PSYCH SENSATIONS

THE PROCESS BY WHICH OUR SENSORY RECEPTORS AND NERVOUS SYSTEM RECIEVE AND REPRESENT STIMULUS ENERGIES FROM OUR ENVIRONMENT.

THE PROCESS OF ORGANIZING AND INTERPRETING SENSORY INFORMATION, ENABLING US TO RECOGNIZE MEANINGFUL OBJECTS AND EVENTS

ANALYSIS THAT BEGINS WITH THE SENSORY RECEPTORS AND WORKS UP TO THE BRAIN'S INTEGREATION OF SENSORY INFORMATION.

INFORMATION PROCESSING GUIDED BY HIGHER-LEVEL MENTAL PROCESSES, AS WHEN WE CONSTRUCT PERCEPTIONS DRAWING ON OUR EXPERIENCE AND EXPECTATIONS.

THE STUDY OF REALTIONSHIPS BETWEEN THE PHYSICAL CHARACTERISTICS OF STIMULI, SUCH AS THEIR INTENSITY, AND OUR PSYCHOLOGICAL EXPERIENCE OF THEM.

THE MINIMUM STIMULATION TO DETECT A PARTICULAR STIMULUS 50 PERCENT OF THE TIME.

A THEORY PREDICTING HOW AND WHEN WE DETECT THE PRESENCE OF A FAINT STIMULUS (SIGNAL) AMID BACKGROUND STIMULATION (NOISE). ASSUMES THERE IS NO SINGLE ABSOLUTE THRESHOLD AND THAT DETECTION DEPENDS PARTLY ON A PERSON'S EXPERIENCE, EXPECTATIONS, MOTIVATION AND LEVEL OF FATIGUE.

IT'S BELOW ONE'S ABSOLUTE THRESHOLD FOR CONSCIOUS AWARENESS.

THE ACTIVATION, OFTEN UNCONSCIOUSLY, OF CERTAIN ASSOCIATIONS, THUS PREDISPOSING ONE'S PERCEPTION, MEMORY, OR RESPONSE.

THE MINIMUM DIFFERENCE BETWEEN TWO STIMULI REQUIRED FOR DETECTION 50 PERCENT OF THE TIME. WE EXPERIENCE THIS AS A JUST NOTICEABLE DIFFERENCE.

THE PRINCIPAL THAT, TO BE PERCIEVED AS DIFFERENT, TWO STIMULI MUST DIFFER BY A CONSTANT MINIMUM PERCENTAGE (RATHER THAN AMOUNT).

DIMINISHED SENSITIVITY AS A CONSEQUENCE OF CONSTANT STIMULATION.

CONVERSION OF ONE FORM OF ENERGY INTO ANOTHER. IN SENSATION, THE TRANSFORMING OF STIMULUS ENERGIES, SUCH AS SIGHTS, SOUNDS AND SMELLS, INTO NEURAL IMPULSES OUR BRAINS CAN INTERPRET.

THE PROCESS BY WHICH THE EYE'S LENS CHANGES SHAPE TO FOCUS NEAR OR FAR OBJECTS ON THE RETINA.

THE SHARPNESS OF VISION

OBJECTS THAT ARE NEAR ARE MORE CLEAR BECAUSE THE FAR OBECTS ARE FOCUSED IN FRONT OF THE RETINA.

FAR OBJECTS ARE MORE CLEAR BECAUSE THE IMAGE OF NEAR OBJECTS IS FOCUSED BEHIND THE RETINA.

THEY DETECT BLACK, WHITE AND GRAY; NECESSARY FOR PERIPHERAL AND TWILIGHT VISION

THEY ARE CONCENTRATED NEAR THE CENTER OF THE RETINA AND FUNCTION DURING THE DAYLIGHT OR IN WELL LIGHT CONDITIONS. THE CONES DETECT FINE DETAIL AND GIVE RISE TO COLOR SENSATIONS.

CARRIES NEURAL IMPULSES FROM THE EYE TO THE BRAIN.

THE CENTRAL FOCAL POINT IN THE RETINA, AROUND WHICH THE EYES CONES CLUSTER.

NERVE CELLS IN THE BRAIN THAT RESPOND TO SPECIFIC FEATURES OF THE STIMULUS, SUCH AS SHAPE, ANGLE, OR MOVEMENT.

THE PROCESSING OF SEVERAL ASPECTS OF A PROBLEM SIMULATANEOUSLY; THE BRAIN'S NATURAL MODE OF INFORMATION PROCESSING FOR MANY FUNCTIONS, INCLUDING VISION. CONTRASTS WITH THE STEP-BY-STEP (SERIAL) PROCESSING OF MOST COMPUTERS AND OF CONSCIOUS PROBLEM SOLVING.

WE HAVE 3 (RGB) COLOR RECEPTORS IN OUR EYES.

PERCIEVING FAMILIAR OBJECTS AS HAVING CONSISTANT COLOR, EVEN IF CHANGING ILLUMINATIONG ALTERS THE WAVELENGTHS REFLECTED BY THE OBJECTS.

THE SENSE OF ACT OF HEARING

THE NUMBER OF COMPLETE WAVELENGTHS THAT PASS A POINT IN A GIVEN TIME.

A TONE'S EXPERIENCED HIGHNESS OR LOWNESS; DEPENDS ON FREQUENCY

ITS THE CHAMBER BETWEEN THE EARDRUM AND COCHLEA CONTAING THREE TINY BONES (HAMMER, ANVIL, STIRRUP) THAT CONCENTRATE THE VIBRATIONS OF THE EARDRUM ON THE COCHLEA'S OVAL WINDOW

A COILED, BONY, FLUID FILLED TUBE IN THE INNER EAR THROUGH WHICH SOUND WAVES TRIGGER NEURAL IMPULSES.

THE INNERMOST PART OF THE EAR, CONTAINING THE COCHLEA, SEMICIRCULAR CANALS, AND VESTIBULAR SACS.

THE THEORY THAT LINKS THE PITCH WE HEAR WITH THE PLACE WHERE THE COCHLEA'S MEMBRANE IS STIMULATED.

THE THEORY THAT THE RATE OF NERVE IMPULSES TRAVELING UP THE AUDITORY NERVE MATCHES THE FREQUENCY OF A TONE, THUS ENABLING US TO SENSE IT'S PITCH.

SOUND HITS ONE EAR BEFORE THE OTHER SO WE ARE ABLE TO PROCESS THAT INFO WITH A JND OF .000027 SECONDS.

HEARING LOSS CAUSED BY DAMAGE TO THE MECHANICAL SYSTEM THAT CONDUCTS SOUND WAVES TO THE COCHLEA.

HEARING LOSS CAUSED BY DAMAGE TO THE COCHLEA'S RECEPTOR CELLS OR TO THE AUDITORY NERVES; ALSO CALLED NERVE DEAFNESS

A DEVICE FOR CONVERTING SOUNDS INTO ELECTRICAL SIGNALS AND STIMULATING THE AUDITORY NERVE THROUGH ELECTRODES THREADED INTO THE COCHLEA.

THE THEORY THAT THE SPINAL CORD CONTAINS A NEUROLOGICAL GATE THAT BLOCKS PAIN SIGNALS OR PASSES THEM ONTO THE BRAIN. THE GATE IS OPENED BY THE ACTIVITY OF PAIN SIGNALS TRAVELING UP SMALL NERVE FIBERS AND IS CLOSED BY ACTIVITY IN LARGER FIBERS OR BY INFORMATION COMING FROM THE BRAIN.

THE PRINCIPAL THAT ONE SENSE MAY INFLUENCE ANOTHER, AS WHEN THE SMELL OF FOOD INFLUENCES ITS TASTE.

THE SYSTEM FOR SENSING THE POSITION AND MOVEMENT OF INDIVIDUAL BODY PARTS.

THE SENSE OF BODY MOVEMENT AND POSITION, INCLUDING THE SENSE OF BALANCE.

EXTRASENSORY PERCEPTION

THE CONTROVERSIAL CLAIM THAT PERCEPTION CAN OCCUR APART FROM SENSORY INPUT. INCLUDES TELEPATHY, CLAIRVOYANCE, AND PRECOGNITION

THE STUDY OF PARANORMAL PHENOMENA, INCLUDING ESP AND PSYCHOKINESIS.

READING SOMEONE ELSE'S MIND

SENSING A FRIEND'S HOUSE IS ON FIRE

PERCIEVING FUTURE EVENTS SUCH AS SPORTS GAME OUTCOME

IN VISION, THE ABILITY TO ADJUST TO AN ARTIFICIALLY DISPLACED OR EVEN INVERTED VISUAL FIELD.

A MENTAL PREDISPOSITION TO PERCEIVE ONE THING AND NOT ANOTHER.

A BRANCH OF PSYCHOLOGY THAT EXPLORES HOW PEOPLE AND MACHINES INTERACT AND HOW MACHINES AND PHYSICAL ENVIRONMENTS CAN BE MADE SAFE AND EASY TO USE.

YOUR EXPERIENCE OF AUTOMATICALLY IDENTIFYING A FIGURE, WHICH HAS MORE DETAIL, STANDING OUT AGAINST A BACKGROUND, WHICH HAS LESS DETAIL, IS CALLED THE FIGURE-GROUND.

WE TEND TO GROUP ELEMENTS TOGETHER THAT APPEAR SIMILAR, IN THIS CASE, WE GROUP THE BLACK CIRCLES.

WE HAVE A TENDANCY TO FILL IN ANY MISSING PARTS OF A FIGURE AND SEE THE FIGURE AS COMPLETE.

WE TEND TO GROUP OBJECTS THAT A PHYSICALLY CLOSE TO EACH OTHER.

WE TEND TO ORGANIZE STIMULI IN THE SIMPLEST WAY POSSIBLE

WE TEND TO PERCIEVE A SERIES OF POINTS OR LINES ALONG A SMOOTH OR CONTINUOUS PATH.