Hogan Lillelund (beastfather74)

Clustering analysis revealed some typical trajectories performed by specific sub-groups. The eye-tracking results were consolidated by the participants' answers during the focus group.Viewing artworks may be subject to the same processes as everyday scene selection in respect of gaze behaviour. However, artists may employ carefully constructed composition in their paintings to lead the eyes of viewers along a predetermined path. This paper investigates whether composition is successful through comparison of expected scanpaths (constructed using the known intention of the artist) and actual scanpaths (as captured using an eye-tracker) based on a loci and sequence similarity index. The findings suggest that composition is successful in leading the eye, although the order of fixations can vary. It could thus be concluded that composition is largely successful in terms of salient elements, but less so for guiding elements. Furthermore, using Cognitive Linguistics theories and applying it to the paintings with reference to the statistical results, the Art Creation Continuum that captures the role of composition on a spectrum is proposed.At the threshold of the digital era, Zuzana Licko was of the opinion that familiar letterforms owe legibility to centuries-long exposure and that all new, prototypically unmatching forms would be equally legible if used as frequently. This paper examined the legibility in the context of familiarity - is it affected by the time of exposure to a particular typeface or a typeface's universal structure. We ran repeated measures tests with exposure period in-between. The experiment was conducted using for this purpose designed typefaces as stimuli, and the eye-tracking on-screen reading technology. The results confirmed that one's familiarity with a typeface influences one's reading speed. The universal letter structure, recognised by Frutiger as the prototype skeleton, is the constant that a priori provides legibility. On the other hand, the period of exposure to uncommon letterforms also has a positive impact on legibility. Therefore, considering that the period of familiarity with the humanist letterforms has been continuous since their establishment, the maxim from the dawn of the digital era can be regarded as valid.There is increasing awareness that the perception of art is affected by the way it is presented. In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewing behavior of specific artworks both before and after the museum's rearrangement. In contrast to previous mobile eye tracking (MET) studies in museums, this study benefits from the comparison of two realistic display conditions (without any research interference), an unconstrained study design (working with regular museum visitors), and a large data sample (comprising 259 participants). We employed a mixed-method approach that combined mobile eye tracking, subjective mapping (a drawing task in conjunction with an open interview), and a questionnaire in order to relate gaze patterns to processes of meaning-making. Our results show that the new display made a difference in that it 1) generally increased the viewing times of the artworks; 2) clearly extended the reading times of labels; and 3) deepened visitors' engagement with the artworks in their exhibition reflections. In contrast, interest in specific artworks and art form preferences proved to be robust and independent of presentation modes.Classifying artists and their work as distinct art styles has been an important task of scholars in the field of art history. Due to its subjectivity, scholars often contradict one another. Our project investigated differences in aesthetic qualities of seven art styles through quantitative means. This was achieved with state-of-the-art deep-learning paradigms to generate new images resembling the style of an artist or entire era. We conducted psychol