Sensation and Perception: A Unit Lesson Plan For High School Psychology Teachers
Sensation and Perception: A Unit Lesson Plan For High School Psychology Teachers
Sensation and Perception: A Unit Lesson Plan For High School Psychology Teachers
PERCEPTION
a unit lesson plan
for high school
psychology
teachers
Sandra Alvarado, Bonnie Kanter-Braem,
Kathleen Manz, Peter Masciopinto,
Eileen McKenna, Dana Nelson,
Christopher Williams, and Kent Korek
2007 Revision Team
This unit is a revision of the original TOPSS Unit Lesson Plan on Sensation
and Perception, written by Nancy Grayson, Kathleen Self, Martha J.
Whitacre, and Marvin Ziegler (Randal M. Ernst, Editor) originally prepared
at the Texas A&M-NSF Summer Institute for the Teaching of AP and
Honors Psychology in July 1992.
This unit is aligned with the following content standards of the National
Standards for High School Psychology Curricula (APA, 2011):
Content Standards
1. The processes of sensation and perception
2. The capabilities and limitations of sensory processes
3. Interaction of the person and the environment in determining perception
5 Content Outline
19 Activities
39 References
41 Resources
49 Discussion Questions
Printing costs related to this lesson plan were supported by a grant from the
American Psychological Foundation.
1
Lesson 1: Introduction to Sensation and Perception
Activity 1.1: Sensation: Movement Detectors
procedural outline
Activity 2.2: Blind Spot in Vision Activity 2.3: Locating Sound Sources
Lesson 4: Perception
Activity 4.1: The Stroop Effect
introduction
S
ensation and Perception is an area in psychology that is “demonstration- 3
rich.” In many cases, there is no need to collect many data points, compute
averages, or do statistical testing to determine if an effect occurred. In most
situations, the phenomenon can be seen or heard by the students.
introduction
websites. Most websites have decent explanations presented alongside the
demonstration (see the Resources section for examples). Nonetheless, reviewing
the websites prior to use is essential. Although the demonstrations might be
explained well, slight differences could occur. These differences could be
confusing to students. Thus, you will want to be sure the explanation is accurate.
LESSON 2 describes the visual and auditory systems. This lesson concerns
neuroanatomy, focusing on the eye and ear. It is possible to spice up the
presentation by discussing disorders of sensation and perception, such as
near- and far-sightedness, color blindness, and some relatively rare brain
disorders (e.g., prosopagnosia).
LESSON 3 reviews the other senses (e.g., gustation, olfaction, and somesthesis).
overview :An important theme in this lesson is that external information gets
recoded (transduced) into neural activity. In other words, one type of
information (e.g., light energy) is changed into a different type of information
(e.g., neural activity in the optic nerve). There are limits on both the types
content outline
and the amount of external information to which a person is sensitive. It is
also important to note that the relationship between the external stimulus
(i.e., the nominal stimulus) and the internal representation (i.e., the
functional stimulus) is NOT one-to-one.
1. Light—vision
2. Sound—hearing
A. Thresholds
7
1. Absolute threshold
content outline
stimulation needed for detection
c. Students should be familiar with hearing tests and
vision tests. It may be possible to have the school
nurse or speech pathologist come in and talk about
hearing tests and how they are designed. Similarly,
an ophthalmologist or optometrist could address
vision tests.
2. Difference threshold
overview :
This section concerns the anatomy of two important sensory systems,
the visual and the auditory systems. The description of the organization of
each begins with the “outermost” structures and works toward the brain. The
outermost parts of the systems are designed to be sensitive to information in
the environment (light and sound), to protect themselves and other sensitive
structures (e.g., position of the cheekbone, eyelids, tears, ear drum position,
etc.), and to be able to direct the system toward relevant stimuli—e.g., eye
movements. Once the light or sound energy is initially encoded on the retina or
inner ear, the remainder of the system is described by tracing the paths of the
sensory neurons to higher centers in the brain.
I. Vision
a. Rods
i. Located primarily in the retina’s periphery
ii. Capable of receiving light energy in low light
iii. Not involved with color perception
b. Cones
i. Concentrated in the middle of the retina in
the fovea
ii. Involved with color perception in bright light
c. Both rods and cones synapse with bipolar cells,
which synapse with ganglion cells, which form the
optic nerve.
d. The blind spot is where the optic nerve connects to
the eye and contains neither rods nor cones.
a. On-center, off-surround
b. Off-center, on-surround
c. Receptive fields are described by their response
properties. For example, an on-center, off-surround
receptive field’s ganglion cell will respond
maximally
to light projected on the center of the field (on-center) 9
as long as no light is projected on the surrounding
region (off-surround.). The reverse is true for off-
center, on-surround cells.
d. The existence of these types of cell organization
makes the visual system more sensitive to changes
in amount of light—which correspondingly helps us to
content outline
distinguish objects from the background.
E. Color theories
B. Structures
C. Characteristics of sound
content outline
identical loudness and pitch but certainly will sound different.
D. Auditory theories
E. Hearing deficits
1. Sweetness
2. Saltiness
3. Sourness
12 4. Bitterness
5. Umami—glutamates
content outline
the inability to smell a single chemical.
B. Kinesthesis
C. Vestibular sense
D. Skin senses
E. Touch plasticity
2. Basics of pain
con
tent a. Pain is not triggered by one stimulus (e.g., as light
does for vision), and at certain intensities other stimuli
outl can cause pain (e.g., coolness).
ine b. Pain circuit: Sensory receptors respond to potentially
damaging stimuli by sending an impulse to the spinal
cord, which sends the message to the brain, which
interprets the signal as pain.
c. Thicker and faster axons convey sharp pain, and
thinner ones convey dull pain. These axons enter the
spinal cord, where they release two
neurotransmitters depending on the severity of the
pain:
i. Mild pain releases glutamate.
ii. Severe pain releases both glutamate and
Substance P, a neuromodulator.
iii. Pain receptors can also react to chemicals.
(1) For example, capsaicin is a
chemical found in hot peppers that
stimulates pain receptors.
(2) Capsaicin also leads to insensitivity
to pain.
content outline
LESSON 4: PERCEPTION
I. Attentional processes
A. Attention: a process in which consciousness is focused on particular
stimuli
1. Law of Pragnanz
3. Laws of grouping
5. Perceptual constancy
a. Accommodation
i. Bulging and elongating of lens
ii. Effective only for objects within 25 feet
b. Convergence is the name of the cue that takes
account of the muscle tension resulting from external
eye muscles that control eye movement.
Convergence is sometimes classified as a binocular
cue since it requires both eyes.
7. Pattern perception
content outline
distinctive features.
b. A template theory describes pattern recognition.
Patterns are identified by comparing whole patterns to
mental blueprints (templates) stored in memory until
an exact match is found.
The resources at the end of this Unit Lesson Plan provide some examples of
cases where top-down processing can mislead us to see (or hear) things that
are not actually there.
activities activity
1.1 sensation: movement
detectors
From original TOPSS Unit Lesson Plan on Sensation and Perception
ConCept 19
This is an extremely effective demonstration that is well worth the time required to
prepare the equipment the first time you do it. The demonstration allows students
to learn about habituation; you can also use this during a discussion on the function
of movement detector cells in the visual cortex and the processing of visual input.
activities
Material
To
s do this demonstration, you will need a rotating disc with the spiral pattern.
The easiest way to make this is to cut out Handout 1.1 (labeled “Spiral Pattern”)
and glue it to a piece of cardboard. Trim the cardboard into a circle and punch
a pencil through its center. By rotating the pencil as you hold it behind the disc,
you can make the spiral turn at a reasonably steady rate. (A rotating disc can
also be found at http://dogfeathers.com/java/spirals.html.)
instruCtions
The demonstration involves having the students stare at the rotating disc for
about a minute. Tell students to fix their gaze on the center of the spiral and to
try not to let their eyes move. After a minute has passed, have students shift
their gaze to your head. If you were spinning the disc so that it was spiraling
inward, when students shift their gaze they will experience a dramatic illusion of
your head expanding or rushing toward them. If the disc was spiraling outward,
it will produce the opposite effect.
DesCription
What produces this startling illusion? Remember that the visual cortex contains
specialized feature and movement detector cells that respond only to a
particular type of visual input. When the disc spirals in, you are overstimulating
and fatiguing the cells that are programmed to respond to this type of inward
movement. When students shift their gaze and the inward movement detectors
stop firing, there is a tendency for the corresponding outward movement
detectors to start firing for a few seconds. It is this process, similar to the process
that produces color afterimages in the ganglion cells of the retina, that accounts
for the illusion.
You can demonstrate that this effect takes place in the brain and not in the retina.
To do this, have students view the spinning disc with one eye covered with their
hand. Then, when they shift their gaze, have them also shift their hand to the
other eye. The effect is visible with the left eye even though the disc was viewed
with the right eye, and vice versa. This means the effect must be produced by
brain cells rather than by cells in the retina. Color afterimages, on the other hand,
are produced by ganglion cells located in the retina. If you try shifting eyes for a
color afterimage demonstration, the effect will not appear.
This demonstration produces the most dramatic effect when students view it
from straight on. Have them gather in the center of the room before you begin.
It is also possible to see the effect in natural settings. If you stare at a waterfall,
for example, and then shift your gaze to the trees beside the waterfall, they will
appear to fly up in the air. A large faucet, such as the one in the bathtub, can
be used to produce the effect as well.
20
acti
vitie
s
This activity was prepared by Charles Blair-Broeker. Many of the ideas in this handout
were taken from an exercise written by Douglas A. Bernstein and Sandra S. Goss of the
University of Illinois Urbana-Champaign.
HanDout 1.1
spiral pattern
Cut out this spiral pattern and glue it to a piece of cardboard. Trim the cardboard
into a circle and punch a pencil through its center. By rotating the pencil as you
hold it behind the disc, you can make the spiral turn at a reasonably steady rate.
21
activity
2.1 distribution of rods,
cones, and color vision in
the retina
Charles T. Blair-Broker
Cedar Falls High School, IA
Douglas A. Bernstein
University of South Florida and University of Southampton
This simple activity illustrates the distribution of rods and cones in the retina 23
and the differing ability of these photoreceptors to detect color. It can be used in
classes in introductory psychology, sensation/perception, or cognition. This in-
class activity takes as few as 10 minutes and can be done in any size class. It is
a demonstration involving a single student but could involve greater numbers
with additional time and materials.
activities
ConCept
The demonstration shows that stimuli in the center of the visual field are detected
mainly by color-sensitive cones concentrated in the fovea, whereas stimuli at the
edges of the visual field are detected mainly by non-color-sensitive rods in the
periphery of the retina.
Material
You
s will need a few pens, magic markers or other objects of various colors (e.g.,
red, blue, green, yellow, black), and a student volunteer with normal color vision.
instruCtions
Ask your volunteer to sit or stand at the front of the room facing the class and, at
your signal, to stare fixedly ahead at a spot or object at the back of the room. If
the volunteer’s eyes stray from the fixation point, the demonstration will probably
not work very well. Emphasize the need for concentrated fixation. Instruct the
class to not provide any feedback to the volunteer regarding the accuracy of his
or her answers.
Now stand at the volunteer’s side. Hold one of the colored objects 3 or 4 feet
away from the volunteer’s ear, at about eye level. (Keep the object concealed
prior to this time.) Ask the volunteer to identify the color of the object in your
hand. The volunteer is not likely to be able to do this. If the volunteer answers,
you can determine the level of confidence by asking how much he or she would
be willing to bet on the correctness of the answer. Move a step toward the class
and slightly more in front of the volunteer (imagine you are moving on an arching
track that would eventually place you directly in front of the volunteer) and ask
the same question. Continue to move, one small step at a time, along the arc
until the volunteer is certain of the object’s color. You may want to pause before
each step, briefly conceal the object, and give the volunteer a chance to relax the
eyes. Make sure the volunteer is staring at the fixation point again before
proceeding.
DisCussion
You will find that most participants have excellent peripheral vision, as reflected
in their ability to recognize that the object is present even when it is far off to
the side. However, for most people, it will take several small steps before they
can recognize the object’s color (most will first say it is black, because they
are seeing it only with rods). The students will be surprised at how close to the
center of the visual field the object must be before its color is clearly apparent. In
real life, we perceive color in the periphery of the visual field because the brain
remembers what color belongs there or makes an assumption about the likely
color (e.g., the sky is usually blue). In this demonstration, however, there is no
way for the brain to accurately guess the color of the object.
ConCept 25
That area at the back of the eye where the nerve fibers from all parts of the
retina collect to form the optic nerve is called the optic disc or, more commonly,
the “blind spot.” Indeed, that portion of the retina is functionally blind—incoming
light is ineffective because there are no photoreceptors in that region. The two
exercises described here provide interesting illustrations of the blind spot.
activities
Material
Take
s a blank piece of white paper that measures 8½ by 11 inches and cut it in
half so it is 5½ inches.
instruCtions
On one side of the paper, center and type (or print in corresponding size) a
capital X and a capital Y about 4 inches apart. On the other side, center and type
capitals X, Y, and Z about 3 inches apart (with Y in the center).
For the first demonstration, hold the side of the paper with the X and Y at arm’s
length while covering one eye with the other hand. If the left eye is covered, fixate
on the X (assuming it is on the left), and vice versa. Then slowly advance the
paper toward the eye. Notice what happens to the Y: At some critical distance
from the eye it disappears, but as the distance from the eye is further decreased,
it reappears. You should then be able to tune the Y in and out by adjusting the
distance of the paper from the eye.
The second demonstration involves using the side of the paper with the X, Y, and
Z; holding it at arm’s length; fixating on the Y with the left eye covered; and
slowly advancing the paper toward the eye. At some critical distance from the
eye, the Z will disappear. If the paper is then held at this point, it is possible to
observe an unusual phenomenon: Shifting fixation to the X causes the Y to
disappear and
the Z to reappear. Thus, by shifting fixation back and forth between and Y and the
X, you can make the Z and the Y alternately pop in and out of view.
(activity 2.2 continued on next page)
(activity 2.2 continued from previous page)
DisCussion
Explain that we have a blind spot in each eye, or a total of two such spots in our
typical visual field. Why don’t we see holes in that visual field? Partly because
these holes are eliminated by eye movements that shift the parts of the visual
field to different portions of the retina. In addition, our visual system tends to fill
in gaps in what we see in a manner similar to the Gestalt principle of closure. As
a result, we are unaware of our blind spots and require a demonstration such as
the one described above to illustrate their existence.
26
acti
vitie
s
Laura Maitland
ConCept 27
Just as we perceive depth visually as a result of slight differences in the images on
each of our two retinas, we perceive stereophonic sound as a result of receiving
slightly different sound messages in our two cochleas. This is because our ears
are about six inches apart. A sound coming from the right will have slightly more
energy and be sensed slightly sooner at the right ear than at the left ear.
activities
Material
This
s works best if you have several pairs of metal crickets/clickers (obtained in
the party favors sections of stationery stores) and empty paper towel or toilet
paper cylinders.
instruCtions
There are many variations of this activity. One effective way of observing how well
people can locate sound sources is to divide the class into cooperative learning
groups of four students each. One is the subject, two are the experimenters, the
fourth is the recorder/reporter. The subject sits in a chair with the experimenters
at either side of him/her. The subject is asked to listen for each click and indicate
the direction the sound is coming from. The subject closes his/her eyes. In any
order, the experimenters click from either side of the subject, above the subject’s
head, directly in front, directly in back, under the chair. The recorder writes
the direction of the sound, the subject’s response, and the quickness of the
response. This can be repeated several times. Roles can be switched. Next, the
subject uses the cylinder as an ear extension. (The roller is held with the hand as
a seal between the cylinder and ear.) The same procedure is followed as without
the use of the cylinder. The groups summarize and compare their observations.
DisCussion
Because the ear closer to the sound receives a louder stimulus, receives it
before the other ear, and may perceive a wave-phase difference, sounds coming
from either the left or right can be quickly located by subjects. Sounds from
above, below, in front, and back are more difficult to locate. Students who cock
their heads are better able to locate sounds coming from above, below, in front,
or back than those who keep their heads still. When the cylinder is used, the
result is similar to that of using displacement goggles with vision. The effect of
the cylinder is to move the ears further from one another. Clicks directly above,
below, from front or back seem closer to the ear without the extension, off-
center. (If you don’t have metal crickets/clickers, tapping a beaker with a pencil or
snapping fingers will do. Because the crickets consistently make the same
sound, they are preferable.)
28
acti
vitie
s
activity
3.1 sensory
interdependencies
George M. Diekhoff
Midwestern State University
The four demonstrations described here show how information obtained through 29
one sensory modality shapes our experience of other sensory modalities. The
sensory systems work together, not independently. This activity is appropriate
for classes of any size in introductory psychology or for upper-division
perception/ cognition classes. Each demonstration takes about 10 minutes.
Demonstrations 1 through 3 involve small groups of volunteer participants or
individual volunteers who are observed by the rest of the class. Demonstration 4
activities
involves all students.
ConCept
With his doctrine of specific nerve energies, Johannes Müller formalized the
observation that sensory experience depends less on the nature of the physical
stimulus than on the cortical project areas into which the sensory nerve
terminates (Benjamin, 2007; Müller, 1842). Thus, for example, stimulation of
the optic nerve with light, pressure, or electricity results in a visual experience.
The existence of separate, highly specialized sensory projection areas
suggests that sensory experiences would be equally separate and
independent. In fact, however, the senses are less independent than one might
expect. The following activities demonstrate some of the interdependencies
that exist among the sensory modalities.
Material
For
s Demonstration 1, you will need bite-sized slices of apple and potato. For
Demonstration 2, you will need four 8-ounce glasses of water (ice cold, cool,
lukewarm, and hot) and 1 teaspoon of sugar. For Demonstration 3, you will need
two coffee cans, one 1-lb can and one 3-lb can, filled with sand until they weigh
the same. For Demonstration 4 you will need the list of vowel sounds in the
Instructions section.
instruCtions
Demonstration 1—The influence of smell on taste: Have volunteer participants
close their eyes and hold their noses while they are fed bite-sized slices of
apple and potato in a random sequence. The participants’ task is to identify
what they are eating. The accuracy of their perceptions is given by the
percentage of responses that are correct.
Next, repeat the procedure, but have participants breathe normally as they eat.
Compare the accuracy of their taste perceptions with and without the contribution
of the olfactory sense to show that the sense of smell is a major component of
taste. (Always be sure to check about food allergies before introducing foods in
the classroom.)
referenCes
Benjamin, L. T., Jr. (2007). A brief history of modern psychology. Malden, MA: Blackwell
Publishing.
Garfield, K. (2006). Are we all synesthetes? Discover, 27 (12), 19.
Goldstein, E. B. (2007). Sensation and perception (7th ed.). Belmont, CA: Wadsworth.
Harrison, J. E., & Baron-Cohen, S. (Eds.). (1996). Synesthesia: Classical and
contemporary readings. Cambridge, MA: Blackwell. 31
Marks, L. E. (1975a). On colored-hearing synesthesia: Cross-modal translation of sensory
dimensions. Psychological Bulletin, 82, 303-331.
Marks, L. E. (1975). Synesthesia: The lucky people with mixed-up senses. Psychology
Today, 9(1), 48-52.
Müller, J. (1842). Elements of physiology (W. Baly, Trans.). London: Taylor & Walton.
activities
Laura Maitland
ConCept 33
In this activity, the subject sees the name of a color printed in a different color
ink than its name. Because these two pieces of information conflict, the
subject experiences interference. As a result of experience, the subject usually
ignores
the ink color and attends to the meaning of the words. When directed to ignore the
word and focus on the ink color, the subject has difficulty and may name the word
activities
instead of the ink color. This particular demonstration of interference is attributed to
the work of James Stroop (1935) and is referred to as the “Stroop Effect.”
Material
You
s may use the color version of Handout 4.1 (labeled “Interference”) or the
uncolored version. If you use the uncolored version, students will need brightly
colored markers in blue, yellow, red, and green. An online listing can be found at
http://www.apa.org/science/resources/stroop.aspx.
instruCtions
Use either the preprinted color page labeled “Interference” in this packet or the
uncolored sheet in this unit. The colored sheet can be used as a demonstration.
If you use the uncolored sheet, make photocopies for the students. For
homework a day or two in advance of this activity, direct students to fill in the
outlines with colored markers of red, blue, green, and yellow that differ from the
names of the colors written. For example, students might color one word “red”
with the green marker and another word “red” with the blue marker.
For the activity students work in pairs, with one acting as the experimenter and
one as the subject. The experimenter tells the subject not to say the words that
are printed, but to say aloud the colors that the words are printed in, as fast as
possible. The experimenter records the number of errors. Then the experimenter
tells the subject to try the activity with the stimulus upside down. Ask the teams
to account for the difference in the number of errors. If the students attribute the
difference to practice, have the subjects and experimenters switch roles and try
the activity in reverse order.
(activity 4.1 continued on next page)
(activity 4.1 continued from previous page)
DisCussion
Students are usually surprised at their inability to control what they pay attention to.
This activity also helps them become aware of how many stimuli they usually ignore.
This activity may be used in a unit on cognition and memory instead, if desired.
referenCe
Stroop, J. R. (1935). Studies of intervention in serial verbal reactions. Journal of
Experimental Psychology, 18, 643-662.
34
acti
vitie
s
This activity was adapted from material in the American Psychological Association’s
former traveling psychology exhibition, Psychology: Understanding Ourselves,
Understanding Each Other.
HanDout 4.1
interference
DON’T read the words below. Just say the colors they’re printed in as fast as you
can, out loud. You’re in for a surprise!
green
blue
red
yellow
red 35
green
blue
activities
yellow
If you’re like most people, your first inclination was to read the words, “green, blue, red …,”
rather that the colors they are printed in, “yellow, red, green …”
When you look at one of the words, you see both its color and its meaning. If those two
pieces of evidence are in conflict, you have to make a choice. Because experience has
taught you that word meaning is more important than ink color, interference occurs when
you try to pay attention only to the ink color.
The interference effect suggests you’re not always in complete control of what you pay
attention to.
This demonstration is called the Stroop Effect. It is based on the work of Stroop (1935).
HanDout 4.1
interference
37
activities
references
39
Bartoshuk, L. M., Duffy, V. B., & Miller, I. J. (1994). PTC/PROP taste: Anatomy,
psychophysics, and sex effects. Physiology & Behavior, 56(6), 1165–1171.
references
Herz, R. S. (2004). A naturalistic analysis of autobiographical memories triggered
by olfactory, visual, and auditory stimuli. Chemical Senses, 29, 217–224.
Melzack, R., & Wall, P. D. (1965). Pain mechanisms: A new theory. Science,
150, 971–979.
Textbooks 41
Blake, R., & Sekuler, R. (2006). Perception (5th ed.). Boston:
McGraw-Hill.
resources
Foley, H. J., & Matlin, M. W. (2010). Sensation and perception (5th
ed.). Boston: Allyn and Bacon.
Gregory, R. L. (1997). Eye and brain (5th ed.). Princeton, NJ: Princeton University
Press.
Gregory, R. L. (2009). Seeing through illusions. New York, NY: Oxford University
Press.
Hoffman, D. D. (2000). Visual intelligence: How we create what we see. New York,
NY: W.W. Norton & Company.
Livingstone, M. S. (2008). Vision and art: The biology of seeing. New York, NY:
Abrams Books.
Brynie, F. H. (2009). The science of the senses and how we process the world
reso around us. New York, NY: AMACOM.
urce Chabris, C. F. & Simons, D. J. (2010). The invisible gorilla: And other ways our
s intuitions deceive us. New York, NY: Crown Publishers.
Gallagher, W. (2010). Rapt: Attention and the focused life. New York, NY:
The Penguin Press.
Gladwell, M. (2005) Blink: The power of thinking without thinking. New York, NY:
Little, Brown.
Power, R. P., Hausfeld, S., & Gorta, A. (1981). Workshops in perception. London:
Routledge & Kegan Paul. (Note. This book is out of print but easy to
obtain; has some excellent unique demonstrations.)
Powell, J. (2010). How music works: The science and psychology of beautiful
sounds, from Beethoven to the Beatles and beyond. New York, NY: Little,
Brown and Company.
Rosenblum, L. D. (2010). See what I’m saying: The extraordinary powers of
our five senses. New York, NY: W. W. Norton & Company.
Sellers, H. (2010). You don’t look like anyone I know. New York, NY: Riverhead
Publisher.
Turin, L. (2007). The secret of scent: Adventures in perfume and the science of
smell. New York, NY: Harper Perennial.
Sacks, O. (1987). The man who mistook his wife for a hat and other clinical tales.
New York, NY: Harper & Row.
Sacks, O. W. (2010). The mind’s eye. New York, NY: Alfred A. Knopf.
43
Books With Activities
Bolt M. (2008). Instructor’s resources. New York, NY: Worth. Accompanies
Exploring Psychology (7th ed.) by D. G. Myers.
Doherty, P., & Rathjen, D. (1995). The Cheshire cat and other eye-popping
resources
experiments on how we see the world. Hoboken, NJ: J. Wiley and Sons.
Doherty, P., & Rathjen, D. (1995). The magic wand and other bright
experiments on light and color. Hoboken, NJ: J. Wiley and Sons.
Other Resources
Deutsch, D. (1997). Musical illusions and paradoxes [CD]. La Jolla, CA: Philomel
Records, Inc.
Deutsch, D. (2003). Phantom words and other curiosities [CD]. La Jolla, CA:
Philomel Records, Inc.
Five Senses Human Biology Poster Series [Apparatus]. (2001). Charleston, WV:
Jaguar Educational.
Discovery Channel. (Producer). (2008). Pushing the limits [DVD]. Available from
http://ffh.films.com/id/6826/Human_Senses.htm
Shermer, M. (n.d.). The pattern behind self-deception [Video]. Available for free
download at TED Talks at http://www.TED.com or http://www.ted.com/talks/
lang/eng/michael_shermer_the_pattern_behind_self_deception.html
Websites
General sites
1. http://www.michaelbach.de/ot/index.html
Eighty-four optical illusions and visual phenomena are divided into categories
to make this site user-friendly.
2. http://www.bbc.co.uk/science/humanbody/body/interactives/senseschallenge/
This is a 20-question quiz to see how much students know about their
senses.
3. http://www.echalk.co.uk/amusements/OpticalIllusions/illusions.htm
This site has more than 15 illusions that can be easily shown in a classroom.
4. http://www.skytopia.com/project/illusion/illusion.html
This site contains some familiar illusions and some of the owner’s creation.
Some are animated.
5. http://homepage.mac.com/jabaro/insight_software/demo.html
This site contains two demonstrations based on the work of John Baro.
6. http://www.skidmore.edu/~hfoley/perception.htm
This is Foley and Matlin’s website on perception, which has visuals on all
aspects of perception.
7. http://www.phy.syr.edu/courses/modules/MM/n_net/n_net.html
This website is devoted to the relationship between physics and perception.
8. http://www.exploratorium.edu
This is the website of the Exploratorium museum in San Francisco. The
website has a wealth of information on the senses and perception, many of
which are interactive.
9. http://www.planetperplex.com/en/index.html
This interactive site contains optical illusions, ambiguous images, upside
down images, and impossible figures.
10. http://www.wadsworth.com/psychology_d/templates/stripped_features/try_
online/tryonline.html 45
Demonstrations are available including the McGurk effect, psychic
phenomenon, afterimages, and some memory experiments.
resources
12. http://webvision.med.utah.edu/
This is on human eye anatomy.
13. http://www.iknow.net
This CD on eye anatomy is available for purchase.
14. http://asa.aip.org/discs.html
This CD on hearing is available for purchase.
15. http://www.gotouring.com/razzledazzle/articles/dazzle.html
This is about camouflage in World War II.
16. http://www.ski.org/CWTyler_lab/Eyepage/index.html
This is on vision in various species.
17. http://www.musipedia.org
This site can generate sounds that can be useful in demonstrating pitch and
loudness. (If the instructor can borrow an electric keyboard or have the music
teacher help, a demonstration of the different qualities of sound can be a fun
class demonstration.)
20. http://dogfeathers.com/java/spirals.html
This website contains illusions and effects, some of which are animated and
others in 3D.
21. http://www.lifesci.sussex.ac.uk/home/George_Mather/Motion/
This website is devoted to different types of motion perception.
Applied topics
22. http://www.atoptics.co.uk/
This illustrates how atmospheric conditions, such as shadows and water
droplets, create natural illusions.
23. http://www.cdc.gov/niosh/mining/topics/hearingloss/hlsoundslike.htm
This government website illustrates the effects of hearing loss with
and without background noise.
24. http://www.impactlab.com/modules.php?name=News&file=article&sid=7567
This website portrays sidewalk art that make illusion and reality difficult to
distinguish.
25. http://www.safeandsoundpets.com/index.html
46 Protection of the ears of pets is discussed and demonstrated here.
Magic eye
29. http://www.magiceye.com/3dfun/stwkdisp.shtml
This site is devoted to magic eye demonstrations.
Other Websites
Hearing Loop
http://www.hearingloop.org/
HearingLoop.org is a nonprofit informational website created and maintained by
Hope College psychology professor David G. Myers and his assistant Kathryn
Brownson.
TED Talks
www.TEDtalks.com
This is a useful set of presentations of 20 or fewer minutes by noted researchers
in technology, entertainment, and design. Many relate to psychology in general,
but some concern basic research in perception, neurology, and applied
psychology, such as the effects of noise on behavior.
resources
Dichotic Listening
This experiment uses 15 different pairs of nonsense syllables, one played in
each of the participants’ two ears simultaneously. It explores dichotic listening by
seeing which syllable is distinguished by the listener first in order to draw some
larger conclusions about hemispheric specialization.
Line Motion
This experiment tests the strength of apparent motion by manipulating the speed
with which a line moves onto the screen. Cues precede the “movement” of a line.
The trials in which a false cue precedes apparent (as opposed to actual) motion
demonstrate how powerful apparent motion truly is.
Müller-Lyer
This study focuses on the perception of length and the power of illusion. Using
a computer program, students are asked to adjust the length of one line until
they believe it is the same length as another line right next to it.
Poggendorff
This is another experiment looking at misperception and illusion. Participants
are presented with two vertical parallel lines and a partial diagonal line running
through them with its middle removed. This gives the illusion of a discontinuous
diagonal line, despite the fact that it is actually straight. Students are given the
opportunity to adjust both the length of the diagonal and the distance between
the vertical lines to explore which manipulations have a greater effect on the
illusion.
Ponzo
Another illusion experiment, this activity presents students with two horizontal
lines a certain distance apart, either against a plain background or a background
of converging lines. This second scenario creates a three-dimensional illusion.
Students are asked to adjust one of the horizontal lines until they believe it is the
same length as the other line. The converging-lines background creates a
three- dimensional illusion and its effect on the students’ accuracy is measured.
reso
urce
s
discussion questions
1. Why are human beings sensitive only to certain types of stimuli? For 49
example, why can’t we see ultraviolet light or hear sounds that a dog can?
discussion questions
3. Do good readers need to use less bottom-up processing (processing the
printed words) than poor readers? Why? Use examples.
4. Why do our eyes point in the same direction, yet our ears point in opposite
directions?
7. Why do we have senses of smell and taste? What purpose do those senses
serve with regard to survival?
8. Give an example of the gate theory. Why do you believe the brain reacts
to pain in this fashion?
11. What are some of the ways road signs are designed to help drivers see
them accurately?
12. Can you think of occupations where excellent depth perception is required?