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| Preface | |
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| Visual Queries | |
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| The Apparatus and Process of Seeing | |
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| The Act of Perception | |
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| Bottom-Up | |
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| Top-Down | |
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| Implications for Design | |
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| Nested Loops | |
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| Distributed Cognition | |
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| Conclusion | |
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| What We Can Easily See | |
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| The Machinery of Low-Level Feature Analysis | |
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| What and Where Pathways | |
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| Eye Movement Planning | |
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| What Stands Out = What We Can Bias for | |
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| Lessons for Design | |
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| Motion | |
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| Visual Search Strategies and Skills | |
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| The Detection Field | |
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| The Visual Search Process | |
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| Using Multiscale Structure to Design for Search | |
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| Conclusion | |
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| Structuring Two-Dimensional Space | |
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| 2.5D Space | |
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| The Pattern-Processing Machinery | |
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| The Binding Problem: Features to Contours | |
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| The Generalized Contour | |
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| Texture Regions | |
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| Interference and Selective Tuning | |
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| Patterns, Channels, and Attention | |
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| Intermediate Patterns | |
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| Pattern Learning | |
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| Serial Processing | |
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| Visual Pattern Queries and the Apprehendable Chunk | |
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| Multi-chunk Queries | |
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| Spatial Layout | |
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| Horizontal and Vertical | |
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| Pattern for Design | |
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| Examples of Pattern Queries with Common Graphical Artifacts | |
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| Semantic Pattern Mappings | |
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| Color | |
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| The Color-Processing Machinery | |
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| Opponent Process Theory | |
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| Channel Properties | |
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| Principles for Design | |
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| Showing Detail | |
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| Color-Coding Information | |
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| Large and Small Areas | |
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| Emphasis and Highlighting | |
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| Color Sequences | |
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| Color on Shaded Surfaces | |
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| Semantics of Color | |
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| Conclusion | |
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| Getting the Information: Visual Space and Time | |
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| Depth Perception and Cue Theory | |
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| Stereoscopic Depth | |
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| Structure from Motion | |
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| 2.5D Design | |
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| How Much of the Third Dimension? | |
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| Affordances | |
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| The Where Pathway | |
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| Artificial Interactive Spaces | |
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| Space Traversal and Cognitive Costs | |
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| Conclusion | |
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| Visual Objects, Words, and Meaning | |
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| The Inferotemporal Cortex and the What Channel | |
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| Generalized Views from Patterns | |
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| Structured Objects | |
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| Gist and Scene Perception | |
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| Visual and Verbal Working Memory | |
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| Verbal Working Memory | |
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| Control of the Attention and the Cognitive Process | |
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| Long-term Memory | |
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| Priming | |
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| Getting into Visual Working Memory | |
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| Thinking in Action: Receiving a Cup of Coffee | |
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| Elaborations and Implications for Design | |
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| Make Objects Easy to Identify | |
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| Novelty | |
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| Images as Symbols | |
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| Meaning and Emotion | |
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| Imagery and Desire | |
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| Conclusion | |
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| Visual and Verbal Narrative | |
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| Visual Thinking Versus Language-Based Thinking | |
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| Learned Symbols | |
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| Grammar and Logic | |
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| Comparing and Contrasting the Verbal and Written Modes | |
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| Linking Words and Images Through Diexis | |
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| PowerPoint Presentations and Pointing | |
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| Mirror Neurons: Copycat Cells | |
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| Visual Narrative: Capturing the Cognitive Thread | |
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| Q&A Patterns | |
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| Framing | |
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| FINSTs and Divided Attention | |
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| Shot transitions | |
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| Cartoons and Narrative Diagrams | |
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| Single-frame Narratives | |
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| Conclusion | |
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| Creative Meta-Seeing | |
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| Mental Imagery | |
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| The Magic of the Scribble | |
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| Diagrams are Ideas Made Concrete | |
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| Requirements and Early Design | |
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| Visual Task Analysis | |
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| The Creative Design Loop | |
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| Cognitive Economics of Design Sketching | |
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| The Perceptual Critique | |
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| Meta-seeing with Design Prototypes | |
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| Visual Skill Development | |
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| Conclusion | |
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| The Dance of Meaning | |
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| Review | |
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| Implications | |
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| Design to Support Pattern Finding | |
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| Optimizing the Cognitive Process | |
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| Learning and the Economics of Cognition | |
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| Attention and the Cognitive Thread | |
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| What's Next? | |
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| Index | |