HEATMAPS :: Heatmaps can be the end result of  both eye-tracking and clicks.
representing existing data in another format
value of heatmaps as a communication tool to board level executives ? Everything’s OK until they ask ‘why do you think people are not clicking here’
are quite useful if your site is popular enough
can be used for testing your design

What does a heatmap tell ?
which links are clicked most (how is that useful ?)
Find out which design encourages visitors to click deeper

What the heatmap doesnt tell ?
Did the visitor clicked a link because he wanted to OR was it just plain good looking
Are they able to see the link that I want them to
Should a section of the website be removed because users dont use it or they dont see it
What do you do to improve the page
Any application for how to interpret the data
“Do you have some blue text on a page that people are mistaking for a link?
Do you have links in a small font size, which people are missing when they try to click?
Do you have an unlinked logo or other graphical device that people think they can click on ?”

If we ask the user to perform a task and then put a heatmap, we can get an individual heatmap

Q: What fun-thing can be made out of a click heatmap ?
A:     Something with false clicks
An image with pseudo-links
selecting text
give them a choice of clicking 30 links

Ubiqutous : Eye tracking
doesnt tell how long the visitor saw a link

Non-ubi    : Click tracking

SOLUTION ::     we have to correlate their clicks, comments, and actions
1. Get some people to use the site with heatmap
2. Gather data and see which gets the maximum clicks/views
3. Get a second set of people and have a qualitative testing session
4. The heatmap will help formaulate the right questions for the test

Direct user observation can lead to more clear-cut insights as to why things are happening on your site

Somewhat Accepted:

• Hegarty p. 170: “Sons et lumières goes on to gloss over the longstanding incompatibility of sound with the gallery /museum setting. Sound in the gallery is noise—not only inappropriate until recent times, but it spread beyond its location, or demands more of a sense of location than a painting, say, requires. Sound-based art in a show can be overbearing, and , if there are several pieces, they risk clashing. Contemplation of any given piece is disrupted, and in turn the sound piece becomes an ambience rather than a discrete work. To get around this, space can be allocated away from other words—a sort of quarantine. Alternatively, the piece can be totally isolated and accessed through headphones.”

I have been fascinated by the comparison of the visual and sonic arts as discrete mediums, especially differences in the process of perception and cognition in each. The boundaries created by a capitalist notion of property afford a sense of ownership over the content members of society choose to consume in both private and public spaces. I first pondered this issue soon after taking my first trip on Chicago’s L where I read the warning of regulations levied against playing music/sound on electronic playback devices at an amplitude audible to other passengers on the train. Interestingly, L stations stand as great confluences for street musicians, relegating public sound production from the train cars’ interiors to the trackside boarding hubs.

Therefore, depending on the medium chosen for entertainment during the mundane commute along the tracks, attempting to avoid boredom in our constantly seeking stimulation mentality (as many are not satisfied with the observational variation already inherent in the unfolding of events in a “routine” day), one’s choice of perception is regulated by the imposed sense of consideration for others. If one chooses to satisfy a penchant for visual stimulation by reading a magazine, peering at the glossy, airbrushed, and plastic-infused faces of celebrities trying to stave off an inevitable death, the entertainment in neatly partitioned (barring a Pee-wee Herman-esque public exposure) within the shared space of the L car by immediate proximity and viewing angles.

Unfortunately, I develop a severe adverse reaction to the gyroscopic motion compensation of my eyes when focused on any object demanding precise and constant visual tracking, especially a page of text near my face. The turbulence of the car causes one’s body to vibrate and undulate in relation to the object one grasps so tightly, already compensating in terms of preventing movement of the object within one’s hands. Despite intense focus, information seeps in from one’s peripheral vision, creating a type of visual noise to the desired “signal.” (Side note: An interesting experiment in visual noise could entail the exploration of microvisuals instead of microsound; creating a visual artwork of a sufficiently miniscule scale and surrounding the artwork with “undesirable” visual stimuli would ensure the consumption of the work within a collage-like context; the border inherent in our visual field, barring a microscope/camera/binoculars/etc., surpasses the physical boundaries of such a work).  The juxtaposition of visual data in constant motion with the fixed appearance of an oscillating object therefore spawns a form a visual dissonance, only not the pleasurable kind for me.

As in nearly every other setting, I therefore choose to occupy this time listening to music in a portable media device. This choice, in the context of the L’s noise abatement regulation, forces one to hermetically seal the sound into one’s cochleae, arguably accelerating sensorineural hearing loss. I will be the first person to oppose someone blasting hip-hop, or any other form of music I find objectionable, in the train car, but I simply use the example as support in the variance between perceptions of different artistic media. It is also interesting that the sustained sound level produced by street performers is accepted on L platforms in an atmosphere of constantly harmful sound pressure levels.

Regarding the quarantine dilemma of sound art in a shared gallery space, I believe this necessary constraint filters the artwork being produced by sound artists for exhibition purposes. This and other constraints, such as the transportability mentioned by Hegarty, create artistic limitations based on the location of consumption. An artwork utilizing the spatiality of a given gallery as integral to its content would not function through headphones, and therefore must necessitate a minimum level of clout from the artist in securing exhibition space: one must be able to earn a partitioned section of the gallery space or a solo exhibition in isolation. Some part of me wonders if certain sound artists do not find this fact to be a problem: if such an artist willingly accepts the aleatoric sound production of an audience within the space, all sounds beyond the artist’s control might be welcomed.

• Hegarty p. 51: “While I do not think genre, style, category can be suspended except very fleetingly, the attempt is still worthwhile, and if the attempt is all we an have, then the attempt is the highest form of freedom to be aspired to, and must be maintained as an aim.”

Though Hegarty made this assertion in regards to free improvisation outside stylistic genres, it is especially relevant to the practice of noise music in general. I mentioned the asymptotic nature of noise in a previous blog: the ideal noise music would have an infinite amount of disruptions to content, followed by disruptions to those disruptions, etc. It also holds valid in terms of noise music’s genre formation, since Duchampian taste development constantly diminishes the “noisiness” of said music. Therefore, the “noisiest” music stands as an ideal mirroring the non-suspension of style/genre, leaving artists with the aspiration of attempts not living up to the aesthetic ideal.

At the same time, from an aesthetic point of view, the inability of attaining “perfection” is discouraging in terms of one’s desires: if the goal cannot be reached, why the continual effort aimed toward the goal? The problem lies in the conceptual ideal and theorists’ dissection of the aesthetic, however, because nearly every pursuit may be vivisected and deconstructed in a similar manner. Maintaining the goal in the first place can be seen as a fault if one knows the goal to be a fallacy before exerting efforts toward that goal. Therefore, one should repudiate these delusions of grandiose aesthetic perfection, acknowledging the absence of the pure ideal in one’s music.

• Hegarty p. 171: “The key in any case, is the installation, of which Labelle has the following to say: ‘the developments of sound installation provide a heightened articulation of sound to perform as an artistic medium, making explicit “sound art” as a unique and identifiable practice.”
  • Hegarty p. 170: “…the sound installations that begin to appear in the late 1960s allow, or suggest ways in which sound was used to construct art, or was made as art rather than as music.”

The distinction of sound art as separate from music has intrigued me since I learned of the artistic medium. I believe the dividing line lies in the perceptual reference frame, making the distinction semantic in my opinion. In response to the second quote, I ask: “What about art music?” I’m sure that Hegarty did not mean to assert that music isn’t already a form of art, but this quote somewhat implies this stance: he should have avoided obfuscation in stating, “…made as art alone rather than as music.” It really depends on the contextual frame of the artwork: an experimental composer might frame the exact sonic morphology of an audio signal used by a sound artist as a composed piece of music rather than a piece of sound art; therefore, the socialized context imposes the distinction in manner of perception.

Labelle contends that the installation is essential to the creation of sound art’s frame of perception and its aesthetic expectations, providing a “heightened articulation of sound to perform as an artistic medium, making explicit ‘sound art’ as a unique and identifiable practice.” I do not believe that an installation articulates sound to perform as an artistic medium any more than a conventional musical performance, namely the concert. While an assuredly different tome of codes governs the digestion of sound art, it is naïve to assert an installation’s relative superiority in framing sonic content as art. If anything, the traditional conception of music carries a far heavier load of historical baggage in connoting a “work of art,” as the creative genius of Common Practice composers has been enshrined and accepted long before Futurist/Dada/Fluxus predecessors to sound art.

It therefore seems that the durability or consistency of an installation creates the “aura” of sound art in contrast to a musical performance. Temporality perhaps stands as the crux in distinguishing sound art from music (the continual exhibition versus the finite concert event), but even these boundaries are completely blurred by the fixed operating hours of exhibition spaces and certain perpetual compositions produced by experimental composers. The absence of “performers” seems crucial to the distinction in this respect: the presence of a human producing the artwork in real-time creates a sense of social obligation for many members of the audience: one must be quiet to respect the performer, one must not cross certain personal boundaries in one’s examination of the artwork, one might feel the stigma of being rude if choosing to leave the space prematurely, etc. The unsuspecting viewer wandering into the gallery space, ignorant of sound art as a genre, would be more likely to classify an artwork involving human components in real-time as a musical performance rather than as a piece of sound art, supporting socialized cultural norms in the audience’s perception. If one accepts the notion of installation being essential to the formation of sound art, what about sound art in the form of a CD? If both an album and assemblage of sound art pieces can reside on a CD, the conceptual frame of interpretation stands as the differentiating factor.

The ambiguous line is also acknowledged by Hegarty when he states, “This line is not even noisy, as so many artists do both, or do the same thing but get defined in two different ways according to the institutional location” (Hegarty p. 177).

Rejected:

• Audio Culture p. 4 – Masami Akita: “There is no difference between noise and music in my work. I have no idea what you term ‘music’ and ‘noise.’ It’s different depending on each person. If noise means uncomfortable sound, then pop music is noise to me.”

Although I did not respond to this quote personally, I was able to read Ben’s initial response to Merzbow’s quote featured in one of the few gray pages in Audio Culture: Readings in Modern Music. As Ben noted, the “different depending on each person” point stands as a valid, yet extremely obvious observation, but I must contend that from my interpretation of Akita, he is a flagrant semantic hypocrite. He first acknowledges that there is “no difference between noise and music in my work,” supported by his relatively interchangeable use of the terms “music” (“If music was sex, Merzbow would be pornography.” AC p. 60) and “noise” (“Sometimes, I would like to kill the much too noisy Japanese by my own Noise.” AC p. 61) in describing his sonic work. Yet quotes such as, “So, for me Noise is the most erotic form of sound,” (AC p. 60) create a distinction between noise and other forms of sound as “most erotic” implies a discrete judgment valuation in relation to the collection of examples categorized as sound.

It is at this point that I must ask a few questions: He may not make the distinction within his work, but does he make a distinction in his taxonomization in general? When he says it is different depending on each person, does the following sentence elucidate his stance? If there is NO difference between the two forms of sound, why does he choose one semantic signifier over the other based on context?

The quote in which he expresses the desire to, “kill the much too noisy Japanese by my own Noise,” is the reason I label him a semantic hypocrite. This desire for genocide stems from Akita’s judgment that the Japanese create too much noise (although this is sort of a self-hating assertion since he is Japanese, part of the Japanese Noise scene of noise producers in general), warranting a forcible cessation in retaliation to an excess of noise: wouldn’t Akita embrace this from his aesthetic perspective? The malicious way in which he exclaims this impulse implies an air of vengeance, revealing his adverse reaction to the noise excess of Japan. When he says “my own Noise” he is simply using the term interchangeably according to the initial quote I cited, but being able to “kill the much too noisy Japanese” with his “Noise” indicates the ability of his sound to severely harm or threaten. Expressing this characteristic of his Noise is a value judgment conveying the abrasive/threatening/harmful/discomforting quality of the sound, aligning with a particular, and common definition of noise in general (notice he did not say, “kill with my music,” and is therefore selective in his employment of terms).

I leave the possibility of misinterpretation open however as Akita seems to be extremely well informed in general. It is quite probable that he chameleons his definition of noise based on those perceiving it rather than as his projected meaning: he says “kill the much too noisy Japanese by my own Noise,” meaning that they perceive the sound as noise, and it would therefore be only harmful to those perceiving it as a threat. In any case, I think he should be less vague in general, as Ben also noted, but that might diminish his edgy façade.

• Hegarty p. 172: “Cage’s 4’33” is a time and space for sounds to occur in, a space, as Labelle rightly notes, for bodies to make noises, for ears to hear beyond the confines of the pianist in front of them…By all accounts on its first performance people got restless, some left, and it was not met with rapturous applause afterward, but there can be no failure, because whatever happens, listening has occurred. The most likely unwitting purpose seems to be to discipline those bodies into correctly listening bodies, static, tensed, if excited in anticipation, about someone or something else intruding. This is no dismantling of music but a heightening of its conventions’ hierarchies.”

First, aligning with Ben, I am quite sick of discussing 4’33” despite its continual relevance and profound influence on the aesthetic perspective of many sound artists/composers covered in this course (Also, I realize that I’m exacerbating this sentiment by blogging about it as well). The end of this quote piqued my curiosity by asking the following question: Is 4’33” more accurately described as a piece of sound art rather than as a piece of music? This goes back to the institutional categorization, venue, firmly bracketed duration, and other factors distinguishing sound art from music, but the piece illustrates just how ambiguous the distinction can be.

However, the concert hall firmly claims the categorical rights over the composition by inducing Hegarty’s idea of the “correct” active listening body, namely the listener obeying all traditional concert conventions, but does not the sound art installation create the same type of conditions within a listener also operating within the normative conventions?  The socialized accepted behavior of each medium differs by relative experiential exposure, since the majority has attended more concerts than sound art installations: the holy aura of the art music concert is far more ingrained within the mind of the average consumer of artistic production. I contend that the difference in form of attention relies on the seating aspect of the concert versus the open gallery space of a sound art installation: the knowledge of social forces at a concert will force most courteous audience members to remain seated for the entire performance (or possibly slipping out at intermission), but if the sound art installation is placed in an open gallery, one reserves the right to continue walking to other exhibits without eye daggers piercing flesh.

The major reason why I selected this quote has to do with Hegarty’s assertion that 4’33” cannot fail because listening always occurs in its performance. I believe the point of the piece lies in the unconscious, aleatoric sounds produced by unwitting members of the audience, framed as a musical composition by the abstraction of conventions and the time bracket. Due to the widespread diffusion of the piece and its aesthetic values, a successful performance could only occur with an audience versed in Western art music concert etiquette ignorant of the composition and Cage’s theoretical stances. If any members of the audience are cognizant of the piece’s point, true non-intention will not occur even though heightened listening is still generated. Since the piece focuses one’s attention on the aleatoric sounds produced unconsciously during the focused listening directed toward the performer, informed audience members (if making even the slightest granule of sound) would disrupt the conceptual content integral to Cage’s aims.

• Hegarty p. 89: “The mainstream rock of the 1970s, whether progressive rock (now seen as regressive) or heavy rock, seemed to be predicated on an unbreakable elitism, based on virtuosity. Essential to crossing the divide between passive worship and making music, or being close to and involved in the music, was the idea that creativity was not determined by skill. Skill would in fact be a hindrance. Many punk bands mad a virtue of an actual lack of skill.”

I have been waiting to rant about this virtue in the lack of skill for a long time. I believe musical groups and solo artists attempting to categorize their actions as “anti-virtuosic” is a completely hypocritical endeavor. It is valid to label such activities, for example No Wave, as redefining the concept of virtuosity because it does not take a lack of skill to create the complex sonic structure or techniques, just a different kind of virtuosity/skill. According to Derek Bailey’s recollection of Joseph Holbrooke, he had to develop and practice the “skill” of avoiding muscle memory patterns ingrained in his tissue, exploring difficult techniques (difficult to him at the time since he had to practice) in an unfamiliar territory to strip away musical conventions. One could most certainly label his actions as virtuosic is the framework of (non)style, and similarly, the raw, “incorrect” singing style of punk singers has been perfected in the eyes of the fans: a typical fan would most likely reject a singing style with an equal “lack of skill,” but in a completely different inept ballpark.

Though it might offend some readers, I have absolutely zero tolerance for embracing the “lack of skill” because I am able to redefine my idea of skill based on the characteristics of data currently being absorbed. If one cannot reevaluate performing techniques, only accepting conservatory practices for example, one needs to attempt these techniques and realize the skill required to achieve the exact sonic results: just because one dismisses a technique as banging on the guitar does not mean that the technique is not actually governed by delicately infinitesimal hand movements practiced for countless hours. I have no interest in digesting music trying to be unskilled because every unskill may also be a skill.

The Present Future?

I believe the future of noise, already occurring in the present day, will be similar to Matmos’s direction, incorporating bodily sounds beyond traditional vocalizations. As technology fuses with organic material (For example: Protein-Coated Disc (PCD) is a theoretical optical disc technology currently being developed by Professor Venkatesan Renugopalakrishnan, formerly of Harvard Medical School and Florida International University. PCD would greatly increase storage over Holographic Versatile Disc optical disc systems. It involves coating a normal DVD with a special light-sensitive protein made from a genetically altered microbe, which would in principle allow storage of up to 50 Terabytes on one disc http://en.wikipedia.org/wiki/Protein-coated_disc) and organic fuses with technology, such as a increasing reliance on mechanical/digital devices, the conception of the body will progress further toward an advanced machine consisting of organic tissue (i.e. an android of sorts). Incorporating the sounds of this machine, as technology and its sound byproducts are often integral to noise production/isolation, will most certainly develop into a stylistic trend beyond the relatively unique example of Matmos. If noise is defined as that which is a threat, and if one defines threat as that which risks harm inflicted on either mental or physical boundaries, the next logical step will be a focus on these walls/boundaries, such as actual cell wall miking. Of course, this is just one of many possibilities.

]]> http://priceburner.com/web-analytics-software/171/eye-tracking/michael-jordan-human-attention-heatmap-directions-an-fixation-time-computer-vision-eyetracking-study-top-10-amazing-michael-jordan-clip/feed/ 0 http://priceburner.com/web-analytics-software/128/eye-tracking/vehicle-tracking-bill-introduced-in-house/ http://priceburner.com/web-analytics-software/128/eye-tracking/vehicle-tracking-bill-introduced-in-house/#comments Wed, 28 Apr 2010 11:08:29 +0000 Nick Kurentz http://priceburner.com/web-analytics-software/128/eye-tracking/vehicle-tracking-bill-introduced-in-house/ A Member of Congress proposes to use taxpayer money to fund the development of technology to track motorists as part of a new form of taxation. US Representative Earl Blumenauer (D-Oregon) introduced H.R. 3311 earlier this year to appropriate $154,500,000 for research and study into the transition to a per-mile vehicle tax system.

See link for more – http://www.thetruthaboutcars.com/uncle-sam-eyes-vehicle-tracking-tax/

Question – What are your thoughts ?

I am going to be looking at the history of idents but in particular BBC idents. Idents really began in the 1950s. What an indent means to a particular broadcaster is that for example BBC one shows an ident it gives BBC a sense of identity so that when you look at the ident you would know straight away that it was for BBC one. An ident is a little clip they show before programmes to identify the brand, it gives the audience a chance to look at the way the ident perceives the brand.

The first well-known ident was in 1953 called the bat’s wing, it was an ident for BBC One in the shape of batman’s wings, it had a small globes that was moving and it was surrounded by flashing batman eyes. This ident was created by Abram Games. BBC ones most famous ident was the globe with the BBC logo on it.

In 1969 the ident for BBC the globe was shown in colour, this would make history as it was the first ever ident in colour not black and white. Throughout the years the BBC changed the font on their idents. In the 70’s and 80’s the colour of the globe ident background was dark blue, by 1985 they changed the globe so it looked more computer animated and the globe was now transparent blue globe instead of dark blue and it now had a gold BBC one logo, and gold continents. This ident was made by the BBC’s computer department.

The globe ident started on the BBC on 18th february 1985 and this ident which was the first ever was shown before the programme Wogan- with Terry Wogan.

 This is the BBC one globe ident made in 1985. Looking at the connotative of the BBC 1 globe ident the colours of the ident are very dark, there isnt really any bright colours. The background colour is black this normally suggests that it’s a bad mood colour. This could suggest that the BBC is a channel that sort of keeps your in the dark, a channel that makes you seem left a bit scared. The meaning of the globe could suggest to people watching this ident that the BBC wants to tell everybody that they dont want to just make their news in England or the United Kingdom it wants news global all over the world. When looking at the colours of the globe they too are also dark colours. As you can tell some of the countries are in gold and some in black the connotation of this could be that they are looking at the new from BBC’s point of view as news split into different continents. The different countries on the globe could also go with the theme that not only does the BBC want news from the Untied Kingdom but it also wants to be known for having excellent news found around the world. What this says about the brand BBC is that they would like to be different from other news channels but presenting their news to the public and all over the world so that they are noticed more and they want to make sure that they are the best news channel than others for having breaking news and up to date news quicker than any other news channel.

Looking at the idents now in 2009, they have become more flashier and harder to create. They look more colourful and there are lots more shown now before BBC one programmes. The following are ident shown now on BBC one.

• The hippos swimming under the sea in a circular shape and the BBC one logo appears in the middle
• There are group of people in a circle kicking footballs in and out of the circle
• Penguins on an ice rink skating around the ice rink and the BBC one logo appears in the middle of the ice rink with a red circle around it which eventually disappears.

As far as the bullet points are concerned I got the bullet points information from my own knowledge and the following website  http://www.theidentgallery.com/

and many more.

CBBC

CBBC idents are aimed more at children. The idents on BBC which were aimed at children started in 1985 and they were shown by a micro computer showing the ident through that. The picture that I about to show you is the very first ever BBC children’s logo.

 This was the first BBC children’s ident before their programmes in 1985. When looking at their ident over many years their idents changed from saying children’s BBC to CBBC and their idents now logo more colourful, elaborate and they look more aimed at children. When looking at this original ident for CBBC it doesnt really look liked it’s aimed at children. There are no features on this ident that children are going to look at it and think right I remember this is CBBC. The background is the colour black which is not a colour you would associate with children, it’s not a happy colour, it’s a sort of scary, theme of death colour. There are no fun colourful elements to the ident, the font of the CBBC is not effective it doesnt have the wow factor the CBBC ident has now. There’s no logo or anything on this ident that is going to make think that this is supposed to be aimed at children.

The ident that I am about to show is the current ident for CBBC.

This is the current ident for CBBC on BBC one channel. When looking at the BBC ident now you can tell that the way that have made it now it would be more aimed at children. First of all it’s more colourful which straight away is going to catch the children’s attention and make the CBBC ident more well-known to children. The shape that the CBBC logo is in, it’s like a blob shape so this would associate with children having different shapes and having fun. I think looking at the ident now it would be aimed more at children and now it has much more fun to make the children want to watch CBBC. Green is a primary colour. With what the CBBC ident looks like it as a channel CBBC want to introduce fun, interactivity and learning.

Channel 4

Channel 4 had idents in 1991 and they wanted the to give channel 4 a sense of coolness about channel 4 that no other broadcaster had. In 2004 channel 4 decided to change the way the channel looked and they created bigger, better and more effective and animated idents. The following pictures are going to show idents that channel 4 have now.

The following 2 idents are shown on channel 4 as idents now 2009.

 The first ident that I am going to look in detail is channel 4’s bowls ident. The setting of the ident is in a bowls park/ field. The people who are in the ident are playing the sport bowls which is a calm sport with not a lot of shouting or competition. The sport bowls gives you a sense of calm and relaxation. This ident in a way is quite easy to understand. I think that the demographics of this ident would be older people who are interested in playing the sport bowls. If in particular you think about bowls you dont see many younger people playing the sport, you normally see older people playing bowls which is why I think this be aimed at older people. The demographics would be elderly women and men aged 65+, people who lived through the war, have worked for a very long time but who dont not have a lot of education or results. I think that to get this ident well know to the demographics you would need to put the ident on quite a lot for them to recognise it.

Looking at the cinematography- at the beginning of the ident it starts off with a zoom shot of the bowls balls which gives the ident a sense of the ident is based around the sport bowls. We then go to a close up of the women’s bowls hat and we have an extreme close up of the man’s sunglasses. There is a close up shot of 3 different hedges of grass moving in different directions, then the hedges clear to reveal the bowls balls. As from looking at the ident everything moving in the ident and playing bowls shows that it is a laid back sport and everything is based around it. There is a bird’s-eye view shot of the outdoor bowls centre/ field with people playing bowls. Towards the end of the ident you see the number 4 on the grass you then see 3 hedges again. When the hedges go apart the number 4 comes apart, this gives you the sense of an illusion that the grass represents the number of the channel 4. In the ident there are floating hedges which come together to form the shape of the number 4, this will create an impact on the channel 4 viewers which will create an enigma and show a sense of mystery which could also link to the sorts of programmes that channel 4 shows which other television channels may not show. While putting these idents on between a programme finishing and starting by showing this particular ident it shows a sense of an illusion which will keep the viewers engaged to watch channel 4 because it’s the way that the viewers perceive things that if they see floating hedges they are going to get intrigued and would want to find lout if this ident was for a particular programmes or just for the corporate identity of channel 4. In this channel 4 ident shadows are used when the hedges are coming together I think this is because the shadow would create a sense of mystery about it because at one point in the ident the hedges are here and then at another point in the ident the hedges are somewhere else. It seems to give the shadow a sense of some sort of character as a representation of the hedges that are coming together because they are being told to. Silhouettes are used in the beginning of the ident because you can see that it is set in natural daylight and then when they are playing bowls you can see the women throwing the bowls balls but theres a source of light which is blocking the view of the women playing. A lot of shadow is used when half the field is covered in shadow and the other half is sunshine, this gives you a sens of that half the field is good and half the field is bad and that they are playing off against each other by using different shadows.

The music has a boom boom beat from the sound of a drum. The tune is very repetitive throughout the whole ident. we do get a calm and soothing sound towards the music. What this tells you about channel 4 is that it is a laid back channel that gives you a sense of calm that no other channel can give you.

There is no lighting in this ident because you have got the natural daylight because the ident is set outside during the day and the weather conditions are nice and sunny. I think that where the ident is set is really important. This is because if you set your ident in a place for example that did not  have a lot of lighting then it’s not going to look good on the channel, thats why you have to use lots of different lighting, but if you set your ident outside during the day like channel 4 did, then because you have got the light from the sun then your ident is going to look more spectacular and realistic.

Mise en scene- I think that channel 4 have been really clever with how much things they have put into each scene. Looking at the first scene you see 3 bowls balls,the elderly lady and the man’s sunglasses. The second scene you see the different hedges moving into the shape of the number 4,  then they have different scenes. But looking at all the different scenes they make then simple but effective to look at and they dont put to many things into each scene so your not looking at loads of things in each scene.

There is a voice over of a young mans voice. He has got quite a deep voice that sounds like it has got a base sound in it. The way that his voice sounds it gives him a sense of being a news presenter/ presenter for a show. The voice sounds calm and relaxed which goes with the theme for this ident. The way he pronounces words are clear and easy to understand and here. When the voice over says ” at 10.35 its the friday night project but now my name is earl”, it gives roughly what time the ident is being shown.

I think that the target audience for channel 4 would be adults because of the programmes they show. They show these programmes about people with 4 legs and documentaries which would be really aimed towards adults.

Because of what the voice over says in the ident the time of scheduling that this ident would be shown would be I think during the day but also at night as he stating that my name is earl and the friday night project are both coming up.

Nothing rude or offensive is said in the ident. I think that idents should be like adverts not allowed to be rude no swearing no violence etc because it’s a little clip giving the particular the channel in this case channel 4 an identity.

Because the ident is set outside and it’s a lovely day it gives you the feeling that channel 4 has a lovely feel and allows everybody to come and watch the channel as it gives of the sense of loving and for everybody.

The second ident that I am looking at is for the channel Dave human cannonball ident.  The ident is set outside again but it looks like it is set outside a palace much like Buckingham Palace surrounded by grass and lots more grounds.

Special effects are used this ident. When looking at the woman getting fired out of the cannon and flying through the air like a super woman. You can tell that special effects are used because there would be a wire attached to the women for the flying through the air because it would not be realistic actually flying through the air on your own. Other special effects they would have used would be the cannon they would not use a real cannon so they got a picture of a cannon, then using special effects put in into the ident so it looks like a real cannon. They would use a sound over for the sound of the cannon so it sounds like a real cannon is firing a women into the air.

Looking at the cinematography the ident starts of with an establishing shot of the palace and the women dressed in a super hero outfit. We then go to a close up shot of the women dresses as a super hero in a cannon. This establishes what props there are in the advert. There is a closeup  shot of human trampoline with people surrounding and holding it. This could suggest to people watching the ident that the ident could be to do with the theme of super heroes. We then get another establishing shot of the palace and the super hero but this time with the cannon. We then get a tracking shot of the women as the superhero getting fired out the cannon and a tracking shot of her going across the sky.

The music in the ident is very up beat and makes an impact straight away like it’s in your face. The music resembles  a big brass band playing a concert, some of the instruments you can include

• Trumpet
• Drums

I think as far as the music is concerned I think the way it’s linked to the ident is not used appropriately, this is because I know that the music sounds like royal music and like a big event was going on. I know they use a man who looks posh so the theme is royalty but if you look at the other people in the ident and the tune it doesnt really go with the ident, it doesnt match with the character as the women dressed as a super women hero and I dont think that it is the right tune to use for this particular Dave ident. It’s an upbeat tune but I dont that the pace and tempo of the music really keeps up to the style of the ident.

I think looking at the programmes that Dave show the target audience would range from young adults to adults. Some of the the programmes they show do have some swearing which wouldnt be aimed at children mostly adults.

The voice over ident is quite loud when he is talking, I think this is because he has got the brass brand playing in the background. The voice over is a man and he has got a clear voice that everybody can understand. He has  got a British accent.

I think that the channel Dave from this ident brings excitement and fun that no other broadcaster can do on other channels. 

 Nothing rude or offensive is said in the ident and this should be the same as adverts nothing rude can be said e.g. swearing.

 From what the man, the voice over was saying in the ident the time of scheduling that this ident would be shown on Dave because he was saying that Mock the Week is on this ident would be shown late about 10.00 but I would also think that it would be shown through the day as well. Mock the Week would be on late at night on Dave because the programmes mocks people, might be offensive towards people and sometimes rude and swearing.

Like the channel 4 ident it is simple but effective and easy to understand. They havent put too much into each scene otherwise it would be quite hard trying to take in a 20 second ident for Dave with loads of things happening in each scene. For example they have the scene where the women is coming out of the cannon, and the scene with the giant hand-held trampoline so its  easy to understand.

Looking at the demographics of the women in this ident she appears in another Dave ident, the Brass Band one. She’s a young girl early to mid twenties .  She is wearing a superhero women costume so from this we could get the impression of what her personality is like. She could have wanted to be known as a dare-devil superhero.

I think that the nature and purpose of the channel 4 bowls ident is to show the side that channel 4 is cool, calm and relaxed broadcasting, it shows the side that channel 4 is friendly channel that everybody can watch, but mostly the programmes that channel 4 show are mainly aimed at adults. If you look at the channel 4 ident the way that they hedges together and come together to form the number 4 shows they have put elements of animation or CGI of the number 4 to form on the grass.

I think that the nature and purpose of the Dave human cannonball ident is to show that the channel Dave is fun, exciting and in your face thats going to grab your attention to watch Dave. Dave have used stunt people for the women flying through the air they have used animation with the cannon and the women being fired out of the cannon. I think that Dave have been very clever by using this and it shows the nature and purpose of Dave’s idents is to make them appealing to young adults/ adults only. I think that the target audience we are looking at is 16+ and show what sort of channel Dave really is.

The channel 4 ident is a very slow-moving ident. I think that has got to do with the fact that the channel 4 ident is based around the sport of bowls. Generally the sport bowls is not competitive sport and quite relaxed. If you look at the people in the ident playing bowls they are moving slowly, the music as well of the tempo is slow like the whole ident.

The Dave ident is quite fast paced tempo. The music is quite fast they have a brass band and they play quietly loudly which goes with the fast tempo of the Dave ident. Because of all of the things happening e.g. the women in the cannon, the trampoline the ident overall is very quick and fasted paced tempo.

I think both idents are informative because they explain what programmes are shown are both Dave and channel 4. I dont if they educate because they are only explaining and saying what programmes are on and what times that they are on.

This is where i got my information from for the history of channel 4 idents

http://www.thetvroom.com/ch4/ch-4-04-01.html

This is where I got my information from for the history of BBC and BBC children’s idents

http://en.wikipedia.org/wiki/History_of_BBC_television_idents

]]> http://priceburner.com/web-analytics-software/170/eye-tracking/animated-heat-maps-from-eye-tracking-data-over-video-using-tobii-studio/feed/ 0 http://priceburner.com/web-analytics-software/127/eye-tracking/what-is-eye-tracking-dysfunction/ http://priceburner.com/web-analytics-software/127/eye-tracking/what-is-eye-tracking-dysfunction/#comments Fri, 09 Apr 2010 13:25:05 +0000 Nick Kurentz http://priceburner.com/web-analytics-software/127/eye-tracking/what-is-eye-tracking-dysfunction/ I’m taking a summer Psych course and we’ve now just gotten into Schizophrenia. In one of the explanations it mentions that there is ongoing research that suggests the connection between people with Schizophrenia, and having this “eye tracking dysfunction.” I can’t find what eye tracking dysfunction means anywhere and there are no explanations in my book. Could you help me please?

How to find a surgeon Word-of-mouth is a good indicator. Begin with the people you know-family, friends and associates, an optometrist or ophthalmologist you trust. Look for a refractive surgeon you feel has your best interests at heart. Physician Search Directories on the Internet may be helpful, but are limited to those who chose to participate. Checking the surgeon’s credentials is your job. Many surgeons have their own website detailing their practice along with qualifications and experience. Ask for the surgeon’s web address. LASIK surgery is one of the fastest growing industries in the world. These days many surgeons and laser centers advertise. Beware of the hard sell and discounters! Discount surgery is as good as a discount parachute. Go for a well-qualified surgeon and pay what it costs. Experience and results Studies show surgeons with more experience have the fewer complications. Does the surgeon feel confident enough with the procedure to have done family members? Find out how much experience your surgeon has with the procedure-the more the better. Ask how the surgeon is tracking surgical results. Surgeons should be able to cite specific numbers and outcomes for vision problems similar to yours. Benchmarking shows the surgeon’s concern for achieving the best possible results. Success, complication rates Discuss the success rates and complication rates for your individual surgery. Surgical success means not only knowing how to avoid complications, but also how to handle difficult situations before they occur. Beware of the surgeon who claims never to have had a complication. He/she has done very few procedures or is not being truthful. What’s important is that the surgeon has a low complication rate and the ultimate visual outcomes are good. Certifications, awards, malpractice suits Look for a surgeon certified by the American Academy of Ophthalmology. Participation in research, lecturing and writing professional articles or books also indicate a level of respect by the surgeon’s peers. See if your surgeon has been recognized with any awards. Check to see if a surgeon has had multiple malpractice suits. Even the best doctor may have had a lawsuit against him or her, but multiple lawsuits require an explanation. New technologies Refractive surgery is a dynamic field. Your doctors should be keeping up! It pays to get a sense of your surgeon’s thirst for knowledge and advancing technologies. If your procedure is being performed in the United States, make sure it is done only on an FDA-approved excimer laser. Ask about the latest laser upgrades. Remember surgeons in other countries may use lasers that have not had to withstand FDA scrutiny. Care provider & staff Some patients choose to see their family eye care specialist for their preoperative and postoperative care. If this is the case, make sure that your surgeon is accessible to you at any time during your preoperative and postoperative period. The doctor’s staff should also feel comfortable and confident with the entire procedure. Competence and compassion go a long way. Personal compatibility Personal chemistry can make a difference in your experience with any type of surgery. Choose a surgeon with whom you feel comfortable. That person should be easy to talk to, yet professional. Most importantly, your surgeon should listen closely to what you want and be willing to take the time necessary for you to understand the procedure and devise a treatment plan that best suits your needs. Take your time You have probably worn glasses or contacts for most of your life. There is no rush to decide who will do your refractive procedure. Take your time and ask whatever questions you need to feel comfortable with your choice. Laser refractive surgery has improved the eyesight of more than a million people in the United States and nearly the same number throughout the world. Most refractive surgery patients report that having laser surgery is the best decision they have ever made. Your refractive surgeon need not be your best friend, but you should have the confidence that he or she has the skills and experience to perform the procedure.

First, before I write the Sixth episode of the Primeval and last of the First season, I saw a Movie on the TV know as Yu-gi-oh! the movie. Yeah ! It was amesome ! I saw this few months ago. I liked the part with the Duel with Seto Kaiba and Yami Yugi during the major part of the movie. I also loved when Seto summon his powerful dragon (who destroy Anubis, the insane warrior, in the demon form.) It also noted that I love this dude.  He’s sexy…

You know this is not a part of the Primeval….

Anyway, this is a sixth episode of the Science-fiction Serie and the FINALE SEASON (OH shit !!!)

Story

Another anomaly has appeared in the Forest of Dean in the same place as the Episode One anomaly, bringing with it a terrible predator that possesses human-like intelligence and amazing agility, and tracks its prey using sonar-like abilities, much like a bat. It breaks through the perimeter surrounding the Forest of Dean, and makes its way to Wellington Zoo. Here, it breaks into the lion den and kills a lion. It leaves no trace of itself or the lion, except a smear of blood on a leaf.

Abby has been called to the zoo because of the lions’s disappearance, bringing Connor along. Connor takes a sample of this blood and has it tested, which shows it to be partly lion blood, and partly bat blood but with some weird differences in the DNA. The creature goes on to kill three people, including Abby’s boss.

Helen returns claiming to know the reason behind a recent spate of disappearances – a dangerous predator is amongst them, claiming its victims for food. This beast is unlike any other. It can move like lightning, is strong, ruthless, intelligent beyond any other animal, and can remain virtually invisible to its prey until the moment of attack. This creature is years ahead of them – it’s not from the past, but the future.

Tracking this highly intelligent beast pushes our team to its limits: after a series of attacks that kill several soldiers and puts Abby and Connor in mortal danger, the team deduce the creature is a future evolution of the bat, as its ability to hunt by echolocation proves. At its lair they find a squirming nest of babies and the parent predator, desperate to protect its young, is not far away. A furious fight ensues, which the team ultimately wins when Cutter, using one of the creature’s infants as bait, lures it into a greenhouse then, having jammed its echolocation, kills it with a single shot. With the creature finally dead, Helen makes a plea to save the babies. She wants to use them to find the future anomaly. Their homing instincts could lead the way. Lester agrees – if they can locate the wormhole, then he can attempt to secure it.

But first, the team must travel back to the Permian Era through the re-opened anomaly in the Forest of Dean. This is where the future predator came through and as Cutter soon discovers, its arrival was no accident…

Claudia is anxious about Cutter returning. He always warned of the potential dangers of interfering with the past but this time he feels they’ve got no choice. They can’t just wait for whatever horrors the future anomaly might expel next. Helen is clearly riled by Cutter and Claudia’s growing affection, but will her attempts to win him back succeed? When they have gone, the team receive another shock: the creature Cutter killed in the greenhouse was male, which means that the mother of the infant predators is still out there. Sure enough, she appears and slips through the anomaly before any realise she has gone through…

Cutter and Helen’s journey into the past is full of danger and treachery. What are Helen’s real motivations for finding the future? There’s no time to find out. The mother of the screeching babies has suddenly appeared and is on them. Within minutes, Captain Ryan and his soldiers are dead and Cutter and Helen fending for themselves… but this beast has clearly never encountered an ancient Gorgonopsid before. The two greatest predators of the past and future charge head on, with the Gorgonopsid temporarily stunning the future predator. Whilst the Gorgonopsid feasts on the young future predators, leaving only two surviving, the future predator leaps onto the Gorgonopsid, using its speed and intelligence to tear and bite at the Gorgonopsid’s unguarded back and thighs. The future predator than rips an eye out, before the toppled Gorgonopsid leaps backwards, crushing the future predator beneath its weight. The Gorgonopsid sounds a victorious warcry before carrying the carcass of the future predator into the distance. With the battle done, Cutter and Helen bury the slain Ryan and his men then head back for the anomaly. Unknown to them, a pair of infant future predators have escaped into the Permian…

But the surprises don’t end there. Helen has one final blow to deliver. She’s returning to prehistoric times but this time, she doesn’t want to go it alone… Secrets from the past are exposed in an explosive showdown that threaten to tear the team apart. As Helen retreats back into the past, it seems their adventure into the Permian has had consequences that none of them could have ever imagined, for Claudia Brown is nowhere to be seen, and to the rest of the team, nor has she ever existed. [1][2]

To be continued…[2]

REFERENCE:

1.You know that Claudia is missing. Nick ask to his team “Where Claudia ?”. Lester says “Nobody know who is Claudia.”

2.Our team will find a woman who look likes more to Claudia. But being too busy to working the seventh episode of  Primeval and first of the second season, I post somes various things (such like the cartoon Sonic the Hedgehog (or SatAM information).

Source:
Wikipedia

Primeval wiki

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