Seeing Spaces: An Eye-Tracking Study Of Speech Segmentation

Speech is often a multimodal process, presented audiovisually through a talking face. One area of speech perception influenced by visual speech is speech segmentation, or the process of breaking a stream of speech into individual words. Mitchel and Weiss (2013) demonstrated that a talking face contains specific cues to word boundaries and that subjects can correctly segment a speech stream when given a silent video of a speaker. The current study expanded upon these results, using an eye tracker to identify highly attended facial features of the audiovisual display used in Mitchel and Weiss (2013). In Experiment 1, subjects were found to spend the most time watching the eyes and mouth, with a trend suggesting that the mouth was viewed more than the eyes. Although subjects displayed significant learning of word boundaries, performance was not correlated with gaze duration on any individual feature, nor was performance correlated with a behavioral measure of autistic-like traits. However, trends suggested that as autistic-like traits increased, gaze duration of the mouth increased and gaze duration of the eyes decreased, similar to significant trends seen in autistic populations (Boratston & Blakemore, 2007). In Experiment 2, the same video was modified so that a black bar covered the eyes or mouth. Both videos elicited learning of word boundaries that was equivalent to that seen in the first experiment. Again, no correlations were found between segmentation performance and SRS scores in either condition. These results, taken with those in Experiment, suggest that neither the eyes nor mouth are critical to speech segmentation and that perhaps more global head movements indicate word boundaries (see Graf, Cosatto, Strom, & Huang, 2002). Future work will elucidate the contribution of individual features relative to global head movements, as well as extend these results to additional types of speech tasks.

Aleatory Sovereignty and the Rule of Sensitive Spaces

Addressing life in borders and refugee camps requires understanding the way these spaces are ruled, the kinds of problems rule poses for the people who live there, and the abilities of inhabitants to remake their own lives. Recent literature on such spaces has been influenced by Agamben's notion of sovereignty, which reduces these spaces and their residents to abstractions. We propose an alternate framework focused on what we call aleatory sovereignty, or rule by chance. This allows us to see camps and borders not only as the outcomes of humanitarian projects but also of anxieties about governance and rule; to see their inhabitants not only as abject recipients of aid, but also as individuals who make decisions and choices in complex conditions; and to show that while the outcome of projects within such spaces is often unpredictable, the assumptions that undergird such projects create regular cycles of implementation and failure.

Interrogating the spaces of personal photography : women, identity, and the cultural formation of photographic practice

Personal photographs permeate our lives from the moment we are born as they define who we are within our familial group and local communities. Archived in family albums or framed on living room walls, they continue on after our death as mnemonic artifacts referencing our gendered, raced, and ethnic identities. This dissertation examines salient instances of what women “do” with personal photographs, not only as authors and subjects but also as collectors, archivists, and family and cultural historians. This project seeks to contribute to more productive, complex discourse about how women form relationships and engage with the conventions and practices of personal photography. In the first part of this dissertation I revisit developments in the history of personal photography, including the advertising campaigns of the Kodak and Agfa Girls and the development of albums such as the Stammbuch and its predecessor, the carte-de-visite, that demonstrate how personal photography has functioned as a gendered activity that references family unity, sentimentalism for the past, and self-representation within normative familial and dominant cultural groups, thus suggesting its importance as a cultural practice of identity formation. The second and primary section of the dissertation expands on the critical analyses of Gillian Rose, Patricia Holland, and Nancy Martha West, who propose that personal photography, marketed to and taken on by women, double-exposes their gendered identities. Drawing on work by critics such as Deborah Willis, bell hooks, and Abigail Solomon-Godeau, I examine how the reconfiguration, recontextualization, and relocation of personal photographs in the respective work of Christine Saari, Fern Logan, and Katie Knight interrogates and complicates gendered, raced, and ethnic identities and cultural attitudes about them. In the final section of the dissertation I briefly examine select examples of how emerging digital spaces on the Internet function as a site for personal photography, one that both reinscribes traditional cultural formations while offering new opportunities for women for the display and audiencing of identities outside the family.