Sensation vs. Perception

Sensation

What does it mean to sense something? Sensory receptors are specialized neurons that respond to specific types of stimuli. When sensory information is detected by a sensory receptor, sensation has occurred. For example, light that enters the eye causes chemical changes in cells that line the back of the eye. These cells relay messages, in the form of action potentials (as you learned when studying biopsychology), to the central nervous system. The conversion from sensory stimulus energy to action potential is known as transduction.

You have probably known since elementary school that we have five senses: vision, hearing (audition), smell (olfaction), taste (gustation), and touch (somatosensation). It turns out that this notion of five senses is oversimplified. We also have sensory systems that provide information about balance (the vestibular sense), body position and movement (proprioception and kinesthesia), pain (nociception), and temperature (thermoception).

The sensitivity of a given sensory system to the relevant stimuli can be expressed as an absolute threshold. Absolute threshold refers to the minimum amount of stimulus energy that must be present for the stimulus to be detected 50% of the time. Another way to think about this is by asking how dim can a light be or how soft can a sound be and still be detected half of the time. The sensitivity of our sensory receptors can be quite amazing. It has been estimated that on a clear night, the most sensitive sensory cells in the back of the eye can detect a candle flame 30 miles away (Okawa & Sampath, 2007). Under quiet conditions, the hair cells (the receptor cells of the inner ear) can detect the tick of a clock 20 feet away (Galanter, 1962).

Absolute thresholds are generally measured under incredibly controlled conditions in situations that are optimal for sensitivity. Sometimes, we are more interested in how much difference in stimuli is required to detect a difference between them. This is known as the just noticeable difference (jnd) or difference threshold. Unlike the absolute threshold, the difference threshold changes depending on the stimulus intensity. As an example, imagine yourself in a very dark movie theater. If an audience member were to receive a text message that caused the cell phone screen to light up, chances are that many people would notice the change in illumination in the theater. However, if the same thing happened in a brightly lit arena during a basketball game, very few people would notice. The cell phone brightness does not change, but its ability to be detected as a change in illumination varies dramatically between the two contexts. Ernst Weber proposed this theory of change in difference threshold in the 1830s, and it has become known as Weber’s Law: The difference threshold is a constant fraction of the original stimulus, as the example illustrates.

Perception

While our sensory receptors are constantly collecting information from the environment, it is ultimately how we interpret that information that affects how we interact with the world. Perception refers to the way sensory information is organized, interpreted, and consciously experienced. Perception involves both bottom-up and top-down processing. Bottom-up processing refers to sensory information from a stimulus in the environment driving a process, and top-down processing refers to knowledge and expectancy driving a process, as shown in Figure 5.2 (Egeth & Yantis, 1997; Fine & Minnery, 2009; Yantis & Egeth, 1999).

Imagine that you and some friends are sitting in a crowded restaurant eating lunch and talking. It is very noisy, and you are concentrating on your friend’s face to hear what she is saying. Suddenly, the sound of breaking glass and clang of metal pans hitting the floor rings out. The server dropped a large tray of food. Although you were attending to your meal and conversation, that crashing sound would likely get through your attentional filters and capture your attention. You would have no choice but to notice it. That attentional capture would be caused by the sound from the environment: it would be bottom-up.

Alternatively, top-down processes are generally goal directed, slow, deliberate, effortful, and under your control (Fine & Minnery, 2009; Miller & Cohen, 2001; Miller & D’Esposito, 2005). For instance, if you misplaced your keys, how would you look for them? If you had a yellow key fob, you would probably look for yellowness of a certain size in specific locations, such as on the counter, coffee table, and other similar places. You would not look for yellowness on your ceiling fan, because you know keys are not normally lying on top of a ceiling fan. That act of searching for a certain size of yellowness in some locations and not others would be top-down—under your control and based on your experience.

One way to think of this concept is that sensation is a physical process, whereas perception is psychological. For example, upon walking into a kitchen and smelling the scent of baking cinnamon rolls, the sensation is the scent receptors detecting the odor of cinnamon, but the perception may be “Mmm, this smells like the bread Grandma used to bake for holidays.”

There is another factor that affects sensation and perception: attention. Attention plays a significant role in determining what is sensed versus what is perceived. Imagine you are at a party full of music, chatter, and laughter. You get involved in an interesting conversation with a friend, and you tune out all the background noise. If someone interrupted you to ask what song had just finished playing, you would probably be unable to answer that question. Your attention prevented you from fully processing the information from the song to allow you to process your conversation with your friend.

One of the most interesting demonstrations of how important attention is in determining our perception of the environment occurred in a famous study conducted by Daniel Simons and Christopher Chabris (1999). In this study, participants watched a video of people dressed in black and white passing basketballs. Participants were asked to count the number of times the team dressed in white passed the ball. During the video, a person dressed in a black gorilla costume walks among the two teams. You would think that someone would notice the gorilla, right? Nearly half of the people who watched the video didn’t notice the gorilla at all, despite the fact that he was clearly visible for nine seconds. Because participants were so focused on the number of times the team dressed in white was passing the ball, they completely tuned out other visual information. Inattentional blindness is the failure to notice something that is completely visible because the person was actively attending to something else and did not pay attention to other things (Mack & Rock, 1998; Simons & Chabris, 1999).

In a similar experiment, researchers tested inattentional blindness by asking participants to observe images moving across a computer screen. They were instructed to focus on either white or black objects, disregarding the other color. When a red cross passed across the screen, about one third of subjects did not notice it (Figure 5.3) (Most, Simons, Scholl, & Chabris, 2000).

Our perceptions can also be affected by our beliefs, values, prejudices, expectations, and life experiences. As you will see later in this chapter, individuals who are deprived of the experience of binocular vision during critical periods of development have trouble perceiving depth (Fawcett, Wang, & Birch, 2005). The shared experiences of people within a given cultural context can have pronounced effects on perception. For example, Marshall Segall, Donald Campbell, and Melville Herskovits (1963) published the results of a multinational study in which they demonstrated that individuals from Western cultures were more prone to experience certain types of visual illusions than individuals from non-Western cultures, and vice versa. One such illusion that Westerners were more likely to experience was the Müller-Lyer illusion (Figure 5.4): The lines appear to be different lengths, but they are actually the same length.

These perceptual differences were consistent with differences in the types of environmental features experienced on a regular basis by people in a given cultural context. People in Western cultures, for example, have a perceptual context of buildings with straight lines, what Segall’s study called a carpentered world (Segall et al., 1966). In contrast, people from certain non-Western cultures with an uncarpentered view, such as the Zulu of South Africa, whose villages are made up of round huts arranged in circles, are less susceptible to this illusion (Segall et al., 1999). It is not just vision that is affected by cultural factors. Indeed, research has demonstrated that the ability to identify an odor, and rate its pleasantness and its intensity, varies cross-culturally (Ayabe-Kanamura, Saito, Distel, Martínez-Gómez, & Hudson, 1998).

Children described as thrill seekers are more likely to show taste preferences for intense sour flavors (Liem, Westerbeek, Wolterink, Kok, & de Graaf, 2004), which suggests that basic aspects of personality might affect perception. Furthermore, individuals who hold positive attitudes toward reduced-fat foods are more likely to rate foods labeled as reduced fat as tasting better than people who have less positive attitudes about these products (Aaron, Mela, & Evans, 1994).

Waves and Wavelengths

 Visual and auditory stimuli both occur in the form of waves. Although the two stimuli are very different in terms of composition, wave forms share similar characteristics that are especially important to our visual and auditory perceptions. In this section, we describe the physical properties of the waves as well as the perceptual experiences associated with them.

Amplitude and Wavelength

Two physical characteristics of a wave are amplitude and wavelength (Figure 5.5). The amplitude of a wave is the distance from the center line to the top point of the crest or the bottom point of the trough. Wavelength refers to the length of a wave from one peak to the next.

Wavelength is directly related to the frequency of a given wave form. Frequency refers to the number of waves that pass a given point in a given time period and is often expressed in terms of hertz (Hz), or cycles per second. Longer wavelengths will have lower frequencies, and shorter wavelengths will have higher frequencies (Figure 5.6).

Light Waves

The visible spectrum is the portion of the larger electromagnetic spectrum that we can see. As Figure 5.7 shows, the electromagnetic spectrum encompasses all of the electromagnetic radiation that occurs in our environment and includes gamma rays, x-rays, ultraviolet light, visible light, infrared light, microwaves, and radio waves. The visible spectrum in humans is associated with wavelengths that range from 380 to 740 nm—a very small distance, since a nanometer (nm) is one billionth of a meter. Other species can detect other portions of the electromagnetic spectrum. For instance, honeybees can see light in the ultraviolet range (Wakakuwa, Stavenga, & Arikawa, 2007), and some snakes can detect infrared radiation in addition to more traditional visual light cues (Chen, Deng, Brauth, Ding, & Tang, 2012; Hartline, Kass, & Loop, 1978).

In humans, light wavelength is associated with perception of color (Figure 5.6). Within the visible spectrum, our experience of red is associated with longer wavelengths, greens are intermediate, and blues and violets are shorter in wavelength. (An easy way to remember this is the mnemonic ROYGBIV: red, orange, yellow, green, blue, indigo, violet.) The amplitude of light waves is associated with our experience of brightness or intensity of color, with larger amplitudes appearing brighter.

Sound Waves

Like light waves, the physical properties of sound waves are associated with various aspects of our perception of sound. The frequency of a sound wave is associated with our perception of that sound’s pitch. High-frequency sound waves are perceived as high-pitched sounds, while low-frequency sound waves are perceived as low-pitched sounds. The audible range of sound frequencies is between 20 and 20000 Hz, with greatest sensitivity to those frequencies that fall in the middle of this range.

As was the case with the visible spectrum, other species show differences in their audible ranges. For instance, chickens have a very limited audible range, from 125 to 2000 Hz. Mice have an audible range from 1000 to 91000 Hz, and the beluga whale’s audible range is from 1000 to 123000 Hz. Our pet dogs and cats have audible ranges of about 70–45000 Hz and 45–64000 Hz, respectively (Strain, 2003).

The loudness of a given sound is closely associated with the amplitude of the sound wave. Higher amplitudes are associated with louder sounds. Loudness is measured in terms of decibels (dB), a logarithmic unit of sound intensity. A typical conversation would correlate with 60 dB; a rock concert might check in at 120 dB (Figure 5.9). A whisper 5 feet away or rustling leaves are at the low end of our hearing range; sounds like a window air conditioner, a normal conversation, and even heavy traffic or a vacuum cleaner are within a tolerable range.

Very loud sounds, those in the 80 dB to 130 dB range can cause hearing damage: These are sounds of a food processor, power lawnmower, heavy truck (25 feet away), subway train (20 feet away), live rock music, and a jackhammer. The threshold for pain is about 130 dB, a jet plane taking off or a revolver firing at close range (Dunkle, 1982).

About one-third of all hearing loss is due to noise exposure, and the louder the sound, the shorter the exposure needed to cause hearing damage (Le, Straatman, Lea, & Westerberg, 2017). For example, listening to music through earbuds at maximum volume (around 100–105 decibels) can cause noise-induced hearing loss after 15 minutes of exposure. Over time, listening to loud music increases the risk of age-related hearing loss (Kujawa & Liberman, 2006).

LINK TO LEARNING: Watch this brief video about our perception of frequency and amplitude to learn more.

Of course, different musical instruments can play the same musical note at the same level of loudness, yet they still sound quite different. This is known as the timbre of a sound. Timbre refers to a sound’s purity, and it is affected by the complex interplay of frequency, amplitude, and timing of sound waves.

The Visual System

Anatomy of the Visual System

The eye is the major sensory organ involved in vision (Figure 5.11). Light waves are transmitted across the cornea and enter the eye through the pupil. The cornea is the transparent covering over the eye. It serves as a barrier between the inner eye and the outside world, and it is involved in focusing light waves that enter the eye through the pupil. The pupil is the small opening in the eye through which light passes, and the size of the pupil can change as a function of light levels as well as emotional arousal. The pupil’s size is controlled by muscles that are connected to the iris, which is the colored portion of the eye. When light levels are low, the iris shrinks and the pupil becomes dilated, or expanded, to allow more light to enter the eye. When light levels are high, the iris grows larger and the pupil will constrict, or become smaller, to reduce the amount of light that enters the eye.

After passing through the pupil, light crosses the lens, a curved, transparent structure that serves to provide additional focus. The lens is attached to muscles that can change its shape to aid in focusing light that is reflected from near or far objects. In a normal-sighted individual, the lens will focus images perfectly on a small indentation in the back of the eye known as the fovea, which is part of the retina, the light-sensitive lining of the eye. The fovea contains densely packed specialized photoreceptor cells (Figure 5.12). These photoreceptor cells, known as cones, are light-detecting cells. The cones are specialized types of photoreceptors that work best in bright light conditions. Cones are very sensitive to acute detail and provide tremendous spatial resolution. They also are directly involved in our ability to perceive color.

While cones are concentrated in the fovea, where images tend to be focused, rods, another type of photoreceptor, are located throughout the remainder of the retina. Rods are specialized photoreceptors that work well in low light conditions, and while they lack the spatial resolution and color function of the cones, they are involved in our vision in dimly lit environments as well as in our perception of movement on the periphery of our visual field.

We have all experienced the different sensitivities of rods and cones when making the transition from a brightly lit environment to a dimly lit environment. Imagine going to see a blockbuster movie on a clear summer day. As you walk from the brightly lit lobby into the dark theater, you notice that you immediately have difficulty seeing much of anything. After a few minutes, you begin to adjust to the darkness and can see the interior of the theater. In the bright environment, your vision was dominated primarily by cone activity. As you move to the dark environment, rod activity dominates, but there is a delay in transitioning between the phases. If your rods do not transform light into nerve impulses as easily and efficiently as they should, you will have difficulty seeing in dim light, a condition known as night blindness.

Rods and cones are connected (via several interneurons) to retinal ganglion cells. Axons from the retinal ganglion cells converge and exit through the back of the eye to form the optic nerve. The optic nerve carries visual information from the retina to the brain. There is a point in the visual field called the blind spot: Even when light from a small object is focused on the blind spot, we do not see it. We are not consciously aware of our blind spots for two reasons: First, each eye gets a slightly different view of the visual field; therefore, the blind spots do not overlap. Second, our visual system fills in the blind spot so that although we cannot respond to visual information that occurs in that portion of the visual field, we are also not aware that information is missing.

Try these labeling exercises (and don’t cheat!)

The optic nerve from each eye merges just below the brain at a point called the optic chiasm. As Figure 5.13 shows, the optic chiasm is an X-shaped structure that sits just below the cerebral cortex at the front of the brain. At the point of the optic chiasm, information from the right visual field (which comes from both eyes) is sent to the left side of the brain, and information from the left visual field is sent to the right side of the brain.

Once inside the brain, visual information is sent via a number of structures to primary visual cortex in the occipital lobe. Visual information is processed in parallel pathways which can generally be described as the “what pathway” and the “where/how” pathway. The “what pathway” is involved in object recognition and identification and primarily relies on regions in the temporal lobe.  The “where/how pathway” is involved with objects’ location in space and how one might interact with a particular visual stimulus (Milner & Goodale, 2008; Ungerleider & Haxby, 1994). The where/how pathway relies on regions of the parietal lobe. When you see a ball rolling down the street, the “what pathway” identifies what the object is, and the “where/how pathway” identifies its location and movement in space.

Color and Depth Perception

We do not see the world in black and white; neither do we see it as two-dimensional (2-D) or flat (just height and width, no depth). Let’s look at how color vision works and how we perceive three dimensions (height, width, and depth).

Color Vision

Normal-sighted individuals have three different types of cones that mediate color vision. Each of these cone types is maximally sensitive to a slightly different wavelength of light. According to the trichromatic theory of color vision, shown in Figure 5.14, all colors in the spectrum can be produced by combining red, green, and blue. The three types of cones are each receptive to one of the colors.

CONNECT THE CONCEPTS

Colorblindness: A Personal Story

Several years ago, I dressed to go to a public function and walked into the kitchen where my 7-year-old daughter sat. She looked up at me, and in her most stern voice, said, “You can’t wear that.” I asked, “Why not?” and she informed me the colors of my clothes did not match. She had complained frequently that I was bad at matching my shirts, pants, and ties, but this time, she sounded especially alarmed. As a single father with no one else to ask at home, I drove us to the nearest convenience store and asked the store clerk if my clothes matched. She said my pants were a bright green color, my shirt was a reddish-orange, and my tie was brown. She looked at my quizzically and said, “No way do your clothes match.” Over the next few days, I started asking my coworkers and friends if my clothes matched. After several days of being told that my coworkers just thought I had “a really unique style,” I made an appointment with an eye doctor and was tested (Figure 5.15). It was then that I found out that I was colorblind. I cannot differentiate between most greens, browns, and reds. Fortunately, other than unknowingly being badly dressed, my colorblindness rarely harms my day-to-day life.

Some forms of color deficiency are rare. Seeing in grayscale (only shades of black and white) is extremely rare, and some people who do so only have rods, which means they also have very low visual acuity. The most common X-linked inherited abnormality is red-green color blindness (Birch, 2012). Individuals with red-green colorblindness struggle to differentiate between reds and greens. Approximately 8% of males with European Caucasian descent, 5% of Asian males, 4% of African males, and less than 2% of indigenous American males, Australian males, and Polynesian males have red-green color deficiency (Birch, 2012). Comparatively, only about 0.4% of females from European Caucasian descent have red-green color deficiency (Birch, 2012).

 

Another major theory of color vision is known as the opponent-process theory. According to this theory, color is coded in opponent pairs: black-white, yellow-blue, and green-red. The basic idea is that some cells of the visual system are excited by one of the opponent colors and inhibited by the other. So, a cell that was excited by wavelengths associated with green would be inhibited by wavelengths associated with red, and vice versa. One of the implications of opponent processing is that we do not experience greenish-reds or yellowish-blues as colors. Another implication is that this leads to the experience of negative afterimages. An afterimage describes the continuation of a visual sensation after removal of the stimulus.

For example, when you stare briefly at a bright light and then look away from it, you may perceive a spot of darkness where the light was in your visual field. When color is involved in the stimulus, the color pairings identified in the opponent-process theory lead to a negative afterimage. You can test this concept using the flag in Figure 5.16.

The trichromatic theory of color vision and the opponent-process theory are not mutually exclusive. Research has shown that the two theories apply to different levels of the nervous system. Trichromatic theory describes the cone cells in our retina: we have three cone types that are responsive to three different wavelengths that represent red, blue, and green. Once the signal moves past the cones on its way to the brain, other neurons respond in a way consistent with opponent-process theory (Land, 1959; Kaiser, 1997).

LINK TO LEARNING: Watch this video about color perception to learn more.

Depth Perception

Our ability to perceive spatial relationships in three-dimensional (3-D) space is known as depth perception. With depth perception, we can describe things as being in front, behind, above, below, or to the side of other things.

We use a variety of cues in a visual scene to establish our sense of depth. Some of these are binocular cues, which means that they rely on the use of both eyes. The basis of binocular depth cues is binocular disparity, the slightly different view of the world that each of our eyes receives. To experience this slightly different view, do this simple exercise: extend your arm fully and extend one of your fingers and focus on that finger. Now, close your left eye without moving your head, then open your left eye and close your right eye without moving your head. You will notice that your finger seems to shift as you alternate between the two eyes because of the slightly different view each eye has of your finger.

A 3-D movie works on the same principle: the special glasses you wear allow the two slightly different images projected onto the screen to be seen separately by your left and your right eye. As your brain processes these images, you have the illusion that the leaping animal or running person is coming right toward you.

Although we rely on binocular cues to experience depth in our 3-D world, we can also perceive depth in 2-D arrays. Think about all the paintings and photographs you have seen. Generally, you pick up on depth in these images even though the visual stimulus is 2-D. When we do this, we are relying on a number of monocular cues, or cues that require only one eye. If you think you can’t see depth with one eye, note that you don’t bump into things when using only one eye while walking—and, in fact, we have more monocular cues than binocular cues.

Monocular depth cues include occlusion (a nearer object blocks our view of a farther object), relative size (objects appear larger when they are nearby and smaller when they are further away), and linear perspective. Linear perspective refers to the fact that  parallel lines seem to converge in depth (Figure 5.17). You might recognize the idea of linear perspective from art class where it is called a vanishing point. Many artists use linear perspective/vanishing points to establish depth in their works.

DIG DEEPER: Stereoblindness

Bruce Bridgeman was born with an extreme case of lazy eye that resulted in him being stereoblind, or unable to respond to binocular cues of depth. He relied heavily on monocular depth cues, but he never had a true appreciation of the 3-D nature of the world around him. This all changed one night in 2012 while Bruce was seeing a movie with his wife.

The movie the couple was going to see was shot in 3-D, and even though he thought it was a waste of money, Bruce paid for the 3-D glasses when he purchased his ticket. As soon as the film began, Bruce put on the glasses and experienced something completely new. For the first time in his life he appreciated the true depth of the world around him. Remarkably, his ability to perceive depth persisted outside of the movie theater.

There are cells in the nervous system that respond to binocular depth cues. Normally, these cells require activation during early development in order to persist, so experts familiar with Bruce’s case (and others like his) assume that at some point in his development, Bruce must have experienced at least a fleeting moment of binocular vision. It was enough to ensure the survival of the cells in the visual system tuned to binocular cues. The mystery now is why it took Bruce nearly 70 years to have these cells activated (Peck, 2012).