Stars in their eyes: What eye-tracking reveal about multimedia perceptual quality

Perceptual multimedia quality is of paramount importance to the continued take-up and proliferation of multimedia applications: users will not use and pay for applications if they are perceived to be of low quality. Whilst traditionally distributed multimedia quality has been characterised by Quality of Service (QoS) parameters, these neglect the user perspective of the issue of quality. In order to redress this shortcoming, we characterise the user multimedia perspective using the Quality of Perception (QoP) metric, which encompasses not only a user’s satisfaction with the quality of a multimedia presentation, but also his/her ability to analyse, synthesise and assimilate informational content of multimedia. In recognition of the fact that monitoring eye movements offers insights into visual perception, as well as the associated attention mechanisms and cognitive processes, this paper reports on the results of a study investigating the impact of differing multimedia presentation frame rates on user QoP and eye path data. Our results show that provision of higher frame rates, usually assumed to provide better multimedia presentation quality, do not significantly impact upon the median coordinate value of eye path data. Moreover, higher frame rates do not significantly increase level of participant information assimilation, although they do significantly improve overall user enjoyment and quality perception of the multimedia content being shown

Representation, space and Hollywood Squares: Looking at things that aren't there anymore

It has been argued that the human cognitive system is capable of using spatial indexes or oculomotor coordinates to relieve working memory load (Ballard, Hayhoe, Pook & Rao, 1997) track multiple moving items through occlusion (Scholl & Pylyshyn, 1999) or link incompatible cognitive and sensorimotor codes (Bridgeman and Huemer, 1998). Here we examine the use of such spatial information in memory for semantic information. Previous research has often focused on the role of task demands and the level of automaticity in the encoding of spatial location in memory tasks. We present five experiments where location is irrelevant to the task, and participants' encoding of spatial information is measured implicitly by their looking behavior during recall. In a paradigm developed from Spivey and Geng (submitted), participants were presented with pieces of auditory, semantic information as part of an event occurring in one of four regions of a computer screen. In front of a blank grid, they were asked a question relating to one of those facts. Under certain conditions it was found that during the question period participants made significantly more saccades to the empty region of space where the semantic information had been previously presented. Our findings are discussed in relation to previous research on memory and spatial location, the dorsal and ventral streams of the visual system, and the notion of a cognitive-perceptual system using spatial indexes to exploit the stability of the external world

Indexing, browsing and searching of digital video

Video is a communications medium that normally brings together moving pictures with a synchronised audio track into a discrete piece or pieces of information. The size of a “piece ” of video can variously be referred to as a frame, a shot, a scene, a clip, a programme or an episode, and these are distinguished by their lengths and by their composition. We shall return to the definition of each of these in section 4 this chapter. In modern society, video is ver

Mechatronic design of the Twente humanoid head

This paper describes the mechatronic design of the Twente humanoid head, which has been realized in the purpose of having a research platform for human-machine interaction. The design features a fast, four degree of freedom neck, with long range of motion, and a vision system with three degrees of freedom, mimicking the eyes. To achieve fast target tracking, two degrees of freedom in the neck are combined in a differential drive, resulting in a low moving mass and the possibility to use powerful actuators. The performance of the neck has been optimized by minimizing backlash in the mechanisms, and using gravity compensation. The vision system is based on a saliency algorithm that uses the camera images to determine where the humanoid head should look at, i.e. the focus of attention computed according to biological studies. The motion control algorithm receives, as input, the output of the vision algorithm and controls the humanoid head to focus on and follow the target point. The control architecture exploits the redundancy of the system to show human-like motions while looking at a target. The head has a translucent plastic cover, onto which an internal LED system projects the mouth and the eyebrows, realizing human-like facial expressions