A revised method for projecting two different movies to two groups of viewers without their noticing the duality

The MORI technique reported in Mori (2003) has evolved into its second generation after the appearance of a new type of video projector with two advantages over the first generation. The new MORI technique uses a pair of DLP projectors instead of the LCD type. The improved technique does not require sideways framing of the movie for presentation as required formerly. Therefore, any ready-made movie clip can be used. Second, it utilizes a pair of circular polarizing filters instead of linear polarizers. Linear polarizing filters may leak the to-be-blocked light wave when they are tilted. Circular polarizing filters are less susceptible to that weakness. The effectiveness of the revised technique has been proved by several studies carried out in two separate laboratories in which undergraduates and preschoolers participated as eyewitnesses to observe simulated criminal events presented using this technique.     

Projecting two words with one machine: Presenting two different visual stimuli using just one projector without viewers’ noticing the duality

A new method, named the fMORI technique, for presenting two different visual stimuli using just one video projector without the viewers' noticing the duality is introduced along with several sample applications of this presentation method. The LCD projectors available now have three color LCD panels aligned differently in terms of their polarization, polarizing differently the green and magenta (red plus blue) components of its emitting image. Therefore, two visual stimuli either in green or in magenta projected on thesame screen canbe observed separately by subjects wearing an appropriate polarizing filter. This is a variation of the MORI technique (Mori, 2003, 2007b) but it requires only one video projector rather than two. Full-color movies cannot be presented with the fMORI technique, but it may be utilized in various research areas in which only static monochrome visual stimuli, such as words or numbers, are used.     

Mediated Identity in the Parasocial Interaction of TV

Electronic media contributes toward modifying the self as they shape it as a multivoiced construction. Television talk shows function as a space of parasocial interaction where ordinary people represented on the screen offer involving images of subjectivity for the home viewers. Through interpretative procedures, viewers integrate screen suggestions in the positions' repertoire of their self. This study hypothesized that viewers co-construct identities through involvement in what they are watching and employed focus group discussions and content analysis to investigate this hypothesis. The results demonstrate recurrent comparisons contrasting the screen "other" and the real self. This categorization marks a strong involvement of participants and an interpretative reconstruction of television images. As such, identity is constructed in the dialogical relation between others and selves in a mediated relation whose only result is a self traveling through different repositionings.     

The Editing Density of Moving Images Influences Viewers’ Time Perception: The Mediating Role of Eye Movements

The present study examined whether cinematographic editing density affects viewers’ perception of time. As a second aim, based on embodied models that conceive time perception as strictly connected to the movement, we tested the hypothesis that the editing density of moving images also affects viewers’ eye movements and that these later mediate the effect of editing density on viewers’ temporal judgments. Seventy participants watched nine video clips edited by manipulating the number of cuts (slow- and fast-paced editing against a master shot, unedited condition). For each editing density, multiple video clips were created, representing three different kinds of routine actions. The participants’ eye movements were recorded while watching the video, and the participants were asked to report duration judgments and subjective passage of time judgments after watching each clip. The results showed that participants subjectively perceived that time flew more while watching fast-paced edited videos than slow-paced or unedited videos; by contrast, concerning duration judgments, participants overestimated the duration of fast-paced videos compared to the master-shot videos. Both the slow- and the fast-paced editing generated shorter fixations than the master shot, and the fast-paced editing led to shorter fixations than the slow-paced editing. Finally, compared to the unedited condition, editing led to an overestimation of durations through increased eye mobility. These findings suggest that the editing density of moving images by increasing the number of cuts effectively altered viewers’ experience of time and add further evidence to prior research showing that performed eye movement is associated with temporal judgments.     

A device for the computer processed analysis of video frames

This article briefly describes a system of analyzing movement sequences extracted from video images. The system uses an IBM-PC or compatible computer, equipped with a CGA screen and a mouse, and a videotape recorder and monitor. The coordinates of the points selected from the images with the mouse are stored in an ASCII-format file by a computer program. The principle behind this system is that it projects video images on a computer screen through a one-way mirror while avoiding parallax effects.     

Tachistoscopic display using color-lookup-table display devices

In this article, I describe a method for presenting multiple bit-mapped images on video displays under precise temporal control. The method makes use of the color-table animation technique that can be used with color-lookup-table display devices. The principal challenge in applying this technique to the display of multiple stimuli lies in dealing efficiently with the problem of overlapping displays. The solution described here is to allocate separate bit slices of screen memory to stimuli that overlap and to allocate sequential color-table indices to stimuli that are disjoint. Software is described that automatically computes the location of a stimulus on the screen, allocates color indices appropriately, transfers bit images to screen memory efficiently, and manipulates the color lookup table to present a given stimulus to the viewer. These operations are handled transparently; the user simply draws the stimuli and then turns them on or off under program control.     

The PC tachistoscope has 240 pages

Myors (1998) showed how to combine familiar video page switching with bit-plane layering in video mode 0dh to increase the capacity of the PC tachistoscope from 8 to 32 pages. The present article shows how to combine video page switching with color page switching to implement a 240-page tachistoscope, thus producing an almost eightfold increase in the capacity of the PC tachistoscope. The main limitation of this technique is that the images cannot all be located in the same position on the screen. Complete source code in C is included.     

Face learning with multiple images leads to fast acquisition of familiarity for specific individuals

Matching unfamiliar faces is a difficult task. Here we ask whether it is possible to improve performance by providing multiple images to support matching. In two experiments we observe that accuracy improves as viewers are provided with additional images on which to base their match. This technique leads to fast learning of an individual, but the effect is identity-specific: Despite large improvements in viewers’ ability to match a particular person's face, these improvements do not generalize to other faces. Experiment 2 demonstrated that trial-by-trial feedback provided no additional benefits over the provision of multiple images. We discuss these results in terms of familiar and unfamiliar face processing and draw out some implications for training regimes.     

2～3岁儿童对视频信息的理解

选取2岁、2．5岁和3岁儿童72名,比较儿童通过窗口、视频和模型三种条件观看藏玩具过程,然后正确找到玩具的表现,考察了2～3岁儿童对视频信息的理解特点。结果表明：（1）与通过直接经验获得信息相比,2岁与2.5岁儿童从视频获得表征信息存有一定困难;3岁儿童能够顺利地从视频获得并运用表征信息。（2）2～3岁儿童在视频条件下获取表征信息的能力要强于模型条件。研究认为3岁前儿童完成将视频图像视为真实物向视为表征信息的转换,双重表征并非儿童将视频图像作为表征信息加以理解的先决条件。     

Are visual cue masking and removal techniques equivalent for studying perceptual skills in sport?

The spatial-occlusion paradigm makes use of two techniques (masking and removing visual cues) to provide information about the anticipatory cues used by viewers. The visual scene resulting from the removal technique appears to be incongruous, but the assumed equivalence of these two techniques is spreading. The present study was designed to address this issue by combining eye-movement recording with the two types of occlusion (removal versus masking) in a tennis serve-return task. Response accuracy and decision onsets were analysed. The results indicated that subjects had longer reaction times under the removal condition, with an identical proportion of correct responses. Also, the removal technique caused the subjects to rely on atypical search patterns. Our findings suggest that, when the removal technique was used, viewers were unable to systematically count on stored memories to help them accomplish the interception task. The persistent failure to question some of the assumptions about the removal technique in applied visual research is highlighted, and suggestions for continued use of the masking technique are advanced.     

Not all synaesthetes are created equal: Projector versus associator synaesthetes

In synaesthesia, ordinary stimuli elicit extraordinary experiences. When grapheme-color synaesthetes view black text, each grapheme elicits a photism-a highly specific experience of color. Importantly, some synaesthetes (projectors) report experiencing their photisms in external space, whereas other synaesthetes (associators) report experiencing their photisms "in the mind's eye." We showed that projectors and associators can be differentiated not only by their subjective reports, but also by their performance on Stroop tasks. Digits were presented in colors that were either congruent or incongruent with the synaesthetes' photisms. The synaesthetes named either the video colors of the digits or the colors of the photisms elicited by the digits. The results revealed systematic differences in the patterns of Stroop interference between projectors and associators. Converging evidence from first-person reports and third-person objective measures of Stroop interference establish the projector/ associator distinction as an important individual difference in grapheme-color synaesthesia.     

No need to fake it: reproduction of the Asch experiment without confederates

In the present experiment, we replicated Asch's seminal study on social conformity without using confederates. We adapted a presentation trick in order to present two different stimuli secretly to groups of participants to create minorities and majorities without utilizing confederates. One hundred and four Japanese undergraduates (40 men and 64 women) carried out Asch-equivalent tasks in same-sex groups of four. In each group, we adapted the fMORI Technique to present the tasks such that one person (minority participant) observed different stimuli than the other three people (majority participants). The same nine stimulus sets that Asch had used were carefully reproduced as PowerPoint slides and projected onto a half-transparent screen. As for the critical tasks, the top part of the standard lines appeared in either green or magenta so that two groups of participants would see them differently when they wore two types of polarizing sunglasses that filtered either green or magenta to make the lines appear longer or shorter. A post-experimental questionnaire confirmed that no participant among either the minority or majority viewers noticed the presentation trick. The results showed that, in line with Asch's basic findings, the minority women participants conformed to the majority. However, our study produced two different results: While minority women conformed, minority men did not. Contrary to Asch's findings, the frequency of conformity of minority participants was almost the same regardless of whether the majority answered unanimously or not.     

Why cast shadows are expendable: insensitivity of human observers and the inherent ambiguity of cast shadows in pictorial art

The kinds of visual cues artists choose to use or not use in their work can offer insight into perceptual processes. On the basis of the observed paucity of the use of cast shadow in pictorial art, we hypothesized that cast shadows might be relatively expendable as pictorial cues. In this study, we investigated two potential reasons for this expendability: first, viewers might be insensitive to much of the information that cast shadows provide; and, second, ambiguities about what is shadow and what is pigment can often be resolved only through motion-something that static media are ill-equipped to deal with. In experiment 1, we used a visual-search paradigm in which viewers had to determine if there were odd cast shadows in sets of 4, 8, 16, and 32 objects. In experiment 2, viewers had to discriminate between shadow/pigment ambiguities in both still and moving images. Our results demonstrate that viewers are neither particularly sensitive to static cast-shadow incongruities, nor are they able to disambiguate cast shadow from pigment without continuous motion information. Taken together, these results may help explain why cast shadows are relatively rare in static pictorial work.     

Improved calibration of color video projectors by means of computer animation

A computer animation for the calibration of color video projectors is described. The animation facilitates the calibration procedure and can be readily programmed on almost any graphics computer or played from a videotape.     

A low-cost method for digitizing videotaped continuous movements on the Macintosh

We describe an inexpensive means of digitizing videotaped positions of moving points, such as the positions of the joints of a person who is performing an action. Single-frame video images and a Macintosh computer monitor are optically superimposed, using a half-silvered mirror, and the positions of reference points in the video image are manually clicked in by the operator, so that the screen coordinates of the reference points on each frame can be stored in a text file for later analysis. The digitizing program records comments and identifying information along with the position data.     

Something Overlooked? How experts in change detection use visual saliency

How does expertise in the analysis of particular images influence the effects of visual saliency upon attention? Expert analysts of aerial photographs and untrained viewers undertook change‐detection and location memory tasks using aerial photographs with eye movements recorded throughout. Experts were more accurate in both tasks. Significant differences were also seen in the scanpaths: Untrained viewers fixated preferentially upon salient features throughout stimulus presentation whereas experts did not. However, both groups showed a strong influence of saliency in change detection and memory tasks. We interpret this apparent contradiction by: (i) assuming that the use of saliency in visual search is discretionary, and experts can use semantic information to prioritise where to fixate next; whereas, (ii) in tasks requiring spatial memory, analysis of visual saliency delivers easily acquired landmarks to reference the location of items in an image; a previously overlooked function used by expert and untrained viewers alike. Copyright © 2009 John Wiley & Sons, Ltd.     

‘Strong European emotions’: The politics of culture in the EU

In 2007 four video clips released by the European Union Media Programme achieved overnight popularity in their ability to present and capture the emotional core of being European (the clips can be seen on EUtube). The clips were designed to promote the Media Programme (2007–2013) and to encourage European citizens to identify with something that all of them have in common: ‘Love’, ‘Romanticism’, ‘Joy’ and ‘Sadness’. The clips have gained considerable interest. The video clip titled ‘Love’ has become the most watched European Union video clip ever. It shows eighteen couples having sex.In this paper I analyse the way in which such images mobilize the pleasures of fantasmic identification with the embodied agents of love and sex – images that viewers enjoy as consumers of popular culture – and how these pleasures are linked to the processes of supranational (European) identity building. In doing so, inspired by Sara Ahmed's work on the cultural politics of emotions and Ernesto Laclau's work on populism, I open a set of questions about the libidinal character or the affective dimensions of identification which images employ in order to construct identity formations. I argue that these clips are mechanisms that attempt to contribute to the construction of European supranational identity. They are part of the big network of projects established by European public policy makers that strive to produce ‘European culture’. They are designed not so much to give information about so-called ‘European emotions’ but to construct a European public. Each clip represents ambiguities which surround concepts of European culture and identity.     

Automated 3-D tracking of video-captured movement using the example of an aquatic mollusk

We describe a computer program that tracks the three-dimensional coordinates of a snail (moving within a tank) from images captured by a single video camera. The tank and a mirror placed at 45° to one side are viewed to provide direct and reflected images of a pond snail,Lymnaea stagnalis, moving around the tank. The output of the camera is captured with an IBM-compatible PC using a frame-grabbing VideoBlaster board. The main features of our Windows program is the frame-by-frame analysis of the captured video, enhancement of contrast, location of dark “snails,” discrimination by size, trigonometric determination of thex, y, z coordinates, and the final export of data in a spreadsheet-ready format. After the user has outlined the position of the tank on the screen and set the discrimination thresholds, no further user activity is required. This makes the analysis of slowly moving mollusks much less operator intensive and less tedious. The method is applicable to other faster moving organisms (e.g., fish) because the analysis is performed on captured video sequences.     

Capuchin monkeys (Cebus apella) respond to video images of themselves

Many studies have used mirror-image stimulation in attempts to find self-recognition in monkeys. However, very few studies have presented monkeys with video images of themselves; the present study is the first to do so with capuchin monkeys. Six tufted capuchin monkeys were individually exposed to live face-on and side-on video images of themselves (experimental Phase 1). Both video screens initially elicited considerable interest. Two adult males looked preferentially at their face-on image, whereas two adult females looked preferentially at their side-on image; the latter elicited lateral movements and head-cocking. Only males showed communicative facial expressions, which were directed towards the face-on screen. In Phase 2 monkeys discriminated between real-time, face-on images and identical images delayed by 1 s, with the adult females especially preferring real-time images. In this phase both screens elicited facial expressions, shown by all monkeys. In Phase 3 there was no evidence of discrimination between previously recorded video images of self and similar images of a familiar conspecific. Although they showed no signs of explicit self-recognition, the monkeys’ behaviour strongly suggests recognition of the correspondence between kinaesthetic information and external visual effects. In species such as humans and great apes, this type of self-awareness feeds into a system that gives rise to explicit self-recognition.