Compressed File Length Predicts Search Time and Errors on Visual Displays

Donderi, D. C.; McFadden, Sharon

doi:10.1177/154193120504901732

Cited by 5 publications

(7 citation statements)

References 3 publications

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“…In terms of hit rate, the integration of buildings (level 3), as currently recommended by public authorities [73], improves object-location memory, most likely due to anchor effects of reference nodes in urban topographies [51]. Of note is that this result, at first glance, seems to contradict cognitive load theory and assumptions that complex, heavily urbanised maps would entail greater need for spatial orientation [60]; see also [54], [56] and more recognition errors in case of increasing visual complexity [53], [74]. An explanation for these diverging findings is provided by the ‘levels of processing’ [88], where it has been proven that a higher demand during memory encoding leads to better memory performance.…”

Section: Discussionmentioning

confidence: 96%

“…The identified numbers of distinct objects characterising LANDSCAPE was double-checked with ArcMap 10.1, the main component of Esri's ArcGIS suite of geospatial processing programs. Alternatively, map complexity can be determined by lossless JPEG compressed file lengths [52], [74]. On average, the following jpg file sizes were obtained: 1,036 kb (highly rural), 1,564 kb (rural), 1,784 kb (rural-suburban), 2,552 kb (urban) and 4,261 kb (highly urban).…”

Section: Methodsmentioning

confidence: 99%

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Grids in Topographic Maps Reduce Distortions in the Recall of Learned Object Locations

et al. 2014

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To date, it has been shown that cognitive map representations based on cartographic visualisations are systematically distorted. The grid is a traditional element of map graphics that has rarely been considered in research on perception-based spatial distortions. Grids do not only support the map reader in finding coordinates or locations of objects, they also provide a systematic structure for clustering visual map information (“spatial chunks”). The aim of this study was to examine whether different cartographic kinds of grids reduce spatial distortions and improve recall memory for object locations. Recall performance was measured as both the percentage of correctly recalled objects (hit rate) and the mean distance errors of correctly recalled objects (spatial accuracy). Different kinds of grids (continuous lines, dashed lines, crosses) were applied to topographic maps. These maps were also varied in their type of characteristic areas (LANDSCAPE) and different information layer compositions (DENSITY) to examine the effects of map complexity. The study involving 144 participants shows that all experimental cartographic factors (GRID, LANDSCAPE, DENSITY) improve recall performance and spatial accuracy of learned object locations. Overlaying a topographic map with a grid significantly reduces the mean distance errors of correctly recalled map objects. The paper includes a discussion of a square grid's usefulness concerning object location memory, independent of whether the grid is clearly visible (continuous or dashed lines) or only indicated by crosses.

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Section: Discussionmentioning

confidence: 96%

Section: Methodsmentioning

confidence: 99%

Grids in Topographic Maps Reduce Distortions in the Recall of Learned Object Locations

et al. 2014

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“…Complexity was determined using the size of each image in jpeg (compressed) format (Calvo and Lang, 2004). In previous research, compressed image file sizes have been shown to be highly correlated with both subjective measures of complexity (Donderi, 2006; Tuch et al, 2009) and objective visual search performance (Donderi and McFadden, 2005). …”

Section: Methodsmentioning

confidence: 94%

The role of automaticity and attention in neural processes underlying empathy for happiness, sadness, and anxiety

Morelli¹,

Lieberman²

2013

Front. Hum. Neurosci.

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Although many studies have examined the neural basis of empathy, relatively little is known about how empathic processes are affected by different attentional conditions. Thus, we examined whether instructions to empathize might amplify responses in empathy-related regions and whether cognitive load would diminish the involvement of these regions. Thirty-two participants completed a functional magnetic resonance imaging session assessing empathic responses to individuals experiencing happy, sad, and anxious events. Stimuli were presented under three conditions: watching naturally, actively empathizing, and under cognitive load. Across analyses, we found evidence for a core set of neural regions that support empathic processes (dorsomedial prefrontal cortex, DMPFC; medial prefrontal cortex, MPFC; temporoparietal junction, TPJ; amygdala; ventral anterior insula, AI; and septal area, SA). Two key regions—the ventral AI and SA—were consistently active across all attentional conditions, suggesting that they are automatically engaged during empathy. In addition, watching vs. empathizing with targets was not markedly different and instead led to similar subjective and neural responses to others' emotional experiences. In contrast, cognitive load reduced the subjective experience of empathy and diminished neural responses in several regions related to empathy and social cognition (DMPFC, MPFC, TPJ, and amygdala). The results reveal how attention impacts empathic processes and provides insight into how empathy may unfold in everyday interactions.

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“…Importantly, these measures were not developed by computer scientists to predict subjective complexity in the first place, but were only currently successfully applied to various types of visual stimuli by psychologists. The ratio between the original and the compressed file sizes of marine electronic charts and radar images [101,105], icons [103], line drawings [99,103] environmental scenes [74,104] and a wide range of artistic works [74] have been shown to be positively correlated with ratings of subjective complexity. It needs to be stated plainly that these types of stimuli were not selected within the context of a specific emotion model.…”

Section: Introductionmentioning

confidence: 99%

“…Moreover, we extended this set of measures by including several potentially new measures of objective complexity, such as PNG (Portable Network Graphics) and TIFF (Tagged Image File Format) compression formats, measures of edge detection based on phase congruency [123], and the entropy of the image intensity histogram of a grayscale image [124]. It is also important to note that since it was already demonstrated earlier that compression file size is an indicator of subjective complexity [74,105], we selected pictures in JPEG format rather than uncompressed pictures as a starting point for all further transformations and analyses. This approach extends the implications and applicability of the current research findings since JPEG pictures are more easily accessible to the research community compared to (scans of) pictures in uncompressed formats.…”

Section: Introductionmentioning

confidence: 99%

Examining Complexity across Domains: Relating Subjective and Objective Measures of Affective Environmental Scenes, Paintings and Music

2013

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Subjective complexity has been found to be related to hedonic measures of preference, pleasantness and beauty, but there is no consensus about the nature of this relationship in the visual and musical domains. Moreover, the affective content of stimuli has been largely neglected so far in the study of complexity but is crucial in many everyday contexts and in aesthetic experiences. We thus propose a cross-domain approach that acknowledges the multidimensional nature of complexity and that uses a wide range of objective complexity measures combined with subjective ratings. In four experiments, we employed pictures of affective environmental scenes, representational paintings, and Romantic solo and chamber music excerpts. Stimuli were pre-selected to vary in emotional content (pleasantness and arousal) and complexity (low versus high number of elements). For each set of stimuli, in a between-subjects design, ratings of familiarity, complexity, pleasantness and arousal were obtained for a presentation time of 25 s from 152 participants. In line with Berlyne’s collative-motivation model, statistical analyses controlling for familiarity revealed a positive relationship between subjective complexity and arousal, and the highest correlations were observed for musical stimuli. Evidence for a mediating role of arousal in the complexity-pleasantness relationship was demonstrated in all experiments, but was only significant for females with regard to music. The direction and strength of the linear relationship between complexity and pleasantness depended on the stimulus type and gender. For environmental scenes, the root mean square contrast measures and measures of compressed file size correlated best with subjective complexity, whereas only edge detection based on phase congruency yielded equivalent results for representational paintings. Measures of compressed file size and event density also showed positive correlations with complexity and arousal in music, which is relevant for the discussion on which aspects of complexity are domain-specific and which are domain-general.

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Compressed File Length Predicts Search Time and Errors on Visual Displays

Cited by 5 publications

References 3 publications

Grids in Topographic Maps Reduce Distortions in the Recall of Learned Object Locations

Grids in Topographic Maps Reduce Distortions in the Recall of Learned Object Locations

The role of automaticity and attention in neural processes underlying empathy for happiness, sadness, and anxiety

Examining Complexity across Domains: Relating Subjective and Objective Measures of Affective Environmental Scenes, Paintings and Music

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