC - Lesson 03
This document discusses the process of visual perception. It explains Aldous Huxley's formula of "Sensing plus selecting plus perceiving equals seeing" as the three stages of clear vision. Sensing involves letting light enter the eyes, selecting isolates a particular element from one's field of vision, and perceiving tries to make sense of and find meaning in what is selected. The document also describes how this process forms a "circle dance" where the more one knows, the more they can see through sensing, selecting, and perceiving, which enhances memory and further knowledge. The overall goal is to analyze visual messages systematically in order to truly see and remember images.
ILLUSION
This document discusses optical illusions and how the human visual system can be deceived. It begins by explaining how sight is the most important sense for humans and how vision works through the eyes and brain. There are three main types of optical illusions: literal illusions that create different images than the objects, physiological illusions caused by excessive stimulation of the eyes or brain, and cognitive illusions where the mind fills in or obscures areas. Examples of different optical illusions that use photographs, shadows, 3D street art, and rotating/waving images are provided. The document concludes by stating that optical illusions can be an effective creative technique for advertising to get consumer attention and stick in their memories.
Visual illusions
1. The document discusses several visual illusions and theories about how human perception of images can be misleading.
2. Eye movement theories, perspective cues, transactionalist theories, and adaptation-level theories are some of the approaches explored to explain illusions like the Muller-Lyer lines.
3. Ambiguous images and figures that use conflicting depth cues can create "impossible" perceptions by exploiting how the visual system interprets 2D images as 3D scenes.
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Module 3 Lesson 3: Perception
- 1. MODULE 3 LESSON 3: PERCEPTION AND OPTICAL ILLUSIONS
- 2. PERCEPTION TO SEE ≠ TO PERCEIVE Is the process of selecting and interpreting information received trough the senses to produce a meaning
- 4. GESTALT LAWS It refers to theories of visual perception developed by German psychologists in the 1920s. These theories describe how people tend to organize visual elements
- 6. Proximity
- 7. Closure
- 8. Similarity
- 9. Perception Constants: size constancy
- 11. Color constancy
- 13. OPTICAL ILLUSIONS Images that create a perception that in reality, does not match the true image. Optical Illusions can use color, light and patterns to create images that can be misleading to our brains
- 14. SHAPE ILLUSIONS