How do we look at film, television, on-line video or real-life events?

How does looking influence what we see, remember and feel?

These are the questions the DIEM project (Dynamic Images and Eye Movements) seek to answer as they investigate what drives human visual perception and how our eyes scan and sample images.

Understanding what a viewer notices and where their eyes fixate helps breakdown how we experience a film. As filmmakers this information provides valuable insight on the kind of visual data audiences observe. Research from the DIEM project reveals our gaze lingers on faces, hands, objects, movement and light and especially the sudden appearance of these things. A particular study on continuity helped further investigate how viewers missed discontinuity when their gaze is fixated on more important things. This was achieved through props changing colour/location, costume changes, staging irregularities etc.

How does it work?

“Using state-of-the-art eye tracking facilities, the eye-tracking data records the X and Y coordinates for each eye per millisecond in combination with a range of eye-movement measures. For each person, this produces over 1000 lines of data (in eight columns), per second. To analyze this output, DIEM has developed a tool called Computational Algorithms for Representation and Processing of Eye-movements (CARPE). CARPE can create dynamic heat-maps that visually represent a cluster analysis of where people are looking. The software also quantifies this behaviour, allowing us to determine the various visual features and events that lead to a stronger consensus on where to look (a tighter cluster) among viewers.”

The eye mapping video of There Will Be Blood is a prime example of how tightly focused our gaze is whilst watching a film and how viewers look in a similar place most of the time. The study included 11 viewers, separately watching the film.

Whilst the original plan did not necessarily include such an intimate study of Laundromats, I am enjoying the process way too much and confident it is still complimentary to the ‘connect the dots’ question.

These photo collections ask you to look for the similarities and differences of each space, their individual characteristics, their stories and their clues. We can’t help but project some narrative or interest onto these pictures, even when it’s just a plain ol’ coin laundry.

For Carrie: Case Study No. 3, I set out to take quality over quantity (and shoot like it was analogue) in hopes to start training myself to be more deliberate and controlled before releasing the shutter. It definitely sharpened my eye, refined my creative decisions and cut post time in half, so I will attempt to keep applying this!

Also, the process of capturing the personalities of these locations has unlocked something else for me. All of sudden I am noticing objects, moments, architecture, light, etc. in the everyday that would make cool compositions for video/photography. Seriously, my eyes keep darting around and spotting potential in such ordinary stuff. It’s sobering to feel inspired like this and not always need flashy gear, exotic locations, attractive models, etc. to produce a great shot.

∇ POWDER laundry, 50 albert st, brunswick east

All images my own.

Welcome to the future. This was a no coin laundry, instead featuring “tap and go” options. It was kind of hideous and beautiful at the same time. The strangest trait was it lacked a single chair. We watched the poor people paying $7+ for their washing, waiting in toasty cars trying to kill time on their phones. The space demanded your attention and I almost felt obliged to just “tap” my fantastic plastic, even though I had no washing.

This laundromat is crowned Carrie.

∇ Coin Op Laundry, 710 High St, THORNBURY

All images my own.

Felix was a junkie, trying to hide his habits from his friends and family.

This space was disorderly and neglected and felt like someone might be squatting here. The light was soft but contained neat highlights and the colours (yellow, red, green) we expect to be poppy and vibrant seemed muddy and muted.  Poor Felix.

∇ St Georges Road Coin Laundry, Northcote

All photos my own.

It feels like something creative is bubbling away as I visit each Laundromat. Who’d have thought these everyday spaces would be so intriguing?

This case study will be referred to as Valma. The characteristics of this space were modest, compact and resilient and uniquely defined by it’s shapes, colour, tone, reflections and notes. Valma felt deserted and cold.

Trialled first test of petri dish reactions (above), not quite what I was hoping for but practise makes perfect. I didn’t have a macro or zoom lens so found the 50mm limiting and consequently couldn’t capture fine details.

Ingredients included:

• Milk
• Acrylic paints
• Food dye
• Sunflower oil
• Dishwashing liquid

The acrylic paints seemed too heavy for the oil and also sank through the milk so will look into denser oils like rapeseed, avocado, flax and see if that makes a difference. Will incorporate honey next time too.

I wasn’t focused on creating aesthetically pleasing colour combinations however will give this more attention for the next test. Have booked the Building 8 studio for 17/9 in the afternoon including a macro lens but until then will have another go.

Also looking back at my reference it looks to be 50/50 milk and oil and less quantity of both than I was using. So, back to the drawing board.

Detergent reaction.

Paints sinking in oil.

Pre-mixed milk and acrylics worked better.