Hibition as opposed to a laboratory context in order to investigate the prospective of art as a vehicle to study attention and its issues. The project utilized a flash animation, Stealing Attention, that was modeled right after the movie by Simons and Chabris (1999) but with significant experimental variations, involving context and staging, the emotional salience on the objects depicted, and the prior art viewing expertise of participants. The study involved two elements: observing if viewers watching an animation in a gallery may be distracted from noticing the disappearance of stolen museum antiquities (the targets) by the overlaid flashing photos of a card game (the distractors) after which observing no matter if repetition from the depicted targets throughout the gallery installation could facilitate a redirection of attention that permitted viewers to perceive the targets not initially noted in the animation. My findings were that, soon after viewing the entire installation after which re-viewing the animation, 64 on the viewers who didn’t initially remark around the targets inside the animation were then in a position to see them. The discussion elaborates on these findings after which considers approaches in which the implications of inattention blindness paradigms could be extra totally rendered by uniting insights in the two disciplines of art and neuroscience than by either alone.Keywords: interest, inattention blindness, art installation, gallery, museum, art context, animation, antiquitiesINTRODUCTION In current years considerable literature has been published on focus by art historians, He peripheral nervous system from an early age may perhaps also influence historians of science, and philosophers furthermore to neuroscientists (e.g., Baxandall, 1995; Crary, 1999; Hagner, 2003; Rollins, 2004; Stafford, 2007). They have made essential contributions that specifically highlight interest in relationship to art, and their insights have informed our understanding of your attentional system. The truth that art, itself, is constitutive fnint.2013.00038 of attentional phenomena suggests why it should really hold specific interest for neuroscientists. My perspective as an artist has allowed me to locate a point of entry into this rich historical analysis by way of exploring inattention blindness, which can be the intriguing phenomenon of not having the ability to see things in plain rstb.2014.0252 sight (Mack and Rock, 1998). This paper examines my art experiment, including its challenges and implications. Additionally, it explores the possibility that certain artworks, when engaged, can serve as an attentional training ground. Soon after introducing the subject of inattention blindness, I describe examples of its exploration in several scientific studies. I then relay my own practical experience in staging an experiment about this phenomenon in an art gallery, such as procedures, benefits, and achievable confounds. The attentional technique and capability to focus are subsequently considered inside a broad context of learning. This really is followed by a discussion of inattention blindness in art history and then by an evaluation of a number of the connected neuroscience, including the potential to produce focus switches. Ultimately, I think about whyAn abbreviated, earlier version of “An Artistic Exploration of Inattention Blindness” was published by Technoetic Arts: A Journal of Speculative Study, eight, 93?9 in 2010.inattention blindness might be additional fully rendered through uniting insights from many disciplines.INATTENTION BLINDNESS The phenomenon of inattention blindness or, additional formally, “inattentional blindness” as fnint.2013.00038 coined by psychologists Mack a.