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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 | |