This book discusses research, methods, and recent developments in the interdisciplinary field that spans research in visualization, eye tracking, human-computer interaction, and psychology. It presents extended versions of papers from the First Workshop on Eye Tracking and Visualization (ETVIS), which was organized as a workshop of the IEEE VIS Conference 2015. Topics include visualization and visual analytics of eye-tracking data, metrics and cognitive models, eye-tracking experiments in the context of visualization interfaces, and eye tracking in 3D and immersive environments.

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Predicting the exciting portions of a video is a widely relevant problem because of applications such as video summarization, searching for similar videos, and recommending videos to users. Researchers have proposed the use of physiological indices such as pupillary dilation as a measure of emotional arousal. The key problem with using the pupil to measure emotional arousal is accounting for pupillary response to brightness changes.

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Artists and animators have observed that children’s movements are quite different from adults performing the same action. Previous computer graphics research on human motion has primarily focused on adult motion. There are open questions as to how different child motion actually is and whether the differences will actually impact animation and interaction.

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Comic artists put in a lot of effort into directing the viewer's attention. We collected eyetracking data on a variety of legacy comic book panels, and used this corpus to study viewer gaze behavior, as well as, drive computational algorithms.

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Eye movements are a reliable indicator of overt visual attention. Because multiple factors influence where people attend in images, understanding how our attention is deployed and predicting where we look at are challenging, and a subject of ongoing research across the world. This tutorial reviews three main points [...]

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Given the current profusion of devices for viewing media, video content created at one aspect ratio is often viewed on displays with different aspect ratios. Many previous solutions address this problem by retargeting or resizing the video, but a more general solution would re-edit the video for the new display. Our method employs the three […]

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This paper presents ERELT (Enhanced Radial Edgeless Tree), a tree visualization approach on modern mobile devices. ERELT is designed to offer a clear visualization of any tree structure with intuitive interaction. We are interested in both the observation and navigation of such structures. Such visualization can assist users in interacting with a hierarchical structure such […]

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We present a method to predict primary gaze behavior in a social scene. Inspired by the study of electric fields, we posit “social charges” – latent quantities that drive the primary gaze behavior of members of a social group. These charges induce a gradient field that defines the relationsh,between the social charges and the […]

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Drawing shapes by hand and manipulating computer-generated objects are the two dominant forms of animation. Though each medium has its own advantages, the techniques developed for one medium are not easily leveraged in the other medium because hand animation is two-dimensional, and inferring the third dimension is mathematically ambiguous. A second challenge is that the […]

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Comics are a compelling, though complex, visual storytelling medium. Researchers are interested in the process of comic art creation to be able to automatically tell new stories, and also, summarize videos and catalog large collections of photographs for example. A primary organizing principle used by artists to lay out the components of comic art (panels, […]

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A gaze concurrence is a point in 3D where the gaze directions of two or more people intersect. It is a strong indicator of social saliency because the attention of the participating gro,is focused on that point. In scenes occupied by large groups of people, multiple concurrences may occur and transition over time. In […]

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Secondary motion, or the motion of objects in response to that of the primary character, is widely used to amplify the audience’s response to the character’s motion and to provide a connection to the environment. These three- dimensional (3D) effects are largely passive and tend to be time consuming to animate by hand, yet most […]

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The skills required to create compelling three-dimensional animation using computer software are quite different from those required to create compelling hand animation with pencil and paper. The three-dimensional medium has several advantages over the traditional medium- it is easy to relight the scene, render it from different viewpoints, and add physical simulations. In this work, […]

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