Semantic content outweighs low-level saliency in determining children's and adults' fixation of movies

To make sense of the visual world, we need to move our eyes to focus regions of interest on the high-resolution fovea. Eye movements, therefore, give us a way to infer mechanisms of visual processing and attention allocation. Here, we examined age-related differences in visual processing by recording eye movements from 37 children (aged 6–14 years) and 10 adults while viewing three 5-min dynamic video clips taken from child-friendly movies. The data were analyzed in two complementary ways: (a) gaze based and (b) content based. First, similarity of scanpaths within and across age groups was examined using three different measures of variance (dispersion, clusters, and distance from center). Second, content-based models of fixation were compared to determine which of these provided the best account of our dynamic data. We found that the variance in eye movements decreased as a function of age, suggesting common attentional orienting. Comparison of the different models revealed that a model that relies on faces generally performed better than the other models tested, even for the youngest age group (<10 years). However, the best predictor of a given participant’s eye movements was the average of all other participants’ eye movements both within the same age group and in different age groups. These findings have implications for understanding how children attend to visual information and highlight similarities in viewing strategies across development

Match-action: the role of motion and audio in creating global change blindness in film

An everyday example of change blindness is our difficulty to detect cuts in an edited moving-image. Edit Blindness (Smith & Henderson, 2008) is created by adhering to the continuity editing conventions of Hollywood, e.g. coinciding a cut with a sudden onset of motion (Match-Action). In this study we isolated the roles motion and audio play in limiting awareness of match-action cuts by removing motion before and/or after cuts in existing Hollywood film clips and presenting the clips with or without the original soundtrack whilst participants tried to detect cuts. Removing post-cut motion significantly decreased cut detection time and the probability of missing the cut. By comparison, removing pre-cut motion had no effect suggesting, contrary to the editing literature, that the onset of motion before a cut may not be as critical for creating edit blindness as the motion after a cut. Analysis of eye movements indicated that viewers reoriented less to new content across intact match-action cuts than shots with motion removed. Audio played a surprisingly large part in creating edit blindness with edit blindness mostly disappearing without audio. These results extend film editor intuitions and are discussed in the context of the Attentional Theory of Cinematic Continuity (Smith, 2012a)

Contribution of Color Information in Visual Saliency Model for Videos

International audienceMuch research has been concerned with the contribution of the low level features of a visual scene to the deployment of visual attention. Bottom-up saliency models have been developed to predict the location of gaze according to these features. So far, color besides to brightness, contrast and motion is considered as one of the primary features in computing bottom-up saliency. However, its contribution in guiding eye movements when viewing natural scenes has been debated. We investigated the contribution of color information in a bottom-up visual saliency model. The model efficiency was tested using the experimental data obtained on 45 observers who were eye tracked while freely exploring a large data set of color and grayscale videos. The two datasets of recorded eye positions, for grayscale and color videos, were compared with a luminance-based saliency model. We incorporated chrominance information to the model. Results show that color information improves the performance of the saliency model in predicting eye positions

What is the role of the film viewer? The effects of narrative comprehension and viewing task on gaze control in film

Film is ubiquitous, but the processes that guide viewers' attention while viewing film narratives are poorly understood. In fact, many film theorists and practitioners disagree on whether the film stimulus (bottom-up) or the viewer (top-down) is more important in determining how we watch movies. Reading research has shown a strong connection between eye movements and comprehension, and scene perception studies have shown strong effects of viewing tasks on eye movements, but such idiosyncratic top-down control of gaze in film would be anathema to the universal control mainstream filmmakers typically aim for. Thus, in two experiments we tested whether the eye movements and comprehension relationship similarly held in a classic film example, the famous opening scene of Orson Welles' Touch of Evil (Welles & Zugsmith, Touch of Evil, 1958). Comprehension differences were compared with more volitionally controlled task-based effects on eye movements. To investigate the effects of comprehension on eye movements during film viewing, we manipulated viewers' comprehension by starting participants at different points in a film, and then tracked their eyes. Overall, the manipulation created large differences in comprehension, but only produced modest differences in eye movements. To amplify top-down effects on eye movements, a task manipulation was designed to prioritize peripheral scene features: a map task. This task manipulation created large differences in eye movements when compared to participants freely viewing the clip for comprehension. Thus, to allow for strong, volitional top-down control of eye movements in film, task manipulations need to make features that are important to narrative comprehension irrelevant to the viewing task. The evidence provided by this experimental case study suggests that filmmakers' belief in their ability to create systematic gaze behavior across viewers is confirmed, but that this does not indicate universally similar comprehension of the film narrative

Listening to music reduces eye movements

Listening to music can change the way that people visually experience the environment, probably as a result of an inwardly directed shift of attention. We investigated whether this attentional shift can be demonstrated by reduced eye movement activity, and if so, whether that reduction depends on absorption. Participants listened to their preferred music, to unknown neutral music, or to no music while viewing a visual stimulus (a picture or a film clip). Preference and absorption were significantly higher for the preferred music than for the unknown music. Participants exhibited longer fixations, fewer saccades, and more blinks when they listened to music than when they sat in silence. However, no differences emerged between the preferred music condition and the neutral music condition. Thus, music significantly reduces eye movement activity, but an attentional shift from the outer to the inner world (i.e., to the emotions and memories evoked by the music) emerged as only one potential explanation. Other explanations, such as a shift of attention from visual to auditory input, are discussed

In the eye of the beholder? Oxytocin effects on eye movements in schizophrenia

BACKGROUND: Individuals with schizophrenia have difficulty in extracting salient information from faces. Eye-tracking studies have reported that these individuals demonstrate reduced exploratory viewing behaviour (i.e. reduced number of fixations and shorter scan paths) compared to healthy controls. Oxytocin has previously been demonstrated to exert pro-social effects and modulate eye gaze during face exploration. In this study, we tested whether oxytocin has an effect on visual attention in patients with schizophrenia.METHODS: Nineteen male participants with schizophrenia received intranasal oxytocin 40UI or placebo in a double-blind, placebo-controlled, crossover fashion during two visits separated by seven days. They engaged in a free-viewing eye-tracking task, exploring images of Caucasian men displaying angry, happy, and neutral emotional expressions; and control images of animate and inanimate stimuli. Eye-tracking parameters included: total number of fixations, mean duration of fixations, dispersion, and saccade amplitudes.RESULTS: We found a main effect of treatment, whereby oxytocin increased the total number of fixations, dispersion, and saccade amplitudes, while decreasing the duration of fixations compared to placebo. This effect, however, was non-specific to facial stimuli. When restricting the analysis to facial images only, we found the same effect. In addition, oxytocin modulated fixation rates in the eye and nasion regions.DISCUSSION: This is the first study to explore the effects of oxytocin on eye gaze in schizophrenia. Oxytocin had enhanced exploratory viewing behaviour in response to both facial and inanimate control stimuli. We suggest that the acute administration of intranasal oxytocin may have the potential to enhance visual attention in schizophrenia