The present study examined differences in visual search and locomotor behavior among a group of skilled 10–12 year-old football players. The participants watched video clips of a 4-to-4 position game, presented on a large screen. The participants were asked to take part in the game by choosing the best position for the reception of the ball passed by one of the players in the clip. Participants’ visual search and locomotor behavior were collected continuously throughout the presentation of the clip. A within-group comparison was made based upon the participants’ interception score, i.e., more at the correct position. The findings show that the high-score group looked more to the ball area, while the players in the low-score group concentrated on the receiving player and on the hips/upper-body region of the passing player. The players in the high-score group covered a significantly greater distance compared to the low-score group. It was concluded that differences in visual search and locomotion behavior can be used as indicators for identifying talented junior football players.
In foul decision-making by football referees, visual search is important for gathering task-specific information to determine whether a foul has occurred. Yet, little is known about the visual search behaviours underpinning excellent on-field decisions. The aim of this study was to examine the on-field visual search behaviour of elite and sub-elite football referees when calling a foul during a match. In doing so, we have also compared the accuracy and gaze behaviour for correct and incorrect calls. Elite and sub-elite referees (elite: N = 5, Mage ± SD = 29.8 ± 4.7yrs, Mexperience ± SD = 14.8 ± 3.7yrs; sub-elite: N = 9, Mage ± SD = 23.1 ± 1.6yrs, Mexperience ± SD = 8.4 ± 1.8yrs) officiated an actual football game while wearing a mobile eye-tracker, with on-field visual search behaviour compared between skill levels when calling a foul (Nelite = 66; Nsub−elite = 92). Results revealed that elite referees relied on a higher search rate (more fixations of shorter duration) compared to sub-elites, but with no differences in where they allocated their gaze, indicating that elites searched faster but did not necessarily direct gaze towards different locations. Correct decisions were associated with higher gaze entropy (i.e. less structure). In relying on more structured gaze patterns when making incorrect decisions, referees may fail to pick-up information specific to the foul situation. Referee development programmes might benefit by challenging the speed of information pickup but by avoiding pre-determined gaze patterns to improve the interpretation of fouls and increase the decision-making performance of referees.
Studying images in social media poses specific methodological challenges, which in turn have directed scholarly attention towards the computational interpretation of visual data. When analyzing large numbers of images, both traditional content analysis as well as cultural analytics have proven valuable. However, these techniques do not take into account the circulation and contextualization of images within a socio-technical environment. As the meaning of social media images is co-created by networked publics, bound through networked practices, these visuals should be analyzed on the level of their networked contextualization. Although machine vision is increasingly adept at recognizing faces and features, its performance in grasping the meaning of social media images is limited. However, combining automated analyses of images - broken down by their compositional elements - with repurposing platform data opens up the possibility to study images in the context of their resonance within and across online discursive spaces. This paper explores the capacities of platform data - hashtag modularity and retweet counts - to complement the automated assessment of social media images; doing justice to both the visual elements of an image and the contextual elements encoded by networked publics that co-create meaning.
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Mondkapjes, of mondmaskers, zijn door de SARS-COV-2 pandemie niet meer uit het straatbeeld weg te denken. De kwaliteit en comfort van de pasvorm van medische en niet-medische mondmaskers wordt bepaald door hoe goed het mondmasker overeenkomt met de afmetingen van het gezicht van de drager. Echter is er geen goed overzicht van de antropometrie van het gelaat van de Nederlandse bevolking waardoor de pasvorm van mondmaskers nu vaak niet optimaal is. Er is dus vraag naar een laagdrempelige en veilige manier om gezichtskenmerken in kaart te brengen en betere ontwerprichtlijnen voor mondkapjes. Driedimensionaal (3D) scannen doormiddel van Light Detection and Ranging (LiDaR) technologie in combinatie met slimme algoritmes lijkt wellicht een manier om gezichtskenmerken snel en laagdrempelig vast te leggen bij grote groepen mensen. Daarnaast geeft het 3D scannen van gezichten de mogelijkheid om niet enkel de afmetingen van gezichten te meten, maar ook 3D pasvisualisaties uit te voeren. Hoewel 3D scannen geen nieuwe technologie is, is de LiDaR technologie pas sinds 2020 geïntegreerd in de Ipad en Iphone waardoor het toegankelijk gemaakt is voor consumenten. Doormiddel van een research through design benadering zal onderzocht worden of deze technologie gebruikt kan worden om betrouwbare en valide opnames te maken van gezichten en of er op basis hiervan ontwerprichtlijnen ontwikkeld kunnen worden. In dit KIEM GoCi-project zal daarnaast ingezet worden om een kennisbasis en netwerk op te bouwen voor een vervolg aanvraag over de inzet van 3D technologieën in de mode-industrie.
The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
