Vis Comm Test 1

Front 1

4 visual attributes the brain responds to:

Back 1

color,form, depth and movement

Front 2

who advocates sensual theories?

Back 2

gesalt and constructivism

Front 3

sensual theories:

Back 3

direct or mediated images are composed of light objects that attreact or repel us

Front 4

what advocates perceptual theories?

Back 4

semiotics and cognitive

Front 5

perceptual theories:

Back 5

concerned mainly with the meaning that humans associate with the images they see

Front 6

Man Wertheimer:

Back 6

"a whole is different from its sum of parts"

Front 7

gesalt:

Back 7

German word that means form and shape

says visual perception is a result of organizing sensual elements or forms into groups

Front 8

principals of grouping:

Back 8

similarity, proximity, continuation and common fate

Front 9

proximity:

Back 9

brain associates objects close to one another

Front 10

continuation (closure):

Back 10

objects veiwed as a continuous line will be separated from othe objects

Front 11

common fate (simplicity):

Back 11

like objects

Front 12

first uses of gesalt priciple:

Back 12

reversible negative and positive space

Front 13

Julian Hochberg and constructivism:

Back 13

mental picture is based on scanning (sight) and short term memory

Front 14

scanning:

Back 14

veiwers eye movements in active state of perception

Front 15

implossible objects:

Back 15

help demonstrate constructivism

Front 16

3 types of visual messages:

Back 16

mental, direct, mediated

Front 17

sense:

Back 17

letting enough light in eyes so u can see immediately see objects around u

Front 18

select:

Back 18

isolate and look at a specific object

starts the classification of objects (helpful, harmful, etc)

Front 19

what part of the eye 'selects'

Back 19

fovea centralis

Front 20

percieve:

Back 20

make sense of what you select

Front 21

sclera:

Back 21

first layer of the eyebal

protective white membrane that covers about 80% of the eye

Front 22

cornea:

Back 22

tough, transparent window in front of the center of the eye

4 transparent layers that reduce the speed of light about 25%

70% of focusing

Front 23

iris:

Back 23

eye color

changes size due to light, emotional responses and special interests

color due to melanin

Front 24

pupil:

Back 24

dark opening in the center of iris

Front 25

aqueous humor:

Back 25

nourishing fluid in between cornea and lens

Front 26

vitreous humor:

Back 26

clear jelly like fluid that fills main cavity

maintains shape and pressure

Front 27

retina:

Back 27

net of 125 million photoreceptors that lines 85 % of the back of the eye

7 million cells for color vision

118 million for night vision

Front 28

chronoid:

Back 28

behind retina that soaks up excess light

Front 29

retinas two major feilds:

Back 29

peripheral and macula

Front 30

peripheral feild:

Back 30

outside edge of the eye

does not see well

has 85% of total photoreceptors, sensitive to low levels of light

Front 31

macula:

Back 31

most acutlely focused detail of the eye in the retina

Front 32

foveal pit:

Back 32

tiny yellow indentation inside macula

sensitive light gathering and focusing area

most color sensitive phto receptors in the macula

Front 33

where is acute vision centered?

Back 33

foveal pit

Front 34

saccades:

Back 34

tiny automatic eye movements that keeps images fresh on the retina

Front 35

2 types of photoreceptors:

Back 35

rods and cones

Front 36

cones:

Back 36

7 million to see colors

Front 37

rods:

Back 37

118 million for night vision

Front 38

how does the brain process electrical impulses from outside sources?

Back 38

it doesnt. the retina converts light into biochemical messages that are turned into electrical impulses

Front 39

bleaching process:

Back 39

bleaches purple rods making them insensitive to light; enables them to see during day

enables rods to see form, depth and texture

Front 40

cones:

Back 40

three different types allow us to see color, fine details, light changes and quick movements

Front 41

thalamus:

Back 41

all sensory impulses, except smell, pass through the cells of the thalamus

supresses info that the mind doesnt need to know

transfers visual data to visual cortex

Front 42

cerebrum:

Back 42

main body of the brain divided into four lobes horizontally and two vertically

Front 43

occipital lobe:

Back 43

visual cortex

part of cerebrum that interprets visual impulses and transfers them to other parts of the brain

Front 44

what is primarily responsible for processing visual images?

Back 44

the 4th layer of neurons that makes up the cortex

composed of many specialized cells

Front 45

what happens after the visual cortex processes a visual message?

Back 45

it is sent via two pathways depending on the type of message

Front 46

where are the visual messages sent?

Back 46

parietal lobes: concerned with vision that helps us travel safely through the world

temporal lobes: recognizing objects and deciding what they mean

Front 47

where do messages go from temporal lobes?

Back 47

amygdala where they are assigned emotion

Front 48

hippocampus

Back 48

thought to process short term memories into long ones

Front 49

what are the 4 visual cues?

Back 49

color, form, depth and movement

Front 50

additive color:

Back 50

method of color mixing that produces lighter white

equal amounts of red, green and blue will produce white

Front 51

complementary colors:

Back 51

will produce white light when mixed

Front 52

subtractive color:

Back 52

mixing more paint colors to produce darker hue because more light frequencies get absorbed until there are none left to reflect

Front 53

color constancy:

Back 53

human color perception that retains color when veiwed in different brightnesses

Front 54

objective method for describing color:

Back 54

known measurement of color

Front 55

three color characteristics:

Back 55

chroma, value and brightness

Front 56

chroma:

Back 56

hue; name of color

Front 57

value:

Back 57

amount of color concentration

Front 58

brightness:

Back 58

amount of light emitted from a colored object

Front 59

comparative method of discussing color:

Back 59

relies on evaluation of the person

(sky blue, fire engine red)

Front 60

subjective method of discussing color:

Back 60

relies on persons emotional and symbolic response

Front 61

sociological usees of color:

Back 61

large scale association of colors to objects, events or emotions

(red = love)

Front 62

the Young-Helmholtz trichromatic theory

Back 62

states 3 types of photoreceptors in the eye each one sensitive to specific color

color perception is a result of mixing red, green and blue once photoreceptors are stimulated

Front 63

form:

Back 63

defines the outside edges of an object

dots, lines and shapes

Front 64

dot:

Back 64

simplest form that can be written

demands immediate attention or creates out of balance feel

two dots forces veiwer to divide attention or measure space

three or more veiwer tries to connect image

Front 65

pointillism:

Back 65

technique where artist peppers painting with small colored dots that combined in mind to form an image when viewed from about 8 feet away

Front 66

halftone process:

Back 66

photograph printing

pic is taken through screen with hundreds of small holes

Front 67

dot representation:

Back 67

mind forming small dots into a coherent picture

Front 68

lines:

Back 68

series of dots

Front 69

shapes:

Back 69

combination of lines and dots into patterns

figures without depth that define edges of an object

Front 70

square:

Back 70

parellogram

squares and rectangles

most common and favored shape for mediated images

Front 71

circles:

Back 71

associated with endlesness

easily overpowers scene

Front 72

triangle:

Back 72

types: equilateral and isosceles

Front 73

equilateral triangle:

Back 73

conveys serene mood because of symetrical balance

Front 74

isosceles triangle:

Back 74

draws power from sharp point

steeple or arrow

Front 75

binocular vision:

Back 75

conclusion that two eyes seeing different create depth

Front 76

eight depth cues:

Back 76

size

color

lighting

textural gradients

interposition

time

perspective

Front 77

space:

Back 77

frame in which image is located

gives or takes away from perception of depth

Front 78

size:

Back 78

assists in determining objects distance

related to scale and mental attention

Front 79

real movement:

Back 79

actual movement

Front 80

apparent movement:

Back 80

stationary object appears to move

ex. movies

persistance of vision: how apparent movement is percieved in the brain

Front 81

graphic movement:

Back 81

eye movements over an image

w/ constructivism theory: the mind puts scanned images together as a whole

scanning is a subjective choice

Front 82

implied movement:

Back 82

motion that veiwer percieves in a still single image

visual vibration is the term used

Front 83

sensual theories:

Back 83

gesalt and constructivism

how and object is veiwed based on senses

Front 84

sensations:

Back 84

raw data

Front 85

visual perceptions:

Back 85

meaning concluded after visual stimuli is recieved

Front 86

gesalt theory:

Back 86

thought that visual perception emerged from simple observation

means: form or shape

visual perception is a result of organizing sensual elements into groups (grouping)

Front 87

(grouping) similarity

Back 87

selecting the simplest and most stable form to concentrate on

basic shapes: squares, circles, triangles

Front 88

(grouiping) proximity:

Back 88

associating objects that are close to one another

Front 89

(grouping) continuation:

Back 89

brain seeking a continuation of a line

Front 90

(grouping) common fate:

Back 90

like objects

Front 91

strength of gesalt theory:

Back 91

attention to individual forms that make up a pictures content

Front 92

constructivism:

Back 92

ephasises the veiwers eye movements in an active state of perception

that combined with short term memory creates mental picture

Front 93

gesalt critisism:

Back 93

descibes perceptions rather than expaining how they give pictures meanings

Front 94

perceptual theories:

Back 94

semiotics and cognitive theory

Front 95

constructivisms:

Back 95

closure, smallness (noticed first) symmetry, surroundness, pragnanz (symbols), figure and ground

Front 96

semiotics:

Back 96

study of signs

best accounts for why we percieve images and words the same or different ways

Front 97

ionic signs:

Back 97

image resembles what things represent

Front 98

indexical signs:

Back 98

have logical, common sense connection to the thing or idea they represent

Front 99

symbolic signs:

Back 99

metonymic and analogic

Front 100

metonymic signs:

Back 100

collections of signs that cause veiwers to make associations or assumptions

soldier pic=suffering, heroism

Front 101

analogic signs:

Back 101

groups of sins that cause us to make mental comparisons

apple= health
marylin monroa= movie star

Front 102

displaced codes:

Back 102

transfer codes from one set of signs to another

Front 103

condensed codes:

Back 103

several signs that combine to form a new composit sign

Front 104

cognitive processes:

Back 104

memory
projection
expectation
selectivity
habituation
salience
dissonance
culture
words

Front 105

memory:

Back 105

enables us to recall mental images and compare and contrast

Front 106

projection:

Back 106

attribute meanings onto images

Front 107

expectation:

Back 107

enables us to be ready to encounterremembered meanings in new images

Front 108

selectivity:

Back 108

focus on significant details

concous or unconcious

Front 109

habituation:

Back 109

ignore less important details

Front 110

salience:

Back 110

look for elements or objects we find most important

Front 111

dissonance:

Back 111

cues us to distracting elements in images

makes it harder to concentrate on visual message

Front 112

culture:

Back 112

percieve images in terms of cultural beleifs

determains importance of signs that affect those in that culture

Front 113

words:

Back 113

determains how we interpret images for ourselves and others

can distinguish what is from what is not

images can do this

Front 114

visual perception:

Back 114

we can create symbols in images with negative meanings

not the same as assigning a representation a specific and crucial negative meaning

we can create symbols with the assumption that it isnt anything other than what it is