Hao Qiaohong, Ma Lijing, Sbert Mateu, Feixas Miquel, Zhang Jiawan
College of Intelligence and Computing, Tianjin University, Yaguan Road 135, Tianjin 300350, China.
Institute of Informatics and Applications, University of Girona, 17003 Girona, Spain.
Entropy (Basel). 2020 May 12;22(5):540. doi: 10.3390/e22050540.
This paper uses quantitative eye tracking indicators to analyze the relationship between images of paintings and human viewing. First, we build the eye tracking fixation sequences through areas of interest (AOIs) into an information channel, the gaze channel. Although this channel can be interpreted as a generalization of a first-order Markov chain, we show that the gaze channel is fully independent of this interpretation, and stands even when first-order Markov chain modeling would no longer fit. The entropy of the equilibrium distribution and the conditional entropy of a Markov chain are extended with additional information-theoretic measures, such as joint entropy, mutual information, and conditional entropy of each area of interest. Then, the gaze information channel is applied to analyze a subset of Van Gogh paintings. Van Gogh artworks, classified by art critics into several periods, have been studied under computational aesthetics measures, which include the use of Kolmogorov complexity and permutation entropy. The gaze information channel paradigm allows the information-theoretic measures to analyze both individual gaze behavior and clustered behavior from observers and paintings. Finally, we show that there is a clear correlation between the gaze information channel quantities that come from direct human observation, and the computational aesthetics measures that do not rely on any human observation at all.
本文使用定量眼动追踪指标来分析绘画图像与人类观看之间的关系。首先，我们通过感兴趣区域（AOI）将眼动追踪注视序列构建成一个信息通道，即注视通道。尽管这个通道可以被解释为一阶马尔可夫链的推广，但我们表明注视通道完全独立于这种解释，即使一阶马尔可夫链建模不再适用时它依然成立。平衡分布的熵和马尔可夫链的条件熵通过额外的信息论度量进行扩展，如联合熵、互信息以及每个感兴趣区域的条件熵。然后，将注视信息通道应用于分析梵高绘画的一个子集。艺术评论家将梵高的作品分为几个时期，并在计算美学度量下对其进行了研究，这些度量包括使用柯尔莫哥洛夫复杂性和排列熵。注视信息通道范式允许信息论度量分析来自观察者和绘画的个体注视行为和聚类行为。最后，我们表明来自直接人类观察的注视信息通道量与完全不依赖任何人类观察的计算美学度量之间存在明显的相关性。
