Participants viewed one of six video-recorded versions of a rape victim's testimony, role-played by a professional actress in one of six versions: Two versions of the testimony, representing a strong and a less strong rape scenario, were given in a free-recall manner with one of three kinds of emotions displayed, termed congruent, neutral and incongruent emotional expressions. Credibility judgements were strongly influenced by the emotions displayed, but not by the content of the story. When video watching was compared to reading a transcript of the testimony, results indicated that perceived credibility was reduced when the witness displayed neutral or incongruent emotions. Story content and displayed emotion contributed equally to estimates of the probability of a guilty verdict. We conclude that perception of credibility is strongly influenced by social stereotypes regarding appropriate emotional expression.

Abstract-The retention of spatial information in visual short-term memory was assessed by measuring spatial frequency discrimination thresholds with a two-interval forced-choice task varying the time interval between the two gratings to be compared. The memory of spatial frequency information was perfect across IO-see interstimulus intervals. Presentation of a "memory masker" grating during the interstimulus interval may interfere with short-term memory. This interference depends on the relative spatial frquency of the test and masker gratings, with maximum interference at spatial frequency differences of l-l.5 octaves and beyond. This range of interference with short-term memory is comparable to the bandwidth of sensory masking or adaptation. A change of the relative orientation of test and masker gratings does not produce interference with spatial frequency discrimination thresholds. These results suggest stimulus-specific interactions at higher-level representations of visual form.

Psychophysical studies of short-term memory for attributes or dimensions of the visual stimulus known to be important in early visual processing--spatial frequency, orientation, contrast, motion--identify an early perceptual memory system. The proposed system, which may be part of the Schacter-Tulving perceptual representation system (PRS), is located early in the visual processing stream, prior to the structural description system responsible for shape priming but beyond primary visual cortex (V1), and consists of a series of parallel special-purpose perceptual mechanisms with independent but limited processing resources, where each mechanism is devoted to the analysis of a single stimulus dimension and is coupled to a memory store. The experimental evidence for this hypothesis is reviewed.

In two sessions with free scanning and memory instructions, eye-movement patterns from nine artists were compared with those of nine artistically untrained participants viewing 16 pictures representing a selection of categories from ordinary scenes to abstraction: 12 pictures were made to accommodate an object-oriented viewing mode (selection of recognisable objects), and a pictorial viewing mode (selection of more structural features), and 4 were abstract. The artistically untrained participants showed preference for viewing human features and objects, while the artists spent more scanning time on structural/abstract features. A group by session interaction showed a change of viewing strategy in the artists, who viewed more objects and human features in the memory task session. A verbal test of recall memory showed no overall difference in the number of pictures remembered, but the number of correctly remembered pictorial features was significantly higher for artists than for the artistically untrained viewers, irrespective of picture type. No differences in fixation frequencies/durations were found between groups across sessions, but a significant task-dependent-group by session interaction of fixation frequency/duration showed that the artistically untrained participants demonstrated repetition effects in fewer, longer fixations with repeated viewing, while the opposite pattern obtained for the artists.