E: All Of The Above
When you get to a scene you have to think about many varibles and all of the ones you mentioned are incredible important!
We do not see the world in black and white; neither do we see it as two-dimensional (2-D) or flat (just height and width, no depth). Let’s look at how color vision works and how we perceive three dimensions (height, width, and depth).
Color Vision
Normal-sighted individuals have three different types of cones that mediate color vision. Each of these cone types is maximally sensitive to a slightly different wavelength of light. According to the trichromatic theory of color vision, shown in Figure 1, all colors in the spectrum can be produced by combining red, green, and blue. The three types of cones are each receptive to one of the colors.
The trichromatic theory of color vision is not the only theory—another major theory of color vision is known as the opponent-process theory. According to this theory, color is coded in opponent pairs: black-white, yellow-blue, and green-red. The basic idea is that some cells of the visual system are excited by one of the opponent colors and inhibited by the other. So, a cell that was excited by wavelengths associated with green would be inhibited by wavelengths associated with red, and vice versa. One of the implications of opponent processing is that we do not experience greenish-reds or yellowish-blues as colors. Another implication is that this leads to the experience of negative afterimages. An afterimage describes the continuation of a visual sensation after removal of the stimulus. For example, when you stare briefly at the sun and then look away from it, you may still perceive a spot of light although the stimulus (the sun) has been removed. When color is involved in the stimulus, the color pairings identified in the opponent-process theory lead to a negative afterimage. You can test this concept using the flag in Figure 2.
But these two theories—the trichromatic theory of color vision and the opponent-process theory—are not mutually exclusive. Research has shown that they just apply to different levels of the nervous system. For visual processing on the retina, trichromatic theory applies: the cones are responsive to three different wavelengths that represent red, blue, and green. But once the signal moves past the retina on its way to the brain, the cells respond in a way consistent with opponent-process theory (Land, 1959; Kaiser, 1997).
Depth Perception
Our ability to perceive spatial relationships in three-dimensional (3-D) space is known as depth perception. With depth perception, we can describe things as being in front, behind, above, below, or to the side of other things.
Our world is three-dimensional, so it makes sense that our mental representation of the world has three-dimensional properties. We use a variety of cues in a visual scene to establish our sense of depth. Some of these are binocular cues, which means that they rely on the use of both eyes. One example of a binocular depth cue is binocular disparity, the slightly different view of the world that each of our eyes receives.
A 3-D movie works on the same principle: the special glasses you wear allow the two slightly different images projected onto the screen to be seen separately by your left and your right eye.
Although we rely on binocular cues to experience depth in our 3-D world, we can also perceive depth in 2-D arrays. Think about all the paintings and photographs you have seen. Generally, you pick up on depth in these images even though the visual stimulus is 2-D. When we do this, we are relying on a number of monocular cues, or cues that require only one eye. If you think you can’t see depth with one eye, note that you don’t bump into things when using only one eye while walking—and, in fact, we have more monocular cues than binocular cues.
An example of a monocular cue would be what is known as linear perspective. Linear perspective refers to the fact that we perceive depth when we see two parallel lines that seem to converge in an image (Figure 3).
Vision is not an encapsulated system. It interacts with and depends on other sensory modalities. For example, when you move your head in one direction, your eyes reflexively move in the opposite direction to compensate, allowing you to maintain your gaze on the object that you are looking at. This reflex is called the vestibulo-ocular reflex. It is achieved by integrating information from both the visual and the vestibular system (which knows about body motion and position). You can experience this compensation quite simply.
Finally, vision is also often implicated in a blending-of-sensations phenomenon known as synesthesia.
SORRY ITS A LONG ANSWER!!!
Answer:
The correct answer to the question: The pineal body secretes which hormone that maintains the body´s internal clock, the 24-hour wake-sleep cycle, and regulates the onset and duration of sleep?, would be, C: Melatonin.
Explanation:
The process of sleep and wakefulness, also called the circadian cycle, its a pretty complex system that is controlled by several parts of the brain, but most importantly, structures of the diencephalon (vital is the hypothalamus), the pineal gland, and the stem of the brain. All these structures, and some others, respond to changes both in light perception by the eyes and other senses, heat, and homeostatic balances. These factor play a vital role in telling the human body that it is time for sleep, or to awaken. The pineal gland, as part of this melody, is essential, as it secretes the hormone, melatonin, in response to light changes. Melatonin will balance out the process of sleep, when it is secreted in high quantities by the pineal gland, and wakefulness, when it is no longer secreted in response to the presence of light. This is what is called the circadian cycle.
Answer:
a) 5040ways
b) 576ways
Explanation:
11a) There are 3 different bundles of reading materials each comprising of 4 comic and 3 magazines. The magazines and comics are placed together to form a bundle.
We are to determine the number of ways we can arrange these items in each of the bundle if there are no restrictions.
When there are no restrictions in combining items together, we can place the items in any positions.
Number of comics in one bundle = 4
Number of magazines in one bundle = 3
Total number of books = 4+3 = 7
For 7 reading materials in each bundle, there are 7 places we could pick for the first reading material, 6 for the next reading material, followed by 5, etc. Therefore, we have 7! total ways of arrangement.
7! = 7×6×5×4×3×2×1 = 5040ways
The number of ways we can arrange the items in one bundle if there are no restrictions on individual items to be placed = 5040ways
11b) We are to determine the number of permutations if the order of comic books in each bundle does not change.
For the order of comic books in each bundle not to change and they are arranged in one pile, it means all the comics are placed together.
The number of ways we can arrange 4 comic books placed together = 4!
4! = 4×3×2×1 = 24ways
Let the 4comics represent one entity = 1
The remaining reading materials = 7-4 = 3
The total number of reading material for the 1 entity and the remaining 3 = 3+1 = 4
The number of ways we can arrange these 1 entity and the remaining 3 books = 4!
4! = 4×3×2×1 = 24ways
The number of permutations if the order of comic books in each bundle does not change = 24×24 = 576ways
