Chapter 4: Sensation and Perception PDF

CHAPTER 4: SENSATION AND PERCEPTION JOY ERICA T. TERO RPM, CHRA 4.1 Concepts of Sensation and Perception 4.2 The Senses: The Visual Sense (Sight) 4.3 The Senses: The Auditory Sense (Hearing) 4.4 The Senses: The Olfactory Sense (Smell) 4.5 The Senses: The Gustatory Sense (Taste) 4.6 The...

CHAPTER 4: SENSATION AND PERCEPTION JOY ERICA T. TERO RPM, CHRA 4.1 Concepts of Sensation and Perception 4.2 The Senses: The Visual Sense (Sight) 4.3 The Senses: The Auditory Sense (Hearing) 4.4 The Senses: The Olfactory Sense (Smell) 4.5 The Senses: The Gustatory Sense (Taste) 4.6 The Senses: The Tactile Sense (Touch) 4.7 The Senses: The Kinesthetic Sense (Body Movement) 4.8 The Senses: The Equilibrial Sense (Body Balance) 4.9 Extra Sensory Perception  UNIT 4.1 CONCEPTS OF SENSATION AND PERCEPTION OBJECTIVES A. To identify the senses and perception. B. To analyze and demonstrate the stages of sensation and perception. C. To distinguish the attributes and characteristics of sensation. D. To expound on the characteristics of perceiver. E. To trace how we build up the behavior through sensation and perception. STAGES OF SENSATION AND PERCEPTION PHYSICAL STAGE PHYSIOLOGICAL STAGE Refers to the action of Refers to the process that has started some physical stimulus with the action of a stimulus on a on a sense organ. receptor. Transduction is the conversion of incoming energy into neural activity. STAGES OF SENSATION AND PERCEPTION PSYCHOLOGICAL STAGE Consists in the arousal to the consciousness of the sensation. The awareness, interpretation, and conscious reaction or response to the sensation. Giving meaning to the sensation (perception).  sensation Sensation refers to the process of gathering/ receiving raw information from our environment by the senses and converting them into neural impulses and directing them into a part of the brain for processing.  ATTRIBUTES OF SENSATION MODALITY - Refers to the different categories of sensation according to the differences in the experiences themselves. QUALITY - The experience within the same modality differ definitely from each other. INTENSITY - A distinction in degree within the same quality. DURATION - Indicates how long a sensation actually lasts in the consciousness. REACTION TIME - The interval that elapses between the receiving of an impression by a sense organ and the recognition of this impression.  GENERAL CHARACTERISTICS OF (STIMULI) SENSATION Absolute Threshold - The minimum amount of energy needed to activate a particular sense organ. Differential Threshold - The minimum amount of energy needed to differentiate or distinguish between two stimuli. Sensory Adaptation - The ability of the senses to adjust to a particular stimulus. **Psychophysics - Study of quantitative relations between psychological events and physical events.  4.2 THE SENSES - THE VISUAL SENSE (SIGHT) OBJECTIVES A. To identify the stages of the sense of sight. B. To illustrate the different principles of perceptual organization and perception of colors. C. To identify the different common visual defects.  STAGES OF THE SENSE OF SIGHT PHYSICAL (STIMULUS) PHYSIOLOGICAL (RECEPTORS) Electromagnetic energy or radiation from objects and transmitted in the Light enters the eyes through air are called LIGHT, LIGHT RAYS (as transparent protective layer called the particles), LIGHT WAVES (as cornea. vibrations).  PHYSIOLOGICAL (RECEPTORS) The light passes through the pupil,-the opening just behind the cornea. The iris gives the eye their color, adjusts the amount of light allowed into the eye by constricting to reduce the size or relaxing to enlarge it. The pupil is the lens which bends light rays focusing them on the retina. Visual receptors in the retina are RODS which are active in night vision and they permit us to see achromatic colors (black, gray, white), and the CONES which are active in daylight vision and allowing us to see both chromatic (violet, blue, green, yellow, orange, red) and achromatic colors. All nerve fibers from the retina come together at the blind spot to form the optic nerve which leads to the visual center in the OCCIPITAL LOBE of the cerebral cortex. STAGES OF THE SENSE OF SIGHT PSYCHOLOGICAL (RESPONSE) There are several organizational processes that allow people to understand the jumble of lights, signs, shapes, and colors in our world of daily experience.  PRINCIPLES OF PERCEPTUAL ORGANIZATION 1. FIGURE AND BACKGROUND When looking at a complex visual scene, we automatically pick out a certain object to be FIGURE and relegate others to the BACKGROUND or GROUND.  PRINCIPLES OF PERCEPTUAL ORGANIZATION 2. GROUPING Certain inherent features of stimuli lead people to group them together into coherent or meaningful objects or sounds. Six principles proposed by GESTALT Psychologists: 1. Proximity 2. Similarity 3. Continuity 4. Closure 5. Orientation 6. Simplicity  PRINCIPLES OF PERCEPTUAL ORGANIZATION 3. PERCEPTUAL CONSTANCY The perception of objects as constant in size, shape, color and other properties despite changes in their retinal image allows us to see the world more realistically rather than looking at objects as continually changing.  PRINCIPLES OF PERCEPTUAL ORGANIZATION The perception of distance allows people to experience the world 4. DEPTH PERCEPTION in three-dimensional depth, not as a two-dimensional movie. Stimulus Cues: a. Relative Size - Objects b. Relative Height in producing larger images in Field - The more the retina are perceived as distant objects are closer than those producing higher in the visual smaller ones. field than those nearby.  PRINCIPLES OF PERCEPTUAL ORGANIZATION c. Super Imposition or Interposition - d. Linear Perspective - The closer together Closer objects block one's view of things the two converging lines are, the greater farther away. the perceived distance.  PRINCIPLES OF PERCEPTUAL ORGANIZATION e. Reduced Clarity - Nearer objects are, in f. Texture Gradient - Texture appears finer general, more brightly colored and distinct; and less detailed as distance increases. whereas far objects are hazier or are less brightly colored. f. Movement Gradient - Faster relative movement in the visual field indicates less distance.  PRINCIPLES OF PERCEPTUAL ORGANIZATION There are some distortions of the reality we perceive visually 5. PERCEPTUAL ILLUSIONS because of certain illusions created by the arrangement of stimuli in the visual field. a. Illusions of Movement Stroboscopic Movement - Perception of motion is produced in snapshots, as in motion pictures or films. Phi Phenomenon - The “moving” neon lights are a series of lights flashing on and off sequentially.  PRINCIPLES OF PERCEPTUAL ORGANIZATION 5. PERCEPTUAL ILLUSIONS b. Illusions of Shape - Distortions of shape support the Gestalt principle that the whole is greater than the sum of its parts. Zollner Illusion - Lines are parallel but seem to be slanted. Wundt Illusion - Lines seem to be intersecting. Ambiguous Ellipses/Figures - Tilted circles appear as ellipses or other figures seem to be vague or has various interpretations  PRINCIPLES OF PERCEPTUAL ORGANIZATION 5. PERCEPTUAL ILLUSIONS c. Illusions of Size and Depth - These illusions illustrate that perceptual judgments take place relative to some context or background. Ebbinghaus Illusion - The middle circle on the left probably looks smaller than the one on the right though both are of the same size.  PRINCIPLES OF PERCEPTUAL ORGANIZATION 5. PERCEPTUAL ILLUSIONS c. Illusions of Size and Depth Ponzo Illusion - Converging lines give the impression that some lines are longer than others. Muller-Lyer Illusion - Some lines are perceived to be longer than others because of the tip image.  PERCEPTION OF COLOR tHE COLOR SPECTRUM Electromagnetic Energy Perceived Color (millimicrons or nanometer) 400-455 VIOLET 455-492 BLUE 492-575 GREEN 575-585 YELLOW 585-647 ORANGE 647-780 RED  CLASSIFICATION OF COLORS CHROMATIC COLORS - Colors with wavelength visible in the visual spectrum are called. ACHROMATIC COLORS - Colors that result from the subtraction of all 'hues (black), or the mixture of some hues (gray), or from the mixture of all hues (white). YOUNG-HELMHOLTZ THEORY - There are three different types of mechanisms in the retina cells and their nerve fibers respond to different wavelengths of light falling on them. Primary colors: RED, GREEN, and BLUE (not produced by mixing other colors). Secondary colors are produced either by the stimulation of the exact wavelength or by varying the degree of stimulation of the three primary colors. HERING-HURVICH-JAMESON THEORY (Opponent Process Theory) Primary colors: blue, green, red, and yellow Red is contrasted to green; blue to yellow; and white is to black. That complementary colors are formed with the mixture of two colors far apart on the spectrum.  COMMON VISUAL DEFECTS HYPEROPIA OR FARSIGHTEDNESS - Caused by a shortened eyeball, making the distance from the lens to the retina too short. PRESBYOPIA OR FARSIGHTEDNESS IN OLD AGE - The lens hardens so that it fails in accommodation. The presbyopic person cannot focus clearly on near objects. MYOPIA OR NEARSIGHTEDNESS - If the eyeball is elongated, the distance from the lens to the retina is too long. ASTIGMATISM - A structural defect of the eye generally caused by an irregularity in the shape of the cornea. COLOR BLINDNESS - Refers to poor color vision caused by an inherited lack of one or another of the three types of cones. However, it may also be caused by deficiencies in the nerves that relay messages from the cones to the brain. Types of Color Blindness: Totally Color Blind (Monochromat) Partially Color Blind (Dichromat) Trichromat TUNNEL VISION - A condition caused by a concentric narrowing of the field of vision so that a person seems to be looking through a tunnel or pipe.  COMMON VISUAL DEFECTS STRABISMUS OR CROSS-EYEDNESS (Duling) - Caused by the muscular imbalance which permits light reflected from one point to fall on non-corresponding receptors in two retinas so that the two lightly different images are transmitted to the brain. SCOTOMA - A condition which results from the excessive use of tobacco or alcohol or overexposure to light spot, which produce a temporary or permanent blind spot, thus seriously interfering with vision.  4.3 THE SENSES - THE AUDITORY SENSE (HEARING) OBJECTIVES A. To identify the parts of the human ear and discuss its functions. B. To trace the transduction process. C. To explain the responses of individual to auditory stimuli. D. To identify and understand the common hearing defects.  STAGES OF THE SENSE OF HEARING PHYSICAL (STIMULUS) PHYSIOLOGICAL (RECEPTORS) Vibrations in the form of airwaves Sound is funneled down through the ear produced by successive increase canal, where sound waves reach the and decrease of air pressure. These middle ear where they strike a tightly are registered in the ear as sound stretched membrane known as the which has two attributes: eardrum or tympanic membrane. a.) frequency - number of vibrations per second b.) amplitude - tone measured in decibels  PHYSIOLOGICAL (RECEPTORS) The waves set up vibrations on the eardrum which are transferred through a chain of three tiny bones named for their shapes: malleus (hammer), incus (anvil), and stapes (stirrup). At the end of these bones is the oval window, entering the inner ear which consists of fluid-filled spirals. Inside is the cochlea in which transduction occurs. Within the cochlea is the ORGAN of CORTI which converts sound vibrations into neural impulses, channeled through the auditory nerve to the TEMPORAL LOBE of the cerebral cortex.  STAGES OF THE SENSE OF HEARING PSYCHOLOGICAL (RESPONSE) Sounds are interpreted through the following cues: PITCH - A rapid frequency gives a high, soprano tone. A slow frequency yields a low, bass tone. The INTENSITY of sound is its loud-soft dimension which depends on the amplitude of vibrations from a sounding body. This is measured in decibels. TIMBRE or TONE QUALITY - It is the difference between a tone of the same pitch and intensity, but given off by different instruments.  STAGES OF THE SENSE OF HEARING PSYCHOLOGICAL (RESPONSE) The perception of DISSONANCE or CONSONANCE depends on tone combinations. The impression of these tones can be pleasing if the tones are harmonious or they go together. If the combination of the tones is not pleasing, we refer to it as dissonance, or noise. SELECTIVE PERCEPTION - depends on our predisposition, or what we want to hear. The perception of DISTANCE of sound depends on cues of intensity and frequency. Distant sounds are much weaker than near sounds. High frequency sounds are more easily absorbed while traveling through the air.  STAGES OF THE SENSE OF HEARING PSYCHOLOGICAL (RESPONSE) The perception of DIRECTION of sound also depends on cues of intensity and frequency: Sound travels through the air with a speed of 1,100 ft. per second. When the source of sound is directly opposite to one ear, the difference in time of arrival at the two ears is almost one-half millisecond. The time difference is very minimal but it is remarkable to note that people can use it efficiently in the perception of where the sound came from. Sound becomes weaker as it goes around the head to reach the other ear. As a result, the sound reaching the farther ear is weaker.  HEARING DEFECTS CONDUCTION DEAFNESS Produced by some defects in the system of bones and membranes that conduct sound stimulus to the inner ear. NERVE DEAFNESS Results from damage to the nerves or to the delicate parts of the cochlea.  4.4 THE SENSES - THE OLFACTORY SENSE (SMELL) OBJECTIVES A. To identify the different parts of the nose and its functions. B. To discuss the different stage involved in our sense of smell. STAGES OF THE SENSE OF SMELL PHYSICAL (STIMULUS) Substances evoking olfactory sensations must have two necessary properties: Volatile or readily vaporizable substances releasing airborne molecules Fat-soluble substances  STAGES OF THE SENSE OF SMELL PHYSIOLOGICAL (RECEPTORS) OLFACTORY BULBS located at the olfactory epithelium, high up in the passage of the nose. These receptors have a more direct route to the olfactory center in the TEMPORAL LOBE of the cerebral cortex.  STAGES OF THE SENSE OF SMELL PSYCHOLOGICAL (RESPONSE) PRIMARY ODORS by Henning: J.E.Amoore's 7 Primaries: Putrid - bad fish Camphoraceous - mothballs Fragrant - sweet smell Musky - musk, cologne Fruity - lemon Floral - rose Burned - burnt hair Minty - menthol Spicy - garlic ethereal - dry cleaning fluid Resinous - pine Pungent - vinegar Putrid - rotten eggs  4.5 THE SENSES - THE GUSTATORY SENSE (TASTE) OBJECTIVES A. To identify the parts of the tongue and its functions. B. To discuss the different stages of the sense of taste.  STAGES OF THE SENSE OF TASTE PHYSICAL (STIMULUS) PHYSIOLOGICAL (RECEPTORS) TASTE BUDS - Specialized cells which are The stimuli for the gustatory sense grouped together in little clusters in the are substances in the solution PAPILLAE on the surface of the tongue. made possible by the action of SALIVA on many substances. Taste buds relay neural impulses to the TEMPORAL LOBE of the cerebral cortex.  STAGES OF THE SENSE OF TASTE PSYCHOLOGICAL (RESPONSE) 5 Taste qualities: 1. Salty 2. Sweet 3. Bitter 4. Sour 5. Umami/ pleasant savory taste  4.6 THE SENSES - THE TACTILE SENSE (TOUCH) OBJECTIVES A. To identify the different parts of the skin and the function of each. B. To discuss the stages of the sense of touch.  STAGES OF THE SENSE OF TOUCH PHYSICAL (STIMULUS) PHYSIOLOGICAL (RECEPTORS) The sense of touch is stimulated by The skin senses derive from a common PRESSURE, PAIN, and source: the SKIN, which is the largest TEMPERATURE CHANGES (warm organ in the body. and cold).  PHYSIOLOGICAL (RECEPTORS) Most important receptor mechanisms within the skin: Free Nerve Endings - sensitive to pain, warm and cold Meissner and Merkel Corpuscles in hairless regions - sensitive to pressure Hairbulbs and Basket Nerve Endings for the roots of the hair - sensitive to pressure Ruffini Cylinders - sensitive to warmth Krause End Bulbs - sensitive to cold Pacinian Corpuscles - sensitive to pressure  STAGES OF THE SENSE OF TOUCH PSYCHOLOGICAL (RESPONSE) Qualitative differences in TOUCH (i.e.tickling), titillating, or neutral contact, originate from the context of pressure. PAIN is a sign of injury or disaffection of a tissue. This sensitivity for pain serves the purpose of preventing major body injury. The experience of WARMTH or COLD depends on the temperature of the skin and the emotional setting. Other responses: Reaction time to warmth is longer than cold. Threshold for cold is less than the threshold for warmth. Adaptation to warmth is more rapid than adaptation to cold because people are already warm inside. It is easier to locate cold receptors in the skin than warmth. Warm receptors are deeper than cold receptors. Because the blood supply is involved in skin sensation, anything that affects the blood supply affects sensitivity It is possible to brace up cold sensation by taking alcoholic drinks, but the relief is just temporary.  4.7 THE SENSES - THE kinesthetic SENSE (body movement) OBJECTIVES A. To discuss the sense of body movement and its importance. B. To analyze and demonstrate the process of this sense.  STAGES OF THE SENSE OF BODY MOVEMENT PHYSICAL (STIMULUS) Stimulated by movement in the JOINTS, stretch and tension in MUSCLES.  STAGES OF THE SENSE OF BODY MOVEMENT PHYSIOLOGICAL (RECEPTORS) Receptors are found in three distinct places: FREE NERVE ENDINGS of the small muscle spindles which signal stretch of the muscle. GOLGI TENDON ORGANS at the connection of muscles to bones which signals contraction of a muscle. LININGS of JOINTS - indicates the movement of limbs by the change of the relative positions of two bones in the joint. Nerve impulses from these receptors are relayed to the CEREBELLUM at the hindbrain.  STAGES OF THE SENSE OF BODY MOVEMENT PSYCHOLOGICAL (RESPONSE) This sense is the experience that results when some part of the body is in motion. All motor activities such as walking, dressing, typing, eating, shaving, etc., are dependent upon kinesthetic impression for skillful execution. This sense gives us continuous information about how things are going on when we are moving. Tabes Dorsalis - This disease involves the destruction of the various tracts through which impulses from the kinesthetic receptors pass to the brain. When these tracts are damaged at any level, all kinesthetic sensation below is destroyed. A person who is inflicted with this disease will find difficulty in making coordinated and complicated movements.  4.8 THE SENSES - THE EQUILIBRIAL SENSE (body BALANCE) OBJECTIVES A. To illustrate how the sense of body balance works through different stages. B. To enumerate and describe the many application of this sense. EQUILIBRIAL, VESTIBULAR, STATIC OR BALANCE SENSATION - The sensation which tells of the body orientation in space STAGES OF THE SENSE OF BODY BALANCE PHYSICAL (STIMULUS) 1. Changes in the SPEED of rotation of the head, which affects the semi-circular canals of the inner ear. 2. Changes in the speed of movement and changes in GRAVITY, which stimulates the receptors in the vestibular portion of the inner ear.  STAGES OF THE SENSE OF BODY BALANCE PHYSIOLOGICAL (RECEPTORS) Changes in the speed of the rotation of the head stimulate the three SEMI-CIRCULAR CANALS in the bony labyrinth of the inner ear. These canals are filled with ENDOLYMPH. The rotation of the head moves this liquid and pressure is applied on the CUPULA. The pressure on the cupula produces nerve impulses registered at the CEREBELLUM in the hindbrain. A change in gravity, speed or movement deforms the hair cells in the VESTIBULAR SACS between the semi-circular canals and the cochlea. Pressure on the OTOLITHS or crystals in the hair cells will send nerve impulses to the brain.  STAGES OF THE SENSE OF BODY BALANCE PSYCHOLOGICAL (RESPONSE) This sense regulates the complex mechanism of bodily BALANCE. It deals with the total body POSITION in relation to gravity and with the motion of the body as a whole. It also takes care of the ORIENTATION of the body in space. A condition known as motion sickness may result from unusual stimulation of the semi-circular canals and vestibule.  4.9 EXTRA SENSORY PERCEPTION OBJECTIVES A. To discuss what Extra Sensory Perception is. B. To recall/share personal ESP experiences. Extra Sensory Perception (ESP or “psi”) is the sensitiveness to the external world without the use of the senses. Parapsychology - is the branch of psychology that is concerned with the study of ESP. Some reasons why psychologists remain skeptical: 1. Failure to replicate instances of ESP 2. Possibility of fraud 3. Lack of empirical study or the use of more reliable methodology Most common phenomena within the realm of ESP: Telepathy or mind reading - The term was originated by F.W.H. Meyers involves the transmission of thoughts from one person to another through the mind. PK or psychokinesis/telekinesis - the ability of a person to move objects through thoughts or through the power of the mind. Precognition - the ability to see the future Clairvoyance - the knowledge of happening at another time or place Astral Projection - Out of the Body Experience (OOBE) or apparent projection of the “mind” or “spirit” from its fleshy domicile. This happens during sleep, which accounts for the sense of ‘DÉJÀ VU” (Fr. Already seen) about what we encounter for the first time during our waking experience. The' opposite of DÉJÀ VU is JAMAIS VU (Fr. never seen) when a person does not recognize a place, thing, or person when he sees them, although he is well aware that he saw them before.