Human visual search is serial: the fovea must land on a candidate to confirm it, and those landings form a scanpath. Whether multimodal large language models (MLLMs), given the same foveated input, search as humans do bears on their use as models of human vision and on attention-alignment scores. We compare three general-purpose MLLMs with human eye-movement scanpaths on goal-directed search (COCO-Search18), driving each model fixation by fixation through an identical, human-matched foveated view and assessing it along three axes: the decision of target presence, the efficiency of reaching the target, and the gaze process itself. The axes dissociate. On the decision and on target acquisition the models match or exceed humans, detecting present targets near ceiling and reaching them on the first saccade more often than people do. The gaze process is not human. Under the human-matched condition, all three share one signature: low-entropy, large-amplitude, self-consistent scanpaths that agree with themselves far more closely than two humans agree with each other. That is consistent with a single-pass, non-serial architecture rather than a limit of acuity. Matched retinal input reproduces where humans look but not how the looking unfolds in time, and no degradation regime recovers human-like search at human-like success. The gap sits on a process axis that answer-alignment and saliency metrics do not measure. Because they miss it, such metrics cannot certify human-like vision, and zero-shot models suit outcome and spatial questions but not temporal, process-level ones.
Mohammed Amine Kerkouri, Daphné Senggaran, Renaud Jusiak +7cs.CV cs.HC
How different populations visually explore artworks bears on cognitive science and on accessibility design, yet most eye-tracking work in autism has used social scenes rather than art, and has analysed where the eyes land while ignoring when and in what order. We present a comparative free-viewing study across three groups, autistic adults (ASD), trained artists, and neurotypical observers, who each viewed 30 paintings for 15s. We introduce a directed, metric-grounded framework that compares groups along two complementary axes: a spatial axis, in which one group's fixation-density map predicts another's fixations under six saliency metrics (AUC-Judd, NSS, CC, SIM, KL, Information Gain); and a temporal axis, in which individual scanpaths are compared with MultiMatch, ScanMatch, a foveal-disc IoU score (FDISS), and dynamic time warping (DTW). Fixations are extracted uniformly for all groups with a dispersion-threshold algorithm. Three results converge. (i)Artists and neurotypicals are almost indistinguishable in both space (density-map correlation CC=0.96) and time (they form the most alignable scanpath pair), whereas ASD gaze diverges from both. (ii)ASD attention is dissociated: it matches artists' wide spatial exploration (dispersion, explored area) but carries a distinct temporal signature, shorter fixations, less dwell, and the most idiosyncratic (least self-consistent) scanpaths of any group. (iii)ASD gaze is not selectively artist-like on any metric; if anything it is marginally closer to neurotypical. Together these findings indicate that autistic viewing of art is a distinct, group-specific attentional profile in both space and time, and they motivate population-conditioned models of aesthetic attention. We release all analysis code and per-stimulus results.