Mario Ponzo

The way we perceive objects depends on different things. One thing that changes the way we view things is monocular depth cues. Monocular depth cues are cues on depth perception that are accessible only to one eye at a time. There are actually a couple of different monocular depth cues. The ones that I will cover will be size constancy, aerial perspective, linear perspective, and texture gradient. Size constancy refers to the tendency to perceive an object or objects as the same size regardless of it being near or far. For example, the imagineers at Walt Disney World use this with their Christmas tree to make it appear bigger. At the bottom of the tree, they place ornaments that are huge. Since people see the huge ornaments at the bottom of

Have you ever eaten a taco? If so, then you know that before you eat it you’d want to know what is inside and how it looks as a whole. You’d want to see the details of the ingredients, and you’d also want to see the external features. The same goes for other things like events that have happened. When we look at things from far away and close up we gain different perspectives. If we look at things from close up we are able to get detail and information, but it doesn’t give us the full picture. Meanwhile looking at things from far away gives us the entire picture, but it doesn’t give us the external attributes and details. When we look at it from both perspectives, we’re able to have a better defined and well processed idea of what we’re looking

The Stroop (1935) effect is the inability to ignore a color word when the task is to report the ink color of that word (i.e., to say "green" to the word RED in green ink). The present study investigated whether object-based processing contributes to the Stroop effect. According to this view, observers are unable to ignore irrelevant features of an attended object (Kahneman & Henik, 1981). In three experiments, participants had to name the color of one of two superimposed rectangles and to ignore words that appeared in the relevant object, in the irrelevant object, or in the background. The words were congruent,

As soon as Magic Johnson announced he had HIV, he immediately was a role model for others to get tested and have hope of living a long and fulfilling life. In 2011, Magic Johnson talked about living with AIDS/HIV for 20 years, and how this disease is not a death sentence. He encourages others to get educated and get tested. However, when Johnson first found out he had the AIDS/HIV virus, his concern was not how did he get the disease or what is going to happen or how will he afford the medical expenses, but rather, “How am I going to live a long time?” (Moughty).

Pete Maravich was one of the greatest basketball players of all time. His spectacular moves and awesome footwork helped him to get better everyday. His incredible passes and being able to control the court caused his teammates to like him even more. “His playground moves, circus shots, and hotdog passes were considered outrageous during his era” (NBA Encyclopedia Playoff Edition). His love for basketball was instilled by his father Peter “Press” Maravich.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

Lonzo Ball, a hot basketball player from UCLA, is going to take part in NBA draft this year. His father, LaVar Ball, really has a big mouth. He said that his son would be better than Stephen Curry who was the MVP last season (Avakian 2017). There are a lot of articles talking about LaVar and criticizing his arrogance, instead of his superstar son. LaVar’s words had negative influence on his son’s future. I think he should stop talking and focus on his son’s future. In my journal, there are two reasons.

The technique most artists use to project an illusion of the three-dimensional world onto a two-dimensional surface is called perspective. Objects are painted smaller the farther away from the audience is supposed to be, and are painted bigger the closer the audience is supposed to be. A vanishing point is helpful in creating perspective. This technique helps to make up a sense of depth in a piece of art. In Autumn on the Seine, Argenteuil, perspective is created by the body of water that is in the foreground of painting. This body of water is going off into the distance in which you cannot see it’s end. In the background, there are

Early studies have widely researched attention with selective processing (Driver, 2001). Broadbent (1958) filter theory of attention states that certain information does not require focal attention. It is based on certain stimulus attributes such as colour and shape (Friedenberg, 2012). A previous study carried out by Treisman and Schmidt (1982) proposes that when attention is diverted from a display of several figures, the participants incorrectly combine the features of colour and shape therefore increases the illusory conjunctions portrayed by the participants (Tsal, 1989). Another study by Shaw (1978) found that reaction time of participant to identify targets varied with the probability that a target would appear in a particular display location. These results indicate that different amounts of attention towards the targets are distributed to different positions in the visual field. However, Houck and Hoffman (1986) found that the feature integration of colour and orientation can sometimes be accomplished without attention (James et al.,

Linear perspective is a mathematical system for creating the illusion of space and distance on a flat surface. Linear perspective was first used in Florence, Italy in the 1400s by Brunelleschi, an artist and architect. However, the first person to write the rules down was Leon Battista Alberti. Many artists have developed a concept of Alberti’s system for artists to follow. Leonardo da Vinci probably learned Alberti's system while serving as an apprentice to the artist Verrocchio in Florence. (Exploring Linear Perspective)

This depth or distance that the beholder of the eye misses as he/she analyzes the action of the 2-dimensional portrait is what’s called the painter’s space. In reality, one of the greatest abilities one’s eyes have is being able to determine depth and distance; small objects are at a far distance and bigger

Buckingham, Milne, Byrne and Goodale’s article, published in the eminent journal ‘Psychological Science’, focuses on the ability of echolocation and the credibility of it obtaining a ‘sensory substitution’ status. What comes with such a status, includes the testing of falling into perceptual ‘traps’. In this research, the authors are interested in whether echolocation, and its users, commit the ‘Size-Weight Illusion’. This is a visual perception trap whereby the perception of an object’s characteristics (size) can be influenced by its appearance (Charpentier, 1891). This notion is aptly condensed into an informative title “The Size-Weight Illusion induced through Human Echolocation” (p. 237).

We see things with our eyes through different visual cues this is called “Depth Perception”. “Depth perception is the use of two different types of visual cues to perceive depth, Binocular cues and Monocular cues” (Department of Psychology,2015). “Depth perception lets us view items in three dimensions and the distance of items. We use several cues to perceive the distance (or depth) of the objects from us and from each other” (Department of Psychology,2015). Goldstein (1984) stated that Cues for seeing depth come from binocular disparity, and also from a range of monocular cues such as motion parallax, linear perspective, relative size, interposition, relative height, and texture gradients. (as cited in Laboratory Manual: Psychology 111/112