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Swenberg, ThorbjörnORCID iD iconorcid.org/0000-0003-2006-4522
Publications (10 of 21) Show all publications
Swenberg, T., Kostela, J. & Saveljeff, S. (2019). Design Matters for the Role of the University in a Regional Innovation System. In: : . Paper presented at The University-Industry Engagement Conference, Sydney, Australia 11-13 February 2019.
Open this publication in new window or tab >>Design Matters for the Role of the University in a Regional Innovation System
2019 (English)Conference paper, Published paper (Other academic)
Abstract [en]

The role of a university in an innovation system can take on various forms. The design of that role depends on how the university enters into collaboration with other parties in the innovation system, and how they all contribute to this design. Here, we apply a social system’s design perspective, and point out some key issues and aspects that should be considered if the role of universities is to be purposefully designed, rather than formed ad hoc.

The purpose of such a design would be to support a wide scope of mutual benefits for the university and its collaborators – a “maximum output” from the engagement. The aim here is to point out concrete matters for the system’s designer(s) to consider, in order to create a role for the university in the innovation system that embraces a range of the university’s assets and capacities. Therefore, we address a number of critical issues and aspects affecting the functioning of the university in regard to an associated regional innovation system. Why these factors are critical will also be discussed.

The paper stems from a pilot-project, where 16 semi-structured interviews from four (4) different Swedish regions were analysed, including regional innovation system executives, university innovation officers and leaders, as well as university research group leaders. We have analysed the reason why certain issues are critical for success when designing a university’s role in a regional innovation system:

First, a university's contribution to the support of an innovation system through expertise consultancy and resources require other factors than participation in the innovation process by knowledge involvement does. Second, within the university there is a tendency to make a distinction between the ideation part and the utilisation part of the innovation process: different units at the university tend to show more engagement in different aspects of the process. Third, research commission is at heart for both university researchers and external parties. Fourth, the university comprises multifaceted capacities and potentials to sustain core functions in the innovation processes: as a meeting place; as a strategic knowledge broker; or as a driving force. Fifth, a university’s various networks  is a resource that might be underestimated by external parties. Sixth, much of collaborative innovation is accomplished in smaller units within the university, far from centralised university administration. Centralisation supports the university’s relations to external parties, whereas de-centralised and independent involvement of university units supports direct and efficient collaboration.  

To maximise the output from the university’s engagement in the innovation system, the university’s role must be designed to distinguish between involvement in, or support of, innovation processes, between internal and external context requirements, and between what functions are suitable for innovation collaboration for different units of the university.

Keywords
University role, Design matters, Innovation engagement, Innovation system, Innovation support, Regional development
National Category
Social Sciences Interdisciplinary
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-29576 (URN)
Conference
The University-Industry Engagement Conference, Sydney, Australia 11-13 February 2019
Projects
RegIno
Available from: 2019-02-26 Created: 2019-02-26 Last updated: 2019-02-27Bibliographically approved
Swenberg, T., Kostela, J. & Saveljeff, S. (2019). Disjunctive External and Internal Ideas on the University's Role in a Regional Innovation System. In: : . Paper presented at The University-Industry Engagement Conference, Sydney, Australia 11-13 February 2019.
Open this publication in new window or tab >>Disjunctive External and Internal Ideas on the University's Role in a Regional Innovation System
2019 (English)Conference paper, Poster (with or without abstract) (Other academic)
Abstract [en]

Regional innovation systems are recurrently presented by model figures. The purpose of such figures is to monitor certain ideas regarding each presented system. The topic of this paper is the role of the University represented through such model figures, and what ideas such figures are created to promote. In analysing the models, a visual communication perspective is paired with network notions.

The current objective is to discuss what politics can be found behind the idea promotion, when figures created within a university is compared to figures created outside of it. The aim is to clarify core differences between motives underlying the engagement of a university in its associated regional innovation system, by taking on the research question: How should we understand the disjunctions between model imagery on the University’s role in a regional innovation system used by people inside and outside of the University, respectively?

The research method used in this pilot-project, focusing on the Dalarna region of Sweden, is an analysis of policy documents in combination with interviews. The policy documents come from universities, as well as from other institutions engaged in regional innovation systems. Primarily the model figure of the regional innovation system presented by Region Dalarna (http://www.regiondalarna.se/wp-content/uploads/2016/12/Mobilisera-for-tillvaxt-Innovationsarbete-och-smart-specialisering.pdf [p.18]) is compared to Dalarna University’s model figure of its regional collaboration self-understanding (https://www.du.se/sv/Samverkan/Lägesrapport och slutrapport – Förstudie Högskolan Dalarnas roll i det regionala innovationssystemet.pdf [p.11]), and analysed in regard to policy documents on the Dalarna innovation system. Semi-structured interviews are also made with regional innovation system executives, university innovation officers and leaders, as well as university research group leaders, 14 interviews in total, spread across four (4) different Swedish regions.

The results are several: there are commonalities in the understanding of the university’s role in the Dalarna innovation system, inside and outside of Dalarna University, but also several disjunctions:

(1)   It is a common understanding that there could be cooperation between the university and others based on research, and/or through education.

(2)   One disjunction regard whether the university should act as one centrally organized hub for such collaboration, or function through a more scattered and self-organized set of units, in accordance with specific knowledge areas, where collaboration takes place.

(3)   Another disjunction appears concerning the university’s role in regard to innovation, whether it should be expected to be involved in the very innovation processes, or be an external part in support of innovation by providing resources and expertise for those that innovate.

(4)   A third disjunction concerns the university’s regional engagement, whether its prime efforts should be focused inwards the region, or if it is more important to function as a network provider and facilitator towards other regions as well as globally.

(5)   The fourth encountered disjunction regards weather the university should take on the intermediating role as a (strategic) knowledge broker that connects and encourages parties to innovation collaboration, or, yet again, the active role as the (leading) driving force in collective innovation processes, covering entire strategic areas of intervention.

(6)   A more delicate disjunction, the fifth, is the different views on knowledge, where the external expectations on the university is to deliver configured pieces of knowledge, from research or education, ready to exploit into innovation and business, whereas the university’s internal understanding is that knowledge should be developed during the collaborative process, jointly with the external parties.

The implications of these results are that (1) the common attitude of the possibility for the university to be involved in the regional innovation system which constitutes the vital starting point for such involvement to be achieved in a systematic and meaningful way. The disjunctions are in that sense topics for negotiation: (2) how much the university should centralize its innovation system involvement must be balanced against the benefits of free and active collaboration with external parties on the level of units and individuals within the organization; (3) to what degree supportive functions for an innovation system should be expected from a university, or from others, and what actual innovation activities the university should be involved in, or not; (4) weather the university should have a more operative engagement within the region, or rather emphasize its capacity as a bridge towards other regions and countries through its networks; (5) in what regards it is useful that the university has a more strategic or leading role in terms of broking knowledge, or driving innovation processes; and (6) what are the goals and terms of collaboration – exploitation of existing knowledge or mutual development of new knowledge?

We see, as the main outcomes of this study, that the outset for a university to engage in the regional innovation system is affirmative, when involvement is recognized as possible in both research and education, from within as well as from outside the university. The existing disjunctions regarding a university’s role in the innovation system, though, present a challenge for negotiation, which, if not taken seriously, risks a collapse of collaborations and a failure of the involvement.

Keywords
terms of involvement, centralization, self-organisation, global networks, regional focus, meeting place, knowledge broker, driving force
National Category
Social Sciences Interdisciplinary
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-29580 (URN)
Conference
The University-Industry Engagement Conference, Sydney, Australia 11-13 February 2019
Projects
RegIno
Available from: 2019-02-26 Created: 2019-02-26 Last updated: 2019-02-27Bibliographically approved
Swenberg, T. (2018). Complex design data joined in audiovisual representation: Benefits and issues in analysis. In: PIN-C Conference Proceedings 2018: . Paper presented at Participatory Innovation Conference 2018, Eskilstuna, Sweden (pp. 319-323). Eskilstuna
Open this publication in new window or tab >>Complex design data joined in audiovisual representation: Benefits and issues in analysis
2018 (English)In: PIN-C Conference Proceedings 2018, Eskilstuna, 2018, p. 319-323Conference paper, Published paper (Refereed)
Abstract [en]

Participatory methods in design or innovationresearch can require several different kinds of datain order to cover the object or process of interest tothe study. This paper addresses the potential anddifficulties of joining and analyzing several datacategories into a unified observational video, whereall data is represented in either audio, visual oraudiovisual form. The core problem of such acomplex body of data is that the analysis requiresefficient tools and/or methods to match the datacomplexity. The current case regards a participatorystudy on film editing, its method and datacomplexity, and discusses analytical approaches.

Place, publisher, year, edition, pages
Eskilstuna: , 2018
National Category
Other Engineering and Technologies not elsewhere specified Design
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-28051 (URN)
Conference
Participatory Innovation Conference 2018, Eskilstuna, Sweden
Available from: 2018-06-29 Created: 2018-06-29 Last updated: 2018-07-05Bibliographically approved
Swenberg, T. & Eriksson, P. E. (2018). Effects of continuity or discontinuity in actual film editing. Empirical Studies of the Arts, 36(2), 222-246
Open this publication in new window or tab >>Effects of continuity or discontinuity in actual film editing
2018 (English)In: Empirical Studies of the Arts, ISSN 0276-2374, E-ISSN 1541-4493, Vol. 36, no 2, p. 222-246Article in journal (Refereed) Published
Abstract [en]

A film editor’s refining of film edits at a frame-by-frame matching is an effort of perceptual precision. This paper investigates whether a failure of a few frames would jeopardize the perceived continuity of the film. 33 Swedish students, 17 female, average age 26, were eye tracked while watching two versions of the same documentary film sequence, where one version was completed to satisfaction by a film editor, and the other version had its edits altered 4-6 frames against the film editor’s intentions.

The analysis scrutinized gaze hits in Areas-of-Interest (AoI:s) appointed by the film editor, as well as saccade frequency and pupil dilation after edit points. No significant difference was found for gaze hits in AoI:s, whereas saccade frequency increased 120-400 ms after edit points by  29.4%, and pupil sizes increased by 28% relative size, 200-500 ms after edits, both in the altered version of the film sequence.

These results indicates that the altered film sequence constrained viewers, with possible cognitive effects, which implies that the frame-by-frame matching of film edits achieved by film editors is crucial to film continuity.

Keywords
film editing, perceptual precision, film continuity, film viewing, eye tracking, edit points, frame matching
National Category
Design Studies on Film
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-26443 (URN)10.1177/0276237417744590 (DOI)000433911400005 ()2-s2.0-85047930057 (Scopus ID)
Available from: 2017-10-19 Created: 2017-10-19 Last updated: 2018-11-23Bibliographically approved
Swenberg, T. & Eriksson, Y. (2018). Film and TV production as audiovisual design. International Journal of Visual Design, 12(1), 39-51
Open this publication in new window or tab >>Film and TV production as audiovisual design
2018 (English)In: International Journal of Visual Design, ISSN 2325-1581, Vol. 12, no 1, p. 39-51Article in journal (Refereed) Published
Place, publisher, year, edition, pages
Common Ground Publishing, 2018
National Category
Design
Research subject
Intercultural Studies, Audiovisuella medier - en innovativ miljö för samproducerad forskning
Identifiers
urn:nbn:se:du-23885 (URN)10.18848/2325-1581/CGP/v12i01/39-51 (DOI)
Projects
Audiovisuella medier - en innovativ miljö för samproducerad forskning
Available from: 2016-12-30 Created: 2016-12-30 Last updated: 2018-06-05Bibliographically approved
Eriksson, P. E., Swenberg, T., Zhao, X. & Eriksson, Y. (2018). How gaze time on screen impacts the efficacy of visual instructions. Heliyon, 4(6), Article ID e00660.
Open this publication in new window or tab >>How gaze time on screen impacts the efficacy of visual instructions
2018 (English)In: Heliyon, ISSN 2405-8440, Vol. 4, no 6, article id e00660Article in journal (Refereed) Published
Abstract [en]

This article explores whether GTS (gaze time on screen) can be useful as an engagement measure in the screen mediated learning context. Research that exemplifies ways of measuring engagement in the on-line education context usually does not address engagement metrics and engagement evaluation methods that are unique to the diverse contemporary instructional media landscape. Nevertheless, unambiguous construct definitions of engagement and standardized engagement evaluation methods are needed to leverage instructional media's efficacy. By analyzing the results from a mixed methods eye-tracking study of fifty-seven participants evaluating their visual and assembly performance levels in relation to three visual, procedural instructions that are versions of the same procedural instruction, we found that the mean GTS-values in each group were rather similar. However, the original GTS-values outputted from the ET-computer were not entirely correct and needed to be manually checked and cross validated. Thus, GTS appears not to be a reliable, universally applicable automatic engagement measure in screen-based instructional efforts. Still, we could establish that the overall performance of learners was somewhat negatively impacted by lower than mean GTS-scores, when checking the performance levels of the entire group (N = 57). When checking the stimuli groups individually (N = 17, 20, 20), the structural diagram group's assembly time durations were positively influenced by higher than mean GTS-scores.

Keywords
psychology, education, information science
National Category
Design Learning Arts Educational Sciences
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-28050 (URN)10.1016/j.heliyon.2018.e00660 (DOI)30003156 (PubMedID)2-s2.0-85048981564 (Scopus ID)
Note

Open Access APC beslut 5/2018

Available from: 2018-06-29 Created: 2018-06-29 Last updated: 2018-11-23Bibliographically approved
Swenberg, T. (2017). A film editor’s visual intentions and use of perceptual phenomena in designing film edit: an observational study. International Journal of Visual Design, 11(3), 1-17
Open this publication in new window or tab >>A film editor’s visual intentions and use of perceptual phenomena in designing film edit: an observational study
2017 (English)In: International Journal of Visual Design, ISSN 2325-1581, Vol. 11, no 3, p. 1-17Article in journal (Refereed) Published
Abstract [en]

This article investigates the role of perception in film editing, considered as audiovisual design work. The study is an observation of a film editor editing a documentary film sequence, where the perceptual phenomena at stake at edit points are scrutinized, with reference to perception theory. The results show that the film editor’s design goal is to achieve perceptual precision for each edit, either for continuity or for discontinuity, accordingly. The more perceptual phenomena per edit, the more time and the more processing the editor has to spend on the edit until satisfied with the result. This knowledge is of importance to inexperienced film editors in order to make the editing process faster and more precise and thus shorten production time. In the wider design context, other design activities are indicated to find inspiration for future research in this study, regarding perceptual phenomena and gaze framing during design processes.

Place, publisher, year, edition, pages
Common Ground Publishing, 2017
National Category
Design
Research subject
Intercultural Studies, Klipparens visuella intention och tittarens visuella perception
Identifiers
urn:nbn:se:du-23884 (URN)10.18848/2325-1581/CGP/v11i03/1-17 (DOI)2-s2.0-85021085865 (Scopus ID)
Note

Open Access APC beslut 24/2017

Available from: 2016-12-30 Created: 2016-12-30 Last updated: 2017-12-14Bibliographically approved
Swenberg, T. (2017). Framing the Gaze: (Audio-) Visual Design Intentions and Perceptual Considerations in Film Editing. (Doctoral dissertation). Västerås: Mälardalen University
Open this publication in new window or tab >>Framing the Gaze: (Audio-) Visual Design Intentions and Perceptual Considerations in Film Editing
2017 (English)Doctoral thesis, comprehensive summary (Other academic)
Abstract [en]

The theme for this doctoral thesis focuses on how a film editor strives actively to perceptually frame and direct the film viewer’s gaze across film edits. The editor’s (audio-)visual intentions concerning the film viewing correspond to perceptual considerations that the editor makes during film editing.

Film editing in this thesis is considered as a kind of design work, foremost motivated by the possibilities of many new approaches, questions, and answers that a design perspective brings, stretching well beyond what previously adopted perspectives have done.

The research questions asked, as well as the presented results, are discussed with regard to design theory, established film production field knowledge, and perception research. Apart from considering audiovisual perception in a film editing context, film editing is also discussed as audiovisual design, and tentative implications for the role of perception in other kinds of design work are pointed out.

The results of my analyses are that there is reason to consider parts of film production as design work; that properties of an audiovisual material affect the creative space; that perceptual considerations are a significant part of the film editor’s treatment of the audiovisual material; that film viewers’ response to film edits varies with the shape of the edits; and that this variation is possible to link with the film editor’s intention regarding the edits, as well as to the degree of fulfillment of the intention.

I conclude that perceptual precision at the edit point is decisive for attaining a desired film-viewing decoding of a film sequence, and that when the perceptual precision is low, it is likely that the perceived continuity of the film fails.

The contribution of this doctoral thesis is that it drives the investigation of actual appliance of perception as audiovisual knowledge in film editing. Hence, it also adds to the more general discussion on perception as part of audiovisual thinking, and how audiovisual knowledge is formed.

The thesis contributes to the area of Innovation and Design through its mix of methods, since the main study considers the creation of new artefacts, the thinking going on during that process, as well as human responses to the artefacts. Conclusively, the thesis provides a thorough example of how a design research perspective can add to the understanding of film production, and its trades and activities.

Abstract [sv]

Temat för denna doktorsavhandling är hur det går till när en filmklippare aktivt strävar emot att perceptuellt fånga in och styra sin filmtittares blick över filmklipp. Klipparens (audio-)visuella intentioner med filmtittandet motsvaras av perceptuella överväganden som klipparen gör under klipparbetet.

Klipparbetet motiveras i denna avhandling som ett designarbete, främst för att ett designperspektiv på filmproduktion har möjligheter att bidra med många nya infallsvinklar, frågeställningar och svar, som sträcker sig bortom vad tidigare tillämpade perspektiv gör.

De forskningsfrågor som ställs, och de svar som presenteras, diskuteras sedan gentemot designteori, etablerad filmproduktionskunskap och perceptionsforskning. Utöver att audiovisuell perception beaktas inom filmklippningskontexten, diskuteras även filmklippning som audiovisuell design, och kopplingar görs till annat designarbete och möjliga implikationer för perceptionens roll i dessa sammanhang.

Data om klipparbetet har skapats via videoinspelade deltagande observation där även fortlöpande skärminspelningar skett, medan en filmklippare färdigställde en dokumentärfilmsekvens. Utifrån dessa inspelningar har sedan en elicitering med filmklipparen skett. På så vis har klipparens intentioner och möjliga beaktande av perceptuella faktorer fångats in.

Klipparens intentioner avseende filmtittare har sedan testats via ögonrörelsestudier där tittarnas ögondata samlats in medan de tittat på den skapade filmsekvensen.

Resultaten av mina analyser är att det finns skäl att betrakta delar av filmproduktion som designarbete, att audiovisuella materialegenskaper påverkar det kreativa utrymmet, att perceptuella hänsyn ingår som en väsentlig del av filmklipparens bearbetning av det audiovisuella materialet, att filmtittares respons på filmklipp varierar med hur klippen är utformade, samt att man kan koppla denna variation till filmklipparens intention med klippen, och graden av intentionens uppfyllelse.

Jag drar slutsatserna att perceptuell precision i klippunkten är avgörande för att uppnå en önskad avkodning av en filmsekvens för tittarens del, samt att när den perceptuella precisionen är låg är det troligt att den upplevda kontinuiteten hos filmen fallerar.

Doktorsavhandlingens bidrag är att den hjälper till att reda ut den faktiska tillämpningen av perceptionen som audiovisuell kunskap i filmklippning. Men den bidrar därmed även till en mera generell diskussion om perception som en del av audiovisuellt tänkande och formerandet av audiovisuell kunskap.

Avhandlingen bidrar till området Innovation och Design genom sin blandning av metoder, eftersom huvudstudien rör skapandet av nya artefakter och tänkande som pågår inom denna process, liksom mänsklig respons på dessa artefakter. Slutligen bidrar avhandlingen med ett genomgripande exempel på hur ett designforskningsperspektiv kan bidra till att förstå delar av filmproduktion, och de yrken och aktiviteter som sker där.

Place, publisher, year, edition, pages
Västerås: Mälardalen University, 2017
Keywords
moving image editing, film production, TV production, audiovisual design, audiovisual perception, filmklippning, videoredigering, filmproduktion, TV-produktion, audiovisuell design, audiovisuell perception
National Category
Design
Research subject
Intercultural Studies
Identifiers
urn:nbn:se:du-26362 (URN)978-91-7485-340-7 (ISBN)
Public defence
2017-09-15, Raspen, Mälardalens högskola, Eskilstuna, 10:00 (English)
Opponent
Supervisors
Available from: 2017-09-27 Created: 2017-09-27 Last updated: 2017-09-27Bibliographically approved
Swenberg, T. (2016). Editorial intentions and viewer perceptions: An audiovisual methodology for studying film editing and eye movements. Visual Methodologies. A postdisciplinary journal., 4(2), 13-33
Open this publication in new window or tab >>Editorial intentions and viewer perceptions: An audiovisual methodology for studying film editing and eye movements
2016 (English)In: Visual Methodologies. A postdisciplinary journal., ISSN 2040-5456, Vol. 4, no 2, p. 13-33Article in journal (Refereed) Published
Abstract [en]

This article presents an audio-visual methodology, VOSMET, designed to address activities of the craft of film editing, with a focus on the use of perception, and its implications. The methodology employs 13 different visual aspects and five different audio aspects, starting with video-recording observations of an editor, and ending with the analysis of eye-tracking data from film viewers. Craft research needs methodologies that address craft activities and cognitive approaches. Design practices share a similar need for reaching deeper understanding. It is neither established how film editors achieve perceptual precision in continuity editing in practice. The VOSMET methodology simultaneously captures bodily actions, utterances, software events, and keystrokes, along with the audiovisual material under processing, and uses graphics to distinguish between what takes place. The methodology also contributes by grasping what a film editor attends to, how this attention functions, as well as how perceptual factors are handled by the film editor. Finally, the methodology can evaluate editorial intentions against film viewer perceptions.

Place, publisher, year, edition, pages
Neuchâtel: , 2016
Keywords
documentary film editing; screen-recording video; video-graphic coding; eye tracking; perceptual precision, dokumentärfilmklippning, skärmdumpsvideo, video-grafisk kodning, ögonrörelsestudier, perceptuell precision
National Category
Other Humanities not elsewhere specified Social Sciences Interdisciplinary
Research subject
Intercultural Studies, Klipparens visuella intention och tittarens visuella perception
Identifiers
urn:nbn:se:du-23883 (URN)
Projects
Klipparens visuella intention och tittarens visuella perception
Funder
Swedish Agency for Economic and Regional Growth
Available from: 2016-12-30 Created: 2016-12-30 Last updated: 2018-01-13Bibliographically approved
Swenberg, T. (2015). Editorial intentions and viewer perceptions: Audiovisual methods for studying film editing and eye movements. In: : . Paper presented at 4th International Visual Methods Conference, Brighton,16 - 18 September 2015.
Open this publication in new window or tab >>Editorial intentions and viewer perceptions: Audiovisual methods for studying film editing and eye movements
2015 (English)Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

This presentation describes the methods used in a research project on continuity film editing and its effects on viewer perception.  Film editing is considered a form of audiovisual design work in which visual perception plays a significant role. The study analyzes audiovisual design work in terms of nine different visual aspects and four different audio aspects. The audio aspects are the making of a soundtrack to a documentary film sequence, recordings of conversations during observations, and the viewing of the film sequence, as well as an analysis of those recordings. The visual aspects include the editing of the documentary film sequence, recordings of the editor at work (together with an observing researcher) generating video images of the work, and a continuous screen-recording including computer keystrokes. An altered second version of the film in which the edits were altered was created, and both versions were used as stimuli in an eye tracking study with 30 participants. Finally, eye-tracking data was analyzed in terms of eye-movements, and areas of interest, in order to determine the importance of perceptual precision. When perceptual precision is poor, the viewer’s eyes make extra movements to adjust or miss the area of interest, or the viewer’s cognitive load increases. Examples are given in the presentation, and it is suggested that these methods make it possible to identify key audiovisual factors that a film editor considers, which constitute viewer-friendly and viewer-challenging (i.e. ’smooth’ and ‘harsh’) moving image editing. This knowledge has not been documented experimentally before, and understanding how perceptual precision determines viewer-friendly or viewer-challenging film editing is a key factor in helping inexperienced film editors learn how to achieve their audiovisual intentions. It also contributes to the academic understanding of perceptual considerations in design work.

Keywords
documentary film editing, screen-recording video, video-graphic coding, eye tracking, perceptual precision
National Category
Design Studies on Film
Research subject
Culture, Identity and Representations, Klipparens visuella intention och tittarens visuella perception
Identifiers
urn:nbn:se:du-20581 (URN)
Conference
4th International Visual Methods Conference, Brighton,16 - 18 September 2015
Funder
EU, European Research Council
Available from: 2016-01-04 Created: 2016-01-04 Last updated: 2016-01-04Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-2006-4522

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