Dare Zoya, Brinkmann Hanna, Rosenberg Raphael
Department of Art History, University of Vienna, Austria.
J Eye Mov Res. 2020 Nov 10;13(2). doi: 10.16910/jemr.13.2.10.
Eye tracking research in art viewership is often conducted in a laboratory setting where reproductions must be used in place of original art works and the viewing environment is less natural than in a museum. Recent technological developments have made museum studies possible but head-mounted eye tracking gear and interruptions by researchers still influence the experience of the viewer. In order to find a more ecologically valid way of recording eye movements while viewing artworks, we employed a prototype of a calibrationfree remote eye tracker hidden below selected paintings at the Kunsthistorisches Museum in Vienna. Museum visitors were unaware of the study and informed post hoc that we had registered their viewing behavior and asked to give consent for the use of their data. This article presents the study design as well as results from over 800 participants. While the data quality from the eye tracker prototype was not sufficient to conduct the intended analysis on within-painting gaze movements, this study might serve as a step towards an unobtrusive examination of the art viewing experience. It was possible to analyze time spent viewing paintings and those results show that certain paintings consistently drew significantly more prolonged attention from viewers.
针对艺术观众的眼动追踪研究通常在实验室环境中进行，在这种环境下必须使用复制品来代替原创艺术作品，而且观看环境不如博物馆自然。最近的技术发展使博物馆研究成为可能，但头戴式眼动追踪设备以及研究人员的干扰仍然会影响观众的体验。为了找到一种在观看艺术作品时记录眼动的更符合生态效度的方法，我们在维也纳艺术史博物馆选定的画作下方使用了一种免校准远程眼动追踪仪的原型。博物馆参观者并未意识到这项研究，事后被告知我们记录了他们的观看行为，并被要求同意使用他们的数据。本文介绍了研究设计以及800多名参与者的研究结果。虽然眼动追踪仪原型的数据质量不足以对画作内的注视运动进行预期分析，但这项研究可能是迈向对艺术观看体验进行无干扰研究的一步。分析观看画作所花费的时间是可行的，结果表明某些画作始终吸引观众更长时间的关注。
