The visual scanpath to emotional facial expressions was recorded in BR, a 35-year-old male with chronic severe traumatic brain injury (TBI), both before and after he underwent intervention. The novel intervention paradigm combined visual scanpath training with verbal feedback and was implemented over a 3-month period using a single case design (AB) with one follow up session. At baseline BR\'s scanpath was restricted, characterised by gaze allocation primarily to salient facial features on the right side of the face stimulus. Following intervention his visual scanpath became more lateralised, although he continued to demonstrate an attentional bias to the right side of the face stimulus. This study is the first to demonstrate change in both the pattern and the position of the visual scanpath to emotional faces following intervention in a person with chronic severe TBI. In addition, these findings extend upon our previous work to suggest that modification of the visual scanpath through targeted facial feature training can support improved facial recognition performance in a person with severe TBI.

This article is the result of a first foray into xylophone performance with percussionists from Canada and Cameroon. It proposes to use the combination of Eye-Stroke Span (ESS), Fixation- Duration and Note-Pattern indexes to analyze free-score and performance oriented musical tasks, instead of eye-hand span or awareness span for sight-reading and score-based eye-tracking research in music. Based on measurements realized with a head-mounted eyetracker system, the research examines gaze-movements related to eye-hand synchronization in xylophone performance with musicians coming from three different ethnic groups from Cameroon (Bedzan Pygmies, Tikar and Eton) and classically trained Western percussionists (Canada). Increases in tempo are found to involve a diminution of the number of fixations, but not proportionally, as well as changes in lateral gaze shifts. Fixation-Duration and Note- Pattern are closely related but not identical, while ESS is relatively more independent. These gaze patterns are consistent within individuals, but not across individuals. Cameroonian musicians tend to look away from their instrument, interacting with their peers or with the audience. When they look at their keyboard, preliminary measures of ESS were found similar to the ESS of Western performers.

Ping-pong gaze (PPG) is a rare eye movement abnormality consisting of conjugate smooth rhythmical horizontal eye deviations between the 2 extreme positions. PPG is encountered in cases of severe bilateral hemispheric or posterior fossa brain damage with intact brain stem and more rarely during drug toxicity. In this brief video case report, we present a 91-year-old woman with PPG after sustaining bilateral hemispheric ischemic stroke. We also present the neuroanatomic substrates of PPG along with its main saccadic variant, and we coin the hypothesis that PPG actually represents the paralysis of eye saccades.