This document discusses visual perception and illusions. It begins by explaining that visual perception involves both biological determinism and learned experiences. It then discusses several concepts related to visual perception, including the Panopticon, emotions communicated through visuals, and how perception involves both sensation and interpretation. The document goes on to explore various visual illusions and paradoxes, how the brain makes inferences to resolve ambiguities, and discusses concepts like attention, filtering, and Gestalt principles of form perception. It analyzes works by several artists and concludes by mentioning references for further information.
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lecture 16 from a college level introduction to psychology course taught Fall 2011 by Brian J. Piper, Ph.D. (psy391@gmail.com) at Willamette University, includes anatomy of eye/brain, dorsal pathway, ventral pathway, figure/ground, many illusions, synesthesia
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
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
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Visual perception-illusions-paradoxes
1. Visual Perception
Illusions &
Paradoxes
d
Priyadarshi Patnaik
Associate Professor
Department of Humanities & Social S i
D fH ii S i l Sciences
IIT Kharagpur
2. What about visuals?
Many things which are visually communicated or
perceived are biologically determined
But many other things are learnt
Visuals communicate power
Visuals communicate emotions
Visuals communicate culture
7. In philosophy psychology and the cognitive
philosophy, psychology,
sciences, perception is the process of attaining
awareness or understanding of sensory
information. The word "perception" comes
from the Latin words perceptio percipio and means
perceptio, percipio,
"receiving, collecting, action of taking
possession,
possession apprehension with the mind or
senses."
8. When external stimuli is transmitted to our brain
through our senses – sensation
Devoid of any definition, any interpretation,
meaning
The simplest building block
But then it is taken up by the mind and analyzed
Memory is stirred up remembering used
up,
Sensation identified, matched, given a name,
defined,
defined interpreted and remembered for future
use
9. Part of what we perceive comes through the
senses from the objects before us; another part
always comes out of our own head
William J
Willi James
11. To resolve ambiguities and make sense of the
world, the brain also creates shapes from
incomplete data.
data
The i l
Th triangle you saw was d l d b I li
developed by Italian
psychologist Gaetano Kanizsa.
15. According to noted neuroscientist V.
V
Ramachandran of University of California, San
Diego,
Diego the brain can make guesses based on
information available and some simple
assumptions
Pattern of shadows
Light
Li h usually from top
ll f
22. Filtering
Why does focus shift?
We filter, partly bl ki certain i
W fil l blocking i inputs
Limited Mental Capacity
23. Perception is taking in, filtering and interpretation to
make sense of the world. Memory and learning play an
important part, but so do certain innate organizational
abilities of the mind, highlighted by Gestalt
psychologists.
The limits of my perception are the limits of my world
The word is the world (since it takes us a step further
and helps us cognize what we have perceived)
24. What we shall do next
Form perception
Colour perception
Depth
D h perception
i
These will give us some idea of how and why we
visually perceive the many things that we do.
yp y g
26. Gestalt (German) used to indicate the form-
form-
forming capabilities of the mind (Whole form
approach) and the belief that this holistic
perception is innate to the mind
28. The visual system uses an innate binary division
– the figure we look at and the ground which is
everything else and forms the background
This relation is reversible
But
B we cannot perceive the same thing as fi
i h hi figure
and ground at the same time – it requires a
mental switching
l i hi
29. Gestalt
Max Wertheimer
Kurt Koffka
Wolfgang K hl
W lf Kohler
We are surrounded by sounds and forms that do
not have a sole meaning. At any moment, our
g y ,
perception is what gives it form and meaning.
30. What do we have here?
Twelve lines
4 vertical
4 horizontal
4 oblong
31. The vase and the two faces
A demonstration of multi-stability: popping back and forth
between two or more unstable perceptions
32. Organization in form perception
The whole is more
than the sum of its
h h fi
parts
33. A Poem
A Black Coat
It was a dark evening
d k i
Simple Life
68. The light coloured dot
seems to pop out while
the dark coloured dot
seems to sit further back
Source: “Color in Mind: Adobe Magazine, November 1996
82. Illusion
There is an innate ambiguity in retinal input. For a
g y p
given retinal image, there are infinite number of three
dimensional images available for interpretation. Usually
we get the interpretation right. When we don’t, we have
t th i t rpr t ti ri ht Wh d ’t h
an illusion.
Some illusions arise because there are more than one
possible interpretations.
An illusion is a distortion of the senses, revealing how
the brain normally organizes and interprets sensory
stimulation.
83. Types of
Ambiguous illusions are pictures or objects that
g p j
elicit a perceptual 'switch' between the alternative
interpretations.
Distorting illusions are characterized by distortions
of size, length, or curvature.
Paradox illusions are generated by objects that are
paradoxical or impossible.
d i l i ibl
Fictional illusions (Hallucinations) are defined as
the perception of objects that are g
p p bj genuinely not there
y
to all but a single observer, such as those induced by
schizophrenia or a hallucinogen.
93. Escher on Escher
"In the horizontal center strip there are birds and fish
In
equivalent to each other. We associate flying with sky,
and so for each of the black birds the sky in which it is
flying is formed by the four white fish which encircle it.
Similarly swimming makes us think of water, and
water
therefore the four black birds that surround a fish become
the water in which it swims."
swims
109. References and images
Doors of Perception
http://www.doorsofperception.com/doors
The Joy of Perception
http://www.yorku.ca/eye
Perception Online
http://www.pion.co.uk/perception
“Perception.” E l p di Britannica 2007 Deluxe Edition.
“P ti ” Encyclopedia B it i D l Editi
Art and Visual Perception. Rudolf Arnheim, University of
California Press, 1984.
Mark Hardin’s A hi (www.artchive.com)
M k H di ’ Artchive (www.artchive.com)
hi
Colour. Bettey Edwards, Tarcher/Penguin, 2004.
Perception, Gestalt, Panopticon, etc (
p p (Wikipedia)
p )