Vision and Attention - 1st Edition PDF DOCX Download
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Cover illustration: The cover art shows frames taken from the film Gorilla Thump, which can be
found on the CD.
Cover and CD iIlustration © 1999, Daniel 1. Simons. Used with permission.
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9 8 7 6 5 432 1
ISBN 978-1-4684-9520-1 ISBN 978-0-387-21591-4 (eBook)
DOI 10.1007/978-0-387-21591-4
To HLM and CMO.
Preface
This book is based on a conference on Vision and Attention, the fifth conference
of the York Centre for Vision Research organized by I. P. Howard, D. M. Regan
and B. J. Rogers in June 1999 and sponsored by the Centre for Vision Research,
the Departments of Psychology and Computer Science, of York University.
The CD-ROM that accompanies this book contains colour imagery and video
clips associated with various chapters and the conference itself. The CD-ROM
is presented in HlML format and is viewable with any standard browser (eg.
Netscape Navigator or Microsoft's Internet Explorer). To view the videos on the
CD, you will need Quicktime, which is available free from Apple. To view the CD,
point your browser at the file index.htm on the CD. Please note that some of the
larger movies require a machine with t 28Mbytes of memory in order to play them
correctly.
The cover art shows frames taken from the film Gorilla Thump, which can
be found on the CD and which is Copyright 1999, Daniel 1. Simons. Used with
permission.
The York Vision Conference, and this book, would not have been possible with-
out the advice and support of Ian P. Howard, David Martin Regan and the Human
Performance in an Aerospace Environment Theme of the Centre for Research in
Earth and Space Technology (CRESTech). Behind any successful endeavour is the
person who really runs things, and none of this would have been possible without
Teresa Manini.
Contributors xv
2 Shifts of Attention and Saccades Are Very Similar. Are They Causally
Linked? 19
Sally McFadden and Josh Wallman
3.1 Introduction...... 41
3.2 Gain Control . . . . . . . . . . . 42
3.3 Contrast-Gain Control . . . . . . 43
3.4 Beyond the Classical Receptive Field. 46
3.5 Area Summation and Contrast . . . 47
3.6 Temporal Tuning and Contrast . . . 53
3.7 Temporal Tuning and Contrast in V I 53
3.8 Discussion.............. 57
5.1 Introduction. 83
5.2 Active Vision . . . 85
5.3 Reading...... 87
5.4 Scenes and Objects 91
5.5 Search . . . . . . . 93
5.6 Rethinking Covert Attention 97
5.7 Conclusion . . . . . . . . . 98
The term "visual attention" embraces many aspects of vision. It refers to processes
that find, pull out and may possibly even help to define, features in the visual
environment. All these processes take the form of interactions between the observer
and the environment: attention is drawn by some aspects of the visual scene but
the observer is critical in defining which aspects are selected.
Although this book is entitled Visual Attention, none of the processes of "visual"
attention are exclusively visual: they are neither driven exclusively by visual inputs
nor do they operate exclusively on retinal information. In this introductory chapter,
we outline some of the problems of coming to grips with the ephemeral concept
of "visual attention."
The word "attention" has ancient roots that link it with concepts of general
alertness and conscious receptivity on the one hand and with concentration and
focusing on the other. Like other words imported from common parlance, for
example "stress," "attention" can perhaps only be meaningfully considered if ac-
companied by an adjective. Just as there is no such thing as unqualified "stress"
physiologically, it might be useful to start from the stance that there is no such
thing as unqualified attention. What types of "attention" are there? We suggest four
distinct types:
FIGURE 1.1. Bookshop scene. The amount of information falling on the retina at anyone
time is enormous. A selective process is required not only to acquire useful information
but in order to be able to see at all. Often the selection will depend on the task at hand. A
person just looking at this photo is unlikely to be able to report on the type of lighting, for
example, unless attention was specifically drawn to that type of information.
visible stars within the eyes' visual fields are imaged on the retina at once. Look
at a tree with its complex and detailed branching pattern, much of which can be
resolved at the same time. Look at this page where all the letters are focused on
the retina. Most of the potentially smothering information arriving at the retina is
lost by the limited resolving power of the retina outside the central few degrees of
the fovea. But even with this blessed filter, there remains an enormous amount of
information that could, theoretically, be extracted. Normally, the gaze only stays
at one point for about 300 msecs (Yarbus, 1967), implying that the information
needed is extracted in this small time before the gaze is shifted again.
Visual attention is an essential component of machine-vision systems. Figure 1.2
shows the Eyes 'n Ears sensor (Kapralos et aI., 2000). This is an omnidirectional
sensor based on the Paracamera. Consisting of both audio and video components,
the Eyes 'n Ears sensor's visual input is generated by a video camera mounted
vertically and directed at a semispherical mirror. The resulting view (shown in
Fig. 1.2b), provides a 3600 view of the environment. This view can be unwarped
to provide a perspective panoramic view (Fig. 1.2c). As in the biological example
of Figure 1.1, it is not practical for a machine to attend to each and every pixel in
the view. Many are uninteresting for the specific task at hand. For the Eyes 'n Ears
sensor, locations in which the image changes are of interest, so the sensor uses an
attention-directing mechanism based on attending at image locations that corre-
spond to image differences. Figure 1.3 shows the system in operation. Figure 1.3c
is a retinotopic difference image between the image frames shown in Figs. 1.3a
1.3c. Brighter locations correspond to more interesting image locations.
At anyone time, the brain just does not need to know very much about the world
- the details of the branching structure of a tree are usually of no use and therefore