Crouzon Syndrome: Relationship of Eye Movements to Pattern Strabismus

2015 ◽  
Vol 56 (8) ◽  
pp. 4394 ◽  
Author(s):  
Avery H. Weiss ◽  
John P. Kelly ◽  
Richard A. Hopper ◽  
James O. Phillips
Keyword(s):  
Eye Movements ◽  
Crouzon Syndrome ◽  
Relationship Of

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.

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.

Crouzon Syndrome: Relationship of Rectus Muscle Pulley Location to Pattern Strabismus

2014 ◽  
Vol 55 (1) ◽  
pp. 310 ◽  
Author(s):  
Avery H. Weiss ◽  
James Phillips ◽  
John P. Kelly
Keyword(s):  
Rectus Muscle ◽  
Crouzon Syndrome ◽  
Relationship Of

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.

Unit activity in vestibular nucleus of the alert monkey during horizontal angular acceleration and eye movement

1975 ◽  
Vol 38 (5) ◽  
pp. 1140-1161 ◽  
Author(s):  
A. F. Fuchs ◽  
J. Kimm
Keyword(s):  
Eye Movements ◽  
Vestibular Nucleus ◽  
Angular Acceleration ◽  
Vestibular Nuclei ◽  
Vestibular Stimulation ◽  
Button Press ◽  
Alert Monkey ◽  
Unit Discharge ◽  
Relationship Of ◽  
The Relationship

Single units were recorded from the vestibular nuclei of unanesthetized monkeys that were rotated in the horizontal plane while simultaneously pressing individual buttons in a controlled array which turned with hem. Using this behavioral paradigm, it was possible to 1) determine the relationship of unit discharge to eye movements measured by the DC-coupled electrooculogram and calibrated by the button-press task, and 2) determine the relationship of unit discharge to horizontal acceleration, either with or without the compensatory eye movements evoked by vestibular stimulation. Based on their responses during vestibular stimulation and/or eye movements, neurons in the vestibular nuclei (77% of our sample was in the medial nucleus) could be divided into four groups...

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