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Sensation &
Perception
SIXTH EDITION
Sensation &
Perception SIXTH EDITION
SINAUER ASSOCIATES
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Not only did we get an allusion to vestibular
Figure 15.10 Data sources: Sucrose, glucose, sucralose (Y. Nie et al. Curr Biol 15: 1948-1952); Aspartame,
sensation, but I think you will agree, you can
neotame (H. Xu et al. Proc Natl Acad Sci 101: 14258-14263); Neoculin (A. Koizumi et al. Biochem Bio-
imagine the sights, sounds, smell, tastes, and
phys Res Commun 358: 585-589); Cyclamate (P. Jiang et al. J Biol Chem 280: 34296e34305 and H. Xu et
touch of the fair as well.
al. 2004. Proc Natl Acad Sci USA 101: 14258e14263); Neohesperidin (M. Winnig et al. 2007. BMC Struct
Biol 7: 66); Lactisole (P. Jiang et al. 2005. J Biol Chem 280: 15238e15246 and H. Xu et al. 2004. Proc Natl
Acad Sci USA 101: 14258e14263); Saccharin, inhibitor @ high conc (V. Galindo-Cuspinera et al. 2006.
Nature 441: 354); Brazzein (F. M. Assadi-Porter et al. 2010. J Mol Biol 398: 584-599 and P. Jiang et al.
2004. J Biol Chem 279: 45068e45075); S819 (S. K. Kim et al. 2017. Proc Natl Acad Sci 114: 2568-2573).
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Brief Contents
CHAPTER 1 Introduction 3
CHAPTER 2 The First Steps in Vision:
From Light to Neural Signals 33
CHAPTER 3 Spatial Vision: From Spots to Stripes 57
CHAPTER 4 Perceiving and Recognizing Objects 93
CHAPTER 5 The Perception of Color 131
CHAPTER 6 Space Perception and Binocular Vision 167
CHAPTER 7 Attention and Scene Perception 211
CHAPTER 8 Visual Motion Perception 249
CHAPTER 9 Hearing: Physiology and Psychoacoustics 273
CHAPTER 10 Hearing in the Environment 305
CHAPTER 11 Music and Speech Perception 335
CHAPTER 12 Vestibular Sensation 365
CHAPTER 13 Touch 407
CHAPTER 14 Olfaction 451
CHAPTER 15 Taste 495
About the Authors
JEREMY M. WOLFE is Professor of Ophthalmology and Radiology at Harvard Med-
ical School. Dr. Wolfe was trained as a vision researcher/experimental psychologist
and remains one today. His early work includes papers on binocular vision, adapta-
tion, and accommodation. The bulk of his recent work has dealt with visual search
and visual attention in the lab and in real-world settings such as airport security and
cancer screening. He taught Introductory Psychology for over twenty-five years at
the Massachusetts Institute of Technology, where he won the Baker Memorial Prize
for undergraduate teaching in 1989. He directs the Visual Attention Lab of Brigham
and Women’s Hospital
1 Introduction 3
1.1 S
ensation & Perception: Neuronal Connections 20
Welcome to Our World 3 Neuronal Firing: The Action Potential 22
1.2 T
hresholds and the Neuroimaging 24
Dawn of Psychophysics 6 1.4 M
odeling as a Method:
Psychophysical Methods 8 Math and Computation 28
Scaling Methods 10 Computational Models: Probability,
Signal Detection Theory 13 Statistics, and Networks 28
1.3 S
ensory Neuroscience and Deep Learning 30
the Biology of Perception 16 Summary 31
Nerves and Specific Nerve Energies 17
3.5 R
eceptive Fields in •Scientists at Work Does the Duck’s Left
Eye Know What the Right Eye Saw? 91
Striate Cortex 75
Orientation Selectivity 75 Summary 91
Other Receptive-Field Properties 76
Simple and Complex Cells 77
Further Complications 78
13 Touch 407
13.1 Physical Inputs to Touch 408 13.3 Haptic Perception 434
Touch Physiology 408 Perception for Action 434
Touch Receptors and Neural Fibers 408 Action for Perception 435
From Skin to Brain 416 The What System of Touch: Perceiving
Pain 422 Objects and Their Properties 437
14 Olfaction 451
14.1 Olfactory Physiology 452 Psychophysical Methods for Detection,
Odors and Odorants 452 Discrimination, and Recognition 473
The Human Olfactory Apparatus 452 Identification: Olfaction and Language 475
How Well Do We Smell? 455 Individual Differences 476
15 Taste 495
15.1 Taste versus Flavor 495 15.5 Genetic Variation in Bitter 511
Localizing Flavor Sensations: Supertasters 512
The Role of Taste 497 Health Consequences of Variation in
•Sensation & Perception in Everyday Life
Volatile-Enhanced Taste: A New Way to 15.6 H
Taste Sensations 513
ow Do Taste and Flavor Contribute to
Sweeten Foods 498 the Regulation of Nutrients? 514
15.2 A
natomy and Physiology of
the Gustatory System 499 •Scientists at Work The Role of Food
Preferences in Food Choices 514
Taste Myth: The Tongue Map 501 Taste 515
Taste Buds and Taste Receptor Cells 502 Flavor 516
Non-Oral Locations for Taste Is All Olfactory Affect Learned? 517
Receptors 502
15.7 The Nature of Taste Qualities 518
Taste Processing in the Central Nervous
Taste Adaptation and
System 503
Cross-Adaptation 519
15.3 The Four Basic Tastes? 504 The Pleasure of the Burn of Chili
Salty 505 Peppers 519
Sour 505 Summary 521
Bitter 506
Sweet 507
15.4 A
re There More Than Four Basic
Tastes? Does It Matter? 509
Protein: The Umami Question 510
Fat 510
Glossary G-1
References R-1
Index I-1
Preface
This is an unusual time to be writing the Preface to the Sixth The author of each chapter is an expert in the topic who is
Edition of our Sensation and Perception textbook. While actively researching in the area. For every topic in the book,
working on the Sixth Edition we find ourselves in the midst we are acutely aware that there is vastly more information
of the COVID-19 shutdown. Because of the pandemic, we than we can squeeze into a chapter. Moreover, we are not
are all locked out of our labs and classrooms, working from naive or immodest enough to believe that you will devour a
home and interacting over the internet. Campuses have chapter on “The Perception of Color” or “Perceiving and Rec-
been emptied, so virtually all of the students who are using ognizing Objects” in the way that you might devour a good
the Fifth Edition of our text are using it from home. Thus, it novel. However, we do hope that you will find each chapter
feels like a bit of an act of faith to be writing to readers of the to be more than a compilation of facts. It is our hope that
sixth edition who, we may hope, are reading this in a world this book teaches enough to inspire the reader to want to
that has returned to normal or to whatever the new normal know more. In service of these goals, each chapter includes
looks like going forward. a Scientists at Work feature that gives a bit of detail about the
way that a specific topic has been studied as well as a section
Why We Wrote this Book on Sensation & Perception in Everyday Life that brings the
material out of the lab.
So, why did we write this book and why did we revise it for a It is our intention to have produced a textbook that is
Sixth Edition? The coronavirus actually provides an example reasonably comprehensive while still being digestible. It is
of the answer to the second question. It turns out that anos- possible that you, the student, may not think that a chapter
mia, an inability to smell, may be an important symptom of on motion perception, for example, is particularly digestible at
the disease, sometimes the first symptom. Of course, much 3:00 a.m. the day before the final exam, but that was the goal.
of what we know about sensation and perception has been We want to present a coherent introduction to the important
known for many years. But we write new editions because the topics in our field. As noted, we can’t cover everything. If you,
science keeps changing and circumstances around science the instructor, or you, the interested student, think we missed
keep changing. something that should be in here, please feel encouraged to
We wrote the original version and continue to revise it drop us an email.
because we are fascinated by the human senses. We want to
know the answers to fundamental questions about the senses:
How does our brain create a three-dimensional perception New to this Edition
of the world from two-dimensional images, formed on the Each time we revise the book, we add some new topics and
back of each eye? Why do some substances taste “sweet?” we take some material out. Before we start writing, we trade
Why does music sound “musical?” In our own labs, we study a few rounds of emails, asking ourselves if there are any
perceptual questions that arise from important problems in overarching topics that we should try to touch on in every
the world. How do radiologists find cancer in X-rays? Why chapter. For this edition, one of the new points of emphasis
is anosmia more disabling than you might think? Loss of a across chapters is multisensory integration.
sense of smell can have a major impact on diet and even on
social interactions. Multisensory Integration
We really love this material. We wrote this undergradu- When you sit down to dinner, that is an experience with gus-
ate textbook in the hope that we might spread some of our tatory (taste) and olfactory (smell) components, of course; but
enthusiasm to you, our reader. In service of that goal, each of it also involves vision, touch, and hearing (even if you are all
the 15 chapters of this book aims to tell a coherent and inter- alone and hearing only the crunch of your carrot stick). All
esting story that will give the reader enough background and those senses interact. If the carrot stick makes a squelchy
exposure to current research to understand why these topics sound and puts up no resistance to your bite, your experience
are interesting and how they might be further investigated. of its ‘taste’ will be quite different. And if you are dizzy
PREFACE xvii
(Chapter 12), well, the whole experience could be very differ- imprint of Oxford University Press. The people at Sinauer/
ent. We need to write about hearing as hearing and olfaction Oxford produce beautiful books and we have enjoyed working
as olfaction, but, recognizing the multisensory nature of ex- with their talented editors to produce a book that strives to
perience, we have tried to get out of our sensory silos and show be both aesthetically and intellectually appealing.
you some of the interactions between the senses. In the Sixth With the Sixth Edition, we welcome our new editor, Joan
Edition, these multisensory elements are called out in the text Kalkut, who has successfully kept us on task and on time. We
with this symbol: Thus, if you look in Chapter 11, for ex- also thank our previous editor, Sydney Carroll who oversaw
ample, you will find a discussion of how music affects taste. the last several editions and whose hand can still be seen in
New material is not restricted to multisensory tidbits. the new edition. Lou Doucette and Carol Wigg have done ex-
For instance, Chapter 1 has a new section on mathematical cellent jobs as copy editors. They caught our errors, improved
and computational modeling in perception. Chapter 4 adds our words, and made our text fit for public use. Mark Siddall
recent findings on the “visual word form area” in the brain. came up with an endless set of clever ideas for better images
In Chapter 9, there is enhanced coverage of the functions of and photos (check out Figure 7.33). Johannah Walkowicz co-
the outer hair cells of the inner ear, along with a revised and ordinated and oversaw the entire production process, as well
updated section on the treatment of hearing loss. In Chapter as developed figures, helped clarify prose, and corrected any
10, there’s new material about how sound affects vision. Ves- leftover inconsistencies or unclear writing. We also wish to
tibular sensation, the topic of Chapter 12, is a complicated thank the entire production department at Sinauer, especially
six-dimensional business. We have made renewed efforts Joan Gemme, who provided exceptional support and overall
to provide that chapter with clear figures to illustrate how project management, ensuring the highest quality and timely
we sense changes in the motion and position of the head production; Beth Roberge, who created an elegant book de-
and body. Chapter 13 (Touch) adds new material on bionic sign and cover; both Beth and Michele Ruschhaupt created
hands, pleasant touch, and the star-nosed mole (not all in beautiful page layouts; and Mike Demaray and Craig Durant
one paragraph). Chapters 14 (Olfaction) and 15 (Taste) have at Dragonfly Media Group created the stunning art program
always been more multisensory than most since when we of this text. Beyond the book, we would like to acknowledge
colloquially talk about the “taste” of a banana muffin, we are Suzanne Carter for managing and overseeing the digital proj-
talking about a sensory experience that involves the sensory ects. Many of these digital resources have been designed by
receptors in the nose and on the tongue. Smell is about more Evan Palmer of San Jose State University. He has created
than food and Chapter 14 includes new discussion of various and/or curated a host of great demonstrations of phenomena
ways in which olfaction is involved in daily life. Chapter 15 discussed in the text. Moreover, as noted earlier, with all that
takes on the multisensory perception of food and offers some is new, we always need to prune out some old material in order
new ideas about what we mean when we talk about “taste” to keep the book from growing too long. That often makes us
and “flavor.” Maybe those are not synonyms. sad because we are deleting good material. When we get too
sad, Evan tools the material into online essays.
Enhanced e-book Finally, it is always a question whether or not anyone ac-
The enhanced e-book engages students in an interactive tually reads the preface. If you did and you are reading this,
environment with content such as integrated activities that please send a note to jwolfe@bwh.harvard.edu, whether you
lead students through important processes, phenomena, and are a student or faculty. It is fun to hear from our “users.”
structures, as well as self-assessment questions with imme- If you are reading this for a course, tell us who is teaching.
diate feedback. Odds are that one of us knows your instructor. More im-
portantly, please also feel encouraged to send us notes and
Accessible Content comments about the actual text. Hearing from readers is
Every opportunity has been taken to ensure that the content an important way for us to make the book better. Thanks.
herein is fully accessible to those who have difficulty perceiving We are grateful to our colleagues who reviewed one or
color. However, some of these Figures and activities will be more of the chapters of this book. It is extremely helpful to
less accessible to some readers due to the intrinsic nature of have the wisdom of other experts in the field and of those
the colors and activities. who use the text in classroom.
Nicole D. Anderson, MacEwan University
Acknowledgments Benjamin Balas, North Dakota State University
In trying to convey our enthusiasm for this material, we Dirk Bernhardt-Walther, University of Toronto
wanted to create a beautiful book. If we have succeeded, it is Kent D. Bodily, Georgia Southern University
in no small part due to our publisher, Sinauer Associates, an
xviii PREFACE
Amanda Carey, Simmons University Christopher DiMattina, Florida Gulf Coast University
Shao-Ying I. Cheng, The University of Texas at Austin Joshua Dobias, Rutgers, The State University of
Colin Ellard, University of Waterloo New Jersey
Ahren Fitzroy, Mount Holyoke College Colin Ellard, University of Waterloo
Alexis Green, Charleston Southern University Stephen Emrich, Brock University
Alexis Grosofsky, Beloit College Rhea Eskew, Northeastern University
Laurence Harris, York University Danielle Gagne, Alfred University
Michael Hildebrand, Carleton University Carmela Gottesman, University of South Carolina,
Salkehatchie
Alan Ho, Ambrose University
Michael E. Hildebrand, Carleton University
Adam Hutcheson, Georgia Gwinnett College
Eric Jackson, University of New Mexico
Timothy S. Klitz, Washington & Jefferson College
Aaron Johnson, Concordia University
Stephen Lomber, McGill University
Ingrid S. Johnsrude, Western University
Alexander Maier, Vanderbilt University
Jane Karwoski, University of Nevada, Las Vegas
Frank M. Marchak, Montana State University
Brock Kirwan, Brigham Young University
Katherine S. Moore, Arcadia University
Roger Kreuz, University of Memphis
Alexander O’Brien, University of Wisconsin–La Crosse
Leslie D. Kwakye, Oberlin College
Thanasis Panorgias, New England College of Optometry
Michael Landy, New York University
David Pittman, Wofford College
Michael Lantz, Concordia University at Loyola
Steve Prime, University of Saskatchewan
Glenn Legault, Laurentian University
T. C. Sim, Sam Houston State University
Max Levine, Siena College
Jeffrey Stowell, Eastern Illinois University
Olga Lipatova, Christopher Newport University
D. Alexander Varakin, Eastern Kentucky University
Zili Liu, University of California, Los Angeles
Nicholas Watier, Brandon University
Alejandro Lleras, University of Illinois at
Mareike Wieth, Albion College
Urbana-Champaign
Meagan M. Wood, Valdosta State University
Justin A. MacDonald, New Mexico State University
The following reviewers read and critiqued drafts and/or Kristen L. Macuga, Oregon State University
previous versions of the text, and we are grateful for their Janice C. McMurray, University of Nevada, Las Vegas
expert assistance: John Monahan, Central Michigan University
Nicole D. Anderson, MacEwan University Richard Murray, York University
Jeffrey Andre, James Madison University Gina O’Neal-Moffitt, Florida State University
Martin Arguin, University of Montreal Michael Owren, Emory University
Simona Buetti, University of Illinois at Urbana-Champaign Jennifer Peszka, Hendrix College
Cheryl A. Camenzuli, Molloy College Robert Remez, Barnard College, Columbia University
Leslie Cameron, Carthage College Adrián Rodríguez-Contreras, The City College of
Linda C. Carson, University of Waterloo New York
Kathleen Cullen, McGill University Lisa Sanders, University of Massachusetts, Amherst
Thomas A. Daniel, Westfield State University Eriko Self, California State University, Fullerton
Nicolas Davidenko, University of California, Santa Cruz Kevin Seybold, Grove City College
PREFACE xix
Steve Shevell, University of Illinois at Chicago Many, many colleagues have sent us reprints and answered
Rachel Shoup, California State University, East Bay questions about points both specific and general. We grate-
fully acknowledge their help even if we cannot list all of their
T. C. Sim, Sam Houston State University
names (and even if we may still have failed to get things exactly
Joel Snyder, University of Nevada, Las Vegas right). We are also indebted to the users of the text, students,
Miriam Spering, University of British Columbia and faculty who pointed out errors, typos, and other short-
Kenneth Steele, Appalachian State University comings in the first five editions. We hope we caught them
all and we hope that the readers of this edition will continue
Julia Strand, Carleton College
to offer us assistance. As noted earlier in the preface, if you
William Stine, University of New Hampshire find a flaw or if you have any other comment—even a posi-
Greg Stone, Arizona State University tive one—please feel encouraged to let us know. You can use
Duje Tadin, University of Rochester jwolfe@bwh.harvard.edu as a point of contact for all of us.
Jeroen van Boxtel, University of California, Los Angeles
Rachel Walker, Charleston Southern University
Dirk B. Walther, University of Toronto
Scott N. J. Watamaniuk, Wright State University
Laurie Wilcox, York University
Digital Resources for
Sensation & Perception, Sixth Edition
the chapter, with titles on each slide, and complete a brief assignable quiz, giving instructors the option
captions in the Notes field. Complex figures are to use the activities as assignments.
provided in both whole and split versions. ● Study Questions: A set of questions designed to give
● Lecture: A complete lecture presentation that students the opportunity to test their understanding of
consists of a detailed lecture outline with selected each chapter’s material.
figures and tables. ● Chapter Summaries: Review activities that combine
● Instructor’s Manual: A variety of resources to a detailed overview of each chapter’s content with a
aid in course development, lecture planning, and fill-in-the-blanks exercise to check comprehension.
DIGITAL RESOURCES xxi
Oxford Learning Link Direct Ideal for self-study, the Sensation & Perception, Sixth Edi-
At Oxford University Press, we create high-quality, engag- tion enhanced e-book delivers the full suite of digital re-
ing, and affordable digital materials in a variety of formats sources in a format independent from any courseware or
and deliver them to you in the way that best suits your needs, learning management system platform, making Sensation &
as well as those of your students and your institution. With Perception’s online resources more accessible for students. The
Oxford Learning Link Direct, there is no need for you and your enhanced e-book is available through leading higher-education
students to learn a separate publisher-provided courseware e-book vendors and includes all the student resources, such
platform in order to access quality digital learning tools within as Chapter Overviews, Activities, Essays, and Flashcards. The
your learning management system (LMS). Instructors and their e-book also features:
LMS administrators simply download Oxford’s Oxford Learn- ● Learning Objectives: New to this edition, designed
ing Link Direct from Oxford’s online Oxford Learning Link to guide students to the essential content as they read
(OLL) and, with the turn of a digital key, incorporate engaging through each section.
content directly into their LMS for assigning and grading. ● Self-Assessment Questions: New to this edition.
1.1 Psychophysics 1.3 Neurons 1.1 Senses of Reality Through the Ages
1 1.2 Sensory Areas in the Brain
2.1 Visual System Overview 2.5 Retinal Structure 2.1 How Many Quanta Does It Take?
2.2 From Sun to Eye 2.6 Phototransduction 2.2 Clinical Case: The Man Who
2 2.3 Eye Structure 2.7 Acuity versus Sensitivity Couldn’t Read
2.4 Simulated Scotoma 2.8 Ganglion Receptive Fields 2.3 Seeing Illusory Stripes and Spots
9.1 What We Hear 9.3 Equal-Loudness Curves 9.1 Outer Hair Cells and Electromotility
9 9.2 Structure of the Auditory System
10.1 Auditory Localization Cues 10.4 Auditory Stream 10.1 Reverberations and
Segregation the Precedence Effect
10 10.2 The Missing-Fundamental
Effect 10.5 Continuity and Restoration
10.3 Timbre Effects
11.1 Notes, Chords, and Octaves 11.3 Word Breaks 11.1 Studying Brain Areas for Language
11 11.2 Categorical Perception 11.4 The McGurk Effect Processing
12.1 A Guided Tour of the Vestibular 12.3 Observing Torsional Eye 12.1 Gravity versus Linear Acceleration
System Movement
12 12.2 Sinusoidal Motion
12.2 Canal-Otolith Multisensory
Integration
12.3 Space Motion Sickness
13.1 The Need for Touch 13.4 The Rubber Hand Illusion 13.1 Living without Kinesthesis
13.2 Somatosensory Receptors 13.5 Two-Point Touch Thresholds 13.2 Body Image
13 13.3 The Sensory Homunculus 13.6 Haptic Object Recognition 13.3 Phantom Limbs
13.4 Lego Blocks Front and Back
14.1 Olfactory Anatomy 14.3 Sensory Memory Cues 14.1 Smell-O-Vision
14 14.2 Odor Adaptation and
Habituation
14.2 Olfactory Lateralization
14.3 Verbal-Olfactory Interactions
15.1 Taste without Smell 15.2 Gustatory Anatomy 15.1 Water Tastes
15
Chapter
1
Y
ou’ve taken the plunge to read at least part of a textbook on “sensation
and perception.” You may be majoring in psychology or studying an allied
field, such as neuroscience or biology, or you may be simply curious. No
matter what interests you most, your understanding will be based on sensation
and perception.
“Why?” you ask. Most everything you know or think that you know about
the world around you depends on how you sense and how you perceive. These
foundational experiences began even before you were born. Your senses help you
to keep upright, stay warm or cool, avoid pain and poisonous things, and avoid
danger. Your experiences of the rich tapestry of life through movement, touch,
smell, taste, hearing, and vision inform most everything that you believe to be true.
It is small wonder that the questions posed in this textbook have been front and
center for big thinkers since the first written words, and probably earlier. Today, a
small army of researchers continue to pursue answers. This first chapter provides
an introduction to the sorts of questions that captivate the authors of this book and
the sorts of methods that researchers have developed to answer those questions.
These are only examples from the endless list of possibilities. The rest of the book
will introduce you to the vast array of questions that must occupy the attention of
anyone who really wants to know how we know what we think we know.
the cat. You don’t even have access to the private sensations of a person whose back
you might stroke. Your own sensory experience is directly accessible only to you.
This book is titled Sensation & Perception. The ability to detect the pressure
of a finger and, perhaps, to turn that detection into a private experience is an
example of sensation. Perception can be thought of as the act of giving meaning
and/or purpose to those detected sensations. How do you understand the finger
that runs down your back? Is it a gesture of affection? Is it an officer at an airport
security checkpoint looking for contraband? This book will trace the path from
stimuli in the world, through your sense organs, to the understanding of the
world that you perceive.
Everything we feel, think, and do depends on sensations and perceptions. For
this reason, philosophers have thought, talked, and written about the topic in
profound and systematic ways for over two millennia. (See Essay 1.1: Senses of
Reality Through the Ages.) The idea that mental life depends on sensation and
perception has deep roots. The eighteenth-century French philosopher Étienne
Courtesy of m.h.siddall
method 1: thresholds What is the faintest sound you can hear? How would
you know? What is the loudest sound you can hear? This last question is not as
stupid as it may sound, though it could be rephrased like this: “What is the loudest
sound you can hear safely or without pain?” If you listened to sounds above that
limit, perhaps by blasting your music too enthusiastically, you would change the
answer to the first question. You would have damaged your auditory system and
be unable to hear the faintest sound that you used to be able to hear. Your thresh-
old would have changed (for the worse). How would you measure that threshold?
As we’ll learn in this chapter, a variety of methods are available for measuring just
how sensitive your senses are.
can demonstrate that different people do, in some cases, inhabit different sensory
worlds. Our discussion in this chapter will show how scaling methods can be used
to perform this act of mind reading.
the difference between the standard and comparison weights depended greatly on
the weight of the standard. When the standard was relatively light, people were
much better at detecting a small difference when they lifted a comparison weight.
When the standard was heavier, people needed a greater difference before they
could detect a change. He called the difference required for detecting a change in
weight the just noticeable difference, or JND. Another term for JND, the smallest
change in a stimulus that can be detected, is the difference threshold.
Weber noticed that JNDs change in a systematic way. The smallest change in
weight that could be detected was always close to 1/40 of the standard weight. Thus,
a 1-gram change could be detected when the standard weighed 40 grams, but a
10-gram change was required when the standard weighed 400 grams. Weber went
on to test JNDs for a few other kinds of stimuli, such as the lengths of two lines (for
which the detectable change ratio was 1:100). For virtually every measure—whether
brightness, pitch, or time—a constant ratio between the change and the standard
could describe the threshold of detectable change quite well. This ratio rule holds
true except for extreme stimuli—stimuli so small or large that they approach the
minimum or maximum of our senses. In recognition of Weber’s discovery, Fechner
called these ratios, or proportions, Weber fractions, and he called the mathematical FIGURE 1.4 Ernst Weber Weber
discovered that the smallest detectable
formula that described the general rule Weber’s law. Weber’s law states that the change in a stimulus, such as the weight
size of the just detectable difference (ΔI) is a constant proportion (K) of the level of an object, is a constant proportion of
of the stimulus (I). the stimulus level. This relationship later
In Weber’s observations, Fechner found what he was looking for: a way to became known as Weber’s law.
describe the relationship between mind and matter. Fechner assumed that the
smallest detectable change in a stimulus (ΔI) could be considered a unit of the mind
because this is the smallest bit of change that is perceived. He then mathematically
extended Weber’s law to create what became known as Fechner’s law (FIGURE 1.5): just noticeable difference (JND) or
difference threshold The smallest
S = k log R detectable difference between two
stimuli, or the minimum change in a
where S is the psychological sensation, which is equal to the logarithm of the phys- stimulus that enables it to be correctly
ical stimulus level (log R) multiplied by a constant, k. This equation describes the judged as different from a reference
fact that our psychological experience of the intensity of light, sound, smell, taste, stimulus.
or touch increases less quickly than the actual physical stimulus increases. With Weber fraction The constant of
this equation, Fechner provided us with at least one way to relate mind and matter. proportionality in Weber’s law.
Weber’s law The principle describing
the relationship between stimulus and
resulting sensation that says the just
noticeable difference (JND) is a constant
fraction of the comparison stimulus.
Fechner’s law A principle describing
the relationship between stimulus and
resulting sensation that says the magni-
tude of subjective sensation increases
Sensation intensity (S)
Even if mind and matter are related, we take care to distinguish between units
of physical entities (such as light or sound) and measures of people’s perception
(“brightness,” “loudness”). For example, the physical intensity of a sound—the
sound pressure level—is a physical entity we can measure in decibels, whereas a
person’s perception of “loudness” is psychophysical and subjective (see Section 9.2).
Similarly, frequency is a measure of the rate of fluctuations of the physical sound
pressure, while the “pitch” of a musical note describes a psychophysical response to
that physical phenomenon. Frequency and pitch are not the same thing, although
they are closely correlated. Over a wide range, as frequency increases, so does pitch,
though it is unclear whether there is a perception of pitch for the highest audible
frequencies (Green, 2005).
Fechner was the first to objectively measure psychological events through new
ways to measure what people see, hear, and feel (Wixted, 2020). As such he can
be considered to be the true founder of experimental psychology (Boring, 1950),
even if that title is usually given to Wilhelm Wundt (1832–1920), who began his
work sometime later. All of Fechner’s methods are still in use today. In explaining
these methods here, we will use absolute threshold as an example because it is
perhaps the most straightforward; but we would use the same methods to determine
difference thresholds such as ΔI. An absolute threshold is the minimum intensity
of a stimulus that can be detected (TABLE 1.1). This returns us to the question we
raised earlier: What is the faintest sound you can hear? Of course, we can ask the
same question about the faintest light, the lightest touch, and so forth. (See Activity
1.1: Psychophysics.)
Psychophysical Methods
How can we measure an absolute threshold in a valid and reliable manner? One
method, known as the method of constant stimuli, requires creating many stimuli
with different intensities in order to find the tiniest intensity that can be detected
absolute threshold The minimum (FIGURE 1.6). If you’ve had a hearing test, you had to report when you could and
amount of stimulation necessary for could not hear a tone that the audiologist played to you over headphones, usually
a person to detect a stimulus 50% of in a very quiet room. In this test, intensities of all of the tones were relatively low,
the time.
not too far above or below the intensity where your threshold was expected to be.
method of constant stimuli A psycho-
physical method in which many stimuli,
The tones, varying in intensity, were presented randomly, and tones were presented
ranging from rarely to almost always multiple times at each intensity.
perceivable (or rarely to almost always The “multiple times” piece is important. Subtle perceptual judgments such as
perceivably different from a reference threshold judgments are variable. The stimulus varies for physical reasons. The
stimulus), are presented one at a time.
Participants respond to each presenta-
observer varies. Attention waivers and sensory systems fluctuate for all sorts of
tion: “yes/no,” “same/different,” reasons. As a consequence, one measure is almost never enough. You need to repeat
and so on. the measure over and over and then average the responses or otherwise describe the
Introduction 9
(A) (B)
100 100
“I hear it.”
75 75
Threshold
50 50
25 25
FIGURE 1.6 The method of constant stimuli (A) We might expect the threshold to be
a sharp change in detection from never reported to always reported, as depicted here, but
this is not so. (B) In reality, experiments measuring absolute threshold produce shallower
functions relating stimulus to response. A somewhat arbitrary point on the curve, often
50% detection, is designated as the threshold (dashed line).
pattern of results. Some experiments require thousands of repetitions (thousands method of limits A psychophysical
of “trials”) to establish a sufficiently reliable data point. method in which the particular dimension
of a stimulus, or the difference between
Returning to our auditory example, as the listener, you would report whether two stimuli, is varied incrementally until
you heard a tone or not. You would always report hearing a tone that was relatively the participant responds differently.
far above threshold, and almost never report hearing a tone that was well below
threshold. In between, however, you would be more likely to hear some tone inten-
sities than not to hear them, and you would hear other, lower intensities on only a
few presentations. In general, the intensity at which a stimulus would be detected
50% of the time would be chosen as your threshold.
That 50% definition of absolute threshold is rather interesting. Weren’t we
looking for a way to measure the weakest detectable stimulus? Using the hearing Trial series
example, shouldn’t that be a value below which we just can’t hear anything (see 1 2 3 4 5 6 7 8
Figure 1.6A)? It turns out that no such hard boundary exists. Because of variability 20 Y Y
in the nervous system, stimuli near threshold will be detected sometimes and
19 Y Y Y Y
missed at other times. As a result, the function relating the probability of detection
with the stimulus level will be gradual (see Figure 1.6B), and we must settle for 18 Y Y Y Y
Intensity (arbitrary units)
11 N N N N
FIGURE 1.7 The method of limits Here the listener attends to multiple series of trials.
For each series, the intensity of the stimulus is gradually increased or decreased until the 10 N N N N
listener detects (Y) or fails to detect (N), respectively, the stimulus. For each series, an esti- 13.5 14.5 12.5 14.5 12.5 14.5 13.5 12.5
mate of the threshold (red dashed line) is taken to be the average of the stimulus level just
before and after the change in perception (i.e., the average “crossover value”). Crossover values (average = 13.5)
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method of adjustment A method of When tones are presented in ascending order, from faintest to loudest, listeners are
limits in which the participant controls asked to report when they first hear the tone. With descending order, the task is to
the change in the stimulus.
report when the tone is no longer audible. Data from an experiment such as this
magnitude estimation A psychophys- show that there is some “overshoot” in judgments. It usually takes more intensity
ical method in which the participant
assigns values according to perceived to report hearing the tone when intensity is increasing, and it takes more decreases
magnitudes of the stimuli. in intensity before a listener reports that the tone cannot be heard. We take the
Stevens’s power law A principle average of these crossover points—when listeners shift from reporting hearing the
describing the relationship between tone to not hearing the tone, and vice versa—to be the threshold.
stimulus and resulting sensation that The third and final of these classic measures of thresholds is the method of
says the magnitude of subjective sensa-
adjustment. This method is just like the method of limits, except the person being
tion is proportional to the stimulus mag-
nitude raised to an exponent. tested is the one who steadily increases or decreases the intensity of the stimulus.
The method of adjustment may be the easiest method to understand, because it is
much like day-to-day activities such as adjusting the volume dial on a stereo or the
dimmer switch for a light. Even though it’s the easiest to understand, the method of
adjustment is not usually used to measure thresholds. The method would be perfect
if threshold data were like those plotted in Figure 1.6A, but a graph of real data
looks more like Figure 1.6B. The same person will adjust a dial to different places
on different trials, and measurements get even messier when we try to combine
the data from multiple people.
Scaling Methods
Moving beyond absolute thresholds and difference thresholds, suppose we wanted
to know how strong your experiences are. For example, we might show you a light
and ask how much additional light you would need to make another light look
twice as bright. Though that might seem like an odd question, it turns out to be
answerable. We could give you a knob to adjust so that you could set the second
light to appear twice as bright as the first, and you could do it.
In fact, we don’t need to give the observers a light to adjust. A surprisingly
straightforward way to address the question of the strength or size of a sensation is
to simply ask observers to rate the experience. For example, we could give observers
a series of sugar solutions and ask them to assign numbers to each sample. We
would just tell our observers that sweeter solutions should get bigger numbers, and
if solution A seems twice as sweet as solution B, the number assigned to A should
be twice the number assigned to B. This method is called magnitude estimation,
and the approach actually works well, even when observers are free to choose their
own range of numbers. More typically, however, we might begin the experiment by
presenting one solution at an intermediate level and telling the taster to label this
level as a specific value—10, for instance. All of the responses should then be scaled
sensibly above or below this standard of 10. If you do this for sugar solutions, you
will get data that look like the blue “sweetness” line in FIGURE 1.8.
Inspired by his student Richard Held, a distinguished vision researcher whose
work you will learn about in Sections 6.4 and 13.1, Harvard psychologist S. S.
Stevens (1962, 1975) developed magnitude estimation. Stevens, his students, and
their successors measured functions like the one in Figure 1.8 for many different
sensations. Even though observers were asked to assign numbers to private expe-
rience, the results were orderly and lawful. However, they were not the same for
every type of sensation. That relationship between stimulus intensity and sensation
is described by what is now known as Stevens’s power law:
S = aI b
which states that the sensation (S) is related to the stimulus intensity (I) by an ex-
ponent (b). (The letter a is a constant that corrects for the units you are using. For
Introduction 11
60
50
40 Sweetness (0.8)
30
20
Brightness (0.3)
10
0
0 10 20 30 40 50 60 70 80 90 100
Stimulus energy
example, if you measured your stimulus in meters and then switched to measuring
it in centimeters, you would need to multiply by 0.01 [= divide by 100] to keep your
sensation numbers the same.) So, for example, experienced sensation might rise
with intensity squared (I × I). That would be an exponent of 2.0. If the exponent is
less than 1, it means that the sensation grows less rapidly than the stimulus—which
is what Fechner’s law and Weber’s law would predict.
Suppose you have some lit candles and you light 10 more. If you start with 1
candle, the change from 1 to 11 candles must be quite dramatic. If you start with
100 and add 10, the change will be modest. Adding 10 to 10,000 won’t even be
noticeable. In fact, the exponent for brightness is about 0.3. The exponent for
sweetness is about 0.8 (Bartoshuk, 1979). Properties like length have exponents near
1, so, reasonably enough, a 12-inch-long stick looks twice as long as a 6-inch-long
stick (S. S. Stevens and Galanter, 1957). Note that this length relationship is true
over only a moderate range of sizes. An inch added to the size of a spider changes
your sensory experience much more than an inch added to the height of a giraffe.
Some stimuli have exponents greater than 1. In the painful case of electric shock,
the pain grows with I3.5 (Stevens, Carton, and Shickman, 1958), so a 4-fold increase
in the electrical current is experienced as a 128-fold increase in pain!
Weber’s and Fechner’s laws have rather broad implications beyond questions
of apparent brightness or loudness. Some plants, for example, will respond to the
psychophysical experience of the bees that pollinate them (Nachev et al., 2017).
Suppose you are a plant pollinated by bees that are attracted to your flowers because
those flowers have sweet nectar. How much sugar do you need to put into that
nectar? After all, it’s going to cost you energy to produce sugar. If your nectar has 2
units of sugar and the neighbor flower only has 1, you probably have a competitive
advantage over the neighbor. However, if yours has 12 units and the neighbor’s has
11, that difference of 1 unit might fall below the bee’s Weber fraction for sweetness.
Thus, there will be greater evolutionary pressure to go from 1 to 2 than from 11 to
12. Similarly, a peacock with 51 feathers in his tail probably does not have much of
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12 Chapter 1
cross-modality matching The ability a reproductive advantage over a 50-feather peacock. The peahen might not notice
to match the intensities of sensations the difference, putting an evolutionary brake on tail inflation (Farris, 2017).
that come from different sensory modal-
ities. This ability allows insight into sen-
At this point in our discussion of psychophysics, it is worth taking a moment
sory differences. For example, a listener to compare Weber’s, Fechner’s, and Stevens’s laws:
might adjust the brightness of a light 1. Weber’s law involves a clear objective measurement. We know how much
until it matches the loudness of a tone.
we varied the stimulus, and either the observers can tell that the stimulus
changed or they cannot.
2. Fechner’s law begins with the same sort of objective measurements as
Weber’s, but the law is actually a calculation based on some assumptions
about how sensation works. In particular, Fechner’s law assumes that all
JNDs are perceptually equivalent. In fact, this assumption turns out some-
times to be incorrect and leads to instances where the “law” is violated, such
as in the electric shock example just given.
3. Stevens’s power law describes rating data quite well, but notice that rating
data are qualitatively different from the data that support Weber’s law. We
can record the observer’s ratings and we can check whether those ratings
are reasonable and consistent, but there is no way to know whether they are
objectively right or wrong.
A useful variant of the scaling method shows us that different individuals can
live in different sensory worlds, even if they are exposed to the same stimuli. This
method is called cross-modality matching. In cross modality match-
ing, an observer adjusts a stimulus of one sort to match the perceived
Matching sensations
magnitude of a stimulus of a completely different sort (J. C. Stevens,
Strongest pain
1959). For example, we might ask a listener to adjust the brightness of
Loudest sound a light until it matches the loudness of a particular tone. Again, though
Brightest light the task might sound odd, people can do this, and for the most part,
Supertasters everyone with “normal” vision and hearing will produce a similar pattern
of matches of a sound to a light. We still can’t examine someone else’s
private experience, but at least the relationship of visual experience
Brightness of the sun
and auditory experience appears to be similar across individuals.
This similarity does not hold when it comes to the sense of taste.
Heat of scalding water
There is a molecule called propylthiouracil (PROP) that some people
experience as very bitter, while others experience it as almost tasteless.
Sound of a fire engine
Still others fall in between. This relationship between a chemical and
bitter taste can be examined formally with cross-modality matching
(Marks et al., 1988). When observers are asked to match the bitterness of
Pain of a severe headache
Sound of an airplane PROP to other sensations completely unrelated to taste, we do not find
Brightness of high-beam headlights the sort of agreement that is found when observers match sounds and
Smell of a skunk
Coldness of snow lights (FIGURE 1.9). Some people—we’ll call them nontasters—match
the taste of PROP to very weak sensations, like the sound of a watch or
a whisper. A group of “supertasters” assert that the bitterness of PROP
Medium is similar in intensity to the brightness of the sun or the most intense
tasters Brightness of low-beam headlights
Smell of bacon frying
Pain of a mild headache
Brightness of the moon/loudness FIGURE 1.9 Cross-modality matching The levels of bitterness of con-
of a conversation centrated PROP perceived by nontasters, medium tasters, and supertasters
of PROP are shown on the left. The perceived intensities of a variety of
everyday sensations are shown on the right. The arrow from each taster type
Loudness of a whisper indicates the level of sensation to which those tasters matched the taste of
Nontasters Sound of a watch PROP. (Data from K. Fast. 2004. Developing a Scale to Measure Just About
Anything: Comparisons across Groups and Individuals. Thesis Digital Library,
No sensation 3353. Yale University School of Medicine: New Haven, CT.)
Introduction 13
pain ever experienced. Medium tasters match PROP to weaker stimuli, such as the signal detection theory A psycho-
smell of frying bacon or the pain of a mild headache (Bartoshuk, Fast, and Snyder, physical theory that quantifies the
response of an observer to the pre-
2005). As we will see in Section 15.5, there is a genetic basis for this variation, and sentation of a signal in the presence of
it has wide implications for our food preferences and, consequently, for health. noise. Measures obtained from a series
For the present discussion, this example shows that we can use scaling methods of presentations are sensitivity (dʹ) and
to quantify what appear to be real differences in individuals’ taste experiences. criterion of the observer.
© Xray Computer/Shutterstock.com
Of course, sometimes neither internal nor external noise is much of a problem.
When you see this dot, , you are seeing it in the presence of internal noise, but the
●
magnitude of that noise is so much smaller than the signal generated by the dot that
the noise has no real impact. Similarly, the dot may not be exactly the same as other
dots, but that variation—the external noise—is also too small to have an impact. If
asked about the presence of a dot here, , and its absence here, , you will be correct
●
in your answer essentially every time. Signal detection theory exists to help us un-
derstand what’s going on when we make decisions under conditions of uncertainty. FIGURE 1.10 Differentiating signal
Because we are not expert mammographers, let’s introduce a different example from noise Mammograms—X-rays of
the breast—are used to screen women for
to illustrate the workings of signal detection theory. You’re in the shower. The water
breast cancer. The solid white region is
is making a noise that we will imaginatively call “noise.” Sometimes the noise sounds the signal of a cancerous growth; however,
louder to you; sometimes it seems softer. We can plot the distribution of your per- the mammogram contains many similar
ception of noise as shown in FIGURE 1.11A . On the x-axis, we have the magnitude regions (“noise”). Reading such images is a
difficult perceptual task. Even for a radiol-
of your sensation from “less” to “more.” Imagine that we asked you, over and over
ogist trained to discriminate and identify
again, about your sensation. Or imagine we took many repeated measures of the particular signals, there is always uncer-
response in your nervous system to the sound. For some instances, the response tainty due to internal and external noise.
14 Chapter 1
(C)
+
(A) (B)
NO Criterion YES
Number of instances
Shower “noise” alone
Ringtone + noise
(D) Correct rejection (E) Hit (F) False alarm (G) Miss
NO Criterion YES NO Criterion YES NO Criterion YES NO Criterion YES
Number of instances
FIGURE 1.11 Detecting a stimulus using signal detection theory (SDT) ( A) SDT
assumes that all perceptual decisions are made against a background of noise (the red curve)
generated both in the world and in the nervous system. (B) Your job is to distinguish ner-
vous system responses due to noise alone (dotted, red curve) or to signal plus noise (solid,
blue curve). (C) The best you can do is establish a criterion (solid black line) and declare that
you detect something if the response is above that criterion. (D–G) Signal detection theory
includes four classes of responses. (D) “Correct rejection” (you say “no” and there is, indeed,
no signal). (E) “Hits” (you say “yes” and there is a signal). (F ) “False-alarm errors” (you say
“yes” to no signal). (G) “Miss errors” (you say “no” to a real signal).
would be “less.” For some, it would be “more.” On average, it would lie somewhere
in between. If we tabulated all of the responses, we would get a bell-shaped (or
“normal”) distribution of answers, with the peak of that distribution showing the
average answer that you gave.
Now a ringtone plays. That will be our “signal.” Your perceptual task is to
detect the signal in the presence of the noise. What you hear is a combination of
the ringtone and the shower. That is, the signal is added to the noise, so we can
imagine that now we have two distributions of responses in your nervous system:
a noise-alone distribution and a signal-plus-noise distribution (FIGURE 1.11B).
For the sake of simplicity, let’s suppose that “more” response means that it
sounds more like the phone is ringing. So now your job is to decide whether it’s
time to jump out of the shower and answer what might be the phone. The problem
is that you have no way of knowing at any given moment whether you’re hearing
criterion In reference to signal
noise alone or signal plus noise. The best you can do is to decide on a criterion level
detection theory, an internal thresh- of response (FIGURE 1.11C). If the response in your nervous system exceeds that
old that is set by the observer. If the criterion, you will jump out of the shower and run naked and dripping to find the
internal response is above criterion, phone. If the level is below the criterion, you will decide that it is not a ringtone
the observer gives one response
(e.g., “yes, I hear that”). Below cri-
and stay in the shower. Note that this “decision” is made automatically; it’s not
terion, the observer gives another that you sit down to make a conscious (soggy) choice. Thus, in signal detection
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response (e.g., “no, I hear nothing”). theory, a criterion is a value that is somehow determined by the observer. Within
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Introduction 15
Number of instances
Number of instances
Shower “noise” alone d′ = ~0 d′ = ~1 d′ = ~4
Ringtone + noise
FIGURE 1.12 Sensitivity (dʹ) in SDT Your sensitivity to a stimulus is illustrated by the
separation between the distributions of your response to noise alone (dotted, red curve)
and to signal plus noise (solid, blue curve). This separation is captured by the measure
dʹ (d-prime). (A) If the distributions completely overlap, dʹ is almost 0 and you have no
ability to detect the signal. (B) If dʹ is intermediate, you have some sensitivity but your
performance will be imperfect. (C) If dʹ is big, then distinguishing signal from noise is easy.
the observer, a response above the criterion will be taken as evidence that a signal sensitivity In reference to signal detec-
is present. A response below that level will be treated as noise. tion theory, a measure that defines the
ease with which an observer can tell the
There are four possible outcomes in this situation: You might say “no” when
difference between the presence and
there is no ringtone; that’s a correct rejection or true negative (FIGURE 1.11D). absence of a stimulus or the difference
You might say “yes” when there is a ringtone; that’s known as a hit or true positive between Stimulus 1 and Stimulus 2.
response (FIGURE 1.11E). Then there are the errors. If you jump out of the shower
when there’s no ringtone, that’s a false alarm or false positive (FIGURE 1.11F). If
you miss the call, that’s a miss or false negative (FIGURE 1.11G).
How sensitive are you to the ringtone? In FIGURE 1.12, the sensitivity is graphed
as the separation between the noise-alone and signal-plus-noise distributions. If the
distributions are on top of each other (Figure 1.12A), you can’t tell noise alone from
signal plus noise. A false alarm is just as likely as a hit. By knowing the relationship of
hits to false alarms, you can calculate a sensitivity measure known as dʹ (d-prime),
which would be about zero in Figure 1.12A. In Figure 1.12C we see the case of a
large dʹ. Here you could detect essentially all the ringtones and never make a false
alarm error. The situation we’ve been discussing is in between (Figure 1.12B).
Now suppose you’re waiting for an important call. Even though you really don’t
want to miss the call, you can’t magically make yourself more sensitive. All you can
do is move the criterion level of response, as shown in FIGURE 1.13. If you shift
your criterion to the left, you won’t miss many calls, but you will have lots of false
(A) “Gotta get that call!” (B) “Is that the phone?” (C) “That’s not the phone.”
Number of instances
Ringtone + noise
FIGURE 1.13 Criterion in SDT For a fixed dʹ, all you can do is change the pattern of
your errors by shifting the response criterion. If you don’t want to miss any signals, you
move your criterion to the left (A), but then you have more false alarms. If you don’t like
false alarms, you move the response criterion to the right (C), but then you make more
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miss errors.
Sensation In all these
& Perception 6Ecases (A–C), your sensitivity, dʹ, remains the same.
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Correct rejection Pr(N|n) FIGURE 1.14 Receiver operating characteristic (ROC) curves
1.0 0
1.0 0 Theoretical ROC curves for different values of dʹ. Note that dʹ = 0 when
performance is at the chance level. Higher values of dʹ indicate that
the probability of hits and correct rejections increases, and the proba-
bility of misses and false alarms decreases. Pr(N|n) = probability of the
2
=
5
1.
ce
d′
Miss Pr(N|s)
rm
Hit Pr(S|s)
fo
r
pe
e
nc
naked, dripping on the floor, and traumatizing the cat for no good
reason. If you shift your criterion to the right, you won’t have those
annoying false alarms, but you will miss most of the calls (Figure
1.13C). For a fixed value of dʹ, changing the criterion changes the
hits and false alarms in predictable ways. If you plot false alarms
on the x-axis of a graph against hits on the y-axis for different
0 1.0 criterion values, you get a curve known as a receiver operating
0 1.0
False alarm Pr(S|n) characteristic (ROC) curve (FIGURE 1.14).
Suppose you were guessing (the Figure 1.12A situation). You
might guess “yes” on 40% of the occasions when the phone rang,
but you would also guess “yes” on 40% of the occasions when the phone did not ring.
If you moved your criterion and guessed “yes” on 80% of phone-present occasions,
you would also guess “yes” on 80% of phone-absent occasions. Your data would fall
on that “chance performance” diagonal in Figure 1.14. If you were perfect (the Figure
1.12C situation), you would have 100% hits and 0% false alarms and your data point
would lie at the upper left corner in Figure 1.14. Situations in between (Figure 1.12B)
produce curves between guessing and perfection (the green, purple, and blue curves
in Figure 1.14). If your data lie below the chance line, you did the experiment wrong!
Let’s return to our radiologist. She will have an ROC curve whose closeness
to perfection reflects her expertise. On that ROC, her criterion can slide up and
to the right, in which case she will make more hits but also more false alarms,
or down and to the left, in which case she will have fewer false alarms but more
misses. Where she places her criterion (consciously or unconsciously) will depend
on many factors. Does the patient have factors that make her more or less likely to
have cancer? What is the perceived cost of a missed cancer? What is the perceived
receiver operating characteristic
(ROC) curve In reference to stud- cost of a false alarm? You can see that what started out as a query about the lack of
ies of signal detection, the graphical absolute thresholds can become, quite literally, a matter of life and death.
plot of the hit rate as a function of the Signal detection theory can become a rather complicated topic in detail (e.g.,
false-alarm rate. If these are the same, what happens if those noise and signal + noise curves are not exactly the same
points fall on the diagonal, indicating
that the observer cannot tell the dif- shape?). To learn about how to calculate dʹ and about ROC curves, you can take
ference between the presence and advantage of many useful websites and several texts (e.g., Macmillan and Creelman,
absence of the signal. As the observer’s 2005; see Burgess, 2010 if you’re interested in the application to radiology).
sensitivity increases, the curve bows
upward toward the upper left corner.
That point represents a perfect ability to 1.3 S
ensory Neuroscience and
distinguish signal from noise (100% hits,
0% false alarms).
the Biology of Perception
doctrine of specific nerve energies Many of you reading this book will have had some introduction to neuroscience.
A doctrine, formulated by Johannes Here, we review very briefly some of the neuroscience that is relevant to the study
Müller, stating that the nature of a
sensation depends on which sensory
of sensation and perception. If this is your first encounter with neuroscience, you
fibers are stimulated, rather than how may want to consult a neuroscience text to give yourself a more detailed background
they are stimulated. than we will provide.
Introduction 17
During the nineteenth century, when Weber and Fechner were initiating the cranial nerves Twelve pairs of nerves
experimental study of perception, physiologists were hard at work learning how (one for each side of the body) that orig-
inate in the brain stem and reach sense
the senses and the brain operate. Much of this work involved research on animals. organs and muscles through openings
It’s worth spending a moment on a key assumption here: studies of animal senses in the skull.
tell us something about human senses. That may seem obvious, but the assumption olfactory (I) nerves The first pair of
requires the belief that there is some continuity between the way animals work and cranial nerves. The axons of the olfactory
the way humans work. sensory neurons bundle together after
The most powerful argument for a continuity between humans and animals passing through the cribriform plate to
form the olfactory nerve, which conducts
came from Darwin’s theory of evolution. During the 1800s, Charles Darwin impulses from the olfactory epithelia in
(1809–1882) proposed his revolutionary theory in On the Origin of Species (1859). the nose to the olfactory bulb.
Although many of the ideas found in that book had been brewing for some time, optic (II) nerves The second pair of
controversy expanded with vigor following Darwin’s provocative statements in cranial nerves, which arise from the ret-
The Descent of Man (1871), where he argued that humans and apes evolved from ina and carry visual information to the
thalamus and other parts of the brain.
a common ancestor. If there was continuity in the structure of the bones, heart,
and kidneys of cows, dogs, monkeys, and humans, then why wouldn’t there be vestibulocochlear (VIII) nerves
The eighth pair of cranial nerves, which
continuity in the structure and function of their sensory and nervous systems? connect the inner ear with the brain,
An inescapable implication of the theory of evolution is that we can learn much transmitting impulses concerned with
about human sensation and perception by studying the structure and function of hearing and spatial orientation. The
our nonhuman relatives. vestibulocochlear nerve is composed
of the cochlear nerve branch and the
vestibular nerve branch.
Nerves and Specific Nerve Energies
oculomotor (III) nerves The third pair
At the same time that Darwin was at work in England, the German physiologist of cranial nerves, which innervate all the
Johannes Müller (1801–1858) (FIGURE 1.15) was writing his very influential Hand- extrinsic muscles of the eye except the
book of Physiology during the early 1830s. In this book, in addition to covering lateral rectus and the superior oblique
muscles, and which innervate the ele-
most of what was then known about physiology, Müller formulated the doctrine
vator muscle of the upper eyelid, the
of specific nerve energies. The central idea of this doctrine is that we cannot be ciliary muscle, and the sphincter muscle
directly aware of the world itself, and we are only aware of the activity in our nerves. of the pupil.
Further, what is most important is which nerves are stimulated, and not how they trochlear (IV) nerves The fourth
are stimulated. For example, we experience vision because the optic nerve leading pair of cranial nerves, which innervate
from the eye to the brain is stimulated, but it does not matter whether light, or the superior oblique muscles of the
eyeballs.
something else, stimulates the nerve. To prove to yourself that this is true, close your
eyes and press very gently on the outside corner of one eye through the lid. (This abducens (VI) nerves The sixth pair
of cranial nerves, which innervate the
works better in a darkened room.) You will see a spot of light toward the inside of lateral rectus muscle of the eyeballs.
your visual field by your nose. Despite the lack of stimulation by light, your brain
interprets the input from your optic nerve as informing you about something visual.
The cranial nerves leading into and out of the skull illustrate the doctrine of
specific nerve energies (FIGURE 1.16). The pair of optic nerves is one of 12 pairs of
cranial nerves that pass through small openings in the bone at the base of the skull;
these nerves are dedicated mainly to sensory and motor systems. Cranial nerves
are labeled both by names (in boldface type) and by Roman numerals that roughly
correspond to the order of their locations, beginning from the front of the skull.
Three of them—olfactory (I), optic (II), and vestibulocochlear (VIII)—are exclusively
dedicated to sensory information. The vestibulocochlear nerve serves two sensory
modalities: the vestibular sensations that support our sense of equilibrium (see
Chapter 12) and hearing (discussed in Section 9.3). Three more cranial nerves—
oculomotor (III), trochlear (IV), and abducens (VI)—are dedicated to muscles that
move the eyes. In addition to instructions from the visual system, these nerves
FIGURE 1.15 Johannes Müller The German physiologist Johannes Müller formulated
the doctrine of specific nerve energies, which says that we are aware only of the activity in
our nerves, and we cannot be aware of the world itself. For this reason, what is most import-
ant is which nerves are stimulated, not how they are stimulated.
18 Chapter 1
I Olfactory
Smell III Oculomotor
All eye muscles except
II Optic superior oblique and
Vision lateral rectus
IV Trochlear
Superior oblique muscle
Sensory VI Abducens
Motor Lateral rectus muscle
V Trigeminal
Face, sinuses,
teeth
Jaw
muscles
XII Hypoglossal
Tongue muscles
XI Spinal accessory
Sternomastoid
and trapezius
muscles
VII Facial
Auditory Tongue,
nerve soft palate
X Vagus Vestibular
Heart, lungs, nerve Facial muscles,
gastrointestinal salivary glands,
tract, bronchi, Same tear glands
trachea, larynx
Wolfe
Sensation & Perception 6E
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Introduction 19
Olfactory cortex
(smell)
Sylvian Temporal Auditory cortex
fissure lobe (hearing)
FIGURE 1.17 Cortex of the human brain The cortex is the outer layer of the cerebral
hemispheres. This lateral view shows the left hemisphere. The anterior (front of head) is on
the left and the posterior (back of the head) is on the right. The darkened areas show where
information from four of our sensory modalities first reaches the cortex. Also shown is the
Wolfe cortex, which is engaged in balance, touch, and some auditory processing.
motor
Sensation & Perception 6E
OUP/Sinauer Associates
Wolfe6e_01.17.ai 3.24.2020
and decreases in temperature on the skin (see Section 13.1). Capsaicin, a chemical
that occurs naturally in chili peppers, causes warmth fibers to fire, creating a sense
of increasing heat even though the temperature has not changed. On the other
hand, menthol, which imparts a minty flavor in cough drops, stimulates cold fibers
(Bautista et al., 2007), so skin feels cooler without getting physically colder. In
sufficiently high amounts, both capsaicin and menthol stimulate pain receptors in
the skin. Paradoxically, this is why ointments often contain capsaicin or menthol,
where their effect is to mask real physical pain (Green, 2005).
Just as different nerves are dedicated to individual sensory and motor tasks,
areas of the brainstem and cerebral cortex are similarly dedicated to particular
tasks. Areas of the cortex dedicated to perception actually are much larger than
the darkened areas in FIGURE 1.17. The areas depicted here are primary sensory
areas; more complex processing is accomplished across cortical regions that spread
well beyond these primary areas. For example, visual perception uses cortex that
extends both anteriorly (forward) into parietal cortex and ventrally (lower) into
regions of the temporal lobe (see Figures 4.2 and 4.4). In addition, as processing
extends beyond primary areas, cortex often becomes polysensory, meaning that
information from more than one sense is being combined in some manner. (See
Activity 1.2: Sensory Areas in the Brain.) While this textbook is organized into
sense-specific chapters, we always want to remember that we live in a multisensory
world. Researchers specifically study what is called sensory integration or multi-
sensory integration (Spence, 2018). Throughout this book, you will find multisensory
research, flagged with .
Hermann Ludwig Ferdinand von Helmholtz (1821–1894) (FIGURE 1.18), one of
the greatest scientists of the nineteenth century, was greatly influenced by Müller
at the Free University of Berlin. In an early effort, Helmholtz estimated that the FIGURE 1.18 Hermann von Helmholtz
Contributor to many fields of science, von
speed of signal transmission in the nerves in frog legs was about 90 feet per second, Helmholtz was one of the greatest scien-
comfortably within the range of ordinary physical events. Later he concluded that tists of all time. He made many important
human sensory nerves transmitted signals at speeds of between 165 and 330 feet discoveries in physiology and perception.
20 Chapter 1
(A) (B)
FIGURE 1.19 Santiago Ramón y Cajal (A) Santiago Ramón y Cajal (looking tired; per-
haps this was not his happiest day in the lab) created meticulous drawings of brain neurons
(B) while peering into a microscope for many hours. Because of his painstaking care and
accuracy, his early drawings are still cited and reproduced today.
synapse The junction between neu- per second. (See Activity 1.3: Neurons.) This transmission speed was slower than
rons that permits information transfer. many people believed at the time, probably because it feels like you are sensing what
is happening right now. In fact, you are experiencing recent (very recent) history.
To use Helmholtz’s example, a “whale probably feels a wound near its tail in about
one second and requires another second to send back orders to the tail to defend
itself ” (Koenigsberger, 1906/1965, p. 72). Some neurons are faster than others but,
regardless, it is interesting to realize that when you stub your toe, a measurable
amount of time elapses before you feel the consequences.
Neuroscience History Archives, Brain Research Institute, University of California, Los Angeles
Neuronal Connections
The neuron that carries a signal from your toe to your brain needs to pass its in-
formation on to other neurons. How do neurons connect with each other? The
Spanish neuroanatomist Santiago Ramón y Cajal (1852–1934) (FIGURE 1.19A)
looked closely at thin slices of tissue and created some of the most painstaking and
breathtaking drawings of the organization of neurons in the brain. FIGURE 1.19B
shows an example. His drawings suggested that neurons do not actually touch
one another. Instead, he depicted neurons as separate cells with tiny gaps between
them. Sir Charles Scott Sherrington (1857–1952) (FIGURE 1.20) named the tiny
gap between the axon of one neuron and the dendrite of the next a synapse, from
the Greek word meaning “to fasten together” (FIGURES 1.21 and 1.22).
Wolfe6e_01.19.ai 3.03.2020
Introduction 21
Dendrites The cell body Information collected by The axon Axon terminals
receive contains the dendrites is integrated conducts action synapse with a
information nucleus and in the axon hillock, potentials away target cell.
from other most cell which generates from the cell body.
neurons. organelles. action potentials.
Axon
Axon terminal
(presynaptic)
Synaptic
vesicles
Dendrite
(postsynaptic)
na
Sy
ps
e
Wolfe
Sensation & Perception 6E
OUP/Sinauer Associates
Neurotransmitter
molecules Receptors
Wolfe6e_01.21.ai 3.27.2020
FIGURE 1.22 A synapse An axon terminal in the presynaptic cell communicates with a dendrite
of the postsynaptic cell. Neurotransmitter molecules are released by synaptic vesicles in the axon
and fit into receptors on the dendrite on the other side of the synapse, thus communicating from
the axon of the first (presynaptic) neuron to the dendrite of the second (postsynaptic) neuron.
22 Chapter 1
Initially, people thought that some sort of electrical wave traveled across the
synapse from one neuron to the next. However, Otto Loewi (1873–1961) (FIGURE
1.23) was convinced that this could not be true. One reason is that some neurons
increase the response of the next neuron (they are excitatory), whereas other neurons
decrease the response of the next neuron (they are inhibitory). Loewi proposed
that something chemical, instead of electrical, might be at work at the synapse.
The chemicals turned out to be molecules, called neurotransmitters, that travel
from the axon across the synapse to bind to receptor molecules on the dendrite of
the next neuron. There are many different kinds of neurotransmitters in the brain,
and individual neurons are selective with respect to which neurotransmitters excite
or inhibit them from firing. Drugs that are psychoactive, such as amphetamines,
Wellcome Collection/CC BY 4.0
Brain
Neuron:
Cell body
© Keystone Press/Alamy Stock Photo
Neuron:
Giant axon
FIGURE 1.24 First recordings from inside a neuron British physiologists, Sir Alan
Hodgkin (A) and Sir Andrew Huxley (B), earned a Nobel Prize for discovering how the
action potential works to conduct signals along the axons of neurons. They moved from
Cambridge to the coastal city of Plymouth, England, to record voltages from inside the
giant axons of freshly caught Atlantic squid (C).
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and approaching near, saw it was a fine cobra, about six feet in
length. The reptile had its head raised nearly a foot, and was making
slight darts at the fowls which ventured near, but unable to do much,
for as soon as it attempted to move, several pecks were made at its
tail. A friend who was standing near, knocked the snake on the head,
and immediately all the inhabitants of the poultry-yard set upon it and
tore it to pieces.
After nine hours’ severe poling and hauling, we came to a stop for
the night at 4.25 p.m. I was desirous to reach the Madihit, but the
men were too exhausted to proceed farther. We have not had a
bearing of Molu for some time; we are anxious for it, in order to
determine our position. I got out all the salt fish that was left, and
divided it among the men, to whom it was most acceptable, as they
had had nothing but rice for many days.
After we had finished our supper, I called the whole party together
to discuss our future proceedings. I explained to them the
information I had been enabled to collect from the Muruts; that we
might reach the Adang landing-place by water, but that as we
advanced the country became more difficult; and that, in the present
state of the river, it was impracticable to face the rapids; that if we
attempted the water way and failed, we must return home, as it was
quite impossible to walk along its bank; the hills were too lofty and
far too steep; in fact, no one would ever attempt it who knew
anything of the country. The second plan was to ascend the Madihit,
which could not be very far off—a mile or two—then leave our boats,
and walk across, the Murut guides assuring us that we could do the
distance in seven days. I put it to the whole party to consider. Musa,
after a short consultation, said they would prefer walking to facing
even seven days of such work as we had had; and as it was two or
three days from the Adang landing-place to the houses, it was better
to start at once from the Madihit, leaving the principal portion of our
heavy baggage with the boats. My heart was slightly despondent
yesterday, but to-day’s progress has completely cheered me up.
Just at sunset, we noticed a few flying foxes far up in the sky; they
seemed very numerous, but were almost beyond view. Sometimes,
however, they fly low, pursuing their onward course with steady
flapping wings. For two hours I watched them at the entrance of the
Sibuyau river, passing us by tens of thousands, and all flying in one
direction, doubtless towards some place where they rest at night.
While preparing their tents, my men disturbed a huge frog that
appeared about nine inches long; it was of a dark gray colour. I was
assured, however, that a full-grown frog was double this size, and if
one could judge of their dimensions by their noise, when they are
heard in a marsh, one might readily believe the Muruts’ account. I
remember hearing the late Mr. Hayes of Siam say that he had seen
them there with bodies as large as a full-sized dinner plate.
8th.—We found the Madihit to be two miles farther up on the left
bank. The main stream continues broad, and is furnished with
islands and immense pebbly flats, reminding me of the portion near
the Madalam at very low water. The hills are now at some distance
apart, allowing broader and flatter strips of cultivatable land along the
banks. Our last night’s resting-place was quite a level point; we
brought up a little above it, under a jutting portion of the bank, which
was higher, and near it was a beautiful natural bower which would
have afforded shelter for all our boats, had the stream risen high;
some of the men encamped in it. The Madihit, a short distance from
the mouth, is but a shallow, pebbly torrent; and a little more than half
a mile up we were obliged to leave our large garei, and take to the
sampirs, most of the men following along the banks; and now, less
than two miles farther, we have to leave our boats, and take to
walking.
We noticed a very handsome tree, whose trunk shoots out almost
horizontally from the banks: its branches rise perpendicularly into the
air, but let fall on either side rows of long drooping twigs, covered
with elegant foliage. It was loaded with fruit, whose long wings are of
a beautiful pink colour, and amid this forest it had a gorgeous effect. I
believe it is of the order Dipterocarpæ. There is another very
remarkable one which grows on rocky soil; its bark strips naturally
from the trunk, leaving a brightish brick-red stem.
We have passed yesterday and to-day much young jungle;
indeed, except where the hills are steep, there are few old trees. The
fish are very plentiful in the river, but the rapidity of the stream
prevents the net from acting properly. Just before entering the
Madihit, I noticed a range of high hills, bearing south-east, said to be
called the Paya Paya in Malay, the very difficult hills, and round their
base the Limbang ran.
No rain last night or to-day. I find it impossible to continue writing,
from the cloud of sand-flies that are tormenting me. Having made a
smoky fire, I am at last rid of them. I have divided the remainder of
the rice, and find that the careful men have enough for seven or
eight days, while the improvident have not enough for five; so that
they must carry sago; and, to my regret, Ahtan reports that all my
tinmeats are left at home, but I have enough biscuit for seven days;
in fact, I shall leave some behind me for the journey back. Our
sportsmen again missed both a deer and a pig; so that, after having
had every day many chances, nothing has been secured, though we
have with us two of the most famous hunters in the Limbang. I never
had a shot myself, as my heavy boat was generally behind the
others. The rock that forms the base of many of these karañgans or
pebbly rapids is a dark gray sandstone. By the barometer, we are
637 feet above the level of the sea, and as we have been toiling up
rapids since we left the Damit stream, it accounts for this elevation.
The men have been working away, forming a cache for the things
that we must leave behind: it is raised on four poles, so as to be
quite secure from pigs.
To show how extensively the Chinese formerly spread over the
country, I may notice that they had pepper plantations even up the
Madihit as late as the remembrance of some of the oldest Muruts.
CHAPTER IV.
MY LIMBANG JOURNAL—continued.