
Contents
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5.1 Gaze movements as a literary model in art history 5.1 Gaze movements as a literary model in art history
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5.2 Analysis of gaze movements as a psychological method 5.2 Analysis of gaze movements as a psychological method
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5.2.1 Overview 5.2.1 Overview
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5.2.2 Measurement of gaze movements as a distinguished method in psychology 5.2.2 Measurement of gaze movements as a distinguished method in psychology
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5.2.3 Fixations and saccades 5.2.3 Fixations and saccades
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5.2.4 Physiological and neural basis of fixations and saccades 5.2.4 Physiological and neural basis of fixations and saccades
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5.3 Visual attention and gaze movements 5.3 Visual attention and gaze movements
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5.4 Gaze movements during the beholding of paintings 5.4 Gaze movements during the beholding of paintings
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5.4.1 History of research 5.4.1 History of research
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5.4.2 Variations of gaze movements during the time lapse of beholding 5.4.2 Variations of gaze movements during the time lapse of beholding
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5.4.3 Variations of gaze movements related to paintings 5.4.3 Variations of gaze movements related to paintings
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5.4.4 Variations of gaze movements related to beholders 5.4.4 Variations of gaze movements related to beholders
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5.4.5 Variations of gaze movements related to task and context 5.4.5 Variations of gaze movements related to task and context
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5.5 Conclusion and directions for future research 5.5 Conclusion and directions for future research
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Acknowledgments Acknowledgments
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References References
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5 The moving eye of the beholder: Eye tracking and the perception of paintings
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Published:June 2015
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Abstract
Gaze movements have been an issue in the history of art long before they became a research topic of cognitive sciences. Empirical research partly contradicts and partly confirms the assumptions of art historical texts. Therefore and thanks to the latest technological developments eye-tracking significantly contributes to the understanding of the perception of painting. The first part of this chapter gives an introduction to the analysis of gaze movements as a psychological method, including an overview of the physiological and neural basis of fixations and saccades as well as the relation of visual attention and gaze movements. The second part summarizes eye-tracking studies on the perception of paintings as they have been accomplished since the 1930s, discussing the variations of gaze movements during beholding, and showing how they vary depending to paintings, to beholders (individual and group-specific differences), as well as to task and context.
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