Using film cutting in interface design

It has been suggested that computer interfaces could be made more usable if their designers utilized cinematography techniques, which have evolved to guide the viewer through a narrative despite frequent discontinuities in the presented scene (i.e., cuts between shots). Because of differences between the domains of film and interface design, it is not straightforward to understand how such techniques can be transferred. May and Barnard (1995) argued that a psychological model of watching film could support such a transference. This article presents an extended account of this model, which allows identification of the practice of collocation of objects of interest in the same screen position before and after a cut. To verify that filmmakers do, in fact, use such techniques successfully, eye movements were measured while participants watched the entirety of a commerciall

A time series feature of variability to detect two types of boredom from motion capture of the head and shoulders

Boredom and disengagement metrics are crucial to the correctly timed implementation of adaptive interventions in interactive systems. psychological research suggests that boredom (which other HCI teams have been able to partially quantify with pressure-sensing chair mats) is actually a composite: lethargy and restlessness. Here we present an innovative approach to the measurement and recognition of these two kinds of boredom, based on motion capture and video analysis of changes in head and shoulder positions. Discrete, three-minute, computer-presented stimuli (games, quizzes, films and music) covering a spectrum from engaging to boring/disengaging were used to elicit changes in cognitive/emotional states in seated, healthy volunteers. Interaction with the stimuli occurred with a handheld trackball instead of a mouse, so movements were assumed to be non-instrumental. Our results include a feature (standard deviation of windowed ranges) that may be more specific to boredom than mean speed of head movement, and that could be implemented in computer vision algorithms for disengagement detection

Differential gaze behavior towards sexually preferred and non-preferred human figures

The gaze pattern associated with image exploration is a sensitive index of our attention, motivation and preference. To examine whether an individual’s gaze behavior can reflect his/her sexual interest, we compared gaze patterns of young heterosexual men and women (M = 19.94 years, SD = 1.05) while viewing photos of plain-clothed male and female figures aged from birth to sixty years old. Our analysis revealed a clear gender difference in viewing sexually preferred figure images. Men displayed a distinctive gaze pattern only when viewing twenty-year-old female images, with more fixations and longer viewing time dedicated to the upper body and waist-hip region. Women also directed more attention at the upper body on female images in comparison to male images, but this difference was not age-specific. Analysis of local image salience revealed that observers’ eye-scanning strategies could not be accounted for by low-level processes, such as analyzing local image contrast and structure, but were associated with attractiveness judgments. The results suggest that the difference in cognitive processing of sexually preferred and non-preferred figures can be manifested in gaze patterns associated with figure viewing. Thus, eye-tracking holds promise as a potential sensitive measure for sexual preference, particularly in men

A review of research into the development of radiologic expertise: Implications for computer-based training

Rationale and Objectives. Studies of radiologic error reveal high levels of variation between radiologists. Although it is known that experts outperform novices, we have only limited knowledge about radiologic expertise and how it is acquired.Materials and Methods. This review identifies three areas of research: studies of the impact of experience and related factors on the accuracy of decision-making; studies of the organization of expert knowledge; and studies of radiologists' perceptual processes.Results and Conclusion. Interpreting evidence from these three paradigms in the light of recent research into perceptual learning and studies of the visual pathway has a number of conclusions for the training of radiologists, particularly for the design of computer-based learning programs that are able to illustrate the similarities and differences between diagnoses, to give access to large numbers of cases and to help identify weaknesses in the way trainees build up a global representation from fixated regions

Hostage videos in the War on Terror

About the book: The bodies of the dead or the soon to be dead litter the media landscape and they frame the representation of war, terror and conflict in the modern age. What are the meanings carried and conveyed by these war bodies on screen? The discussion of the war body on screen is best served by drawing upon multiple and diverging view points, differing academic backgrounds and methodological approaches. A multi-disciplinary approach is essential in order to capture and interpret the complexity of the war body on screen and its many manifestations. In this collection, contributors utilize textual analysis, psychoanalysis, post-colonialism, comparative analysis, narrative theory, discourse analysis, representation and identity as their theoretical footprints. Analysis of the impact of new media and information technologies on the construction and transmission of war bodies is also been addressed. The War Body on Screen has a highly original structure, with themed sections organized around ‘the body of the soldier’; ‘the body of the terrorist’; and ‘the body of the hostage’

In plain view : the body as site of detection and inscription in serial killer narratives ; ein Essay

At the beginning of every story of murder there is always a body. If the murderer is a serial killer, there is, of course, more than one. More importantly, the bodies left by the serial killer are not likely to be intact and whole. What he leaves behind and what we, the audience, will get to see is the body in pieces, dismembered, scattered. A series of snapshots, partial views, and close-ups, inflicting cold sharp shocks, is all we may glimpse: the head of Benjamin Raspail floating in a jar of formaldehyde in The Silence of the Lambs, a finger removed by the serial killer from his landlord’s hand in Kalifornia, a ziploc bag of fingers recovered from a flooded drainpipe in When The Bough Breaks, a surgically severed hand used to leave misleading fingerprints on a wall at a crime scene in Seven