The relationship of hemispheric preference, as measured by conjugate lateral eye movements, to accuracy of emotional facial expression

1979 ◽  
Vol 3 (3) ◽  
pp. 219-234 ◽  
Author(s):  
Cynthia A. Graves ◽  
Michael Natale
Keyword(s):  
Eye Movements ◽  
Facial Expression ◽  
Emotional Facial Expression ◽  
Lateral Eye ◽  
Hemispheric Preference ◽  
Relationship Of ◽  
The Relationship

Relationship of Lateral Eye-Movement to Cognitive Mode, Hemispheric Interaction, and Choice of College Major

1977 ◽  
Vol 45 (3) ◽  
pp. 983-990 ◽  
Author(s):  
Allan L. Combs ◽  
Patricia J. Hoblick ◽  
Michael J. Czarnecki ◽  
Paula Kamler
Keyword(s):  
Eye Movements ◽  
Visual Arts ◽  
College Major ◽  
Cognitive Demands ◽  
Lateral Eye ◽  
Direction Of Movement ◽  
Cognitive Mode ◽  
Relationship Of ◽  
Art And Language ◽  
Hemispheric Interaction

The direction and frequency of lateral eye-movements and frequency of midline crossovers, while reflecting on selected questions, are related to college major. Students in language-related fields produce larger ratios of right to left lateral movements, and fewer left movements, than do other students. Students in visual arts produce greater total numbers of movements as well as more frequent midline crossovers. Moreover, cognitive demands of questions (verbal or nonverbal) influence direction of movement most prominently in students majoring in other than art and language-related fields. Results are discussed in terms of cognitive mode, hemispheric interaction, and choice of college major.

Lateral Body Sensitivity and Lateral Eye-Movements

1974 ◽  
Vol 38 (3_suppl) ◽  
pp. 1293-1294 ◽  
Author(s):  
Dwight Hines ◽  
Colin Martindale ◽  
Sharon Schulze
Keyword(s):  
Eye Movements ◽  
The Body ◽  
Lateral Eye ◽  
Lateral Body ◽  
Paper And Pencil ◽  
Reflective Questions ◽  
The Relationship

An experiment was performed to assess the relationship between lateral body sensitivity and lateral eye-movements elicited by reflective questions. The latter correlated with a paper-and-pencil measure of lateral body sensitivity in the first part of the experiment. In the second part, induced heightened awareness of one side of the body was associated with more eye-movements toward that side.

Dominant Direction of Conjugate Lateral Eye Movements and Responsiveness to Facial and Verbal Cues

1976 ◽  
Vol 42 (1) ◽  
pp. 167-174 ◽  
Author(s):  
Wayne W. Crouch
Keyword(s):  
Eye Movements ◽  
Analysis Of Variance ◽  
Functional Asymmetry ◽  
Cerebral Hemispheres ◽  
Verbal Cues ◽  
Facial Cues ◽  
Lateral Eye ◽  
Student Volunteers ◽  
The Relationship ◽  
Dominant Direction

Responsiveness to facial versus verbal cues as a function of dominant direction of conjugate lateral eye movements and sex was tested in a 2 × 2 analysis of variance design. Ss were 81 student volunteers. Right-movers ( n = 33) were more responsive to verbal cues; left-movers ( n = 45) were more responsive to facial cues ( p < .05). The results are consistent with the hypothesized link between conjugate lateral eye movements and functional asymmetry of the cerebral hemispheres. Males were more responsive to verbal cues; females were more responsive to facial cues ( p < .05). Data relevant to reliability of the eye movements, the relationship between sex and eye movements, and the relationship between type of question and eye movements are also presented.

Effects of Experience and Short-Term Practice on Drivers' Eye Movements and Errors in Simulated Dangerous Situations

1978 ◽  
Vol 47 (3) ◽  
pp. 767-776 ◽  
Author(s):  
John A. Allen ◽  
Stephen R. Schroeder ◽  
Patricia G. Ball
Keyword(s):  
Eye Movements ◽  
Eye Movement ◽  
Search Strategy ◽  
The Other ◽  
Short Term ◽  
Control Actions ◽  
Training Film ◽  
Relationship Of ◽  
The Relationship

Two groups of 10 subjects tracked a segment of the Aetna training film, Traffic Strategy, six times by manipulating the controls of an Aetna Drivo-Trainer station. One group was composed of licensed drivers, the other, nonlicensed. No significant differences were found with respect to: (1) use of the accelerator, (2) frequency of eye movements, (3) length of eye movements, (4) fixation errors, (5) driving errors, or (6) the relationship of control actions to driving errors. Differences were noted with respect to: (1) steering and braking, (2) the effects of practice on control actions and driving errors, and (3) the relationship of amplitude of eye movement to control actions and driving errors. The results are discussed in terms of possible differences in search strategy between experienced and inexperienced drivers.

Field Independence, Lateralization and Defensive Style

1979 ◽  
Vol 49 (1) ◽  
pp. 195-202 ◽  
Author(s):  
Howard Shevrin ◽  
Irving A. Smokler ◽  
Evelyn Wolf
Keyword(s):  
Eye Movements ◽  
Eye Movement ◽  
Defense Mechanisms ◽  
Eye Gaze ◽  
Hemispheric Lateralization ◽  
Field Independence ◽  
Preferred Direction ◽  
Lateral Eye ◽  
Hemispheric Activation ◽  
The Relationship

This study investigated the relationship between field independence and defense clustering as measured by the Defense Mechanisms Inventory and lateral eye movements. Subjects had previously been classified either as hysterical or obsessive style by the Rorschach and WAIS Comprehension subtest. Previous findings indicate that these subjects have a preferred direction of lateral eye movement in a questioning format (hysterical style = left; obsessive style = right). This study found no relationship between field independence and defense clustering and lateral eye movements. To the extent that eye gaze indexes hemispheric activation, we conclude that neither field independence nor defense clustering was related to hemispheric lateralization.

Researching Dance in the Wild: Brazilian Experiences

2007 ◽  
Vol 51 (3) ◽  
pp. 140-155
Author(s):  
Christine Greiner
Keyword(s):  
Facial Expression ◽  
Cognitive Science ◽  
Gilles Deleuze ◽  
Practical Philosophy ◽  
Political Conception ◽  
The Face ◽  
In The Wild ◽  
Relationship Of ◽  
The Relationship ◽  
Kinetics Of

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

Machines, Faces, Neurons: Towards an Ethics of Dance

2007 ◽  
Vol 51 (3) ◽  
pp. 118-123 ◽  
Author(s):  
André Lepecki
Keyword(s):  
Facial Expression ◽  
Cognitive Science ◽  
Gilles Deleuze ◽  
Practical Philosophy ◽  
Political Conception ◽  
The Face ◽  
Relationship Of ◽  
The Relationship ◽  
Kinetics Of

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

Three Filmmaking Practices That Guide Our Attention to Popular Cinema

2021 ◽  
pp. 1-26
Author(s):  
James E. Cutting
Keyword(s):  
Eye Movements ◽  
English Language ◽  
Field Of View ◽  
Popular Cinema ◽  
The Third ◽  
Movie Content ◽  
Fixation Locations ◽  
Similar Content ◽  
Relationship Of ◽  
The Relationship

Abstract Popular movies are constructed to control our attention and guide our eye movements across the screen. Estimates of fixation locations were made by manually moving a cursor and clicking over frames at the beginnings and ends of more than 30,000 shots in 24 English-language movies. Results provide evidence for three general filmmaking practices in screen composition. The first and overriding practice is that filmmakers generally put the most import content ‒ usually the center of a character’s face ‒ slightly above the center of the screen. The second concerns two-person conversations, which account for about half of popular movie content. Dialogue shots alternate views of the speakers involved, and filmmakers generally place the conversants slightly to opposite sides of the midline. The third concerns all other shots. For those, filmmakers generally follow important content in one shot by similar content in the next shot on the same side of the vertical midline. The horizontal aspect of the first practice seems to follow from the nature of our field of view and vertical aspect from the relationship of heads to bodies depicted. The second practice derives from social norms and an image composition norm called nose room, and the third from the consideration of continuity and the speed of re-engaging attention.

Sign in / Sign up

Export Citation Format

Share Document