Pupil diameter and microsaccades are captured by an eye tracker and compared for their suitability as indicators of cognitive load (as beset by task difficulty). Specifically, two metrics are tested in response to task difficulty: (1) the change in pupil diameter with respect to inter- or intra-trial baseline, and (2) the rate and magnitude of microsaccades. Participants performed easy and difficult mental arithmetic tasks while fixating a central target. Inter-trial change in pupil diameter and microsaccade magnitude appear to adequately discriminate task difficulty, and hence cognitive load, if the implied causality can be assumed. This paper’s contribution corroborates previous work concerning microsaccade magnitude and extends this work by directly comparing microsaccade metrics to pupillometric measures. To our knowledge this is the first study to compare the reliability and sensitivity of task-evoked pupillary and microsaccadic measures of cognitive load.

This article details a two-step method of quantifying eye movement transitions between areas of interest (AOIs). First, individuals' gaze switching patterns, represented by fixated AOI sequences, are modeled as Markov chains. Second, Shannon's entropy coefficient of the fit Markov model is computed to quantify the complexity of individual switching patterns. To determine the overall distribution of attention over AOIs, the entropy coefficient of individuals' stationary distribution of fixations is calculated. The novelty of the method is that it captures the variability of individual differences in eye movement characteristics, which are then summarized statistically. The method is demonstrated on gaze data collected from two studies, during free viewing of classical art paintings. Normalized Shannon's entropy, derived from individual transition matrices, is related to participants' individual differences as well as to either their aesthetic impression or recognition of artwork. Low transition and high stationary entropies suggest greater curiosity mixed with a higher subjective aesthetic affinity toward artwork, possibly indicative of visual scanning of the artwork in a more deliberate way. Meanwhile, both high transition and stationary entropies may be indicative of recognition of familiar artwork.

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