A Breadth-First Survey of Eye Tracking Applications <s> Perception of Art. <s> Recent technological development makes it possible to investigate the integration of attention, language and cognition in the processes of communication. Three studies approaching this problem are reported. The first study investigated the solving of puzzle tasks by two partners who shared the same visual environment but whose knowledge of the situation and whose ability to change it were different. One of them knew the solution but had no means to act on the situation. The other could act, but without knowing about the solution. In some trials, in addition to verbal communication, the eye fixations of one of the partners were projected into the visual space of the other. This gaze-position transfer improved the performance and changed communication processes. ::: ::: The second study analyzed the interaction between visual attention and the production of linguistic expressions. The instructor in this study had to advise the novice about the construction of a 3-D block structure. The data revealed a strong bi-directional interaction of these variables. In particular, an analogue of the “Eyevoice span” effect sensitive to the course of communication was discovered. ::: ::: In the last study distributions of fixations over ambiguous pictures were used for processing these pictures in such a way that in regions attracting less attention the brightness of elements was lowered. Then these pre-processed pictures were shown to naive subjects for an identification. The results demonstrated a shift of reports in the direction of interpretation that accompanied eye movement data used for the pre-processing of pictures. <s> BIB001 </s> A Breadth-First Survey of Eye Tracking Applications <s> Perception of Art. <s> An experienced and prolific writer, Robert Solso has a gift for simplifying sometimes difficult concepts in science. Here he brings a refreshing new approach to the psychology of art, synthesizing research from a vast collection of data on how humans perceive, process, and store information and applying it to the viewing and interpretation of art. In this first systematic study of the connection between the new cognitive psychology and its importance to art, Solso reflects on the long relationship between humankind and art, observing that "mind and art are one." A major theme of this book, in fact, is that the clearest view of the mind comes when we create or experience art, a reverse of the usual view of art and cognition. The illustrations cover a wide range of examples, including African, Asian, and prehistoric art, but focusing primarily on Western art. The treatment of cognition applies a blend of the standard information-processing model, brain function, and neural networks.Cognitive Psychology series <s> BIB002 </s> A Breadth-First Survey of Eye Tracking Applications <s> Perception of Art. <s> The analysis of eye-movement traces (i.e. the patterns of fixations in a search) is a powerful but often neglected area of eye-movement research. This is largely because it requires a more complex analysis than parameters such as mean fixation duration and as a result, previous attempts have focused on qualitative appraisal of the form of an eye-movement trace. In this paper, we introduce the concept of the "fixation map". We discuss its application to the quantification of similarity of traces, and the degree of "coverage" by fixations of a visual stimulus. The use of fixation maps in the understanding and communication of large numbers of eye-movement traces is also examined. <s> BIB003 </s> A Breadth-First Survey of Eye Tracking Applications <s> Perception of Art. <s> Good information design depends on clarifying the meaningful structure in an image. We describe a computational approach to stylizing and abstracting photographs that explicitly responds to this design goal. Our system transforms images into a line-drawing style using bold edges and large regions of constant color. To do this, it represents images as a hierarchical structure of parts and boundaries computed using state-of-the-art computer vision. Our system identifies the meaningful elements of this structure using a model of human perception and a record of a user's eye movements in looking at the photo; the system renders a new image using transformations that preserve and highlight these visual elements. Our method thus represents a new alternative for non-photorealistic rendering both in its visual style, in its approach to visual form, and in its techniques for interaction. <s> BIB004
A particularly interesting subset of scene perception studies is the examination of gaze over a specific set of contextual images, namely art. The first systematic exploration of fixation positions in scenes was reported by  (as cited by  ). An important observation was that fixation positions were found to be highly regular and related to the information in the pictures  . These data provided some of the earliest evidence that eye movement patterns during complex scene perception are related to the information in the scene, and by extension, to perceptual and cognitive processing of the scene. Another example of a study of eye movements directed at works of art, by Molnar (1981) (as reported by BIB002 ), shows small differences in scanpaths between groups of subjects viewing the artwork for its semantic meaning or for its aesthetic appeal. Remarkably, however, both sets of scanpaths are very similar in terms of fixated image features. Fixations made by two groups of fine art students, given different sets of questions pertaining to the artwork, appear to coincide on important elements even though the order of fixations may differ. A recent large-scale eye tracking study of art was conducted by BIB003 . In three months, eye movements were successfully collected from 5,638 subjects while they viewed digitized images of paintings from the National Gallery collection. Since a composite representation of eye movements from so many subjects posed a problem, Wooding devised a fixation map method of analysis, which might be descriptively termed a landscape or terrain map of fixations, and is in fact similar to the landscape map developed independently by BIB001 . The value at any point on the map indicates the height or amount of a particular property at that point (e.g., the number of fixations). Approaching art perception from a different starting point, eye movements have recently been considered in the generation of art by computers. Perceptual principles and eye tracking methodology (among other techniques) were employed by BIB004 to process aesthetically pleasing images by computer. Additional exemplary uses of eye trackers in computer graphics are presented in subsequent sections.