Bold Headlines of Urban Eyescapes:A Computational Approach of Urban Mapping via Digital Surveying and Eye-Tracking Technologies

The sensory stimuli from the urban environment are often distinguished as subtle structures that derive from experiencing the city. The experience of the urban environment is also related to the social relationships and memories that complete the 'urban eyescapes' and the way individuals can recall them. Despite the fact that the consideration of urban sensory stimuli is part of urban design, currently the account of visual experience in urban studies is hard to be identified. This article explores ways of recording how the senses mediate one's engagement with the urban environment. This study involves an experiment in the urban environment of the Copenhagen city centre, with 20 subjects performing a walking task. The aim of the experiment is to categorize the visual 'Bold Headlined Stimuli’ (BHS) of the examined environment, using eye-tracking techniques. The analysis allows us to identify the Headlining Stimuli Process, (HSP) in the select urban environment. HSP is significantly mediated by body mobility and perceptual memories and has shown how urban stimuli influence the intelligibility and the recalling patterns of the urban characteristics. The results have yielded a 'Bold Headline list' of stimuli related to: the spatial characteristics of higher preference; the stimuli that are relevant to livability; and the spatial dimensions easier to recall. The data of BHS will be used in cross-disciplinary city analysis. In the future, these results could be useful in urban design, to provide information on how urban space affects the human activities

Sign evolution on multiple time scales. Introductory comments

Th is thematic issue explores aspects of sign emergence, development and change. Rather than static entities, signs are approached as dynamic relations that grow, develop and change over time in response to various environmental, cognitive, social or biological factors

Exploring the Neural Processes behind Narrative Engagement:An EEG Study

Past cognitive neuroscience studies using naturalistic stimuli have considered narratives holistically and focused on cognitive processes. In this study, we incorporated the narrative structure, the dramatic arc, as an object of investiga-tion, to examine how engagement levels fluctuate across a narrative-aligned dramatic arc. We explored the possibility of predicting self-reported engagement ratings from neural activity and investigated the idiosyncratic effects of each phase of the dramatic arc on brain responses as well as the relationship between engagement and brain responses. We presented a movie excerpt following the six-phase narrative arc structure to female and male participants while collecting EEG signals. We then asked this group of participants to recall the excerpt, another group to segment the video based on the dramatic arc model, and a third to rate their engagement levels while watching the movie. The results showed that the self-reported engagement ratings followed the pattern of the narrative dramatic arc. Moreover, while EEG amplitude could not predict group-averaged engagement ratings, other features comprising dynamic intersubject correlation (dISC), including certain frequency bands, dynamic functional connectivity patterns and graph features were able to achieve this. Furthermore, neural activity in the last two phases of the dramatic arc significantly predicted engagement patterns. This study is the first to explore the cognitive processes behind the dramatic arc and its phases. By demonstrating how neural activity predicts self-reported engagement, which itself aligns with the narrative structure, this study provides insights on the interrelationships between narrative structure, neural responses, and viewer engagement.</p

Metodología para el estudio neurocinemático del cambio de plano por corte a través del electroencefalograma

The objective of this paper is to present a methodological approach to develop aneurocinematic study of flm transitions through cuts to the next shot. Specifically, thestudy was carried out by analyzing the event-related desynchronization/synchronizationof the electroencephalogram recorded on spectators. It starts by describing theimplications of applying neurocinematic methodologies to film analysis, and finalizeswith the peculiarities that our research implies. In our case we work from filmfragments extracted from existing feature films, we carry out a recording of neuralactivity with 31 electrodes and apply a statistical analysis based on the permutationstest, the Spearman correlation test and the analysis of slopes on the transformedregistered signal to the frequency domain

Higher levels of narrativity lead to similar patterns of posterior EEG activity across individuals

The focus of cognitive and psychological approaches to narrative has not so much been on the elucidation of important aspects of narrative, but rather on using narratives as tools for the investigation of higher order cognitive processes elicited by narratives (e.g., understanding, empathy, etc.). In this study, we work toward a scalar model of narrativity, which can provide testable criteria for selecting and classifying communication forms in their level of narrativity. We investigated whether being exposed to videos with different levels of narrativity modulates shared neural responses, measured by inter-subject correlation, and engagement levels. Thirty-two participants watched video advertisements with high-level and low-level of narrativity while their neural responses were measured through electroencephalogram. Additionally, participants’ engagement levels were calculated based on the composite of their self-reported attention and immersion scores. Results demonstrated that both calculated inter-subject correlation and engagement scores for high-level video ads were significantly higher than those for low-level, suggesting that narrativity levels modulate inter-subject correlation and engagement. We believe that these findings are a step toward the elucidation of the viewers’ way of processing and understanding a given communication artifact as a function of the narrative qualities expressed by the level of narrativity

EEG theta and N400 responses to congruent versus incongruent brand logos

Neuroimaging and behavioral studies have shown that brands convey meaning to consumers. To investigate the immediate reactions of the brain to brand logos, followed either by congruent or incongruent pictorial brand-related cues, can deepen understanding of the semantic processing of brands, and perhaps how consolidated the logo is in consumers’ minds. Participants were exposed to different brand-related image sets, that were either congruent (a match between brand-related images and brand logo) or incongruent (a mismatch between brand-related images and brand logo) while having their brain signals recorded. Event-related potential and EEG time–frequency domain features were extracted from the signals of the target image (brand logo). The results showed significantly larger N400 peak and relative theta power increase for incongruent compared to congruent logos, which could be attributed to an error-monitoring process. Thus, we argue that brands are encoded deeply in consumers’ minds, and cognitive processing of mismatched (vs matched) brand logos is more difficult, leading to greater error monitoring. The results were mostly consistent with previous studies investigating semantic incongruences in the linguistic field. Therefore, the error-monitoring process could be extended beyond linguistic forms, for example to images and brands

Cinematographic continuity edits across shot scales and camera angles:An ERP analysis

Film editing has attracted great theoretical and practical interest since the beginnings of cinematography. In recent times, the neural correlates of visual transitions at edit cuts have been at the focus of attention in neurocinematics. Many Event Related Potential (ERP) studies studies have reported the consequences of cuts involving narrative discontinuities, and violations of standard montage rules. However, less is known about edits that are meant to induce continuity. Here, we addressed the neural correlates of continuity editing involving scale, and angle variations across the cut within the same scene, two of the most popular devices used for continuity editing. We recorded the electroencephalographic signal obtained from 20 viewers as they watched four different cinematographic excerpts to extract ERPs at edit points. First, we were able to reproduce the general time and scalp distribution of the typical ERPs to filmic cuts in prior studies. Second, we found significant ERP modulations triggered by scale changes (scale out, scale in, or maintaining the same scale). Edits involving an increase in scale (scale out) led to amplification of the ERP deflection, and scale reduction (scale in) led to decreases, compared to edits that kept scale across the cut. These modulations coincide with the time window of the N300 and N400 components and, according to previous findings, their amplitude has been associated with the likelihood of consciously detecting the edit. Third, we did not detect similar modulations as a function of angle variations across the cut. Based on these findings, we suggest that cuts involving reduction of scale are more likely to go unnoticed, than ones that scale out. This relationship between scale in/out and visibility is documented in film edition manuals. Specifically, in order to achieve fluidity in a scene, the edition is designed from the most opened shots to the most closed ones