<p>Gaze tracking means to detect and follow the direction in which a person looks. This can be used in for instance human-computer interaction. Most existing systems illuminate the eye with IR-light, possibly damaging the eye. The motivation of this thesis is to develop a truly non-intrusive gaze tracking system, using only a digital camera, e.g. a web camera.</p><p>The approach is to detect and track different facial features, using varying image analysis techniques. These features will serve as inputs to a neural net, which will be trained with a set of predetermined gaze tracking series. The output is coordinates on the screen.</p><p>The evaluation is done with a measure of accuracy and the result is an average angular deviation of two to four degrees, depending on the quality of the image sequence. To get better and more robust results, a higher image quality from the digital camera is needed.</p>

<p>Klinisk blick är en term som frekvent återkommer under sjuksköterskeutbildningen och i klinisk verksamhet. Den återfinns ofta i samband med klinisk bedömning och som</p><p>en övergripande beskrivning av en patient. Endast antydda betydelser har framkommit och då tätt knutna till andra termer och processer. Syftet med studien var att</p><p>undersöka komponenterna intuition och tyst kunskap som delar i sjuksköterskans kliniska blick. Studien genomfördes som en litteraturstudie där 17 vetenskapliga artiklar granskades. Resultatet visar att intuition och tyst kunskap är huvudkomponenter i sjuksköterskans kliniska blick. Intuition verkar som en länk mellan kognitiva, affektiva och perceptuella processer. Tyst kunskap sammanbinder intuition och teoretisk kunskap. Intuition och tyst kunskap utvecklas över tid och baseras på personlighet, erfarenhet och teoretisk kunskap. Förslag till vidare forskning är att försöka utveckla</p><p>och specificera termen och förstå de bakomliggande processerna bättre med syftet att utbilda och stödja sjuksköterskan i hennes professionella utveckling.</p>

<p>The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which</p><p>needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.</p><p>In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes</p><p>the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.</p><p>The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.</p>

<p>This thesis demonstrates that infants represent temporarily non-visible, or occluded, objects. From 4 months of age, infants could accurately predict the reappearance of a moving object after 660 ms of non visibility; indicating accurate spatiotemporal representations. At this age predictions were dominated by associations between specific events and outcomes (associative rules). Between 6 and 8 months of age predictions became dominated by extrapolations (Study III). From 6 months infants could represent occluded objects for up to 4 seconds. The number of successful predictions decreased, however, if the information contained in the occlusion event diminished (time of accretion and deletion). As infants grew older (up to 12 months) they produced more accurate predictions. (Study II). The similarities between adult and infant performances were numerous (Study I). These conclusion are based on one cross sectional (Study I) and two longitudinal studies (Study II & III) in which an object, a ‘happy face’, moved on circular (Study I, II, & III) and other complex trajectories (Study III). One portion of each trajectory was covered by a screen that blocked the object from sight. In each study participants gaze were recorded with an infrared eye tracking system (ASL 504) and a magnetic head tracker (Flock of Birds). This data was combined with data from the stimulus and stored for of line analysis.</p>

Between fall 2009 and fall 2010 I conducted semi-structured in-depth interviews with 19 young-adult women and men of mixed race in Edmonton, Alberta. A prominent theme that emerged was being asked the question ‘what are you?’. I position the ‘moment’ of being questioned as a manifestation of the external gaze. People of mixed race are subject to questioning because they do not fit within dominant racial binaries: they exceed the limited horizon of possible narratives of racial discourse and are socially identified as ambivalent (Anzaldua 1987). Within the literature on the ‘racial gaze,’ it is often positioned as something that fixes (Fanon 1967). However, the very ambivalence people of mixed race pose to the gaze allows them to negotiate it. The narratives of my respondents demonstrate that the inability of the social gaze to ‘fix’ them opens up the possibility of making identity through negotiating the gaze in multiple ways.

Different studies have shown that faces seen with a direct gaze (creating eye contact) are more likely to be recognized than faces seen with a laterally deviated gaze. The present work was aimed at determining underlying processes of this gaze direction effect. More precisely, whether this effect was due to a more elaborated encoding of faces with direct gaze because of the social importance of the eye contact was tested. Results obtained showed that the gaze direction effect is a highly sensitive effect which influence on memory for faces is probably more incidental than previously hypothesized./ Différentes études ont montré que les visages vus avec un regard direct (créant un contact visuel) ont plus de chance dêtre reconnus que les visages vus avec un regard dévié latéralement. Ce travail avait pour but de déterminer la nature des processus sous-jacents à cet effet de la direction du regard. Plus précisément, nous avons testé lhypothèse dun encodage plus élaboré des visages avec un regard direct dû à la signification sociale du contact visuel. Les résultats obtenus ont montré que leffet de la direction du regard est un effet très sensible dont linfluence sur la mémoire pourrait être plus incidente que ce qui avait été proposé dans la littérature.

This thesis demonstrates that infants represent temporarily non-visible, or occluded, objects. From 4 months of age, infants could accurately predict the reappearance of a moving object after 660 ms of non visibility; indicating accurate spatiotemporal representations. At this age predictions were dominated by associations between specific events and outcomes (associative rules). Between 6 and 8 months of age predictions became dominated by extrapolations (Study III). From 6 months infants could represent occluded objects for up to 4 seconds. The number of successful predictions decreased, however, if the information contained in the occlusion event diminished (time of accretion and deletion). As infants grew older (up to 12 months) they produced more accurate predictions. (Study II). The similarities between adult and infant performances were numerous (Study I). These conclusion are based on one cross sectional (Study I) and two longitudinal studies (Study II &amp; III) in which an object, a ‘happy face’, moved on circular (Study I, II, &amp; III) and other complex trajectories (Study III). One portion of each trajectory was covered by a screen that blocked the object from sight. In each study participants gaze were recorded with an infrared eye tracking system (ASL 504) and a magnetic head tracker (Flock of Birds). This data was combined with data from the stimulus and stored for of line analysis.

Denna uppsats syftar till att kvalitativt undersöka hur kvinnor porträtteras i fem utvalda avsnitt av The Hills (MTV), med fokus på deras beteende och uppträdande i frågor som karriär, utseende och relationer till män. Detta undersöks med hjälp av ett analysschema som har utformats utifrån Keith Selbys och Ron Cowderys analysmodell för att studera television.   Undersökningen vilar på en genusteoretisk grund och teorier som används är bland annat R.W. Connells hegemoniska maskulinitet, Yvonne Hirdmans genuskontrakt, Laura Mulveys ”the male gaze” och en vidare utveckling av Foucaults teori om ”the panopticon”. Detta kompletteras med forskning av bland annat Rosalind Gill, Angela McRobbie och Hillevi Ganetz.   I min analys framkommer att det förekommer väldigt få skildringar av kvinnor vars beteende utmanar en traditionell syn på kvinnligt uppförande. Vidare betonas kvinnors utseende starkt och karaktärerna visar ett flertal gånger fokus på äktenskap. Sammantaget leder analysen fram till en slutsats att kvinnor i The Hills inom samtliga undersökta områden till stor del skildras på ett sätt som befäster en stereotyp genusstruktur.

The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil. In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others. The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.

Klinisk blick är en term som frekvent återkommer under sjuksköterskeutbildningen och i klinisk verksamhet. Den återfinns ofta i samband med klinisk bedömning och som en övergripande beskrivning av en patient. Endast antydda betydelser har framkommit och då tätt knutna till andra termer och processer. Syftet med studien var att undersöka komponenterna intuition och tyst kunskap som delar i sjuksköterskans kliniska blick. Studien genomfördes som en litteraturstudie där 17 vetenskapliga artiklar granskades. Resultatet visar att intuition och tyst kunskap är huvudkomponenter i sjuksköterskans kliniska blick. Intuition verkar som en länk mellan kognitiva, affektiva och perceptuella processer. Tyst kunskap sammanbinder intuition och teoretisk kunskap. Intuition och tyst kunskap utvecklas över tid och baseras på personlighet, erfarenhet och teoretisk kunskap. Förslag till vidare forskning är att försöka utveckla och specificera termen och förstå de bakomliggande processerna bättre med syftet att utbilda och stödja sjuksköterskan i hennes professionella utveckling.