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  • Claus-Christian Carbon (5)
  • Dietrich Dörner (3)
  • Johannes Folger (2)
  • Simone Schineller (2)
  • Ute Schmid (2)
  • Verena Delle Donne (1)
  • Agnes Reinecker (1)
  • Angelika Lakatos-Witt (1)
  • Annette Schaub (1)
  • Bernhard Kulzer (1)

Year of publication

  • 2012 (11) (remove)

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  • Artikel in einer Zeitschrift / Postprint (4)
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  • English (7)
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  • Empirical aesthetics (1)
  • Kognitionswissenschaft ; Kongreß ; Bamberg |2012| ; Online-Publikation (1)
  • Lyrik ; Schönheit ; Psychologie (1)
  • adaptation (1)
  • design (1)
  • distortion (1)
  • face (1)
  • learning and memory (1)
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  • Lehrstuhl für Allgemeine Psychologie (11) (remove)

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Modelling Adaptation Effects as Similarity to Dynamic Prototypes (2012)
Michael Siebers Johannes Folger Simone Schineller Dominik Seuß Stella Faerber Ute Schmid
A Cognitive Model For Predicting Aesthetical Judgements As Similarity to Dynamic Prototypes (2012)
Ute Schmid Michael Siebers Johannes Folger Simone Schineller Dominik Seuss Marius Raab Claus-Christian Carbon Stella J. Faerber
Show/Hide Abstract Face adaptation effects show strong and long-lasting transfer from lab to more ecological contexts (2012)
Claus-Christian Carbon Thomas Ditye
Areviewonrecentexperimentsonfiguralfaceaftereffectsrevealsthatadaptationeffectsinfamousfacescanlastforhoursuptodays.Suchadaptationsseemtobehighlyreliableregardingtest–retestdesignsaswellasregardingthegeneralizabilityofadaptationacrossdifferentadaptationroutinesandadaptationstowarddifferentkindsoffacialproperties.However,inthestudiesconductedsofar,adaptationandthesubsequenttestphasewerecarriedoutintypicallaboratoryenvironments.Underthesecircumstances,itcannotberuledoutthattheobservedeffectsare,infact,episodiclearn–testcompatibilityeffects.Totestforecologicalvalidityinadaptationeffectsweusedanadaptationparadigmincludingenvironmentalandsocialpropertiesthatdifferedbetweenadaptationandtestphase.Withmatchedsamples(n1=n2=54)wefoundnomaineffectsofexperimentalsettingcompat-ibilityresultingfromvaryingwherethetestswhereconducted(environmentalcondition)noranyinteractionwitheffectsofstimuluscompatibilityresultingfromvaryingstimulussimilaritybetweenadaptationandtestphaseusingthesamepicture,differentpicturesofthesameperson,ordifferentpersons(transfer).Thisindicatesthattheseadaptationeffectsarenotartificialormerelylab-biasedeffects.Adaptationtofacestimulimaydocu-mentrepresentationaladaptationsandtuningmechanismsthatintegratenewvisualinputinaveryfast,reliable,andsustainableway.
Show/Hide Abstract Rigidity rather than age as a limiting factor to appreciate innovative design (2012)
Claus-Christian Carbon Jan P. L. Schoormans
In this paper, we study to what degree older consumers differ from middle-aged consumers with respect to the appreciation of new product designs. We asked respondents from both age groups to evaluate innovative designs that were shown repeatedly, replicating a regular market situation by using the Repeated Evaluation Technique (RET). The results show that rigidity, but not age influences the speed of appreciation towards new product designs under these circumstances. Our findings indicate that it is a misconception that older consumers are slower in adopting new product innovations per se.
Show/Hide Abstract Bartlett's schema theory: The unreplicated "portrait d'homme" series from 1932 (2012)
Claus-Christian Carbon Sabine Albrecht
In 1932, Frederic Bartlett laid the foundation for the later schema theory. His key assumption of previous knowledge affecting the processing of new stimuli was illustrated in the famous "portrait d'homme" series. Sequenced reproductions of ambiguous stimuli showed progressive object-likeness. As Bartlett pointed out, activation of specific schemata, for instance "the face schema", biases memory retrieval towards such schemata. In five experiments (Experiment 1, n = 53; Experiment 2, n = 177; Experiment 3, n = 36; Experiment 4, n = 6; Experiment 5, n = 2), we tested several factors potentially influencing retrieval biases—for example, by varying the general procedure of reproduction (repeated vs. serial) and by omitting versus providing visual or semantic cues for activating face schemata. Participants inspected face-like stimuli with the caption "portrait of the human" and reproduced them repeatedly under specific conditions. None of the experiments revealed a systematic tendency towards Bartlett's described case, even when the participants were explicitly instructed to draw "a face" like the previously inspected one. In one of the "serial reproduction" experiments, we even obtained contrary effects with decreasing face-likeness over the reproduction generations. A close analysis of the original findings raises questions about the replicability of Bartlett's findings, qualifying the "portrait d'homme" series more or less as an illustrative example of the main idea of reconstructive memory.
Show/Hide Abstract All is beautiful? Generality vs. specificity of word usage in visual aesthetics (2012)
M. Dorothee Augustin Johan Wagemans Claus-Christian Carbon
A central problem in the literature on psychological aesthetics is a lack of precision in terminology regarding the description and measurement of aesthetic impressions. The current research project approached the problem of terminology empirically, by studying people's word usage to describe aesthetic impressions. For eight different object classes that are relevant in visual aesthetics, including visual art, landscapes, faces and different design classes, we examined which words people use to describe their aesthetic impressions, and which general conceptual dimensions might underlie similarities and differences between the classes. The results show an interplay between generality and specificity in aesthetic word usage. In line with results by Jacobsen, Buchta, Kohler, and Schroger (2004) beautiful and ugly seem to be the words with most general relevance, but in addition each object class has its own distinct pattern of relevant terms. Multidimensional scaling and correspondence analysis suggest that the most extreme positions in aesthetic word usage for the classes studied are taken by landscapes and geometric shapes and patterns. This research aims to develop a language of aesthetics for the visual modality. Such a common vocabulary should facilitate the development of cross-disciplinary models of aesthetics and create a basis for the construction of standardised aesthetic measures.
Die Logik des Misslingens : strategisches Denken in komplexen Situationen (2012)
Dietrich Dörner
Selbstmanagement, das Gute und das Böse (2012)
Dietrich Dörner
Horizonte der Klinischen Psychologie und Psychotherapie. Festschrift für Hans Reinecker (2012)
Judith Siegl Dieter Schmelzer Herbert Mackinger Wolfgang Pabst Christa Reinecker Eva Reinecker Agnes Reinecker Rainer Bastine Michael Broda Willi Butollo Franz Caspar Gerhard Crombach Dietrich Dörner Franz Dumbs Ulrike Ehlert Peter Fiedler Steffen Fliegel Markus Gmelch Hans Preß Kristin Härtl Doreen Hartung Kurt Hahlweg Dirk Hellhammer Juliane Hellhammer Oswald Huber Peter Kaimer Thomas Köhler Mario Alexander Kostal Ludwig Kreuzpointner Klaus D. Stiller Helmut Lukesch Ilse Kryspin-Exner Bernhard Kulzer Norbert Hermanns Angelika Lakatos-Witt Stefan Lautenbacher Miriam Kunz Lothar Laux Hans Lieb Michael Linden Meinrad Perrez Yves Hänggi Franz Petermann Reinhard Pietrowsky Dirk Revenstorf Ulrike S. Annette Schaub Hans-Jürgen Möller Günther Schiepek Harald C. Traue Wolfgang Tunner Heiner Vogel Sebastian Wolf Martin Hautzinger Jörg Wolstein Manfred Wünsche Dirk Zimmer
Die Schönheit der Lyrik psychologisch erklärt. Unbestimmtheit, Assoziationen und die Ästhetik der Sprache (2012)
Verena Delle Donne

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