SO IF YOU Y YOU'RE GONNA HAVE DYNAMIC REGIONS WHICH OVERLAP ONE ANOTHER BY DEFINITION IF THE MOUSE IS ON THE CONSTRUCT THEN RIGHT RIGHT 'CAUSE YOU GET C 'CAUSE YOU SO WHAT YOU WANT IS ONE TRACK OF INFORMATION ABOUT WHICH OBJECT IT'S ONE ONE ABOUT WHETHER OR NOT IT'S ON THE OTHER GUY'S GAZE AND ONE ABOUT WHETHER IT'S ON UM ONE OF THE MOUSE POSITIONS BUT THE DIFFERENCE BETWEEN THEM AND THE THE PARTS OF THE C THING TO BE CONSTRUCTED IS THAT THEY'RE ALLOWED TO OVERLAP WITH OTHER THINGS SO NOTHING BREAKS OKAY IF WE MM-HMM BECAUSE THEY CAN BE LOOKING AT THEY COULD LOOK SIM SIMULTANEOUSLY AT SOMEBODY'S MOUSE SOMEBODY'S GAZE AND SOME OBJECT RIGHT SO YEAH SO THE THESE ARE INDEPENDENT SO SO WHAT WE WANT IS WHETHER THEY'RE LOOKING AT S AT THE OTHER PERSON'S GAZE RIGHT AND SAY THEY ARE IN THIS PERIOD WELL I MEAN UH THEY'RE PROBABLY NOT GIVEN WHAT I'VE TRYING TO SO IMAGINE THAT WE'VE JUST ADDED A PIECE TO THE CONSTRUCT ALRIGHT SO NOW THAT'S THE CONSTRUCT AND BOTH MOUSE SYMBOLS ARE ON IT RIGHT AND BOTH GAZES ARE ON IT RIGHT SO AT THAT POINT YOU SHOULD HAVE A LINE UP OF A. IS ON THE CONSTRUCT A. IS ON THE MOUSE A. IS ON A. IS ON A. 'S MOUSE A. IS ON B. 'S MOUSE A. IS ON B. 'S GAZE AND B. LIKEWISE OKAY SO G SO THERE'S THERE'S A LOT OF TRACKS HERE RIGHT BECAUSE WELL WE JUST ADDED THIS FIXATION TRACK OOH I LOVE THE ERASER MM-HMM YEAH BUT THE MOUSE IS ALSO A DYNAMIC OBJECT BUT IT DOESN'T MATTER I MEAN I THE MOUSE WE'RE JUST SAYING WHERE IS THE MOUSE YOU KNOW IT'S ON THIS OBJECT AND THEN UM A. 'S EYE IS ON WELL A. 'S MOUSE I GUESS RIGHT A. 'S EYE MIGHT BE LOOKING AT A. 'S MOUSE HERE A. 'S EYE MIGHT BE LOOKING AT B. 'S MOUSE HERE RIGHT I MEAN THESE ARE ALL THE DIFFERENT WAYS OF TAKING CROSS PRODUCTS AT THE THINGS THAT COULD BE CO LOCATED SO YOU JUST TREAT 'EM AS INDEPENDENT AND I'M GUESSING FROM WHAT YOU SAY YEAH I GUESSING FROM WHAT YOU'RE SAYING YOU WANT ALL THESE TRACKS YEAH WHICH IS FINE THERE'S NO PROBLEM WITH THAT AT ALL MM-HMM ONE IS WHERE THE MOUSE IS AND THE OTHER IS WHERE THE GAZE IS SO S SO UM UH YOU KINDA GOT THE IDEA HERE YEAH SO SO YEAH SO SO IT'S JUST A MATTER OF ADDING THESE THE TWO MOUSE POINTERS AND THE UM TWO GAZES AS EXTRA OBJECTS UM SO YEAH AS LONG AS AS LONG AS THEY'VE GOT AN I. D. IN THERE WE CAN JUST SAY RIGHT AT THIS P BETWEEN THESE TIMES THEY'RE LOOKING AT THAT OBJECT OR THEY'RE LOOKING AT THE MOUSE THEY'RE LOOKING AT WHATEVER BUT THE IMPORTANT THING IS YOU DON'T TREAT THAT ENTIRE SET AS MUTUALLY EXCLUSIVE AND EXHAUSTIVE IT'S JUST SO THA THE OBJECTS IS LIKE A SEPARATE LEVEL OF ANALYSIS IF WHETHER THEY'RE LOOKING AT THE OBJECTS THAN WHETHER THEY'RE LOOKING AT THE GAZE 'CAUSE THEY CAN HAPPEN AT THE SAME TIME YEP OKAY WHAT DO WE DO ABOUT THAT DOES THAT HAPPEN YEAH BECAUSE IF YOU HAVE THEM CLOSE TOGETHER THERE'S ALWAYS SOME FUZZ FACTOR AROUND THEM AND SO IF THEY'RE LEFT LYING CLOSE TOGETHER OKAY OR IN THE IN FACT IN THE MODEL IN THE NOT IN THE MODEL IN THE IN THE SUPPLIES SET THEY'RE ACTUALLY NEATLY PACKED INTO A LITTLE SPACE OKAY SO WHAT YOU'RE SAYING IS LIKE A NEW PROBLEM FOR US WHICH IS I'M GONNA CHANGE THAT'S THE BAD ONE MM-HMM YEAH SO YOU'RE SAYING SQUEAK SQUEAK YES CAN YOU WRITE ON MY PEN PAD JUST SAY YEAH PENS WHITE BOARD PENS SO YOU'RE SAYING YOU KNOW THEY COULD BE LOOKING AT UM UH SQUARE ONE AT THIS POINT 'CAUSE THEY BECAUSE THE TWO ARE SO CLOSE TOGETHER THAT THEIR REGIONS OVERLAP OKAY THAT'S A PROBLEM FOR THE DATA MODELS AND EITHER OF THE THINGS THAT WE WERE USING YEAH THAT WOULD AND WHICH EVER AREA M HAS THE GREATEST OVERLAP IS WHAT THEY'RE ACTUALLY LOOKING AT WHAT DO YOU MEAN BY GREATEST OVERLAP WELL IT W IF IF YOU'VE GOT YOUR SORT OF EYE POSITION AND IT'S IT'S UNLIKELY TO BE EXACTLY FIFTY PERCENT IN ONE OBJECT AND FIFTY PERCENT IN THE OTHER DRAW UH MY G MY UH SPACIAL REASONING IS NO GOOD WELL I UH UH PUT THESE THINGS ON YEAH UH UH WHAT I'M I'M THINKING IS IF YOU'VE GOT SAY ONE OBJECT THERE AND RIGHT YOU KNOW SO THIS IS THANK YOU UH PART ONE AND PART TWO AND YOU'VE GOT THEY'RE SORT OF THEY'RE LOOKING THERE UH-HUH THEN THAT OVERLAP MEANS THEY'RE LOOKING AT THE TWO PIECES SIMULTANEOUSLY YEAH BUT YOU HAD A WAY OF CHOOSING WHICH ONE RIGHT YEAH BUT IT MAY BE A BAD IDEA IT MAY BE A BAD IDEA YOU'VE JUST THROWN DATA AWAY YEAH YEAH J SO YOU JUST MEAN WHICH I IS IT CLOSER TO THE IS THE CIRCLE I MEAN WHAT IS THIS CIRCLE THEY'RE LOOKING AT A PIXEL OR SOMETHING RIGHT IT WON'T JUST BE A PIXEL IT'LL IT'LL BE AN ACTUAL LIKE CIRCLE AND AREA YEAH SO I I IT IT THAT'S THAT'S GOING TO BE W UH IT'S IT'S NOT JUST A SINGLE POINT IT'S IT'S A IT'S A SORT OF LUMP TARGET AND SO THERE'LL BE A BIT OF A A SORT UH SOME SORT OF OVERLAP OF TWO OBJECTS OR B YEAH THEY COULD JUST BE OSCILLATING MM-HMM THING THING IS W. G. D. S. FORMATS IS WOR IS WORKING AT THE MOMENT IT'S ACTUALLY GOT A SEPARATE TRACK FOR EACH PART SO THAT I WAS GOING TO SAY THAT'S THE OBVIOUS WAY TO DO IT YEAH BECAUSE IT'S GONNA HOW MANY PARTS ARE THERE LIKE COUPLE OF DOZEN THERE'S DIFFERENT PARTS THERE'S DIFFERENT PARTS WHETHER YOU'RE DOING THE TAMGRAM OR WHETHER YOU'RE DOING AN AIRPA AIRPLANE OR WHATEVER UM SIX TO A DOZEN USUALLY I KNOW WAYS OF GETTING AROUND THIS ANALYTICALLY MM-HMM 'CAUSE YOU C I MEAN I THINK IT'S VERY LIKELY THAT UM IF PEOPLE ARE CONSIDERING F MM-HMM SO YOU ARE ACTUALLY GOING TO SEE THEM FLIPPING BETWEEN UH WHEN YOU DECIDE THEY'RE LOOKING THERE MM-HMM IF THEY'RE REALLY CLOSE YEAH YEAH RIGHT AND IF YOU DEFINE THE REGIONS SO NEATLY THAT THERE'S THAT YOU KNOW THAT WE'RE LOSING GAZE BECAUSE OF JIGGLE OUTSIDE THIS CLOSELY DEFINED REGION WHEN IT'S IN THE MIDDLE OF SPACE THEN I MEAN I I ACTUALLY LIKE THE SOLUTION HOWEVER UGLY IT IT LOOKS IN TERMS OF A DATA FORMAT OF HAVING A TRACK FOR EVERY POSSIBLE OBJECT OF GAZE BECAUSE YOU DON'T WANNA HAVE TO SAY UM YOU KNOW DID THEY JOINTLY LOOK AT TRIANGLE ONE OKAY DID THEY JOINTLY LOOK AT SQUARE ONE OKAY DID THEY JOINTLY LOOK AT YOU KNOW YOU NEED SOME WAY OF UH UH GOING OVER THE WHOLE THING BUT I C WE CAN FIND WAYS AROUND THAT