Books on the topic 'Visual space attention'
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1
McKeating, Roisin L. B. An investigation of distributed attention within visual space. [s.l: The author], 1985.
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2
Shifts of Visual Attention: Orienting Attentional Focus to Locations and Objects in Visual Space. Oxford University Press, 2005.
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3
W, Humphreys Glyn, Duncan John Dr, Treisman Anne, Royal Society (Great Britain), and Novartis Foundation for Gerontological Research., eds. Attention, space, and action: Studies in cognitive neuroscience. Oxford: Oxford University Press, 1999.
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4
Neuroscience cognitive de l'attention visuelle. Marseille: Solal, 2007.
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5
Treue, Stefan. Object- and Feature-Based Attention. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.008.
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The allocation of selective visual attention to a particular region of visual space has been attention’s most-studied variant. But attention can also be allocated to features, such as a particular colour or direction of motion. Studies from the visual cortex of rhesus monkeys have revealed a gain modulation across visual space that enhances the response of neurons that show a preference for the attended feature and a reduced responsiveness of those neurons tuned to the opposite feature. Such studies have also provided evidence for object-based attention, where the attentional enhancement of a neural representation affects the complex amalgamation of features that make up an object. All these forms of visual attention together create an integrated saliency map or priority map, that is, an integrated representation of relative stimulus strength and behavioural relevance across visual space that underlies our perception of the environment.
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Shapiro, Kimron, and Simon Hanslmayr. The Role of Brain Oscillations in the Temporal Limits of Attention. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.037.
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Attention is the ubiquitous construct referring to the ability of the brain to focus resources on a subset of perceptual input which it is trying to process for a response. Attention has for a long time been studied with reference to its distribution across space where, for example, visual input from an attentionally monitored location is given preference over non-monitored (i.e. attended) locations. More recently, attention has been studied for its ability to select targets from among rapidly, sequentially presented non-targets at a fixed location, e.g. in visual space. The present chapter explores this latter function of attention for its relevance to behaviour. In so doing, it highlights what is becoming one of the most popular approaches to studying communication across the brain—oscillations—at various frequency ranges. In particular the authors discuss the alpha frequency band (8–12 Hz), where recent evidence points to an important role in the switching between processing external vs. internal events.
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Scolari, Miranda, Edward F. Ester, and John T. Serences. Feature- and Object-Based Attentional Modulation in the Human Visual System. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.009.
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To increase efficiency, sensory systems process only a subset of available inputs in accord with the behavioural goals of the observer. The mechanisms that support the prioritization of relevant over irrelevant stimuli, referred to collectively as selective attention, can operate on the basis of spatial location (space-based attention), low-level visual features (e.g. orientation or colour; feature-based attention), or holistic objects (object-based attention). This chapter reviews human behavioural, electrophysiological, and neuroimaging data pertaining to the effects and control of the latter two mechanisms. Based on an increasingly rich literature spanning several decades, the authors argue that even though feature- and object-based attention are often treated as independent mechanisms, they should instead be described along a single continuum in which the information selected for prioritized processing (whether it be a single feature or a holistic object representation) is flexibly dictated by task demands.
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Itti, Laurent, and Ali Borji. Computational Models. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.026.
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This chapter reviews recent progress in computational modelling of visual attention. The authors start with early concepts and models, which have emphasized stimulus-driven guidance of attention towards salient objects in the visual world. They then present a taxonomy of the many different approaches which have emerged in recent research efforts. They then turn to the more complex problem of modelling top-down, task- and goal-driven influences on attention. While early top-down models have been more qualitative in nature, the authors describe several recent fully computational approaches that address top-down biasing in space, over features, and towards objects. This chapter finally provides an outlook and describes promising future research directions.
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Robertson, Ian. Unilateral Neglect: Clinical And Experimental Studies (Brain Damage, Behaviour and Cognition Series). Psychology Press, 1993.
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10
Unilateral Neglect: Clinical And Experimental Studies (Brain Damage, Behaviour, and Cognition). Psychology Press, 1993.
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11
Schacher, Jan C. Algorithmic Spatialization. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.12.
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Beginning with a brief historical overview of spatial audio and music practices, this chapter looks at principles of sound spatialization, algorithms for composing and rendering spatial sound and music, and different techniques of spatial source positioning and sound space manipulation. These operations include composing with abstract objects in a sound scene, creating compound sounds using source clusters, altering spatial characteristics by means of spectral sound decomposition, and the manipulation of artificial acoustic spaces. The chapter goes on to discuss practical issues of live spatialization and, through an example piece, the ways a number of different algorithms collaborate in the constitution of a generative audio-visual installation with surround audio and video. Finally, the challenges and pitfalls of using spatialization and some of the common reasons for failure are brought to attention.
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Dimendberg, Edward, ed. The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.001.0001.
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Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952–2009) was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books Window Shopping and The Virtual Window have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg’s work has never been the subject of an extended study. The Moving Eye gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.
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Hutchinson, G. O. Motion in Classical Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.001.0001.
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Ancient literature is full of people, gods, and animals in impressive motion. But while the importance of space has been realized recently, motion has had little attention, for all its prominence in literature, and its interest to ancient philosophy. Motion is bound up with decisions, emotions, character; its specific features are expressive. The book starts with motion in visual art: this leads to the characteristics of literary depiction. Literary works discussed are: Homer’s Iliad; Ovid’s Metamorphoses; Tacitus’ Annals; Sophocles’ Philoctetes and Oedipus at Colonus; Parmenides’ On Nature; Seneca’s Natural Questions. The two narrative poems here diverge rewardingly, as do philosophical poetry and prose; in the prose narrative, as in the philosophical poem, the absence of motion, and metaphorical motion, are important; the dramas scrutinize motion verbally and visually. Each discussion pursues the general roles of motion in a work, with detail on its language of motion; then passages are analysed closely, to show how much emerges when this aspect is scrutinized. A conclusion brings works and passages together. It considers the differences made by genre and by the time of writing. Among aspects of motion which emerge as important are speed, scale, shape of movement, motion and fixity, movement of one person and a group, motion willed and imposed, motion in images and unrealized possibilities. A companion website makes it easier to see passages and analyses together; it offers videos of readings to convey the vitality and subtlety with which motion is portrayed.
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Brine, Kelly Gordon. The Art of Cinematic Storytelling. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.001.0001.
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The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts, and Transitions is a practical introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design. The author-illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book’s clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning, and continuity editing. This book delves deeply into controlling the audience’s understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups, and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots, and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film.
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Layden, Timothy B. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0022.
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For me every sound has its own shape or form. This sense of shape is like objects in my periphery. They move around me and change in size and structure depending on how the sounds change. The experience is more intense with more complex sounds and when the source of the sound is not visible. I wonder if it is my brain creating the visual for the sound. The shapes seem to reflect the sound: liquid sounds often create fluid bubbly shapes; sharp clanging sounds have more angular shapes like growing crystals; bass sounds are large and expanding. When there is a loud, seemingly singular sound, this can create a sense of space around me as if I were inside the shape itself. When many sounds occur at once, the shapes often combine, creating a complex structure or a texture. These shapes sometimes blend together, rather as sounds do in the environment, creating a moving landscape. These experiences are part of how I sense the world and rarely stand out as distractions. Sometimes, however, a sudden, unexpected sound will evoke a synaesthetic experience that is distracting, drawing my attention away from whatever I might be doing....
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Blatt, Ari J., and Edward Welch, eds. France in Flux. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.001.0001.
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The look and feel of metropolitan France has been a notable preoccupation of French literary and visual culture since the 1980s. Numerous writers, filmmakers and photographers have been drawn to articulate France’s contrasting spatial qualities, from infrastructural installations such as roads, rail lines and ports, to peri-urban residential developments and isolated rural enclaves. In doing so, they explore how the country’s acute sense of national identity has been both asserted and challenged in topographic terms. This wide-ranging collection of essays explores how the contemporary concern with space in France has taken shape across a range of media, from recent cinema, documentary filmmaking and photographic projects through to television drama and contemporary fiction, and examines what it reveals about the state of the nation in a post-colonial and post-industrial age. The impact of global flows of capital, trade and migration can be mapped through attention to the specificities of place and topography. Investigation of liminal locations, from seaboard cities and abandoned industrial sites to refugee camps and peasant smallholdings, interrogates the assertion of a national territory (and thereby, a national identity) through the figure of the hexagon, and highlights the fluidities, instabilities and lines of flight which render it increasingly unsettled.
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Stevenson, Alice. Predynastic Egyptian Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.004.
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Anthropomorphic figurines attributed to fourth millennium bc predynastic Egypt are exceptionally rare. This chapter focuses its attention on the even smaller subset of those representations that can be contextualized archaeologically. This more selective treatment is intended to shift the core of the discussion of these artefacts from the usual focus upon visual representation towards consideration of embodiment and the spaces in which these things were made, encountered, and experienced. In particular, it is argued that figurines were affective devices that elicited emotional attention within ritual practice. Attention is also paid to the broader social and material contexts of predynastic development in order to gain a more comprehensive understanding of both the presence and the absence of these figurines.
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Gensheimer, Maryl B. An Introduction to Baths in Rome and Methodologies of This Study. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614782.003.0001.
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Given the fundamental importance of baths to daily life in ancient Rome, this chapter introduces the book and concentrates attention on the best preserved of Rome’s imperial thermae, the Baths of Caracalla, in order to unveil the cultural and sociopolitical forces that shaped monumental public spaces and their visual experience. By outlining the Baths’ architectural design and evocative decoration, this chapter foreshadows new insights into the multiple meanings underlying their embellishment and, therefore, the myriad ways in which imperial patronage can be understood. The chapter sets the stage by examining the importance of baths and bathing in ancient Rome generally before delving into the patronage of Rome’s imperial thermae and the Baths of Caracalla more specifically. Special attention is given to tracing the Baths of Caracalla’s ancient design and more modern history of excavation, as well as situating the author’s arguments and aims within recent scholarly contributions.
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Hetherington, Paul, and Cassandra Atherton. Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.001.0001.
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This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. The book explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry' s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women's essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.