Visual efficiency detection index : a new composite measure of visual search

Visual search is an important component of our interaction with our surroundings, allowing us to successfully identify external cues that impact our spatial navigation. Previous research has established fixation duration, fixation count, saccade velocity, and saccade amplitude as important indices of visual search. We examined the Visual Efficiency Detection Index (VEDI) comprising multiple aspects of visual search performance into a single measure of global visual performance. Forty participants, 10 adults ages 22-48, and children ages 6, 8, and 10, completed tests of working memory and visual search in response to stimuli relevant to pedestrian decision making. Results indicated VEDI statistically relates to established indices of visual search in relation to their interpretability for human performance. The VEDI was also sensitive to developmental differences in visual search performance, suggesting insight to its utility in the developmental psychological literature.

Attention and selection behavior on ‘universal search’ result pages

The ISO norm line 9241 states some criteria for ergonomics of human system interaction. In markets with a huge variety of offers and little possibility of differentiation, providers can gain a decisive competitive advantage by user oriented interfaces. A precondition for this is that relevant information can be obtained for entrepreneurial decisions in this regard. To test how users of universal search result pages use those pages and pay attention to different elements, an eye tracking experiment with a mixed design has been developed. Twenty subjects were confronted with search engine result pages (SERPs) and were instructed to make a decision while conditions “national vs. international city” and “with vs. without miniaturized Google map” were used. Different parameters like fixation count, duration and time to first fixation were computed from the eye tracking raw data and supplemented by click rate data as well as data from questionnaires. Results of this pilot study revealed some remarkable facts like a vampire effect on miniaturized Google maps. Furthermore, Google maps did not shorten the process of decision making, Google ads were not fixated, visual attention on SERPs was influenced by position of the elements on the SERP and by the users’ familiarity with the search target. These results support the theory of Amount of Invested Mental Effort (AIME) and give providers empirical evidence to take users’ expectations into account. Furthermore, the results indicated that the task oriented goal mode of participants was a moderator for the attention spent on ads. Most important, SERPs with images attracted the viewers’ attention much longer than those without images. This unique selling proposition may lead to a distortion of competition on markets.

Cultura visual e exibição artística: O observador emergente

complexificação das tecnologias de consumo, os procedimentos associados à percepção visual tornaram-se o objecto central da própria visão e, consequentemente, colocaram-se no centro da teoria. Num certo sentido, podemos afirmar que uma nova compreensão, quer da luz, quer da temporalidade, se tornou na principal fonte da fenomenologia do século XX e da ontologia das artes visuais. A modernização tecnológica também efectuou uma reavaliação da visão, abrindo caminho para uma nova compreensão da imagem e da percepção visual nas artes tecnológicas contemporâneas. A Estética é, agora, uma disciplina filosófica essencialmente preocupada com a luz e com a percepção. Pode a História da Arte coincidir com uma história da percepção? Nos nossos dias, e depois de um longo período de relação equívoca, o crítico de arte e o investigador académico do domínio artístico estão ligados por uma estranha assimetria cognitiva das suas narrativas: ao mesmo tempo que ambos se encontram no processo de abandonarem critérios próprios de avaliação da debilitada qualidade estética das obras de arte contemporâneas, devem assegurar que o quadro tecnológico que sustenta e dinamiza a arte contemporânea não se transforma em justificação teleológica da tecnologia em si mesma, sustentando o seu devir como sinónimo da arte. De facto, os cultural studies são, cada vez mais, confrontados com a necessidade de conceptualizarem a técnica enquanto elemento chave da cultura.