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PSYCHOLOGY DEPARTMENTAL SEMINAR Psychological Approaches to Art Appreciation Professor Helmut Leder Department of Psychological Basic Research University of Vienna
PSYCHOLOGY DEPARTMENTAL SEMINAR Psychological approaches to art appreciation Professor Helmut Leder Department of Psychological Basic Research University of Vienna Helmut Leder is Professor of Cognitive Psychology and Head of the Department of Psychological Basic Research at the University of Vienna. His main fi elds of research are aesthetics, psychology of the arts, design – and face perception. His PhD is from the University of Fribourg. He was a visiting Researcher at the University of Stirling, ATR Japan, USC and UCSD, and at the Languages of Emotion-Cluster, FU Berlin. He is the author or co-author of over 100 scholarly publications and was awarded the Berlyne Award for career contributions to the psychology of aesthetics from the American Psychological Association. Abstract: Art is a unique feature of human experience and several approaches aim to understand what the psychological aspects of this uniqueness are. Art appreciation involves the complex interplay among stimuli, perceiver and contexts, which have been discussed as eliciting a special combination of aesthetic judgments and aesthetic emotions. Based on our model of aesthetic appreciation (Leder et al., 2004), we conducted studies to understand the nature of stylistic processing (Augustin et al., 2008), the dependence of art appreciation of the class of artworks (Belke et al. in press) as well as the complex interplay of the variables involved between these factors. For the latt er, we conducted a study in which we measured diff erences in preferences for classical, abstract, and modern artworks (Leder et al., in press). Using structural equation modeling, we assessed the contribution of emotion, arousal, and comprehension as determining factors of art appreciation. -
PREDICTIVE PROCESSING in the RETINA THROUGH EVALUATION of the OMITTED-STIMULUS RESPONSE by SAMANTHA I. FRADKIN a Thesis to Be Su
PREDICTIVE PROCESSING IN THE RETINA THROUGH EVALUATION OF THE OMITTED-STIMULUS RESPONSE By SAMANTHA I. FRADKIN A thesis to be submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Science Graduate Program in Psychology Written under the direction of Steven M. Silverstein And approved by ______________________________________________ ______________________________________________ ______________________________________________ New Brunswick, New Jersey October 2020 ABSTRACT OF THE THESIS Predictive Processing in the Retina Through Evaluation of the Omitted-Stimulus Response By SAMANTHA I. FRADKIN Thesis Director: Dr. Steven M. Silverstein While previous studies have demonstrated that individuals with schizophrenia demonstrate predictive coding abnormalities in high-level vision, it is unclear whether impairments exist in low-level predictive processing within the disorder. Evaluation of the omitted-stimulus response (OSR), i.e., activity following the omission of a light flash subsequent to a repetitive stimulus, has been examined previously to assess prediction within retinal activity. Given that little research has focused on the OSR in humans, the present study investigated if predictive processing could be detected at the retinal level within a healthy human sample, and whether this activity was associated with high-level predictive processing. Flash electroretinography (fERG) was recorded while eighteen healthy control participants viewed a series of consecutive light flashes within a 1.96 Hz single-flash condition with a flash luminance of 85 Td · s, as well as a 28.3 Hz flicker condition with a flash luminance of 16 Td · s. Participants also completed the Ebbinghaus ii task, a context sensitivity task that assesses high-level predictive processing, and the Audio-Visual Abnormalities Questionnaire (AVAQ), which measures frequency of self- reported auditory and visual sensory distortions. -
Drawing a Hypothesis Book
Drawing a Edition Angewandte Book Series of the University of Applied Arts Vienna Edited by Gerald Bast, Rector Hypothesis Figures of Thought A Project by Nikolaus Gansterer TABLE OF CONTENTS Nikolaus Gansterer Compiled in the years between 2005 and 2011, while living and working in Maastricht, Nanjing, Rotterdam, Antwerp, Vienna, Mexico City, Los Angeles, Prairie City, Beijing, New York, Berlin and Ghent. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically those of INDEX OF FIGURES ............................................................................. 9 translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. PREFACE ................................................................................................. 21 Product Liability: The publisher can give no guarantee for all the information contained in this Drawing a Hypothesis book. The use of registered names, trademarks, etc. in this publication does not imply, even in the Nikolaus Gansterer absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2011 Springer-Verlag/Wien Printed in Austria SpringerWienNewYork is part of HYPOTHESIS #1 ........................................................................................ 29 Springer Science+Business Media A Line with Variable Direction, which Traces springer.at No -
Expert Face Processing: Specialization and Constraints
Book chapter, will be published in G. Schwarzer & H. Leder, Development of face processing. Göttingen: Hogrefe. 6 Expert Face Processing: Specialization and Constraints Adrian Schwaninger Claus-Christian Carbon Helmut Leder 6.1 Introduction Face processing in adults is the product of innate mechanisms, and is also based on years of experience. There is no doubt that face processing is a human skill at which most adults are real experts. In the present chapter we review theories and hypotheses concerning adults’ face processing skills, as well as what information and processes these are based on. Moreover, we discuss how the high specialization is attained at the cost of being susceptible to specific conditions. Expertise, according to the American Heritage Dictionary is given when a person shows a high degree of skill in or knowledge of a certain subject. This definition implies that an expert is a high-grade specialist. Expertise does not have to be accessible in an explicit way, because an expert does not have to know all the facts of his expertise. The skill humans show in identifying faces is astonishing. According to Bahrick, Bahrick, and Wittlinger (1975) adults are able to recognize familiar faces with an accuracy of 90 per cent or more, even when some of those faces have not been seen for fifty years. Moreover, faces are a class of objects which encourage a special kind of categorization. According to the logic of Roger Brown’s seminal paper “How shall a thing be called” (Brown, 1958), the level of the object name reflects the entry point of the recognition process. -
The Moon Illusion and Size–Distance Scaling—Evidence for Shared Neural Patterns
The Moon Illusion and Size–Distance Scaling—Evidence for Shared Neural Patterns Ralph Weidner1*, Thorsten Plewan1,2*, Qi Chen1, Axel Buchner3, Peter H. Weiss1,4, and Gereon R. Fink1,4 Abstract ■ A moon near to the horizon is perceived larger than a moon pathway areas including the lingual and fusiform gyri. The func- at the zenith, although—obviously—the moon does not change tional role of these areas was further explored in a second ex- its size. In this study, the neural mechanisms underlying the periment. Left V3v was found to be involved in integrating “moon illusion” were investigated using a virtual 3-D environ- retinal size and distance information, thus indicating that the ment and fMRI. Illusory perception of an increased moon size brain regions that dynamically integrate retinal size and distance was associated with increased neural activity in ventral visual play a key role in generating the moon illusion. ■ INTRODUCTION psia; Sperandio, Kaderali, Chouinard, Frey, & Goodale, Although the moon does not change its size, the moon 2013; Enright, 1989; Roscoe, 1989). near to the horizon is perceived as relatively larger com- One concept of size constancy scaling implies that the pared with when it is located at the zenith. This phenome- retinal image size and the estimated distance of an object non is called the “moon illusion” and is one of the oldest are conjointly considered, thereby enabling constant size visual illusions known (Ross & Plug, 2002). Despite exten- perception of objects at different distances (Kaufman & sive research, no consensus has been reached regarding Kaufman, 2000). With respect to the moon illusion, appar- the underlying perceptual and neural correlates (Ross & ent distance theories, for example, propose that “the per- Plug, 2002; Hershenson, 1989). -
Vision Science and Psychology Approach to Adaptation Processes Lied in Base of Visual Illusions
1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- VISION SCIENCE AND PSYCHOLOGY APPROACH TO ADAPTATION PROCESSES LIED IN BASE OF VISUAL ILLUSIONS Prof. Maris Ozolinsh Mag. Didzis Lauva Olga Danilenko University of Latvia, Riga, Latvia Abstract: We have experimentally studied visual adaptation processes and compared results in various visual perception tasks. Adaptation stimuli were demonstrated on computer screen and differed each from other by their luminance, colour, duration and dynamics related to the excited retinal and consequently the cortex neural cells and corresponding visual areas. Depth and characteristic times of adaptation processes depend on visual perception task. The slowest characteristic times (in range up to 10 sec and more) from studied processes are for adaptation to size of moving targets exciting retinal cells by equiluminant and isochrome stimuli, that are processed along parvocellular and magnocellular visual pathways. We assume that neural cell physiology lays on the base of this kind of size adaptation. Another kind of size adaptation where retinal cell excitation is static realizes in Ebbinghaus illusion. Here parallel to ongoing adaptation process brain uses also previously acquired knowledge to make shift in decision about stimuli size, and physiological effects dominate over psychological effects in perception of such stimuli. Over- or underestimating sizes in Ebbinghaus illusion with non-moving stimuli realizes much faster, and the degree of perception errors practically does not depend whether margnocellular or parvocellular visual pathway are activated – contrary to adaptation to dynamic moving targets. Key Words: Perceptive fields, visual illusions, magnocellular, parvocellurar pathways, processing of colour signals Introduction: Human brain processes inputs from our senses in very smart manner including modifications of deduction according to feedbacks in the sense pathways or to our previous experience. -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
Defining and Understanding Street Art As It Relates to Racial Justice In
Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfilment of the requirements for the degree Master of Arts Meredith K. Stone August 2017 © 2017 Meredith K. Stone All Rights Reserved 2 This thesis titled Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland by MEREDITH K. STONE has been approved for the Department of Geography and the College of Arts and Sciences by Geoffrey L. Buckley Professor of Geography Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT STONE, MEREDITH K., M.A., August 2017, Geography Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland Director of Thesis: Geoffrey L. Buckley Baltimore gained national attention in the spring of 2015 after Freddie Gray, a young black man, died while in police custody. This event sparked protests in Baltimore and other cities in the U.S. and soon became associated with the Black Lives Matter movement. One way to bring communities together, give voice to disenfranchised residents, and broadcast political and social justice messages is through street art. While it is difficult to define street art, let alone assess its impact, it is clear that many of the messages it communicates resonate with host communities. This paper investigates how street art is defined and promoted in Baltimore, how street art is used in Baltimore neighborhoods to resist oppression, and how Black Lives Matter is influencing street art in Baltimore. -
Visual Context Processing in Schizophrenia
Empirical Article Clinical Psychological Science 1(1) 5 –15 Visual Context Processing in Schizophrenia © The Author(s) 2013 Reprints and permission: sagepub.com/journalsPermissions.nav DOI: 10.1177/2167702612464618 http://cpx.sagepub.com Eunice Yang1,2, Duje Tadin3,4, Davis M. Glasser3, Sang Wook Hong1,5, Randolph Blake1,2, and Sohee Park1 1Department of Psychology, Vanderbilt University; 2Department of Brain and Cognitive Sciences, Seoul National University, Republic of Korea; 3Center for Visual Science and Department of Brain and Cognitive Sciences, University of Rochester; 4Department of Ophthalmology, University of Rochester; and 5Department of Psychology, Florida Atlantic University Abstract Abnormal perceptual experiences are central to schizophrenia, but the nature of these anomalies remains undetermined. We investigated contextual processing abnormalities across a comprehensive set of visual tasks. For perception of luminance, size, contrast, orientation, and motion, we quantified the degree to which the surrounding visual context altered a center stimulus’s appearance. Healthy participants showed robust contextual effects across all tasks, as evidenced by pronounced misperceptions of center stimuli. Schizophrenia patients exhibited intact contextual modulations of luminance and size but showed weakened contextual modulations of contrast, performing more accurately than controls. Strong motion and orientation context effects correlated with worse symptoms and social functioning. Importantly, the overall strength of contextual -
The Final Publication Is Available at Pms.Sagepub.Com
1 The final publication is available at pms.sagepub.com http://pms.sagepub.com/content/122/1/88.full.pdf Sherman JA, and Chouinard PA (2016) Attractive contours of the Ebbinghaus illusion. Perceptual and Motor Skills 122: 88–95. Title: Attractive contours of the Ebbinghaus illusion. Joshua A. Sherman School of Psychology and Public Health, La Trobe University, Victoria, Australia. E: [email protected] Philippe A. Chouinard * School of Psychology and Public Health, La Trobe University, Victoria, Australia. E: [email protected] Running Head: Contours and Ebbinghaus Illusion Keywords: Size perception, Ebbinghaus illusion, biphasic contour interaction theory. * Corresponding author. Summary: There is debate as to whether or not the Ebbinghaus illusion is driven by high-level cognitive size contrast mechanisms as opposed to low-level biphasic contour interactions. In this study, we examine the variability in effects that are shared between this illusion and a different illusion that cannot be explained logically by a size contrast account. This comparison revealed that nearly one quarter of the variability for one illusion is shared with the other – demonstrating how a size-contrast account cannot be the sole explanation for the Ebbinghaus illusion. 2 Introduction What processes occur along the progression from retinal input to an illusory perceptual experience of the Ebbinghaus illusion? The display causing the illusion consists of an inner circle surrounded by a ring of contextual circles that are physically either larger or smaller than the inner circle. The surrounding contextual elements leads the viewer to perceive the inner circle to appear smaller or larger than it actually is (Fig. -
A Neuro-Mathematical Model for Size and Context Related Illusions
A neuro-mathematical model for size and context related illusions. B. Franceschiello, A. Sarti, G. Citti March 2019 Abstract We provide here a mathematical model of size/context illusions, inspired by the functional architecture of the visual cortex. We first recall previous models of scale and orientation, in particular [46], and simplify it, only considering the feature of scale. Then we recall the deformation model of illusion, introduced by [16] to describe orientation related GOIs, and adapt it to size illusion. We finally apply the model to the Ebbinghaus and Delboeuf illusions, validating the results by comparing with experimental data from [34] and [44]. 1 Introduction Geometrical-optical illusions (GOIs) are a class of phenomena first discovered by German physicists and physiologists in the late XIX century, among them Oppel and Hering ([39], [22]), and can be defined as situations where a perceptual mismatch between the visual stimulus and its geometrical properties arise [53]. Those illusions are typically analyzed according to the main geometrical features of the stimulus, whether it is contours orientation, contrast, context influence, size or a combination of the above mentioned ones ([53, 38, 11]). arXiv:1908.10162v1 [q-bio.NC] 27 Aug 2019 Figure 1: The Ebbinghaus illusion (left) and the Delboeuf illusion (right) In this work we are mainly interested in size and context related phenomena, a class of stimuli where the size of the surroundings elements induces a misperception of the central target width. In figure 1, two famous effects are presented, the Ebbinghaus and Delboeuf illusions: the presence of circular inducers (figure 1, left) and of an annulus (figure 1, right) varies the perceived sizes of the central targets. -
Entitling Art: Influence of Title Information on Understanding And
Acta Psychologica 121 (2006) 176–198 www.elsevier.com/locate/actpsy Entitling art: Influence of title information on understanding and appreciation of paintings Helmut Leder a,b,*, Claus-Christian Carbon a, Ai-Leen Ripsas b a Faculty of Psychology, University of Vienna, Liebiggasse 5, 1010 Vienna, Austria b Department of History and Cultural Sciences, Special Research Division Aesthetics, Freie Universita¨t Berlin, Altensteinstr, 2-4, 14195 Berlin, Germany Received 21 September 2004; received in revised form 17 August 2005; accepted 18 August 2005 Available online 11 November 2005 Abstract There is evidence that presenting titles together with artworks affects their processing. We inves- tigated whether elaborative and descriptive titles change the appreciation and understanding of paintings. Under long presentation times (90 s) in Experiment 1, testing representative and abstract paintings, elaborative titles increased the understanding of abstract paintings but not their appreci- ation. In order to test predictions concerning the time course of understanding and aesthetic appre- ciation [Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489–508] in Experiment 2, abstract paintings were presented under two presentation times. For short presentation times (1 s), descriptive titles increased the understanding more than elaborative titles, whereas for medium presentation times (10 s), elaborative titles increased the understanding more than descriptive titles. Thus, with artworks a presentation time of around 10 s might be needed, to assign a meaning beyond the mere description. Only at medium presentation times did the participants with more art knowledge have a better understanding of the paintings than participants with less art knowledge.