1. © Prentice Hall, 1999

2. Gestalt Principles of Grouping proximity: grouping nearby figuresproximity: grouping nearby figures similarity: grouping similar figures together

3. © Prentice Hall, 1999 Gestalt Principles of Grouping Closure: filling in a figure’s gaps to create a whole object

4. © Prentice Hall, 1999

5. Gestalt Principles of Grouping continuity: we perceive smooth, continuous patterns rather than discontinuous patternscontinuity: we perceive smooth, continuous patterns rather than discontinuous patterns

6. © Prentice Hall, 1999 Gestalt Principles of Grouping simplicity: we tend to analyze a figure as being composed of simple partssimplicity: we tend to analyze a figure as being composed of simple parts

7. © Prentice Hall, 1999 Figure-Ground Distinction figure: entity perceived to stand apart from the backgroundfigure: entity perceived to stand apart from the background ground: background against which a figure appearsground: background against which a figure appears

8. © Prentice Hall, 1999

9. Figure-Ground: What do you see?

10. © Prentice Hall, 1999 Cortical Coding and Perception simple cells: respond to a line presented only at a certain angle or orientationsimple cells: respond to a line presented only at a certain angle or orientation complex cells: coordinate information from a group of simple cellscomplex cells: coordinate information from a group of simple cells hypercomplex cells: respond to complex stimulus featureshypercomplex cells: respond to complex stimulus features

11. © Prentice Hall, 1999 Retinal Image

12. © Prentice Hall, 1999

13. Perceptual Constancy

14. © Prentice Hall, 1999 Perceptual Constancies size constancysize constancy shape constancyshape constancy brightness constancybrightness constancy color constancycolor constancy

15. © Prentice Hall, 1999 Size Constancy The perception of an object as the same size regardless of the distance from which it is viewed.The perception of an object as the same size regardless of the distance from which it is viewed.

16. © Prentice Hall, 1999 Which is bigger?

17. © Prentice Hall, 1999 Which is bigger? Actual Toy

18. © Prentice Hall, 1999 Shape Constancy shape constancy: a tendency to see an object as the same shape no matter what angle it is viewed from.shape constancy: a tendency to see an object as the same shape no matter what angle it is viewed from.

19. © Prentice Hall, 1999 Brightness Constancy We perceive an object as having a constant lightness even while its illumination varies.We perceive an object as having a constant lightness even while its illumination varies.

20. © Prentice Hall, 1999

21. Color Constancy An inclination to perceive familiar objects as retaining their color despite changes in sensory information.An inclination to perceive familiar objects as retaining their color despite changes in sensory information.

22. © Prentice Hall, 1999

23. Observer Characteristics Motivation Experience Values Personality Expectation Cognition

24. © Prentice Hall, 1999 Observer Characteristics Affecting Perception motivation: perceiving what we want to perceivemotivation: perceiving what we want to perceive expectations: perceiving what we ought to perceiveexpectations: perceiving what we ought to perceive

25. © Prentice Hall, 1999 Observer Characteristics and Perception cognitive style: perceiving what we have typically perceivedcognitive style: perceiving what we have typically perceived experience and culture: misperceiving what we have not perceived beforeexperience and culture: misperceiving what we have not perceived before personalitypersonality

26. © Prentice Hall, 1999 painting creation http://www.youtube.com/watch?v=UuexWks5GREpainting creation http://www.youtube.com/watch?v=UuexWks5GREpainting creationpainting creation 1

27. © Prentice Hall, 1999 Basketball passesBasketball passes 2

28. © Prentice Hall, 1999 Depth Perception (seeing in 3D) monocular cues: depth cues requiring only one eyemonocular cues: depth cues requiring only one eye binocular cues: depth cues requiring both eyesbinocular cues: depth cues requiring both eyes

29. © Prentice Hall, 1999 Monocular Cues superpositionsuperposition linear perspectivelinear perspective aerial perspectiveaerial perspective elevationelevation texture gradient shadowing motion parallax

30. © Prentice Hall, 1999 Superposition Monocular distance cue in which one object, by partially blocking another, is perceived as being closer.Monocular distance cue in which one object, by partially blocking another, is perceived as being closer.

31. © Prentice Hall, 1999 Linear Perspective Two parallel lines appear to converge at the horizon.Two parallel lines appear to converge at the horizon.

32. © Prentice Hall, 1999

33. Aerial Perspective More distant objects are likely to appear hazy and blurred.More distant objects are likely to appear hazy and blurred.

34. © Prentice Hall, 1999 The higher on the horizontal plane an object is, the farther away it appears. Elevation

35. © Prentice Hall, 1999 Elevation

36. Texture Gradient Objects seen at greater distances appear to be smoother and less textured.Objects seen at greater distances appear to be smoother and less textured.

37. © Prentice Hall, 1999 Caillebotte: Paris Street: A Rainy Day

38. © Prentice Hall, 1999 Degas: The Dancing Class

39. © Prentice Hall, 1999 Shadowing Shadows often appear on the parts of objects that are more distant.Shadows often appear on the parts of objects that are more distant.

40. © Prentice Hall, 1999 Motion Parallax Objects closer than fixation point appear to move backwards.Objects closer than fixation point appear to move backwards. Objects beyond fixation point appear to move with you at a decreasing speed as the object gets farther away.Objects beyond fixation point appear to move with you at a decreasing speed as the object gets farther away. The closer an object is, the faster it appears to move.The closer an object is, the faster it appears to move.

41. © Prentice Hall, 1999

42. Binocular Cues Because the eyes see slightly different images (retinal disparity), the brain must merge the two images together.Because the eyes see slightly different images (retinal disparity), the brain must merge the two images together. convergence: A visual depth cue that comes from muscles controlling eye movement as the eyes turn inward to view a nearby stimulus.convergence: A visual depth cue that comes from muscles controlling eye movement as the eyes turn inward to view a nearby stimulus.

44. © Prentice Hall, 1999

46. Sound Localization monaural cues: Cues to sound location that require only one ear.monaural cues: Cues to sound location that require only one ear. binaural cues: Cues to sound location requiring both ears to work together.binaural cues: Cues to sound location requiring both ears to work together.

47. © Prentice Hall, 1999 Sound Localization

48. © Prentice Hall, 1999 2 Types of Illusions physical illusionsphysical illusions perceptual illusionsperceptual illusions

49. © Prentice Hall, 1999 Perception of Apparent Movement autokinetic illusionautokinetic illusion stroboscopic motionstroboscopic motion phi phenomenonphi phenomenon

50. © Prentice Hall, 1999 Autokinetic Illusion P erception that a stationary object is actually moving.P erception that a stationary object is actually moving. occurs due to lack of a frame of referenceoccurs due to lack of a frame of reference

51. © Prentice Hall, 1999Stationary?

52. Stroboscopic Motion apparent motion resulting from flashing images in rapid succession (e.g., a movie or cartoon)apparent motion resulting from flashing images in rapid succession (e.g., a movie or cartoon)

53. © Prentice Hall, 1999 Strobe Effect

54. © Prentice Hall, 1999 Phi Phenomenon apparent movement caused by flashing lights in sequenceapparent movement caused by flashing lights in sequence

55. © Prentice Hall, 1999 Physical Illusions distortion of information reaching the receptor cellsdistortion of information reaching the receptor cells e.g., pencil in a glass of water

56. © Prentice Hall, 1999 Perceptual Illusions misleading cues that create inaccurate or impossible perceptionsmisleading cues that create inaccurate or impossible perceptions

57. © Prentice Hall, 1999 Four Perfect Circles

58. © Prentice Hall, 1999 Old or Young?

59. © Prentice Hall, 1999 “Relativity” by MC Escher

60. © Prentice Hall, 1999 Pulsating Vortex

61. © Prentice Hall, 1999 Opponent-Process - Believe it or not, the “green” and “blue” spirals are the same color! - Believe it or not, the “green” and “blue” spirals are the same color!