Notes

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Among the most renowned painters of the early twentieth century, Gustav Klimt is often associated - by experts and laymen alike - with a distinctive style of representation the visual juxtaposition of realistic features and flattened ornamental patterns. Art historical writing suggests that this juxtaposition allows a two-fold experience; the perception of both the realm of art and the realm of life. While Klimt adopted a variety of stylistic choices in his career, this one popularised his work and was hardly ever used by other artists. The following study was designed to observe whether Klimt's distinctive style causes a specific behaviour of the viewer, at the level of eye-movements. Twenty-one portraits were shown to thirty viewers while their eye-movements were recorded. The pictures included artworks by Klimt in both his distinctive and non-distinctive styles, as well as other artists of the same historical period. The recorded data show that only Klimt's distinctive paintings induce a specific eyemovement pattern with alternating longer ("absorbed") and shorter ("scattered") fixations. We therefore claim that there is a behavioural correspondence to what art historical interpretations have so far asserted The perception of "Klimt's style" can be described as two-fold also at a physiological level.In art schools and classes for art history students are trained to pay attention to different aspects of an artwork, such as art movement characteristics and painting techniques. Experts are better at processing style and visual features of an artwork than nonprofessionals. Here we tested the hypothesis that experts in art use different, task-dependent viewing strategies than nonprofessionals when analyzing a piece of art. We compared a group of art history students with a group of students with no art education background, while viewing 36 paintings under three discrimination tasks. Participants were asked to determine the art movement, the date and the medium of the paintings. We analyzed behavioral and eye-movement data of 27 participants. Our observers adjusted their viewing strategies according to the task, resulting in longer fixation durations and shorter saccade amplitudes for the medium detection task. We found higher task accuracy and subjective confidence, less congruence and higher dispersion in fixation locations in experts. Expertise also influenced saccade metrics, biasing it towards larger saccade amplitudes, advocating a more holistic scanning strategy of experts in all three tasks.The present eye-tracking study investigated how audio explanations influence perception and the cognitive processing of historical paintings. Spatially close and distant pairs of picture elements and their semantic relations were named in an audio text either immediately after each other or with descriptions of other elements in between. It was assumed that the number of backward fixation counts on the first of the two mentioned related picture elements should be higher if they are spatially close rather than spatially distant. There should also be more backward fixation counts if the elements are named temporally close rather than temporally distant. Similar predictions were made for the retention of these picture elements and their relations. A 2x2x2 within-subject design (n=36) with spatial distance (close vs. distant), temporal distance (close vs. distant) and painting (Leutze vs. West) revealed more background fixation counts for spatially close compared to spatially distant elements but just for the Leutze painting. Accordingly, the relations between the spatially close pairs were retained better than between the spatially distant pairs in the Leutze painting but vice versa for the West painting. The results are discussed with regard to the spatial contiguity principle of multimedia learning and research on text coherence.Systematic tendencies such as the center and horizontal bias are known to have a large influence on how and where we move our eyes during static onscreen free scene viewing. However, it is unknown whether these tendencies are learned viewing strategies or are more default tendencies in the way we move our eyes. To gain insight into the origin of these tendencies we explore the systematic tendencies of infants (3 - 20-month-olds, N = 157) and adults (N = 88) in three different scene viewing data sets. We replicated com-mon findings, such as longer fixation durations and shorter saccade amplitudes in infants compared to adults. The leftward bias was never studied in infants, and our results indi-cate that it is not present, while we did replicate the leftward bias in adults. The general pattern of the results highlights the similarity between infant and adult eye movements. Similar to adults, infants' fixation durations increase with viewing time and the depend-encies between successive fixations and saccades show very similar patterns. A straight-forward conclusion to draw from this set of studies is that infant and adult eye movements are mainly driven by similar underlying basic processes.Previous research has shown that exposure to Japanese gardens reduces physiological measures of stress, e.g. check details heart rate, in both healthy subjects and dementia patients. However, the correlation between subjects' physiological responses and their visual behavior while viewing the garden has not yet been investigated. To address this, we developed a system to collect simultaneous measurements of eye gaze and three physiological indicators of autonomic nervous system activity electrocardiogram, blood volume pulse, and galvanic skin response. We recorded healthy subjects' physiological/behavioral responses when they viewed two environments (an empty courtyard and a Japanese garden) in two ways (directly or as a projected 2D photograph). Similar to past work, we found that differences in subject's physiological responses to the two environments when viewed directly, but not as a photograph. We also found differences in their behavioral responses. We quantified subject's behavioral responses using several gaze metrics commonly considered to be measures of engagement of focus average fixation duration, saccade amplitude, spatial entropy and gaze transition entropy. We found decrease in gaze transition entropy, the only metric that accounts for both the spatial and temporal properties of gaze, to have a weak positive correlation with decrease in heart rate. This suggests a relationship between engagement/focus and relaxation. Finally, we found gender differences females' gaze patterns were more spatially distributed and had higher transition entropy than males.
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