Drawn sequences of images, like those in comics and picture stories, are a pervasive and fundamental way that humans have communicated for millennia. Yet, the study of visual narratives has only recently gained traction in Cognitive Science. Here we explore what has held back the study of the cognition of visual narratives, and why researchers should join in scholarship of this ubiquitous aspect of expression.

Emoji have been ubiquitous in communication for over a decade, yet how they derive meaning remains underexplored. Here, we examine an aspect fundamental to linguistic meaning‐making: the degree to which emoji have conventional lexicalized meanings and whether that conventionalization affects processing in real‐time. Experiment 1 establishes a range of meaning agreement levels across emoji within a population; Experiment 2 measures accuracy and response times to word‐emoji pairings in a match/mismatch task. In this experiment, we found that accuracy and response time (...) both correlated significantly with the level of population‐wide meaning agreement from Experiment 1, suggesting that lexical access of single emoji may be comparable to that of words, even out of context. This is consistent with theories of a multimodal lexicon that stores links between meaning, structure, and modality in long‐term memory. Altogether, these findings suggest that emoji can allow a range of entrenched, lexicalized representations. (shrink)

This study investigates the online process of reading and analyzing of sketchnotes (visual notes containing a handwritten text and drawings) on Russian language material. Using the eye-tracking method, we compared the processing of different types of sketchnotes (‘path’ (trajectory), linear, and radial) and the processing of a verbal text. Biographies of Russian writers were used as the material. In a preliminary experiment, we asked 89 college students to read the biographies and to evaluate each text or sketch using five scales (...) (from -2 to +2). The best example for each of three formats of sketchnotes and a verbal text were chosen. In the main experiment, twenty-one secondary school students examined four different biographies in four different formats (three sketchnotes and a verbal text), answered to the factual and analytical questions to these texts and estimated the difficulty of each text. We measured the total dwell time, the total fixation count, the average fixation duration for each stimulus as well as for separate zones inside the sketches including verbal and non-verbal information. Our results show that readers process the information better and faster while reading sketchnotes than a verbal text. In the trajectory sketchnotes, the readers followed the order of elements aimed by the author of the sketchnotes better than in the radial and linear sketchnotes. The analysis of participants’ eye movements while processing the stimuli made it possible to propose several recommendations for creating effective sketchnotes. (shrink)

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. Front-end processes occur (...) during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

Comics are complex multimodal documents that make for intriguing materials to analyze with computer vision and computational linguistics. This review summarizes the growing developments in computational modeling which have been progressing to analyze visual narratives across their various substructures.