Embodied viewing and Degas’s
            <i>Little Dancer Aged Fourteen</i>
            : a multi-disciplinary experiment in eye-tracking and motion capture

Wiseman, Boris; Carusi, Annamaria; Briggs, E; Poyntz, Stuart R.; Alcock, Lisa; Mazzà, Claudia

doi:10.1080/17458927.2019.1652413

Cited by 4 publications

(4 citation statements)

References 25 publications

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“…Describing eye-movements as an indicator and one of the few directly measurable components of aesthetic experience during artwork viewing is a common assumption behind many previous studies: often, researchers utilize eye-tracking as a meaningful tool to compare conditions or participant groups to answer their research questions, for example, (1) whether figure paintings and landscape paintings induce dissociable gaze patterns 76 , (2) whether expert and non-expert participants in visual arts form different oculomotor measures 77 , or (3) whether the overlap of museum visitors’ viewing pathways on two paintings can be indexed and compared 78 . Additional measures can also be incorporated in studies and researchers can ask, for example, whether motion-capture alongside the eye-tracking during viewing a figurative sculpture by museum visitors who are trained dancers or non-dancers can be a feasible metric for aesthetic and kinesthetic experience 79 . Here, we used fixation maps and derived metrics such as dwell time per AOI as one potential way of comparing physical and VR museum contexts, and our main justification behind this is that the conceptualization of fixation maps 80 allows us to quantify the similarity of eye movement traces 81 .…”

Section: Discussionmentioning

confidence: 99%

Similarity of gaze patterns across physical and virtual versions of an installation artwork

Gulhan

Durant

Zanker

2021

Sci Rep

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An experiment was conducted to compare museum visitors’ gaze patterns using mobile eye-trackers, whilst they were engaging with a physical and a virtual reality (VR) installation of Piet Mondrian’s Neo-plasticist room design. Visitors’ eye movements produced approximately 25,000 fixations and were analysed using linear mixed-effects models. Absolute and area-normalized dwell time analyses yielded mostly non-significant main effects of the environment, indicating similarity of visual exploration patterns between physical and VR settings. One major difference observed was the decrease of average fixation duration in VR, where visitors tended to more rapidly switch focus in this environment with shorter bursts of attentional focus. The experiment demonstrated the ability to compare gaze data between physical and virtual environments as a proxy to measure the similarity of aesthetic experience. Similarity of viewing patterns along with questionnaire results suggested that virtual galleries can be treated as ecologically valid environments that are parallel to physical art galleries.

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Section: Discussionmentioning

confidence: 99%

Similarity of gaze patterns across physical and virtual versions of an installation artwork

Gulhan

Durant

Zanker

2021

Sci Rep

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“…Wagner ( 58 ) explored mobile eye tracking (MET) in regard to sculptures, albeit with only one, non-moving subject. Wiseman et al ( 59 ) combined MET with motion capture to investigate how vision and body interact when perceiving a sculpture by Edgar Degas. The authors were unable to present results but exemplified the challenges of analyzing such a complex, multimodal data set.…”

Section: Introductionmentioning

confidence: 99%

The display makes a difference: A mobile eye tracking study on the perception of art before and after a museum’s rearrangement

Reitstätter

Brinkmann

Santini

et al. 2020

JEMR

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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 multi-disciplinary 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.

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“…It might be assumed that with an increase in the level of expertise, an increased number of switches would be performed between these two modes of perception (i.e., global and local viewing). However, with the exception of Wiseman et al ( 40 ), which is conceptual rather than empirical, we are unaware of any studies that have systematically investigated how visual processing of three-dimensional artwork is performed by individuals with different levels of expertise. Thus, our study may constitute pioneering work in the processing of three-dimensional stimuli in an authentic setting within the domain of visual arts, namely sculpture.…”

Section: Investigating Attentional Processes By Eye Tracking and Visu...mentioning

confidence: 99%

Investigating visual expertise in sculpture: A methodological approach using eye tracking

Stein

Jossberger

Gruber

2022

JEMR

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Research on visual expertise has progressed significantly due to the availability of eye tracking tools. However, attempts to bring together research on expertise and eye tracking methodology provoke several challenges, because visual information processes should be studied in authentic and domain-specific environments. Among the barriers to designing appropriate research are the proper definition of levels of expertise, the tension between internal (experimental control) and external (authentic environments) validity, and the appropriate methodology to study eye movements in a three-dimensional environment. This exploratory study aims to address these challenges and to provide an adequate research setting by investigating visual expertise in sculpting. Eye movements and gaze patterns of 20 participants were investigated while looking at two sculptures in a museum. The participants were assigned to four different groups based on their level of expertise (laypersons, novices, semi-experts, experts). Using mobile eye tracking, the following parameters were measured: number of fixations, duration of fixation, dwell time in relevant areas, and revisits in relevant areas. Moreover, scan paths were analysed using the eyenalysis approach. Conclusions are drawn on both the nature of visual expertise in sculpting and the potential (and limitations) of empirical designs that aim to investigate expertise in authentic environments.

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Embodied viewing and Degas’s Little Dancer Aged Fourteen : a multi-disciplinary experiment in eye-tracking and motion capture

Cited by 4 publications

References 25 publications

Similarity of gaze patterns across physical and virtual versions of an installation artwork

Similarity of gaze patterns across physical and virtual versions of an installation artwork

The display makes a difference: A mobile eye tracking study on the perception of art before and after a museum’s rearrangement

Investigating visual expertise in sculpture: A methodological approach using eye tracking

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