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In all past research, iconic memory shows a significant benefit over visual working memory for storage capacity of visual items. However, this effect has only been studied on simple items such as colors and letters. The goal of this thesis was to determine whether an iconic benefit also exists for visual stimuli with higher visual complexity, such as shapes and faces. Five experiments tested iconic and working memory capacity for complex face stimuli, intermediate-complexity shape stimuli, and simple color stimuli, as well as examining feature binding of objects in iconic memory. Results from these five experiments indicated that increased visual complexity of stimuli negatively impacts the iconic capacity benefit. High- and intermediate-complexity items had little to no iconic benefit, unlike all previously tested simple stimuli. Iconic memory may only be able to represent simple features, or may not be able to transfer complex information into visual working memory as quickly as simple information. Additionally, results showed that feature representations in iconic memory were sometimes bound into complex objects. The results of these five experiments challenge the traditional characterization of visual sensory memory as a precise snapshot; this early memory store may be more complex than a simple visual icon.

Call number: LD2668 .T4 1952 T47 / Master of Science

This thesis is concerned with the role of symmetry in low-level image segmentation. Early detection of local image properties that could indicate the presence of an object would be useful in segmentation, and it is proposed here that approximate bilateral symmetry, which is common to many natural and man made objects, is a candidate local property. To be useful in low-level image segmentation the representation of symmetry must be relatively robust to noise interference, and the symmetry must be detectable without prior knowledge of the location and orientation of the pattern axis. The experiments reported here investigated whether bilateral symmetry can be detected with and without knowledge of the axis of symmetry, in several different types of pattern. The pattern properties found to aid symmetry detection in random dot patterns were the presence of compound features, formed from locally dense clusters of dots, and contrast uniformity across the axis. In the second group of experiments, stimuli were designed to enhance the features found to be important for global symmetry detection. The pattern elements were enlarged, and grey level was varied between matched pairs, thereby making each pair distinctive. Symmetry detection was found to be robust to variation in the size of matched elements, but was disrupted by contrast variation within pairs. It was concluded that the global pattern structure is contained in the parallelism between extended, cross axis regions of uniform contrast. In the third group of experiments, detection performance was found to improve when the parallel structure was strengthened by the presence of matched strings, rather than pairs of elements. It is argued that elongation, parallelism, and approximate alignment between pattern constituents are visual properties that are both presegmentally detectable, and sufficient for the representation of global symmetric structure. A simple computational property of these patterns is described.

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This is an ethnographic study of a television show titled Esra Erol’da Evlen Benimle (Marry Me on the Esra Erol Show), the most popular of the televised matchmaking formats in Turkey since it premiered in 2007. The marriage show is part of the daytime flow of television broadcasting in Turkey that, as an entertainment format, sets the everyday rhythms of life and provides content for debates/judgements on – as well as being an increasingly popular route to – marriage. I explore the marriage show as a reality show format, which is an outcome of the global flow of media images, narratives and genres. As such, it is a television show that translates the neoliberal imaginary of the self as an aspect of subjectivity in search of survival, security and happiness, into the Turkish context. What distinguishes the marriage show from other reality show formats is that it orients the self towards the desire and expectation to get married as a means of survival. To explore marriage as an orientation of the self through television, I contextualise the show within the contemporary practices, policies and debates of the family in Turkey. By deploying the concept of frame, I investigate how the format is produced by normatively framing the narratives of the participants as marriageable subjects, while also registering the show as a quality program which is seriously dedicated to marrying people within the norms and conventions of marriage in Turkey. Taking the production space of the marriage show as the field of research, and female subjectivity as the particular focus, this study is an endeavour to show how practices, tensions and sensibilities pertaining to marriage and family in Turkey produce female subjects, bodies, self-narratives and movements across the intense present of television production.