The influence of scene context on parafoveal processing of objects

Many studies in reading have shown the enhancing effect of context on the processing of a word before it is directly fixated (parafoveal processing of words). Here, we examined whether scene context influences the parafoveal processing of objects and enhances the extraction of object information. Using a modified boundary paradigm called the Dot-Boundary paradigm, participants fixated on a suddenly onsetting cue before the preview object would onset 4° away. The preview object could be identical to the target, visually similar, visually dissimilar or a control (black rectangle). The preview changed to the target object once a saccade toward the object was made. Critically, the objects were presented on either a consistent or an inconsistent scene background. Results revealed that there was a greater processing benefit for consistent than inconsistent scene backgrounds and that identical and visually similar previews produced greater processing benefits than other previews. In the second experiment, we added an additional context condition in which the target location was inconsistent, but the scene semantics remained consistent. We found that changing the location of the target object disrupted the processing benefit derived from the consistent context. Most importantly, across both experiments, the effect of preview was not enhanced by scene context. Thus, preview information and scene context appear to independently boost the parafoveal processing of objects without any interaction from object–scene congruency.

DEATH BECOMES HER: ON THE PROGRESSIVE POTENTIAL OF VICTORIAN MOURNING

On the occasion of her Golden Jubilee, Queen Victoria was depicted in a woodcut by William Nicholson that was to become extremely popular (Figure 1). So stout that her proportions approach those of a cube, the Queen is dressed from top to toe in her usual black mourning attire, the white of her gloved hands punctuating the otherwise nearly solid black rectangle of her body. Less than thirty years later, another simple image of a woman in black would prove to be equally iconic: the lithe, narrow column of Chanel's black dress (Figure 2). Comparing the dresses depicted in the two images – the first a visual reminder of the desexualized stolidity of Victorian fidelity, the second image an example of women's burgeoning social and sexual liberation – might lead one to conclude that the only thing they have in common is the color black. And yet, twentieth- and twenty-first-century fashion historians suggest that Victorian mourning is the direct antecedent of the sexier fashions that followed. Jill Fields writes, for example, that “the move to vamp black became possible because the growing presence of black outerwear for women in the nineteenth century due to extensive mourning rituals merged with the growing sensibility that dressing in black was fashionable” (144). Valerie Mendes is more direct: “Traditional mourning attire blazed a trail for the march of fashionable black and the little black dress” (9). These are provocative claims given that most scholarly accounts of Victorian mourning attire – whether from the perspective of literary analysis, fashion history or theory, or social history or theory – offer no indication that such progressive possibilities were inherent in widows’ weeds. Instead, those accounts focus almost exclusively on chasteness and piety, qualities required of the sorrowful widow, as the only message communicated by her attire: “Widows’ mourning clothes announced the ongoing bonds of fidelity, dependence, and grieving that were expected to tie women to their dead husbands for at least a year” (Bradbury 289). The disparity in the two accounts raises the question: how could staid, cumbersome black Victorian mourning attire lead to dresses understood to embrace sexuality and mobility?

Recognizing expression from familiar and unfamiliar faces

The aim of this study was to clarify the relationship between accessing the identity of a face and making decisions about its expression. Three experiments are reported in which undergraduate subjects made expression decisions about familiar and unfamiliar faces. The decision was slowed either by concealing the mouth region with a black rectangle (experiment 1) or by using a short presentation time (experiments 2 and 3). Results of experiment 1 showed that subjects recognized the displayed expression of celebrities better than those of unknown persons when information from the mouth was not available. Results of experiment 2 showed that they recognized the expression displayed by celebrities more easily when the presentation time was short. Experiment 3, using familiarized faces, replicated the results of experiments 1 and 2 and ruled out a possible explanation of these results by the use of some identity specific representations that are expressive. Implications for face recognition models are discussed.