Perception (psychology)

B

7

Motion Parallax

The monocular cues discussed so far—interposition, atmospheric perspective, texture gradient, linear perspective, size cues, and height cues—are sometimes called pictorial cues, because artists can use them to convey three-dimensional information. Another monocular cue cannot be represented on a canvas. Motion parallax occurs when objects at different distances from you appear to move at different rates when you are in motion. The next time you are driving along in a car, pay attention to the rate of movement of nearby and distant objects. The fence near the road appears to whiz past you, while the more distant hills or mountains appear to stay in virtually the same position as you move. The rate of an object’s movement provides a cue to its distance.

V

Motion Perception

Although motion plays an important role in depth perception, the perception of motion is an important phenomenon in its own right. It allows a baseball outfielder to calculate the speed and trajectory of a ball with extraordinary accuracy. Automobile drivers rely on motion perception to judge the speeds of other cars and avoid collisions. A cheetah must be able to detect and respond to the motion of antelopes, its chief prey, in order to survive.

Initially, you might think that you perceive motion when an object’s image moves from one part of your retina to another part of your retina. In fact, that is what occurs if you are staring straight ahead and a person walks in front of you. Motion perception, however, is not that simple—if it were, the world would appear to move every time we moved our eyes. Keep in mind that you are almost always in motion. As you walk along a path, or simply move your head or your eyes, images from many stationary objects move around on your retina. How does your brain know which movement on the retina is due to your own motion and which is due to motion in the world? Understanding that distinction is the problem that faces psychologists who want to explain motion perception.

One explanation of motion perception involves a form of unconscious inference. That is, when we walk around or move our head in a particular way, we unconsciously expect that images of stationary objects will move on our retina. We discount such movement on the retina as due to our own bodily motion and perceive the objects as stationary.

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In contrast, when we are moving and the image of an object does not move on our retina, we perceive that object as moving. Consider what happens as a person moves in front of you and you track that person’s motion with your eyes. You move your head and your eyes to follow the person’s movement, with the result that the image of the person does not move on your retina. The fact that the person’s image stays in roughly the same part of the retina leads you to perceive the person as moving.

Psychologist James J. Gibson thought that this explanation of motion perception was too complicated. He reasoned that perception does not depend on internal thought processes. He thought, instead, that the objects in our environment contain all the information necessary for perception. Think of the aerial acrobatics of a fly. Clearly, the fly is a master of motion and depth perception, yet few people would say the fly makes unconscious inferences. Gibson identified a number of cues for motion detection, including the covering and uncovering of background. Research has shown that motion detection is, in fact, much easier against a background. Thus, as a person moves in front of you, that person first covers and then uncovers portions of the background.

People may perceive motion when none actually exists. For example, motion pictures are really a series of slightly different still pictures flashed on a screen at a rate of 24 pictures, or frames, per second. From this rapid succession of still images, our brain perceives fluid motion—a phenomenon known as stroboscopic movement. For more information about illusions of motion, see Illusion: Illusory Motion .

VI

The Role of Experience

Experience in interacting with the world is vital to perception. For instance, kittens raised without visual experience or deprived of normal visual experience do not perceive the world accurately. In one experiment, researchers reared kittens in total darkness, except that for five hours a day the kittens were placed in an environment with only vertical lines. When the animals were later exposed to horizontal lines and forms, they had trouble perceiving these forms.

Philosophers have long debated the role of experience in human perception. In the late 17th century, Irish philosopher William Molyneux wrote to his friend, English philosopher John Locke, and asked him to consider the following scenario: Suppose that you could restore sight to a person who was blind. Using only vision, would that person be able to tell the difference between a cube and a sphere, which she or he had previously experienced only through touch? Locke, who emphasized the role of experience in perception, thought the answer was no. Modern science actually allows us to address this philosophical question, because a very small number of people who were blind have had their vision restored with the aid of medical technology.

Two researchers, British psychologist Richard Gregory and British-born neurologist Oliver Sacks, have written about their experiences with men who were blind for a long time due to cataracts and then had their vision restored late in life. When their vision was restored, they were often confused by visual input and were unable to see the world accurately. For instance, they could detect motion and perceive colors, but they had great difficulty with complex stimuli, such as faces. Much of their poor perceptual ability was probably due to the fact that the synapses in the visual areas of their brains had received little or no stimulation throughout their lives. Thus, without visual experience, the visual system does not develop properly.

VII

The Role of Context

Visual experience is useful because it creates memories of past stimuli that can later serve as a context for perceiving new stimuli. Thus, you can think of experience as a form of context that you carry around with you.

Ordinarily, when you read, you use the context of your prior experience with words to process the words you are reading. Context may also occur outside of you, as in the surrounding elements in a visual scene. When you are reading and you encounter an unusual word, you may be able to determine the meaning of the word by its context. Similarly, when looking at the world, you routinely make use of context to interpret stimuli. For instance, look at Example A in the illustration called “Context Effects.” Note that you can perceive an identical stimulus as either a B or an 8, depending on whether you read the row of letters or the column of numbers. Your perception depends on the context.

Although context is useful most of the time, on some rare occasions context can lead you to misperceive a stimulus. Look at Example B in the “Context Effects” illustration. Which of the green circles is larger? You may have guessed that the green circle on the right is larger. In fact, the two circles are the same size. Your perceptual system was fooled by the context of the surrounding red circles.

VIII

Visual Illusions

A visual illusion occurs when your perceptual experience of a stimulus is substantially different from the actual stimulus you are viewing. In the previous example, you saw the green circles as different sizes, even though they were actually the same size. To experience another illusion, look at the illustration entitled “Zöllner Illusion.” What shape do you see? You may see a trapezoid that is wider at the top, but the actual shape is a square. Such illusions are natural artifacts of the way our visual systems work. As a result, illusions provide important insights into the functioning of the visual system. In addition, visual illusions are fun to experience.

Consider the pair of illusions in the accompanying illustration, “Illusions of Length.” These illusions are called geometrical illusions, because they use simple geometrical relationships to produce the illusory effects. The first illusion, the Müller-Lyer illusion, is one of the most famous illusions in psychology. Which of the two horizontal lines is longer? Although your visual system tells you that the lines are not equal, a ruler would tell you that they are equal. The second illusion is called the Ponzo illusion. Once again, the two lines do not appear to be equal in length, but they are. For further information about illusions, see Illusion.

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