Sensation And perception 2nd Edition By Jeremy M. Wolfe - Test Bank

Sensation And perception 2nd Edition By Jeremy M. Wolfe – Test Bank

 

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Chapter:  Chapter 5:  Multiple Choice

 

 

 

Multiple Choice

 

 

 

1. The visible spectrum is that portion of the electromagnetic spectrum that ranges from:
2. A) 100 to 300 nm.
3. B) 300 to 600 nm.
4. C) 400 to 700 nm.
5. D) 800 to 1000 nm.

 

Ans: C

Level: E

Page: 156

Topic: Light and Color

 

 

 

 

2. _____ is the intensity of the light at each wavelength in the visible spectrum.
3. A) Color circle
4. B) Spectral reflectance
5. C) Spectral power distribution
6. D) Spectral sensitivity function

 

Ans: C

Level: E

Page: 157

Topic: Spectral Power Distribution

 

 

 

 

3. When a light source emits a wide range of different wavelengths, it is called _____.
4. A) heterochromatic light
5. B) monochromatic light
6. C) achromatic light
7. D) multivariate light

 

Ans: A

Level: E

Page: 157

Topic: Spectral Power Distribution

 

 

 

 

4. _____ is a heterochromatic light source that contains proportionately more long-wavelength light than sunlight does.
5. A) Flashbulb light
6. B) Fluorescent light
7. C) Incandescent light
8. D) Candle light

 

Ans: C

Level: M

Page: 157

Topic: Spectral Power Distribution

 

 

 

 

5. White light is also called _____ light.
6. A) achromatic
7. B) dichromatic
8. C) monochromatic
9. D) trichromatic

 

Ans: A

Level: E

Page: 157

Topic: Spectral Power Distribution

 

 

 

 

6. The perceived color of an object depends on:
7. A) how it absorbs light.
8. B) how it transmits light.
9. C) the brightness of the light source.
10. D) the SPD of the light source.

 

Ans: D

Level: M

Page: 158

Topic: Spectral Reflectance

 

 

 

 

7. A gray piece of paper and a white piece of paper have reflectance curves that are approximately horizontal lines because:
8. A) they absorb the same overall amount of light.
9. B) they reflect a greater percentage of low wavelength light.
10. C) they absorb a greater percentage of longer wavelength light.
11. D) they reflect about the same percentage of all wavelengths.

 

Ans: D

Level: M

Page: 158

Topic: Spectral Reflectance

 

 

 

 

8. If a white light is shone onto a surface that only reflects wavelengths below 500 nm, the surface will appear to be:
9. A) red.
10. B) blue.
11. C) green.
12. D) yellow.

 

Ans: B

Level: D

Page: 158

Topic: Spectral Reflectance

 

 

 

 

9. _____ is the proportion of light that a surface reflects rather than absorbs at each wavelength.
10. A) Color constancy
11. B) Spectral power distribution
12. C) Spectral reflectance
13. D) Color vision

 

Ans: C

Level: E

Page: 158

Topic: Spectral Reflectance

 

 

 

 

10. _____ is the perceptual characteristic MOST closely associated with the wavelength of light.
11. A) Hue
12. B) Saturation
13. C) Brightness
14. D) Frequency

 

Ans: A

Level: E

Page: 159

Topic: Dimensions of Color: Hue, Saturation, and Brightness

 

 

 

 

11. A 650 nm light would be perceived as _____, while a 550 nm light would appear _____.
12. A) blue; green
13. B) red; blue
14. C) green; yellow
15. D) red; green

 

Ans: D

Level: E

Page: 159

Topic: Color Circle and Color Solid

 

 

 

 

12. A color solid adds the vertical dimension to represent _____.
13. A) hue
14. B) saturation
15. C) brightness
16. D) wavelength

 

Ans: C

Level: M

Pages: 159-160

Topic: Color Circle and Color Solid

 

 

 

 

13. Blue paint looks blue because it:
14. A) absorbs the shorter wavelengths.
15. B) reflects the longer wavelengths.
16. C) absorbs the longer wavelengths.
17. D) reflects the shorter wavelengths.

 

Ans: D

Level: M

Page: 160

Topic: Color Mixtures

 

 

 

 

14. Mixing blue and yellow paint gives the appearance of green because:
15. A) blue paint absorbs the shorter wavelengths, while yellow paint absorbs the longer wavelengths.
16. B) blue paint absorbs the longer wavelengths, while yellow paint absorbs the shorter wavelengths.
17. C) blue paint and yellow paint both absorb the medium wavelengths.
18. D) blue paint reflects the longer wavelengths, while yellow paint reflects the shorter wavelengths.

 

Ans: B

Level: M

Page: 160

Topic: Color Mixtures

 

 

 

 

15. Julie is making slime with her kids. She starts with white, and in order to create green slime, she adds blue and yellow food coloring. This process of creating green is called _____ color mixing.
16. A) subtractive
17. B) additive
18. C) metameric
19. D) complementary

 

Ans: A

Level: D

Page: 160

Topic: Color Mixtures

 

 

 

 

16. Additive color mixing would involve mixing different:
17. A) colored crayons.
18. B) light sources.
19. C)
20. D) colored paints.

 

Ans: B

Level: M

Pages: 160-161

Topic: Color Mixtures

 

 

 

 

17. With an additive color mixture, mixing red and green light on a white surface produces:
18. A) blue.
19. B) red.
20. C) white.
21. D) yellow.

 

Ans: D

Level: M

Page: 161

Topic: Color Mixtures

 

 

 

 

18. How many degrees apart are complementary colors on the color circle?
19. A) 360
20. B) 180
21. C) 90
22. D) 45

 

Ans: B

Level: E

Pages: 161-162

Topic: Color Mixtures

 

 

 

 

19. According to the principle of additive color mixing, an example of complementary colors would be:
20. A) cyan and red.
21. B) red and green.
22. C) cyan and yellow.
23. D) magenta and red.

 

Ans: A

Level: M

Page: 162

Topic: Color Mixtures

 

 

 

 

20. _____ are any two stimuli that are physically different but perceived as identical.
21. A) Metamers
22. B) Isomers
23. C) Phosphenes
24. D) Pixels

 

Ans: A

Level: E

Page: 163

Topic: Trichromatic Color Representation

 

 

 

 

21. 21. Photopigments in M-cones are:
22. A) sensitive to light with a wavelength of 900 nm.
23. B) sensitive to light with a wavelength of 250 nm.
24. C) sensitive to light across nearly the entire spectrum.
25. D) insensitive to wavelengths greater than 550 nm.

 

Ans: C

Level: M

Page: 165

Topic: Trichromatic Color Representation

 

 

 

 

22. 22. With regard to cones, the principle of univariance states that the absorption of one photon of light results:
23. A) in a varied response depending on the intensity of light.
24. B) in the same response regardless of the wavelength of light.
25. C) in a varied response depending on the wavelength of light.
26. D) in the same response regardless of the intensity of light.

 

Ans: B

Level: M

Page: 165

Topic: Trichromatic Color Representation

 

 

 

 

23. The absolute sensitivity of S-cones is:
24. A) higher than for M-cones or L-cones.
25. B) lower than for rod photoreceptors.
26. C) higher than it is for M-cones but lower for L-cones.
27. D) equal to that for M-cones or L-cones.

 

Ans: B

Level: M

Page: 165

Topic: Trichromatic Color Representation

 

 

 

 

24. An individual with only M-cones:
25. A) is sensitive to changes in the wavelengths of light but not the intensity.
26. B) can achieve metameric color matching with only certain wavelengths of light.
27. C) can achieve metameric color matching by adjusting the intensity of light.
28. D) cannot perform metameric color matching.

 

Ans: C

Level: M

Pages: 166-167

Topic: Trichromatic Color Representation

 

 

 

 

25. The _____ explains why night vision is color-blind.
26. A) opponent color representation
27. B) principle of univariance
28. C) concept of additive mixtures
29. D) hue cancellation technique

 

Ans: B

Level: E

Page: 167

Topic: Trichromatic Color Representation

 

 

 

 

 

26. A person with only M-cones and L-cones:
27. A) cannot adjust the intensity of a single comparison light to match the

color of one monochromatic test light.

1. B) cannot perform metameric color matching with two monochromatic comparison lights.
2. C) generally perceives two different wavelengths as only one color.
3. D) is truly color blind.

 

Ans: A

Level: M

Pages: 167-169

Topic: Trichromatic Color Representation

 

 

 

 

27. How many monochromatic comparison light(s) do people with normal color vision require to match an arbitrary monochromatic test light?
28. A) one
29. B) two
30. C) three
31. D) four

 

Ans: C

Level: E

Page: 169

Topic: Trichromatic Color Representation

 

 

 

 

28. The mosaic of the three types of cones within the human eye can be directly visualized

using a technique called:

1. A) retinal densitometry.
2. B) metameric color-matching.
3. C) hue cancellation.
4. D) the Ishihara test.

 

Ans: A

Level: E

Page: 169

Topic: Trichromatic Color Representation

 

 

 

 

29. Research has shown that the proportion of _____ in the retina is fairly small compared to the other types of photoreceptors.
30. A) rods
31. B) S-cones
32. C) M-cones
33. D) L-cones

 

Ans: B

Level: E

Page: 169

Topic: Trichromatic Color Representation

 

 

 

 

30. Which statement is true of trichromatic color representation?
31. A) The three cone types limit the creation and perception of all the colors associated with wavelengths in the visible spectrum.
32. B) The three cone types have the same spectral sensitivity function that spans part of the visible spectrum.
33. C) The amount of light at every wavelength at every point in the retina can be measured.
34. D) Many pairs of lights that are physically different in their wavelength composition are perceived as identical.

 

Ans: D

Level: D

Pages: 169-170

Topic: Trichromatic Color Representation

 

 

 

 

31. Which observation constituted evidence for the process of opponent color representation?
32. A) Colors observed in the afterimages are the other member of the opponent color pairs.
33. B) Colors often appear to be mixtures of two opponent colors but never appear to be mixtures of two non-opponent colors.
34. C) People sort a stack of differently colored cards into three piles-red, green, and blue.
35. D) Ewald Hering discovered a fourth cone type (for yellow wavelength) using retinal densitometry.

 

Ans: A

Level: M

Pages: 170-171

Topic: Opponent Color Representation

 

 

 

 

32. According to the text, a color called reddish green cannot be imagined because:
33. A) red and green are two non-opponent colors.
34. B) red and green are both non-primary colors.
35. C) red and green are two opponent colors.
36. D) red and green respond to the same cone photopigment.

 

Ans: C

Level: M

Page: 171

Topic: Opponent Color Representation

 

 

 

 

33. _____ is an experimental technique where a person cancels out any perception of a particular color in a test light by adding light of another color.
34. A) Metameric color matching
35. B) Color assimilation
36. C) Photopigment bleaching
37. D) Hue cancellation

 

Ans: D

Level: E

Page: 171

Topic: Opponent Color Representation

 

 

 

 

34. Physiological support for opponent color representation comes from:
35. A) the discovery of two types of cones in the fish retina that responded in similar ways to different wavelengths.
36. B) the observation that people sorted a stack of cards into four piles of colors rather than three.
37. C) measurements of neurons in the ventral geniculate nucleus of rats that responded to color in an opponent fashion.
38. D) confirmation of the existence of neural circuits involved in the opponent color representation process.

 

Ans: D

Level: M

Page: 173

Topic: Opponent Color Representation

 

 

 

 

35. Which statement is true of photopigment bleaching?
36. A) Color assimilation is a form of photopigment bleaching.
37. B) It is one of the primary mechanisms of dark and light adaptation.
38. C) It helps in correctly perceiving the color of a surface under different illuminants.
39. D) It is a method for measuring the amount of light at each wavelength absorbed by a foveal cone.

 

Ans: B

Level: D

Page: 175

Topic: Opponent Color Representation

 

 

 

 

36. _____ results from exposure to relatively intense light consisting of a narrow range of wavelengths.
37. A) Chromatic adaptation
38. B) Color constancy
39. C) Lightness constancy
40. D) Hue cancellation

 

Ans: A

Level: E

Page: 176

Topic: Opponent Color Representation

 

 

 

 

37. According to the phenomenon of color contrast, which surrounding color would make blue appear brightest?
38. A) red
39. B) green
40. C) blue
41. D) yellow

 

Ans: D

Level: M

Page: 177

Topic: Color Contrast and Color Assimilation

 

 

 

 

38. _____ is the tendency to see a surface as having the same color under illumination by lights with different spectral power distributions.
39. A) Color assimilation
40. B) Color constancy
41. C) Lightness constancy
42. D) Light contrast

 

Ans: B

Level: E

Page: 179

Topic: Color Constancy

 

 

 

 

39. _____ is an intrinsic property that typically does not change, whereas the _____ of the light reflected from an object changes whenever the illumination changes.
40. A) Reflectance; SPD
41. B) SPD; reflectance
42. C) Wavelength; reflectance
43. D) Intensity; polarization

 

Ans: A

Level: M

Page: 179

Topic: Color Constancy

 

 

 

 

40. In the image given below, squares _____ reflect the same physical intensity of light
41. A) A and B
42. B) A and C
43. C) B and C
44. D) A, B, and C

 

 

Ans: B

Level: M

Page: 181

Topic: Lightness Constancy

 

 

 

 

41. _____ is the tendency to see a surface as having the same perceived reflectance under illumination by very different amounts of light.
42. A) Lightness constancy
43. B) Lightness assimilation
44. C) Color constancy
45. D) Color assimilation

 

Ans: A

Level: M

Page: 181

Topic: Lightness Constancy

 

 

 

 

42. According to the ratio principle of lightness constancy, the perceived lightness of a region is based on the:
43. A) relative intensity of the illuminating light.
44. B) absolute amount of light reflected from the region and its surround.
45. C) difference in color between the region and its surround.
46. D) relative amounts of light reflected from the region and its surround.

 

Ans: D

Level: D

Page: 181

Topic: Lightness Constancy

 

 

 

 

43. Which statement is true of inherited deficiencies of color vision?
44. A) They affect females much more frequently than males.
45. B) The lack of M-cones and L-cones is due to a defect on the X chromosome.
46. C) They occur when a person is born without rods in the retina.
47. D) There are two categories of these deficiencies—night blindness and trichromacy.

 

Ans: B

Level: M

Page: 183

Topic: Inherited Deficiencies of Color Vision

 

 

 

 

44. Which statement is true of rod monochromats?
45. A) They have no rods and must rely only on cone vision.
46. B) About 0.002 percent of the population is suffering from rod monochromacy.
47. C) Only certain colors can be perceived by rod monochromats.
48. D) They have low sensitivity towards bright glaring lights.

 

Ans: B

Level: M

Page: 184

Topic: Inherited Deficiencies of Color Vision

 

 

 

 

45. A person suffering from protanopia:
46. A) lacks M-cones.
47. B) lacks S-cones.
48. C) lacks L-cones.
49. D) lacks L-cones and M-cones.

 

Ans: C

Level: M

Page: 184

Topic: Inherited Deficiencies of Color Vision

 

 

 

 

46. Dichromacy refers to the condition where a person:
47. A) is missing two types of cones.
48. B) has only two types of cones.
49. C) has one type of rod and one type of cone.
50. D) can see two of the three Ishihara test symbols.

 

Ans: B

Level: M

Page: 184

Topic: Inherited Deficiencies of Color Vision

 

 

 

 

47. Achromatopsia:
48. A) is genetically inherited only by females.
49. B) is genetically inherited only by males.
50. C) is loss of night vision.
51. D) is caused by brain damage.

 

Ans: D

Level: E

Page: 185

Topic: Cortical Achromatopsia: Color Blindness from Brain Damage

 

 

 

 

48. The technique of pointillist painting was adopted:
49. A) to avoid the dimming effect of subtractive color mixtures.
50. B) to avoid the dimming effect of additive color mixtures.
51. C) to highlight the brushstrokes of the painters.
52. D) to expand the range of colors by using synthetic pigments.

 

Ans: A

Level: M

Page: 187

Topic: Pointillist Painting

 

 

 

 

49. Digital color video displays such as digital television and computer screens use _____ of three primary colors.
50. A) complementary mixtures
51. B) subtractive mixtures
52. C) additive mixtures
53. D) supplementary mixtures

 

Ans: C

Level: M

Page: 187

Topic: Digital Color Video Displays

 

 

 

 

50. According to the text, digital color printing does NOT use _____ ink.
51. A) white
52. B) magenta
53. C) black
54. D) yellow

 

Ans: A

Level: E

Page: 188

Topic: Digital Color Printing

 

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Chapter:  Chapter 5:  Essay

 

 

 

Essay

 

 

 

1. Explain whether one would display his or her luscious homegrown tomatoes under incandescent or fluorescent lighting in order to make them look their reddest and most succulent.

 

Ans: Tomatoes have about a 40 percent reflectance for all visible wavelengths above 600 nm and 0 percent reflectance for wavelengths below 600 nm. Incandescent light has its greatest intensity above 600 nm. The greatest intensity of fluorescent light is around 550 nm; spikes of high intensity are also observed at around 410 and 510 nm. That extra intensity above 600 nm will make the tomatoes look their reddest under incandescent light.

 

 

 

 

2. Going clockwise around the color circle, wavelength increases as you go from blue (450 nm) to cyan (500 nm), to green (550 nm), and so on. In between red (650 nm) and blue however, lies a quadrant of nonspectral purples. Are the wavelengths of these purples below 450 nm, above 650 nm, or something else altogether?

 

Ans: Nonspectral purples are so named because they do not exist as single wavelengths in the visible spectrum. These purple lights are mixtures of the shortest-wavelength violet and the longest-wavelength red. The nonspectral colors can only be created as mixtures.

 

 

 

 

3. A five-year-old girl has her heart set on having her room painted a bright shade of green. What is the drawback in simply mixing leftover supply of blue and yellow paint for this job? (Assume the paints are in perfect condition.)

 

Ans: Mixing paints is an example of subtractive color mixing. A mixture of blue paint and yellow paint subtracts all but the middle wavelengths (green light). The reflectance curve of a mixture of different-colored substances (green paint) is constructed by multiplying the reflectances of each substance in the mixture at each wavelength. As most substances have reflectance curves that fall well below 100 percent, subtractive mixtures typically reflect much less light than any of the constituent substances. Hence, it is likely that the green produced will not be as bright as the girl wants.

 

 

 

 

4. Can three primary colors ever be combined to produce a fourth color as highly saturated as the original three primaries? Explain why or why not, based on the color circle.

 

Ans: Primary colors are any three colors that can be combined in different proportions to produce a range of other colors. To predict the color of a mixture of three primaries, the colors must be connected to form a triangle in the color circle. The color of the mixture will fall somewhere within the triangle, depending on the relative intensities of the three colors. However, the three primaries will be incapable of producing a fourth highly saturated color as this saturated color will fall outside of the triangle in the color circle.

 

 

 

 

5. Explain the principle of univariance.

 

Ans: According to the principle of univariance, as it applies to cones, the absorption of a photon of light causes a fixed response by a cone, regardless of the photon’s wavelength. The strength of the response generated by a cone when it transduces light depends only on the amount of light (i.e., the number of photons) transduced, not on the wavelength of the light. Cones differ in the likelihood that they will absorb photons of light of a particular wavelength, but once a photon is absorbed, its effect is the same for all wavelengths.

 

 

 

 

6. If a spot of light is shown, is it possible to perceive whether one is viewing a single wavelength of light as opposed to multiple wavelengths superimposed on the same location? Explain why or why not.

 

Ans: It is not possible to directly perceive the difference between single versus multiple wavelengths of light on the same spot. Metameric color matching experiments have shown that the right mixture of three monochromatic primary colors is perceived as identical in color to some other monochromatic light. According to the principle of univariance, as it applies to cones, the absorption of a photon of light causes a fixed response by a cone, regardless of the photon’s wavelength. Hence, as long as the intensity of the single wavelength is the same as that of the multiple wavelengths on the same spot, the observer will be unable to perceive a difference, as identical responses will be generated by the photoreceptors in each case.

 

 

 

 

7. According to the hue cancellation data shown in figure 5.14, what range of wavelengths in the visible spectrum is perceived to be a combination of (a) yellow and red, (b) blue and green, (c) yellow and green, (d) blue and red, (e) blue and yellow, and (f) red and green?

 

Ans: (Numbers are approximated in nm.) (a) yellow and red: 575-700; (b) blue and green: 462-485; (c) yellow and green: 485-575; (d) blue and red: 400-462; (e) and (f) no wavelengths are perceived to be a combination of either blue and yellow or red and green.

 

 

 

 

8. Why is it more efficient for the visual system to utilize color opponency instead of registering the absolute response of each type of cone in color identification?

 

Ans: The visual system has evolved in this manner to transmit visual information more efficiently. For instance, the responses of M-cones and L-cones are very similar across a broad range of the visible spectrum, which indicates that considered separately, the responses of these two cone types would provide the visual system with much the same information. Color opponency, however, subtracts the redundant information (+L-M and +M-L color circuits) to focus only on the information about the difference in the responses of the two cone types. Differences in how they respond reveal a great deal about color (a greater L-cone response indicates a red shade, whereas, a greater M-cone response indicates a green shade). Subtler differences indicate levels of yellow and orange. Thus, it is more efficient to compute the differences in their responses than to register the absolute response level of each. Similar difference information is provided by the +ML-S and +S-ML opponent circuits. Significantly, researchers have found that color opponency provides an extremely efficient code for representing the colors found in natural scenes, lending support to the idea that opponency is an evolutionary adaptation.

 

 

 

 

9. Explain color constancy.

 

Ans: The wavelengths entering one’s eyes are not solely dependent on the spectral reflectance of the object but also on the spectral power distribution (SPD) of the illuminating light. The amount of each wavelength reflected into the eyes by the object, that is, the SPD of the reflected light, is determined by multiplying the relative intensity of the illuminating light at each wavelength by the reflectance of the object at each wavelength. In spite of large differences in the SPD of the light reflected by the object under various illuminating light sources, the color perception of the object remains the same. This tendency to see a surface as having the same color under illumination by lights with very different SPDs—that is, to base our perception of the color of an object on the reflectance of the object and not on the SPD of the light reflected by the object—is called color constancy.

 

 

 

 

10. What do pointillist paintings have in common with digital color video displays with regard to how each represents color? What are the major differences between them?

 

Ans: In both pointillist paintings as well as digital video displays, additive mixtures of three primary colors were used to create a wide range of colors. Pointillist painters tried applying tiny flicks and dots of various colors close together on the canvas. The flicks and dots were supposed to blend together visually—if the viewer was standing far enough away—so that the light reflected from them would mix additively and the viewer would perceive the color represented by the mixture. Similarly, on the display screen of a digital color monitor a large number of pixels are arranged closely in a grid which takes advantage of the limited ability of the human eye to distinguish dots that are sufficiently small and close together. In pointillist paintings, however, the brushstrokes don’t really disappear—that is, from a comfortable viewing distance of two to three meters, the individual flicks and dots are clearly visible across most of the painting; the visual effect isn’t true additive mixing. In digital video displays, in contrast, at normal viewing distances, the pixels and their subelements cannot be seen individually by the human eye, and so the light from clusters of pixels blends together into additive color mixtures.