Journal of Eye Movement Research最新文献

In this article we present a new eye movement control framework that describes the interaction between fixation durations and regressive saccades during reading: The Information Gathering Framework (IGF). Based on the FC model proposed by Bicknell and Levy [15], the basic idea of the IGF is that a confidence level for each word is computed while being monitored by three independent thresholds. These thresholds shape eye movement behavior by increasing fixation duration, triggering a regression, or guiding regression target selection. In this way, the IGF does not only account for regressive eye movements but also provides a framework able to model eye movement control during reading across different scenarios. Importantly, within the IGF it is assumed that two different types of regressive eye movements exist which differ with regard to their releases (integrations difficulties vs. missing evidence) but also with regard to their time course. We tested the predictions of the IGF by re-analyzing an experiment of Weiss et al. [57] and found, inter alia, clear evidence for shorter fixation durations before regressive saccades relative to progressive saccades, with the exception of the last region. This clearly supports the assumptions of the IGF. In addition, we found evidence that there exists a window of about 15-20 characters to the left of the current fixation that plays an important role in target selection, probably indicating the perceptual span during a regressive saccade.

In this short article we present our manual annotation of the eye movement events in a subset of the large-scale eye tracking data set Hollywood2. Our labels include fixations, saccades, and smooth pursuits, as well as a noise event type (the latter representing either blinks, loss of tracking, or physically implausible signals). In order to achieve more consistent annotations, the gaze samples were labelled by a novice rater based on rudimentary algorithmic suggestions, and subsequently corrected by an expert rater. Overall, we annotated eye movement events in the recordings corresponding to 50 randomly selected test set clips and 6 training set clips from Hollywood2, which were viewed by 16 observers and amount to a total of approximately 130 minutes of gaze data. In these labels, 62.4% of the samples were attributed to fixations, 9.1% - to saccades, and, notably, 24.2% - to pursuit (the remainder marked as noise). After evaluation of 15 published eye movement classification algorithms on our newly collected annotated data set, we found that the most recent algorithms perform very well on average, and even reach human-level labelling quality for fixations and saccades, but all have a much larger room for improvement when it comes to smooth pursuit classification. The data set is made available at https://gin.g-node.org/ioannis.agtzidis/hollywood2_em.

Subliminal cues have been shown to capture attention and modulate manual response behaviour but their impact on eye movement behaviour is not well-studied. In two experiments, we examined if subliminal cues influence constrained free-choice saccades and if this influence is under strategic control as a function of task-relevancy of the cues. On each trial, a display containing four filled circles at the centre of each quadrant was shown. A central coloured circle indicated the relevant visual field on each trial (Up or Down in Experiment 1; Left or Right in Experiment 2). Next, abrupt-onset cues were presented for 16 ms at one of the four locations. Participants were then asked to freely choose and make a saccade to one of the two target circles in the relevant visual field. The analysis of the frequency of saccades, saccade endpoint deviation and saccade latency revealed a significant influence of the relevant subliminal cues on saccadic decisions. Latency data showed reduced capture by spatiallyirrelevant cues under some conditions. These results indicate that spatial attentional control settings as defined in our study could modulate the influence of subliminal abrupt-onset cues on eye movement behaviour. We situate the findings of this study in the attention-capture debate and discuss the implications for the subliminal cueing literature.

Here, we provide an analysis of the microsaccades that occurred during continuous visual search and targeting of small faces that we pasted either into cluttered background photos or into a simple gray background. Subjects continuously used their eyes to target singular 3-degree upright or inverted faces in changing scenes. As soon as the participant's gaze reached the target face, a new face was displayed in a different and random location. Regardless of the experimental context (e.g. background scene, no background scene), or target eccentricity (from 4 to 20 degrees of visual angle), we found that the microsaccade rate dropped to near zero levels within only 12 milliseconds after stimulus onset. There were almost never any microsaccades after stimulus onset and before the first saccade to the face. One subject completed 118 consecutive trials without a single microsaccade. However, in about 20% of the trials, there was a single microsaccade that occurred almost immediately after the preceding saccade's offset. These microsaccades were task oriented because their facial landmark targeting distributions matched those of saccades within both the upright and inverted face conditions. Our findings show that a single feedforward pass through the visual hierarchy for each stimulus is likely all that is needed to effectuate prolonged continuous visual search. In addition, we provide evidence that microsaccades can serve perceptual functions like correcting saccades or effectuating task-oriented goals during continuous visual search.

There is increasing awareness that the perception of art is affected by the way it is presented. In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewing behavior of specific artworks both before and after the museum's rearrangement. In contrast to previous mobile eye tracking (MET) studies in museums, this study benefits from the comparison of two realistic display conditions (without any research interference), an unconstrained study design (working with regular museum visitors), and a large data sample (comprising 259 participants). We employed a mixed-method approach that combined mobile eye tracking, subjective mapping (a drawing task in conjunction with an open interview), and a questionnaire in order to relate gaze patterns to processes of meaning-making. Our results show that the new display made a difference in that it 1) generally increased the viewing times of the artworks; 2) clearly extended the reading times of labels; and 3) deepened visitors' engagement with the artworks in their exhibition reflections. In contrast, interest in specific artworks and art form preferences proved to be robust and independent of presentation modes.

Classifying artists and their work as distinct art styles has been an important task of scholars in the field of art history. Due to its subjectivity, scholars often contradict one another. Our project investigated differences in aesthetic qualities of seven art styles through quantitative means. This was achieved with state-of-the-art deep-learning paradigms to generate new images resembling the style of an artist or entire era. We conducted psychological experiments to measure the behavior of subjects when viewing these new art images. Two different experiments were used: In an eye-tracking study, subjects viewed art-stylespecific generated images. Eye movements were recorded and then compared between art styles. In a visual singleton search study, subjects had to locate a style-outlier image among three images of an alternative style. Reaction time and accuracy were measured and analyzed. These experiments show that there are measurable differences in behavior when viewing images of varying art styles. From these differences, we constructed hierarchical clusterings relating art styles based on the different behaviors of subjects viewing the samples. Our study reveals a novel perspective on the classification of artworks into stylistic eras and motivates future research in the domain of empirical aesthetics through quantitative means.

In 1935 Guy Buswell, an educational psychologist at Chicago University, published How People Look at Pictures. In it he recorded photographically the eye movements of 200 observers when looking at a wide variety of pictures. He analysed the overall distribution of fixations on pictures, compared the first few fixations on a picture to the last few, measured the durations of fixations made early in viewing and those made near the end of viewing, examined how fixation duration changed with viewing time, recorded the consistency between different observers when viewing the same picture and he looked at the influence of instructions given to observers upon their eye movements when viewing a picture. He commented on the substantial differences between individuals and noted that instructions had a dramatic effect on the pattern of eye movements. Buswell's analysis was graphical rather than statistical. In this article Buswell's figures are recombined and his research is placed in the context of earlier investigations of eye movements with pictures by Stratton and Judd and later ones by Yarbus.

Thirty-nine participants listened to 28 neutral and horror excerpts of Stephen King short stories while constantly tracking their emotional arousal. Pupil size was measured with an Eyelink 1000+, and participants rated valence and transportation after each story. In addition to computing mean pupil size across 1-sec intervals, we extracted blink count and used detrended fluctuation analysis (DFA) to obtain the scaling exponents of long-range temporal correlations (LRTCs) in pupil size time-series. Pupil size was expected to be sensitive also to emotional arousal, whereas blink count and LRTC's were expected to reflect cognitive engagement. The results showed that self-reported arousal increased, pupil size was overall greater, and the decreasing slope of pupil size was flatter for horror than for neutral stories. Horror stories induced higher transportation than neutral stories. High transportation was associated with a steeper increase in self-reported arousal across time, stronger LRTCs in pupil size fluctuations, and lower blink count. These results indicate that pupil size reflects emotional arousal induced by the text content, while LRTCs and blink count are sensitive to cognitive engagement associated with transportation, irrespective of the text type. The study demonstrates the utility of pupillometric measures and blink count to study literature reception.

Background: Dyslexia is a disorder found in 5-10% of school-aged children. Several studies reported visual deficits and oculomotor abnormalities in dyslexic children. The objective of our study was to examine horizontal pursuit performance in dyslexic children, despite its poor involvement in reading. Methods: Eye movements were recorded by video-oculography in 92 children (46 dyslexic children, mean age: 9.77 ± 0.26 and 46 non dyslexic, IQ- and age-matched children). Both the number of catch-up saccades occurring during pursuit task and the gain of pursuit were measured. Results: Catch-up saccades were significantly more frequent in the dyslexic group than in the non-dyslexic group of children. Pursuit performance (in terms of the number of catch-up saccades and gain) significantly improved with increasing age in the non-dyslexic children group only. Conclusions: The atypical pursuit patterns observed in dyslexic children suggest a deficiency in the visual attentional processing and an immaturity of brain structures responsible for pursuit triggering. This finding needs to be validated by neuroimaging studies on dyslexia population.

A large body of literature documents the sensitivity of pupil response to cognitive load (1)and emotional arousal (2). Recent empirical evidence also showed that microsaccade characteristics and dynamics can be modulated by mental fatigue and cognitive load (3). Very little is known about the sensitivity of microsaccadic characteristics to emotional arousal. The present paper demonstrates in a controlled experiment pupillary and microsaccadic responses to information processing during multi-attribute decision making under affective priming. Twenty-one psychology students were randomly assigned into three affective priming conditions (neutral, aversive, and erotic). Participants were tasked to make several discriminative decisions based on acquired cues. In line with the expectations, results showed microsaccadic rate inhibition and pupillary dilation depending on cognitive effort (number of acquired cues) prior to decision. These effects were moderated by affective priming. Aversivepriming strengthened pupillary and microsaccadic response to information processing effort.In general, results suggest that pupillary response is more biased by affective priming than microsaccadic rate. The results are discussed in the light of neuropsychological mechanisms of pupillary and microsaccadic behavior generation.