<TITLE: Gaze Path Research Seminar
ACADEMIC DOMAIN: technology
DISCIPLINE: information technology
EVENT TYPE: seminar presentation
FILE ID: USEMP04E
NOTES: continuation of and continued in USEMD090, seminar also includes presentations USEMP04A/D

RECORDING DURATION: 63 min 22 sec

RECORDING DATE: 4.3.2004

NUMBER OF PARTICIPANTS: circa 30

NUMBER OF SPEAKERS: 2

S3: NATIVE-SPEAKER STATUS: Croatian; ACADEMIC ROLE: senior staff; GENDER: male; AGE: 31-50

S7: NATIVE-SPEAKER STATUS: German; ACADEMIC ROLE: senior staff; GENDER: male; AGE: 51-over

SU: unidentified speaker

SS: several simultaneous speakers>


<S7> er good afternoon ladies and gentlemen , first of all i want to thank you very much for the invitation , though er when i received er th- the mail er inviting me here it was little bit surprise for me because i'm not any longer involved in eye-movement research er more than ten years now , i used to er er to work on that topic erm from the mid-80s to mid-90s <COUGH> and so er at first i hesitated whether it makes sense to come here and give a presentation because er what i present now first is going to be old material but nevertheless i have been working er very close to the topic that you want to go in now so maybe it makes sense that i can er give a review of what we did a very critical review because i need not sell the method any longer <SS> @@ </SS> er but nevertheless erm to er tell the truth just one week later i received a telephone call from the university of essen where i used to do this research former time and they asked me whether i would like to take the the er equipment because no-one is using the equipment <SS> [@@] </SS> [any more] so i probably could go into eye-movement research again though of course the equipment is old-fashioned compared to what my colleagues are using right now , anyway <COUGH> erm , i want to i'm a designer erm and er of course i will deal with questions of design erm concerning the use of eye-movement recording and now at start i just er give some ideas why it is sensible to do er design analysis er then i talk about the evaluation of design and er giving at least some ideas about the scientific background although lots of things already have been said , erm i will very shortly go over the method of eye-movement recording and then erm display some examples of our research and then come to a general dis- er -cussion and er at the same time of the general discussion i will switch my design (a bit) of the er powerpoint er sheets because er i wasn't able er to change all my old design to the new one but i don't , i hope that doesn't matter , anyway <COUGH> erm when we erm talk about design erm we know the field of design is a very wide-spread er spread field and er there are lots of different questions er which rise up erm for instance er it might be interesting er to get to know little bit more about erm how products are perceived erm what exactly is responsible er why you think this kind of these kind of products is er (xx) style er (xx) style products are er interesting and what er gives them er an impression of (xx) is there a specific er part of the product which er holds this information or er completely different er er kind of design erm er designs of tools and er household equipment er with that also a lot of er different questions er er have to be answered for instance erm er what er makes a product look powerful er looks precise er look handy or whatever it is er is is there a possibility er to figure out certain elements in products er which are responsible to give answer to these kind of questions , or take er seats er what make them look comfortable what make them look sta- stabile er what make them look that you can sit on them probably this one doesn't look er that you can er er sit (top on it any longer) on that one while others maybe the one up there erm gives the ap- ap- the appearance that er it might be er nice to sit on it <COUGH> or erm especially er er nowadays that's my topic because i'm now erm working in a er department of er computer science i'm er er working as a designer er in multimedia design and interface design in the er department of computer science and so the question is er er what erm er kind of interfaces are er er er easy to use or is it maybe er , we shall (know) an example er the more hardware type interface or is it er some graphical interface like that one <COUGH> when we are talking about design erm i er must er er er say we we have we should then only talk about industrial design which is still er a very er huge area and er just to er get a short er er explanation of what i mean with industrial design i think we can put it as the best shaping of two- or three-dimensional products in respect er to their requirements on one hand of the producer , that is er mainly the er er dimension of technology construction production and economy and on the other hand erm fitting to the requirements of the user and the environment er which normally is called the economic the symbolic the aesthetic and the ecological dimension <COUGH> erm well why is it interesting er to do some analysis in design er seen from the marketing point of view erm the situation in er today's markets market is that you have a growing competition er due to open markets nowadays er within er lots of er erm er areas of cons- especially co- consumer goods er you have saturated markets highly saturated markets for instance take vacuum cleaners cleaners i think the vacuum cleaner saturation rate is about 95 or 98 per cent <COUGH> er furthermore you have changes er in consumer behaviour er going to more s- er er self-consciousness going to more individual decision in choice in making their choices er er hopefully it is so erm then er there is the equality of products er the equality of products and companies as well they want to look the same and er last but not least there is an increasing er complexity of products of product features er which also er comes to er erm complexity in product use to pick out er two problems there is the problem of the equality i think that's a very important one erm <COUGH> due to er high standards in technology , there is no real differentiation any longer erm from one product to the next erm in technical features they all have the same technol- er almost the same technical standard in technology well and on the other hand er there also is a very high standard in production they are all produced er by very similar machines they are all produced er er in er er let's say in er certain products are (all) produced in low-cost countries and so er there is no real differentiation in price any longer er <COUGH> then there is the effect that most of the companies they er have run through a process of certification er that er of course er comes up with the equality in er in quality so there is no differentiation in this field any longer and of course there are no longer any products which are not at least basically designed the times of er rough engineering products er are long ago and so you can also say there is no real differentiation in basic design features and due to this er fact of equality i think there is a need for design and of course a need for design analysis er to get to know about er how products should look like er so it makes sense to investigate on that topic , furthermore <COUGH> there is the problem of complexity , er we have an enormous increase in technical features within the last decades we have increasing er difficulties in operating products you all know lots of products which are difficult to operate which used to be very simple as the telephone for instance in former times it was er er one of the easiest products er to use nowadays er they telephones offer so many features er that you need er an er a an instruction booklet that thick to get through it erm that said we have to (xx) er that that er the former archetype of of forms er by use of electronic er er are are are lost by use of electronic components and by er miniaturisation , in former times er you had er physical features er which were obvious in the product and so it was easy to to detect what kind of product it was and what it does , and er last but not least er there is a change in interaction between user and machine er caused by these electronic interfaces and er especially caused by computer screens so another reason is erm why you should investigate in design the responsibility er you have for the for the user interface as (a) designer , <COUGH> so to sum it up what is the designer's task then i think i put the most for my opinion the most important er points erm one is er to make a product er eye-catching 'cause it has to come into er consumer's eye otherwise er he or she is not interested in it , erm the er th- the designer should make product the product species evident you should er detect what kind of product it is and when there are some U-S-P's some unique selling positions they should be pointed out and maybe there are some inherent qualities er let's say erm when you have er a computer , there are already different type of computers , er er some of them are more powerful than others then of course er they should show that in their outer er appearance so that you can figure out it immediately and not read it er on the er on the er what would it be maybe this little little sign on the back side of the computer the type identification what is what is this word in english <COUGH> , and then er maybe with some products especially with those erm of er common use of er which are used in in public er you should make the product self-explanatory erm especially of course er products er which save life or which are very dangerous if you have a fire extinguisher and you can't detect immediately how to handle it it's it is not really helpful , and and seen from the er company er company's point of view er of course there is a task that you should communicate the the identity of the company 'cause they want to point out it's a product of our company and not of a competitor <COUGH> so for all these reason it might be interesting to evaluate designs erm and figure out how do we really perceive and understand a product , for instance you could ask the question er what indicates the species of a product is there something specific in the product which indicates this product is a computer or er this product is a let's let's take some some more er er difficult pro- er product in this field erm to figure out erm is this product er a DVD player or is this product erm a VC- VCR er player or is this product er some er some er some receiver or whatever , products which are which only have box-type styles erm what makes er what gives er you an er an indicator er on their species are there specific points which er give you this information <COUGH> or furthermore erm concerning the er er the topic of brand identity er is there something specific erm which makes a product er look immediately er being a product of a certain company for instance i show you later er we tested some cars erm er we tried at least we we tried to find out is er there a sp- specific or are there specific er markers indicating this car is a ford or a audi or a mercedes . <COUGH> what is maybe most important and most er interesting er is the question are there certain formal elements erm which er convey the impression of er (xx) power elegancy dynamic , for instance er marketing people always want er products which have a cosmetic appearance or which ha- which have a a sportive exper- a- appearance erm but what really makes a product a product look sportive or what makes a product look cosmetic , erm then there's the questions er the question of er understanding of graphic icons er which are er put onto products most er products have er in some respect er some graphic icons er giving er indications er to operate the product or er let's for instance take the on-off switch are they understandable , in lots of er er cases they are not understandable for instance er the question should it be a green light or should it be a red light <COUGH> , well and er last question i've put i put here is the question how fast and how precise er can we identify product details which are important for its operation as the example of the fire extinguisher i mentioned before or other important er erm details let's say when you er have some some interface er er and you er have to er erm er to to push a button er which er gives you access er to it you should have immediately identified er identify that specific button otherwise er you cannot work with it , <COUGH> of course er there are er several kinds of different methods for design evaluation you all know clinics and acceptance tests which are mainly er done with er er the introduction of new cars the er er automobile companies spend awful lot of money in doing tests before er they put their cars into the market , they're mainly done by interviews ratings and questionnaires then of course er there are practical tests with prototypes er made made er er be it in er reality or under laboratory conditions er then you can have er tests with (xx) prototypes er (xx) models er on the computer er which is normally done in the er development phase , well and last but not least er there's the possibility to use oculometric er evaluation eye-movement recording and that is what i will talk about right here , <COUGH> well erm of course er erm you have to start from an assumption and of course the assumption is that er design is a process of communication er to make it easy just i put up them right here the the er three components the designer the product and the user in reality it is a little bit more complicated at least there is a producer and er even some more influences but we leave it as as i've put it here , and er of course you can say design transforms er transforms values and ideas and concepts into signs er which have to be interpreted by a buyer and user . <COUGH> well and er we started erm from the idea of er the american psychologist er donald A norman er who used these three terms well not exactly i i he he talks about er system and system appearance (but) i put product and product appearance and saying erm that there is the designer erm he or she has a mental idea a mental model what he er or she wants er to design and he er puts it into er a product and then er a user is confronted with this er er a user who er who already has a pre-model a a mental pre-model of what he or she wants to buy or to use and then the user is confronted with the product or better to say with that what he or she really er perceives from the product just from the product appearance because erm when you think of a box-type er product you cannot see inside so you only er er er can see a little bit er what is er er visible on the surface well and er the er the user sets up his or her own er mental model er of this specific product and according to norman the process of communication er should be most successful if the designer's model correlates to the user's model that was the er erm the er basic assumption for our work , then of course this is er related to the general cognitive approach going back to neiss- to neisser erm saying that information processing er processing is a constructive process erm which is guided by anticipative schemata of the perceiving subject and er these schemata they are related to the actual incoming information of the stimulus and they are born and ordered by these which is very important because otherwise er y- you you will always stick to the to to the one and same model <COUGH> erm when you er these er two together results in (xx) processes which of course is normally action well let's say which is er the the process of buying something or process of using something or which er results in further activities of exploration , so for us the basic idea to use eye-movement recording in design evaluation was with reference to <NAME> er <NAME> and (multi-coping) theories erm that we assumed that it might be possible to relate double notations to specific visual elements in a design object (as i said before) which structural elements er may (have extended) meaning or (xx) or an object visible and understandable that was the main idea to start our evaluation <P:06> erm i think i need not er er say so much about the method of eye-movement recording most of this has already been er presented by my colleagues , just go through very quickly erm the u- there are several units of course which can be measured er (conspicuity) duration of perception focus of fixation frequency of fixation sequence of fixation fixation duration the length of the gaze , er i can skip that i think , erm one er interesting reference of course is that er the eye only fixates er the er referent of the symbol currently being processed er what you said er before and er that that is that the fixated object may reflect what is er at the top of the (stack) in active memory so erm in other words direct er con- er correlation between fixations and cognitive processes er have been proved and er of course this has erm been taken as er as being proved , (xx) zone we talked about that earlier it's only a very small area er to say one point five to two point five degrees but er we shouldn't er ke- we should keep in mind that of course also the peripheric area is very important for instance think of driving er in the streets er you notice a lot of of the things in the periphery area erm without er really having a fixation there but er erm when it is really important er you will have your next fixation on these specific spots , er the method we used er is the er backlit pupil corneal reflection method er i think most of the others er have a very similar method erm an infrared beam is projected onto the subject's eye onto one eye and is reflected on the cornea and er with the movement of the eye er the corneal reflection er changes this its position and this can be registered by inf- infrared-sensitive camera , erm i did this research at the er laboratory of oculometric research at the university of essen er in their industrial design department and er this was the old set-up of our laboratory we presented er the er objects er via slide projection on the screen and you had an er infrared er w- er an infrared transmitter er which projected the infrared beam onto the subject's eye and an infrared camera to produce reflection on the cornea er that was erm the old set-up of the laboratory seen at that time old equipments <S3> yeah @@ (xx) </S3> that was in the very beginning er later on i changed the equipment erm the manufacturer er er because at that time it was very erm er uncomfortable er to work with that with that equipment er it was very time-consuming and er we changed it er so that we could present er the er pictures er directly from computer er presented them on a huge er TV screen and er because of that what was most important we could combine the evaluation of the picture immediately and you could also er have an on-line evaluation , <COUGH> well and two er completely different approaches are possible when you are using the method one is erm that you just er er give an er er erm an uninstructed that you just have an uninstructed er evaluation erm in this case er those parts of the stimulus er are er erm are er located erm which attract most of the attention as we have seen er the previous (xx) in a in a er human face er eyes and nose and mouth it's always the same , er in this er with this approach er we have er a typical bottom-up processing erm because er the erm er the fixations are mainly er erm influenced by the er incoming information of the stimulus the second approach erm , or er just the to er add something er this of course er have been proved in beforehand er in the er 60s already by macworth and morandi er saying a scene is not (captured) over all simultaneously but er those parts are fixated which held most information er the second and more interesting approach is er the combination erm within instructional task and er in this case er those details are scanned which are informative or which s- er supply informativ- er information for the task and erm er a relevant er mental schema er is is loaded and er in this case of course er er perception is mainly (conceptual) for instance er i will show you this is our example later er you could ask er where are the lockers and identify er certain symbol indicating that , and also here er the reference is as we have seen in beforehand yarbus er saying objects are scanned in a specific way when a task or problem is giving given and only those parts are fixated which are informative for the task , <COUGH> the interpretation we used , erm are the er accumulative fixa- what we call the accumulative fixation duration and the typical fixation scan paths . they revealed the locus of fixation the fixation duration erm the field of a matrix i explain i explain that in a minute er the locus of the first fixation and the sequence of the longest fixations we divide er the scene into a matrix ma- ma- mostly we we used er 15 to 20 fields or 20 over 18 to 24 fields and er er for each field the accumulative fixation duration is calculated and plotted in different patterns er the darker the pattern er the longer the fixation just to show it er system- er systematically well and then er we set up er the construct we call it a construct (and record) the typical fixation scan path er we took the 20th er longest fixations erm and er er figured out in which fields er they occur and then er we er er set up a scan path according to the time of their fixation 'cause of er we are we were mainly interested in the a- in accumulative er <DISC CHANGE> er that is er you find out the eye-catching features of products er that is mainly the company logo er that are important details for use and so on the second approach is er just with written instruction of the task erm maybe er it is interesting to find out information about er the identification of product parts erm er how can the er can specific parts be identified let's say devices er of co-operation er within instrument panels and so on and erm the other idea was er finding er something about the understanding of product parts that is er the semantic perception and er the isolation of semantic markers for specific qualities of the product as i explained before , now let's come to some examples , erm first of all a very general er experiment , just erm trying to find out which are the gaze-attracting elements and we shall look at erm er erm collection of er icons or pictograms i have to apologise for the bad quality of the the slide but they are er s- er scans from printout from a slide from a er @printout@ <SS> @@ </SS> <COUGH> erm yeah what would you what you think er where do you think er would you have er er fixations </S7>
<SU> (the book) </SU>
<S7> (the book and) </S7>
<SU> (xx) </SU>
<S7> well mhm , now this is the solution erm you have er , er first fixation er right up in the er upper left corner er this is erm er i have to explain that we er this was erm a slide among er several erm similar slides and er people were used to read these slides er like er like a sheet of er of newspaper er so they started the the upper left corner well and they then er you have a fixation on the hand and of course you have fixations on the words and you have a fixation er on this er black er icon whatever it indicates , (if i do that) will it make a little little bit clearer and this can be very easily explained because er these two are the only er word icons so they are something different within this whole er collection of of er icons and the same with this one 'cause it is er converted er it's mainly black and er and so it is er different than the others and er with the hand maybe it's a very er erm er pregnant and er very er known symbol , well all the others are little bit more difficult er to understand you really have to read them er to understand them erm of course the er fixation duration was only er quite short i as far as i remember it was five er seconds for this er test and and er so you you didn't have fixations on the other icons when you have a longer time you would have also er fixations on the other ones </S7>
<S3> er i have a question was it a example of one subject or </S3>
<S7> no no it's accumulative <S3> [okay] </S3> [er] er erm er exploration , <COUGH> , well erm different example er oculometric evaluation of information systems erm these were the conditions of the tests we had er worked with students we did we did most of the tests with students but not with designers because we felt (xx) they knew a lot about er the questions we asked and er so they were trained in locating these things and they came out with completely different results erm we er er you see we have we had a lot of slides we should we have shown er 54 slides er they were all all about er information system at the düsseldorf airport er exposition time was er eight seconds per slide er this turned out to be a very reasonable time er not to have too many er second fixations on the same spots , and the er interpretation is er er always accumulated fixation duration and typical fixation scan paths , we give the task er you are at the airport where can you rent a car and er there was er this scenery er of course there is a a er an icon er indicating car rentals and i have to erm to add that we only tested german speaking speaking people and er for us the the result was really astonishing because er nearly nobody erm had fixation on er on this spot where we expected the fixations to be but <SS> [@@] </SS> [everybody read the] words of course this is very easy to er to explain er the written information erm is er very more er er reliable than the pictogram , it might have been different er with non-german or english-speaking er pe- people <COUGH> . a different scene erm same question where can you rent a car and er you see there are er two er symbols which are little bit competitive erm but erm the sol- er the resolution of the the er er measurement was not really very high so er we could not figure out whether er the competing icon erm distracts from the the real one but er in any case we had fixations on the on the one er where they should be or where they should occur and you see er we have er only very few fixations outside of this so it was er obviously an icon which could be easily detected . different task er you are at the airport you want to do a telephone call , and er you see a a row of different signs er they have a very strong macrostructure on these these (brackets) er below and er on top of the of the relevant icons but the icons itself are a little bit difficult er to read and you see that's the one which indicates telephone erm it has been detected with most of the er fixations but er people really read the signs they they went through all the the different icons erm so you could say this one obviously is not not really very er er clear and helpful sign when you can't detect it er easily . completely different topic remote controls i picked out one example conditions of the test i think we need not go through that <COUGH> we showed er remote controls of er er audio and TV er equipment and gave the task now you see remote controls set the volume , er you see the er er one example er the , er right er buttons are these two er and when you have the er evaluation er it's er quite clear that er almost er or o- only very few people look at the area where you have the the channel figures but er lot of er fixations in the area where you have plus minus signs er i don't know whatever they are good for to set something else but not the volume and er we have a lot of er fixations in er in the area where y- where er a lot of of information is displayed but it's not the right one and of course you also have fixations in the in the area of er erm the volume setting but erm i would say th- it is not a very clear result that this is a good design and obviously it isn't . let's come to the oculometric evaluation of cars , erm with this test er we er showed three different er types of cars er an audi ford and a renault er we showed erm specially prepared er slides without showing the company signs in the cars you know normally they have a company sign in the front grill and on the er er the er , what is it the , the tire ca- caps er the caps , er i picked out er only one car to show it here it was er it was audi er first erm evaluation was er er , combined with no task and so you had erm wide-spread fixations all over the car erm mostly er in the area of the er of the car sign 'cause there was some written information and er a lot of er fixations somewhere in the middle , erm i put it like this er i will explain later on erm because they they do not er er really er say that people look at the A co- at the A column but just in- into the middle of the picture and of course you have er another fixation on the sign er outside there er in the background area , we begin the task er now you see some cars which one has a good road-holding ability and with that task er you had er most of the fixations on the tires , road-holding is about the mental model for road-holding ability obviously is the profile of the tires , there and furthermore of course you have fixations on the license plate erm nowadays i would say it's it was er foolish not to er eliminate the the er figure of the license plate 'cause they always attract attention , <COUGH> second question erm which one do you consider to be very safe , the idea was maybe it is er er possible to find out er specific elements in the design which indicate safety , well and this was the result the result i would say which is not really useful er maybe you could argue erm because with the (xx) combined er the er this test was er post-test interviews and of course we asked which mo- which car did you consider to be s- safest and er we figured out it was a ford erm i don't have the picture of that one and the ford er had a very er thick A column and and this might be er one er er whi- might be one indicator for safety but er erm to be honest i wouldn't er take it so so s- er sure that this really indicates er the right spot erm and er because er on the other hand you have fixations right here an area which has not to do very much with safety . let me get to the question er which car is a ford one of them was a ford , well and here again of course you have er fixations on the license plate because er whenever you see cars in a erm in a magazine er mostly they they have the the name of the car on the license plate and people look there to find information or they look in the in the area of the front grill where we normally have the company sign er so you could sa- say er they look there where there where they expected the company signs er to be but here they weren't there , we gave the same question erm with a picture showing the car from the side this one er and here again you have fixations there where you normally find the company sign , er but er then of course er you have lot of fixations right in the middle of the door where there is nothing i mean normally is nothing indicating er the er the brand identity of the car well and erm to erm erm er to comment that i think er what is happening here and that ha- also happens with lots of er questions erm where people have er don't have a clear model er for the the verbally given notation that er you de-focus er on the on the object and you start dre- more or less dreaming on it and you you er have a kind of holistic viewing of the of the object er just thinking about it er what it what it might be and er in the oculometric evaluation this turns out er with fixations somewhere in the middle of the object . erm we er gave a lot of different er questions for instance we asked er which one do you like and er which one looks the most expensive and er the same <SIC> phenomen </SIC> er occurred er you always have fixations somewhere in the middle of the car so no really useful results , the same er can be proven er with a different er evaluation that was the evaluation that we left at the compass saws very similar result i skip the conditions erm i only show one of the er compass saws they're all student works let's do that one <COUGH> erm first scene was er er the evaluation without er giving any tasks and of course you had er fixations on the ma- main er informative areas that was the area of the switch and the area of the blade and in the area of the air inlets right here <COUGH> then we gave the task which one is easy to handle and with that one we had erm erm fixations on the handle we had fixations on the er on the switch er which of course could be expected but which are not not really surprising , then we gave the er the task er which one is looking safe in handling and again er here you have er fixations on the switch and on the blade because er the blade of course is the dangerous element and er the blade guide er is important when you handle it so again the same er this is an expected fixation but when we gave the task which one has a masculine appearance some of them erm didn't some had erm the result was very similar to the question which one is which car is a ford you had er fixations somewhere in the middle erm so no really useful result just showing together somewhere in the middle but er here i think er we really had to er to say that we're coming er to the limits of eye-movement recording erm but i don't want to blame the method at all er i think there are some very interesting er possibilities to use it er in design evaluation for instance er i er show you a last example the evaluation of a a ticket machine screen-design er example , er and this case i er only show er er a one person's er fixation path we gave the task you need a bus ticket choose er <FOREIGN> erwachsene preisstufe drei </FOREIGN> it means er er adults grade price category three gave a er specific task to er select a specific type of ticket er this was the scene erm hardware-based design er on the screen and er <FOREIGN> erwachsene </FOREIGN> adults er was here push button and er the price category three over there and you see erm first er fixation is er somewhere here in the middle er then we go here the to this area of the er blind spot er another fixation there but then immediately to the right (path) so you could say erm this design obviously erm gives er quite good erm information about what you should do and er er er this would be proofed with different people different scan (paths) though it is not really a very smashing design it's rather boring design but nevertheless it works , let's come to a general discussion if you may i switch to different design , if you may , powerpoint (xx) and i would like to er ask some very critical questions on that <COUGH> i think er we can er we can er er sum it up in saying eye-movement recording is really er a very useful method as long as it concerns the analysis of syntactic aspects as long as you want to figure out which product detail attract attention it works really well erm you can easily find out how fast a given known target can be located er and you can easily find out er which other details in the scene or in the product er distract from the target then of course it's very helpful er in designing especial- especially interfaces to find out er is are there competing elements er which distract er from the aimed target so i could sum it up er eye-movement recording is good er to check size and colour and position and so of convention-based product elements which are important to be seen (xx) , <COUGH> maybe erm to so just er to show us just one example where you could er use that you could and this was in the product we we er er , er experimental project we did with nokia in bochum erm where we designed er er smart-media products for cars er and er our main idea was er to er er to set up er an editor to write an er an SMS er while driving erm er in this kind of er of er interface you could easily er try to find out erm whether er the symbols can be identified and er which other er elements distract from the aimed target or for instance you could analyse er some er designs for navigation elements on websites you could easily try to find out for instance if you were asked er to to select er a modified (xx) is it easier to to conne- er to select in a er er environment on the left side or in the middle or on on on er on the right side of course you have to to er show these scenes separately <COUGH> well what er as i said was of course more er interesting er is the analysis of semantic aspects and er here i would say erm , eye-movement recording erm is er is coming to its borders to its limits er very quickly er when you want to er find out if a given target can be correctly interpreted that is to say er if you want to find out if a subject's cognitive model correlates with the formal representation of the de- of the given task erm then er very often erm it is it is coming to its limits eye-movement re- movement recording er can help er in some respects to find out which design altern- alternative is easiest to understand but only er in case a specific formal representation can be identified for the task if this is the case if there is a specific formal er representation th- or in other words if there is a specific er cognitive model for the us- for the users er this works quite well but if it is not if there are metonymic no- er models for instance it doesn't work , erm for instance er er you could er analyse er the way how how people er work with e-learning units this is one of the of the e- e-learning er units er i developed for the bochum university and it might be interesting to use eye-movement recording to find out er whether people get along with the er the design of this unit and it might also be interesting to check er the early users and to check those who are (xx) users er if they work th- er in the same way or if they work in different ways , <COUGH> but erm er eye-movement recording er does not reveal these useful results i think er to make it clear when there are metonymic cognitive models er th- for instance with the er topic of safety we we er figured out in post-test er interview section of task er that some people have a cognitive model er er of the bumpers indicating safety others have the cognitive model of the A column others erm er said er it is er er er the strength of the front grill and all these kinds of different approaches er when this is the case erm i doubt whether eye-movement recording is a useful method and er the other er thing is erm when er it turns out that er people come to a holistic viewing when the entire (frame) of an object carries the er meaning of the given task or when it is the surface or the colour er or something which cannot be detected to specific element er where you can er have a specific fixation so you could say er eye-movement recording is not useful in case semantic content is presented is represented via er the general shape via surface colour and so on or the sum of these elements , erm for instance erm when you have er objects like these the left one is the so-called er emotional container which has been designed in the (xx) workshop i doubt whether you could find out erm w- what makes what is responsible for the er the field of smoothness in this in this object er we probably we'd only have fixation in the middle and of course we have fixation on this er on this stem right here or when we take this erm this erm er er what is it in english <SU> shaver </SU> it's not a shaver it's a er <SU> epilator </SU> yes yes , thank you <SS> @@ </SS> and er when you want to find out erm what er is responsible for this er (pandemonium) of (xx) design i doubt whether you could find out with eye-movement recording because you don't scan a line like this er which might be responsible for that or or this kind of shape you will have fixations er on the on the informati- on the informative areas such as this and maybe there but not there er and you will have fixations in the middle , er with this web-cam er <COUGH> you wouldn't find out about er this specific design what makes this interesting model . or erm what also would be very interesting for a designer er to find out erm er which kind of er of typography is useful to express erm some specific idea 'cause when you have a word like hi-tech you shouldn't write it in a er fractur typeface er but something else but when you use eye-movement recording er to that erm y- you probably have all the same results 'cause it's it's just words you read them or er when you want to find out er makes does it make a difference to give er er to give it a certain colour er i doubt whether you could find out er well about that with er using eye mov- eye-movement or when we want er er er design showing (materiality) er you would probably read er words er which has a a (xx) er appear- appearance in a very similar way and words which have this (xx) experience er appearance <COUGH> so erm to er ask a last question i think er we also s- er should er er discuss whether the original assumption that er the correlation of the designer and the user model erm is really er the solution erm er whether this assumption is is right assumption , designers really want to design for existing models i think er designers always want to make new offers ahead of the existing and er not er er sticking to the to the known things they want to come out with something new and so er at least they have to change the models and er maybe er this makes it a little bit difficult erm to find out about the existing models (with) eye-movement recording on the other hand of course according to raymond loewy's famous words of most advanced yet acceptable er the you are always bound to existi- to the existing to make it understandable if you are too far ahead of the existing nobody understands what you want and what you want to express . so er what could be the benefit for the designer er i think nevertheless there are some fields of er exploration where you could use eye-movement recording that is for instance the er or the testing of visual information systems where you have specific icons which you can locate but you can't identify not semantically er er interpret it but just identify er same with instrument panel interface designs screen designs all parts of products which are important for its operation parts of products which hold specific semantic information , here design evaluation er can be used within the design process testing different design alternatives and of course design evaluation can be used in testing existing products to find about their pros and cons concerning er specific questions to sum it up with one final comment , can eye-movement recording really improve the design i think eye-movement recording can be used for research on er the syntactic aspects in design that works quite well eye-movement recording comes to its limit with the the research of semantic aspect in design but er i think in any case er design evaluation by eye-movement recording er is not a substitute for the designer's wonderful ability to create new formal representations for known semantic contents because not convention-based er well-known built environment but the amazing little events new amazing little events will give us aesthetic (xx) , thank you very much </S7>
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