東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁 到查詢結果 [ subject:"Behavioral Neuroscience." ]

切換: 標籤 | MARC模式 | ISBD

Paintings and sculptures : where do ...

Seille, Magali.

FindBook

Google Book

Amazon

博客來

Paintings and sculptures : where do we look first? = an eye tracking in situ study, of children and adults /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Paintings and sculptures : where do we look first?/ by Magali Seille, Zoi Kapoula.
其他題名:	an eye tracking in situ study, of children and adults /
作者:	Seille, Magali.
其他作者:	Kapoula, Zoi.
出版者:	Cham :Springer International Publishing : : 2023.,
面頁冊數:	1 online resource (xiii, 136 p.) :ill. (chiefly col.), digital ;24 cm.
內容註:	Prior studies of eye movement exploration of artwork -- This study - Methods -- Attraction to the center -- How do children look at the paintings -- How do we look at sculptures? -- Synthesis theoretical -- Concluding remarks.
Contained By:	Springer Nature eBook
標題:	Saccadic eye movements. -
電子資源:	https://doi.org/10.1007/978-3-031-31135-2
ISBN:	9783031311352

Paintings and sculptures : where do we look first? = an eye tracking in situ study, of children and adults /
Seille, Magali.

Paintings and sculptures : where do we look first?an eye tracking in situ study, of children and adults /[electronic resource] :by Magali Seille, Zoi Kapoula. - Cham :Springer International Publishing :2023. - 1 online resource (xiii, 136 p.) :ill. (chiefly col.), digital ;24 cm.

Prior studies of eye movement exploration of artwork -- This study - Methods -- Attraction to the center -- How do children look at the paintings -- How do we look at sculptures? -- Synthesis theoretical -- Concluding remarks.

The book presents three studies in which eye tracking data were collected at the Musée des Beaux-Arts in Rouen in June and July 2013. Overall, the results of those three studies highlight the knowledge gained from the analysis of the very first saccade in a museum context, when people look at paintings and statues. The first study analyzes how viewers orient their first saccade on paintings. This study shows that, in a museum, the first saccade is attracted toward the center of paintings. This attraction toward the paintings' center is found in all the subjects' groups that we have studied. Noteworthily, this effect is significantly less pronounced in individuals who never visit museums. It is among amateurs, who often visit museums, that the center attracts the most the first saccade. Among experts, painters or art history teachers, and to a lesser extent among amateurs, the pictorial composition largely determines the orientation of the first saccade. We indeed found that, as soon as the first saccade, experts orient their gaze toward the main subject. This phenomenon seems to be explained by the fact that experts immediately orient their gaze (here measured as the first saccade) toward the paintings' location conveying the most meaning. It can either be the center, or a peripheral area, depending on whether the paintings' most meaningful subject is located centrally or peripherally. The second study shows that the center does not attract the first saccade in 5-year-old children. This behavior appears later, in 8- to 10-year-old children. However, noticeably, the 8-10-year-old children orient significantly less frequently their first saccade toward the paintings' center as adults do, and this is also true when one considers non-expert adult viewers. The results of the third study focus on statues and reveal a very different oculomotor behavior: Indeed, rather than looking at the center, statues' viewers exhibit a clear tendency to saccade first at the statues' contours. This stands in contrast with the behavior that we observe with paintings. Our study concludes that statues trigger a specific oculomotor behavior. The latter appears to be mostly driven by the physical presence that stone bodies incarnate. The movement and the climax of this movement, that sculptors manage to convey, thus turn out to attract the gaze in a unique fashion. The book concludes that the first saccade is a powerful indicator of the oculomotor behavior that greatly improves our comprehension of the unique relationship between a viewer and artworks.

ISBN: 9783031311352

Standard No.: 10.1007/978-3-031-31135-2doiSubjects--Topical Terms:

1458016
Saccadic eye movements.

LC Class. No.: QP477.5

Dewey Class. No.: 612.846

Paintings and sculptures : where do we look first? = an eye tracking in situ study, of children and adults /
LDR:03913nmm a2200349 a 4500 001 2318729
003 DE-He213
005 20230516123339.0
006 m d
007 cr nn 008maaau
008 230902s2023 sz s 0 eng d
020 $a 9783031311352 $q (electronic bk.)
020 $a 9783031311345 $q (paper)
024 7 $a 10.1007/978-3-031-31135-2 $2 doi
035 $a 978-3-031-31135-2
040 $a GP $c GP
041 0 $a eng
050 4 $a QP477.5
072 7 $a TJF $2 bicssc
072 7 $a UYS $2 bicssc
072 7 $a TEC008000 $2 bisacsh
072 7 $a TJF $2 thema
072 7 $a UYS $2 thema
082 0 4 $a 612.846 $2 23
090 $a QP477.5 $b .S461 2023
100 1 $a Seille, Magali. $3 3633999
245 1 0 $a Paintings and sculptures : where do we look first? $h [electronic resource] : $b an eye tracking in situ study, of children and adults / $c by Magali Seille, Zoi Kapoula.
260 $a Cham : $b Springer International Publishing : $b Imprint: Springer, $c 2023.
300 $a 1 online resource (xiii, 136 p.) : $b ill. (chiefly col.), digital ; $c 24 cm.
505 0 $a Prior studies of eye movement exploration of artwork -- This study - Methods -- Attraction to the center -- How do children look at the paintings -- How do we look at sculptures? -- Synthesis theoretical -- Concluding remarks.
520 $a The book presents three studies in which eye tracking data were collected at the Musée des Beaux-Arts in Rouen in June and July 2013. Overall, the results of those three studies highlight the knowledge gained from the analysis of the very first saccade in a museum context, when people look at paintings and statues. The first study analyzes how viewers orient their first saccade on paintings. This study shows that, in a museum, the first saccade is attracted toward the center of paintings. This attraction toward the paintings' center is found in all the subjects' groups that we have studied. Noteworthily, this effect is significantly less pronounced in individuals who never visit museums. It is among amateurs, who often visit museums, that the center attracts the most the first saccade. Among experts, painters or art history teachers, and to a lesser extent among amateurs, the pictorial composition largely determines the orientation of the first saccade. We indeed found that, as soon as the first saccade, experts orient their gaze toward the main subject. This phenomenon seems to be explained by the fact that experts immediately orient their gaze (here measured as the first saccade) toward the paintings' location conveying the most meaning. It can either be the center, or a peripheral area, depending on whether the paintings' most meaningful subject is located centrally or peripherally. The second study shows that the center does not attract the first saccade in 5-year-old children. This behavior appears later, in 8- to 10-year-old children. However, noticeably, the 8-10-year-old children orient significantly less frequently their first saccade toward the paintings' center as adults do, and this is also true when one considers non-expert adult viewers. The results of the third study focus on statues and reveal a very different oculomotor behavior: Indeed, rather than looking at the center, statues' viewers exhibit a clear tendency to saccade first at the statues' contours. This stands in contrast with the behavior that we observe with paintings. Our study concludes that statues trigger a specific oculomotor behavior. The latter appears to be mostly driven by the physical presence that stone bodies incarnate. The movement and the climax of this movement, that sculptors manage to convey, thus turn out to attract the gaze in a unique fashion. The book concludes that the first saccade is a powerful indicator of the oculomotor behavior that greatly improves our comprehension of the unique relationship between a viewer and artworks.
650 0 $a Saccadic eye movements. $3 1458016
650 0 $a Visual reception theory. $3 3634000
650 0 $a Painting $x Appreciation. $3 546958
650 0 $a Sculpture $x Appreciation. $3 3634001
650 1 4 $a Digital and Analog Signal Processing. $3 3538815
650 2 4 $a Behavioral Neuroscience. $3 3596860
650 2 4 $a Automated Pattern Recognition. $3 3538549
700 1 $a Kapoula, Zoi. $3 2087811
710 2 $a SpringerLink (Online service) $3 836513
773 0 $t Springer Nature eBook
856 4 0 $u https://doi.org/10.1007/978-3-031-31135-2
950 $a Engineering (SpringerNature-11647)