Guide Conceptual Misdirections

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Of course, there are also blind spots in eye tracking research and technologies. For rigorous eye tracking research, the viewing condition needs to be the same for each participant, yet people experience cinema in a variety of contexts. How would this change their attention? Syncing of the visual scene with the eye tracking device is critical, with any misalignment leading to faulty interpretations of attention lag or objects of fixation.

Disparities can even occur between film length and total time in fixations, leaving a gap of time unaccounted for where viewers may be distracted, looking off-screen, searching without fixating, or perhaps searching for peripheral cues. Farman, Jason London and New York: Routledge.

Potter, Robert and Paul Bolls NY: Routledge. Shimamura, Arthur P. Psychology of Aesthetics, Creativity, and the Arts 8. The video develops out of some fascinating questions on the theme of misdirection and magic films those which depict theatrical magicians, as opposed to those that deal with fantastical abilities.

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Primarily, it links the concept of misdirection to broader forms of filmic continuity editing that attempt to render invisible their mechanics in a way that is, at least allegorically, comparable to the techniques used by magicians to conceal the workings of their conjuring tricks. The essay makes striking use of eye tracking footage and close analysis of key film sequences. Eye tracking usually tells us what we should be interested in analyzing - the areas that spectators are naturally attuned to seek out. This video shifts the emphasis to the zones of disinterest, the places in the frame that are left unscanned or ignored.

Dwyer and Robinson raise significant questions about spectacle and illusionism. But we might also point to another layer of trickery in this scene: Eisenberg himself is not really performing these tricks. Like his co-stars, he is not a professional magician, and his sleights-of-hand have been achieved through a combination of judicious editing, hand doubles, and CGI.

Misdirection is an active attempt to divert spectator attention and to give one an alternative narrative to follow. So, while eye tracking can tell us how viewers are conditioned to respond to portions of the frame across several shots or scenes, can it tell us how the viewer constructs meaningful responses to the scenario in which a scene or trick plays out? That is to say, we are misdirected in a conjuring trick not just by where a magician tells us to look, but also by the expectations we bring with us of spatial continuity e.

I have long thought of magic as instructive and instructional: while magicians ostensibly set out to deceive their audience, we come away from magic tricks with a resolve to be better, more attentive, and more critical observers. After all, if we can be duped by something that is so obviously, visually present before us, our faith in so many other apparently obvious phenomenological experiences should be similarly shaken.

The exegesis for this essay notes some of the potential problems with the research, all focused on viewing conditions, but I want to find out how it will eventually inform, complicate, or collide with bigger questions of narrative comprehension, interpretation, and spectator subjectivity. I also look forward to seeing further investigation of how visual effects sequences work to conceal or distract from their mechanisms. Since filmmakers so often manipulate profilmic space, and spectators so often choose to accept those manipulated spaces as cohesive and believable fictions, eye tracking might help us to understand how that relationship between manipulation and acceptance operates.

I hope this video will serve as an instructive prompt for discussions of these and other issues. This essay expertly applies the video format to its research area, and the exploration of gaze and [mis]direction is one of the most apt and rich uses of the video essay format so far.

Exploring a relatively unfamiliar field, Tessa Dwyer and Jenny Robinson use video to explain the methodology of eye tracking to an unfamiliar audience exceptionally well, providing a clear overview of terminology, functions, and modes of analysis. In doing so, it convincingly illustrates the impact eye tracking analysis can make to film interpretation and cognitive analysis, and how such methods may contribute to our understanding of the relationship between film spectatorship and textual construction. In doing so, paradoxes of the cinematic form are considered.

That the possibility of magic films - and therefore film magic - should be impossible with constructions denying the pleasures of the live staged event. But this disavowal rarely occurs and instead is enabled by textual self-reflexivity or where the camera stands in for the immediate viewer experience. From this, they explore the conscious and sub conscious fractures that viewers make with directed and misdirected film form across the unseen frame. How nice, the scene from NYSM is exactly the same I invite students to analyze in my puzzle films class regarding its clever combination of traditional magic and cinematic tricks!

I wonder if anyone knows film examples where eye-tracking research influenced editing, framing, acting, staging or other aspects of film making.

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Thanks so much for this feedback Miklos, and so good to hear that this video essay matches up so well with your own teaching! At the same time, inhibitory connections suppress the part of the brain that is processing the visual input of the original hand. As a result, the magician's right hand becomes quite unnoticeable. Unknown to the audience, this hand still holds the coin. Magicians can be subtler than simply misdirecting their audience's gaze.

They do not necessarily have to change the audience's direction of gaze in order to shift their attentional focus.

When they succeed, audiences are looking at the right place, though without seeing, because their attention is engaged elsewhere. Our visual systems have evolved to detect motion. Movement across the visual field can indicate the approach of a predator, or the escape of prey - it is inherently interesting to our brains, and automatically engages our attention in a reflex manner.

Not all types of motion are striking, though. Magicians say that 'a large motion covers a small motion', by which they mean that a large, highly noticeable manoeuvre will hide a tiny but critical manipulation. How It Works magazine, with magician Apollo Robbins found that the curved motion of the magician's hand is more engaging to spectators than straight motion.

One reason is that motion in a straight line is much more predictable than curvy motion. Whereas we only need the beginning and end points of a linear path to define it completely, a motion arch forces us to stay on target throughout, inadvertently missing the magician's sleight of hand. One way to mess with somebody's attention, without diverting their gaze at all, is to split their focus. The same attentional neural mechanisms that boost our perception - at the centre of the spotlight, and suppression - in the surrounding areas, make it very difficult for people to multitask.

They have a single attentional focus, which cannot be divided without losing effectiveness. Magicians get audiences to multitask in a variety of ways. One such strategy is the very design of certain magic tricks. One prime example is the 'cups and balls' trick, one of the oldest magic tricks known — there are even records of performances taking place in ancient Rome.

It is usually performed with three cups placed upside down on a table. Balls and other objects magically appear and disappear inside the cups, much to the audience's amazement. The way the performance is arranged forces spectators to split their attention between a minimum of three places on the table the inverted cups , making their focus at most a third as precise as it might have been had they attended to a single location.

The tactic is to divide the audience's attention and conquer their perception of what is happening.

Another way to make spectators try to multitask is to engage their senses and their mind in multiple ways simultaneously. Apollo Robbins, a world-renowned theatrical pickpocket, uses sight, sound and touch - tapping various parts of a volunteer's body onstage - to misdirect attention away from the pocket or wrist that he intends to steal from.

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Many magicians also use rapid fire 'patter' to overwhelm the audience's auditory and language processing capabilities. Many other magicians also use rapid fire 'patter' to overwhelm the audience's auditory and language processing capabilities. Optical illusions: Think of smoke and mirrors. Like a pencil in a glass of water that appears to bend, these are illusions that rely on the physical properties of light.

Visual illusions: Unlike optical illusions, which are explained by the physics of light, visual illusions are constructed in the brain. An example of this is the filling-in of the blind spot. Other sensory illusions: Magicians occasionally employ tactile and auditory illusions, sometimes in combination with visual information, to create multisensory misperceptions.

Cognitive illusions: These involve higher cortical areas of the brain that are involved in processes such as attention, memory and decision-making. Magicians manipulate all of these. Special effects: Just like when you go to the movies, special effects in a magic show can include fake gunshots and explosions, adding drama to the occasion. Mechanical devices and secret compartments: Magic tricks can use simple or sophisticated technology to fool the audience. Magicians refer to such contraptions as gimmicks.

Another main goal is to create 'internal dialogue' in each spectator: if audience members are having even a simple inner discussion with themselves, they won't be focusing as much on what's going on right in front of their eyes. The Spanish magic theorist Arturo de Ascanio advised magicians to 'ask a discombobulating question'.

Even by asking: 'Has anybody brought a scarf? During that brief interval, they are trapped within their heads and unable to process other inputs efficiently; the magician is free to perform the secret move. Emotion is also used to the magician's advantage, as feelings and attention are pretty incompatible. This is one main reason why eyewitness reports are famously unreliable. Human memory is certainly limited, and more so when people are scared.

Some magic performances contain horror or gory elements — one of Teller's signature tricks is to 'drop' a cute rabbit into a wood chipper — but humour is the emotion that magicians choose to provoke most often. Hilarity in a magic show increases the entertainment value and hampers the spectators' ability to concentrate. Johnny Thompson, also known as The Great Tomsoni, claims that while the audience laughs, time stops.

It's during this interval that the magician is safe to make a move, perhaps in preparation for the next trick. In the art of misdirection, whatever object, person, or action we concentrate on such as this dove appears more noticeable and even brighter than the rest of the scene. Hilarity in a magic show also increases the entertainment value and hampers the spectators' ability to concentrate.

How is it that magicians have arrived to such a refined understanding of human nature? One answer is that, whereas the field of cognitive neuroscience — the study of mental processes — is only a few decades old, the magical arts have been around for a very long time. Magicians have had millennia to figure out what works and what doesn't.