1. W EEK 6 S ENSATION & PERCEPTION Chapter 4

2. V ISION Wavelength (hue) Amplitude Purity Cornea Lens Iris Pupil Retina Transduction Optic disk Optic nerve Rods Cones Light Nearsightedness Farsightedness Receptive fields Convergence Vision acuity

3. H EARING O THER S ENSES Wavelength Amplitude Purity Pinna Ossicles Cochlea Semicircular canals Gustation Primary tastes Nontasters vs supertasters Olfaction Kinesthetic Vestibular

4. P ERCEPTION Reversible figure Perceptual sets Inattentional blindness Top- down processing (aka form perception theory) Bottom-up processing (aka feature detection theory) Subjective contours Gesalt principles: Figure-ground Proximity Similarity Continuity Closure Simplicity Pictorial depth cues Optical illusions Motion parallax After image

5. K EY TERMS Sensation Threshold Absolute Threshold Just noticeable difference Signal detection theory Subliminal perception Mere-exposure effect Sensory adaptation Trichromatic theory Opponent Process Theory Phi phenomenon(Apparent motion)

6. 1. T HE BASIC EXPERIENCE OF THE STIMULATION OF THE BODY ’ S SENSES IS CALLED : (A) Sensation (B) Perception (C) Adaptation (D) Cognition (E) Conduction

7. 2. T HE FUNCTION OF THE LENS IS TO : (A) Project an image onto the cornea (B) Focus an image on the retina (C) Locate an image (D) Contain receptor cells that are sensitive to light (E) Locate the blind spot

8. 3. O LFACTORY CELLS ARE THE RECEPTORS FOR WHAT SENSE ? (A) Taste (B) Hearing (C) Vision (D) Smell (E) Touch

9. 4. T HE BINOCULAR CUE FOR DEPTH PERCEPTION BASED ON SIGNALS FROM MUSCLES THAT TURN THE EYES TO FOCUS ON NEAR OR APPROACHING OBJECTS IS CALLED : (A) Convergence (B) Retinal disparity (C) Shape constancy (D) Interposition (E) Perceptual vision

10. 5. T HE FINAL STEP REQUIRED TO CONVERT VIBRATIONS INTO SOUND SENSATIONS TAKES PLACE IN WHICH PART OF THE EAR ? (A) Ossicles (B) Outer ear (C) Cochlea (D) Middle ear (E) Auditory receptors

11. 6. B LACK - AND - WHITE VISION WITH GREATEST SENSITIVITY UNDER LOW LEVELS OF ILLUMINATION DESCRIBES THE ROLE OF : (A) The cones (B) The cornea (C) The fovea (D) The rods (E) The pupil

12. 7. R ECEPTORS FOR KINESTHESIS ARE LOCATED IN THE (A) Retina (B) Joints (C) Semicircular canals (D) Olfactory epithelium (E) Taste buds

13. 8. N EURAL IMPULSES GO DIRECTLY TO THE CORTEX WITHOUT PASSING THROUGH THALAMUS FROM RECEPTORS IN THE (A) Retina (B) Joints (C) Cochlea (D) Olfactory epithelium (E) Taste buds

14. 9. T HE COILED TUBE IN THE INNER EAR THAT CONTAINS AUDITORY RECEPTORS IS CALLED (A) Semicircular canal (B) Ossicle (C) Pinna (D) Cochlea (E) Oval window

15. 10. J ASON IS ATTENDING A PARADE THAT FEATURES THE LOCAL HIGH SCHOOL BAND. J ASON ’ S FRIEND B RENT PLAYS THE TROMBONE IN THE BAND. I T IS DIFFICULT FOR J ASON TO HEAR B RENT PLAY AT THE PARADE. W HICH OF THE FOLLOWING WOULD BEST ALLOW J ASON TO HEAR B RENT ' S TROMBONE ? (A) Sensory adaptation (B) Selective attention (C) Perceptual constancy (D) Weber’s law (E) Functional fixedness

16. A NSWERS 1. A 2. B 3. D 4. B 5. C 6. D 7. B 8. D 9. D 10. B

17. Q. Dimitri and Linda are trying to learn a new routine to compete successfully in a dance competition. Give an example of how each of the following could affect their performance. Definitions without application do not score. Cones Dark Adaptation Farsightedness Basilar Membrane