Papers by Claus-Christian Carbon
i-Perception
The present study is a first attempt to experimentally test the impact of two specific social fac... more The present study is a first attempt to experimentally test the impact of two specific social factors, namely social conformity pressure and a sense of being watched, on participants' judgments of the artistic quality of aesthetic objects. We manipulated conformity pressure with a test form in which a photograph of each stimulus was presented together with unanimously low (downward pressure) or high quality ratings (upward pressure) of three would-be previous raters. Participants' sense of being watched was manipulated by testing each of them in two settings, one of which contained an eyespots stimulus. Both social factors significantly affected the participants' judgments-unexpectedly, however, with conformity pressure only working in the downward direction and eyespots leading to an overall downward shift in participants' judgments. Our findings indicate the relevance of including explicit and implicit social factors in aesthetics research, thus also reminding us o...
i-Perception
The mere presence of a depiction of eyes can elicit a sense of being watched in the perceiver. To... more The mere presence of a depiction of eyes can elicit a sense of being watched in the perceiver. To this date, the factors affecting the intensity of this sense of being watched, however, have not been investigated. In the present experiment, we tested the impact of two potentially relevant variables: arousal (manipulated using specific musical pieces) and duration of the perceptual episode (manipulated using presentation times of 200 ms and 10 s, respectively). We asked participants to report how intensely they felt being watched while we exposed them to various observation cues ranging from human eyes to surveillance cameras. We found that, on average, reported intensities were higher if participants were in a state of relatively higher arousal and if the perceptual episode during which the respective observation cues were presented lasted long enough (10 s) to allow more than a first glance. Scientific and practical implications are briefly discussed.
Attention, perception & psychophysics, Jan 20, 2018
Our brain constantly tries to anticipate the future by using a variety of memory mechanisms. Inte... more Our brain constantly tries to anticipate the future by using a variety of memory mechanisms. Interestingly, studies using the intermittent presentation of multistable displays have shown little perceptual persistence for interruptions longer than a few hundred milliseconds. Here we examined whether we can facilitate the perceptual stability of bistable displays following a period of invisibility by employing a physically plausible and ecologically valid occlusion event sequence, as opposed to the typical intermittent presentation, with sudden onsets and offsets. To this end, we presented a bistable rotating structure-from-motion display that was moving along a linear horizontal trajectory on the screen and either was temporarily occluded by another object (a cardboard strip in Exp. 1, a computer-generated image in Exp. 2) or became invisible due to eye closure (Exp. 3). We report that a bistable rotation direction reliably persisted following occlusion or interruption only (1) if th...
Frontiers in psychology, 2018
Art history claims that Western art shows light from the top left, which has been repeatedly show... more Art history claims that Western art shows light from the top left, which has been repeatedly shown with narrow image sets and simplistic research methods. Here we employed a set of 10,000 pictures for which participants estimated the direction of light plus their confidence of estimation. From 1420 A.D., the onset of Early Renaissance, until 1900 A.D., we revealed a clear preference for painting light from the top left-within the same period, we observed the highest confidence in such estimations of the light source. This study demonstrates a robust preference for painting light from the top left for Western art history, starting from Early Renaissance until 1900.
Journal of vision, Apr 1, 2018
When two bi-stable structure-from-motion (SFM) spheres are presented simultaneously, they tend to... more When two bi-stable structure-from-motion (SFM) spheres are presented simultaneously, they tend to rotate in the same direction. This effect reflects a common state bias that is present for various multistable displays. However, it was also reported that when two spheres are positioned so that they touch each other, they tend to counterrotate instead. The latter effect is interpreted as a frictional interaction, indicating the influence of the embedded physics on our visual perception. Here, we examined the interplay between these two biases in two experiments using a wide range of conditions. Those included two SFM shapes, two types of disambiguation cues, the presence or absence of the disambiguation cues, different layout options, and two samples of observers from two different universities (in sum 26 participants). Contrary to the prior report, we observed a robust common state bias for all conditions, including those that were optimized for frictional and "gear meshing"...
Data in Brief
The Safe-Range-Inventory (SRI) was constructed in order to help public authorities to improve the... more The Safe-Range-Inventory (SRI) was constructed in order to help public authorities to improve the charging infrastructures for electric vehicles [1; 10.1016/j.trf.2017.04.011]. Specifically, the impact of fast (vs slow) charging stations on people's range anxiety was examined. Ninety-seven electric vehicle users from Germany (81 male; Mage=46.3 years, SD=12.1) were recruited to participate in the experimental design. Statistical analyses were conducted using ANOVA for repeated measures to test for interaction effects of available charging stations and remaining range with the dependent variable range anxiety. The full data set is publicly available via https://osf.io/bveyw/ (Carbon and Gebauer, 2017) [2].
Frontiers in psychology, 2017
Taking selfies is now becoming a standard human habit. However, as a social phenomenon, research ... more Taking selfies is now becoming a standard human habit. However, as a social phenomenon, research is still in the fledgling stage and the scientific framework is sparse. Selfies allow us to share social information with others in a compact format. Furthermore, we are able to control important photographic and compositional aspects, such as perspective, which have a strong impact on the assessment of a face (e.g., demonstrated by the height-weight illusion, effects of gaze direction, faceism-index). In Study 1, we focused on the impact of perspective (left/right hemiface, above/below vs. frontal presentation) on higher cognitive variables and let 172 participants rate the perceived attractiveness, helpfulness, sympathy, dominance, distinctiveness, and intelligence, plus important information on health issues (e.g., body weight), on the basis of 14 3D faces. We could show that lateral snapshots yielded higher ratings for attractiveness compared to the classical frontal view. However, t...
Journal of experimental psychology. Applied, Jun 1, 2017
Despite extensive research on unfamiliar face matching, little is known about factors that might ... more Despite extensive research on unfamiliar face matching, little is known about factors that might affect matching performance in real-life scenarios. We conducted 2 experiments to investigate the effects of several such factors on unfamiliar face-matching performance in a passport-check scenario. In Experiment 1, we assessed the effect of professional experience on passport-matching performance. The matching performance of 96 German Federal Police officers working at Munich Airport was compared with that of 48 novices without specific face-matching experience. Police officers significantly outperformed novices, but nevertheless missed a high ratio of frauds. Moreover, the effects of manipulating specific facial features (with paraphernalia like glasses and jewelry, distinctive features like moles and scars, and hairstyle) and of variations in the physical distance between the faces being matched were investigated. Whereas manipulation of physical distance did not have a significant e...
Frontiers in Psychology, 2017
Selfie-photography is generally thought of as a cultural mass phenomenon of the early 21st centur... more Selfie-photography is generally thought of as a cultural mass phenomenon of the early 21st century, inseparably related to the development and triumph of the smartphone with integrated camera. Western culture, however, has been highly familiar with self-depictions since the Renaissance days. Putting the contemporary selfie into this historic context covering more than five centuries of cultural development from Dürer's (1500) famous "Self-Portrait at 28" (also known as "Selbstbildnis im Pelzrock") to today's Instagram galleries allows for identifying central parallels concerning the technical and social antecedents as well as common underlying psychological factors and shared properties of different kinds of self-depiction. The article provides an overview of the types of contemporary photographic selfies and compares them with painted self-portraits. Finally, this historic perspective leads us to the insight that self-portraits as well as selfies are both referring to nothing less than the "conditio humana."
i-Perception, 2017
Aesthetics research aiming at understanding art experience is an emerging field; however, most re... more Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors (N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26-3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s (Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship (r(2 )= .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m (M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research (M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
Behavioral and Brain Sciences, 2016
The GANE (glutamate amplifies noradrenergic effects) model described by Mather et al. offers a ne... more The GANE (glutamate amplifies noradrenergic effects) model described by Mather et al. offers a neurophysiological basis for the arousal mechanism which is essential for empirical aesthetics and Gestalt processing. More generally, the core principle of perception can be interpreted as a continuous processing of competing arousal states, yielding selective amplification and inhibition of percepts to deduce the meaning of a scene.
i-Perception
The folded paper-size illusion is as easy to demonstrate as it is powerful in generating insights... more The folded paper-size illusion is as easy to demonstrate as it is powerful in generating insights into perceptual processing: First take two A4 sheets of paper, one original sized, another halved by folding, then compare them in terms of area size by centering the halved sheet on the center of the original one! We perceive the larger sheet as far less than double (i.e., 100%) the size of the small one, typically only being about two thirds larger-this illusion is preserved by rotating the inner sheet and even by aligning it to one or two sides, but is dissolved by aligning both sheets to three sides, here documented by 88 participants' data. A potential explanation might be the general incapability of accurately comparing more than one geometrical dimension at once-in everyday life, we solve this perceptual-cognitive bottleneck by reducing the complexity of such a task via aligning parts with same lengths.
i-Perception
People typically process information to confirm their prior held attitudes and stereotypes. As th... more People typically process information to confirm their prior held attitudes and stereotypes. As the political relations between NATO and Russia have distinctively drifted apart in recent years, we were interested in how far old-established color depictions referring to the Cold War's demarcations (USSR = red; NATO = blue) might reinforce people's political perception of an East versus West antagonism nowadays. Participants received a fabricated news article in which both world powers were either depicted on a map as Russia = red and NATO = blue or vice versa (Study 1). Testing a different sample in Study 2, we fully removed color assignments and used hachured distinctions or no distinctions at all. We revealed that perceived political distance between both sides increased particularly for participants with negative attitudes toward Russia, but only when Russia was depicted in red. Thus, colors referring to the old-established Cold War patterns can indeed shape the political p...
PLOS ONE, 2016
Thompson (1980) first detected and described the Thatcher Illusion, where participants instantly ... more Thompson (1980) first detected and described the Thatcher Illusion, where participants instantly perceive an upright face with inverted eyes and mouth as grotesque, but fail to do so when the same face is inverted. One prominent but controversial explanation is that the processing of configural information is disrupted in inverted faces. Studies investigating the Thatcher Illusion either used famous faces or non-famous faces. Highly familiar faces were often thought to be processed in a pronounced configural mode, so they seem ideal candidates to be tested in one Thatcher study against unfamiliar faces-but this has never been addressed so far. In our study, participants evaluated 16 famous and 16 non-famous faces for their grotesqueness. We tested whether familiarity (famous/non-famous faces) modulates reaction times, correctness of grotesqueness assessments (accuracy), and eye movement patterns for the factors orientation (upright/inverted) and Thatcherisation (Thatcherised/non-Thatcherised). On a behavioural level, familiarity effects were only observable via face inversion (higher accuracy and sensitivity for famous compared to non-famous faces) but not via Thatcherisation. Regarding eye movements, however, Thatcherisation influenced the scanning of famous and non-famous faces, for instance, in scanning the mouth region of the presented faces (higher number, duration and dwell time of fixations for famous compared to non-famous faces if Thatcherised). Altogether, famous faces seem to be processed in a more elaborate, more expertise-based way than non-famous faces, whereas non-famous, inverted faces seem to cause difficulties in accurate and sensitive processing. Results are further discussed in the face of existing studies of familiar vs. unfamiliar face processing.
i-Perception, 2016
In early 2015, a public debate about a perceptual phenomenon that impressively demonstrated the s... more In early 2015, a public debate about a perceptual phenomenon that impressively demonstrated the subjective nature of human perception was running round the globe: the debate about #TheDress, a poorly lit photograph of a lace dress that was perceived as white-gold by some, but as blue-black by others. In the present research (N = 48), we found that the perceptual difference between white-gold perceivers (n 1 = 24, 12 women, M age = 25.4 years) and blue-black perceivers (n 2 = 24, 12 women, M age = 24.3 years) decreased significantly when the illumination information provided by the original digital photo was reduced by means of image scrambling (Experiment 1). This indicates that the illumination information is one potentially important factor contributing to the color ambiguity of #TheDress-possibly by amplification of a slight principal difference in psychophysics of color perception which the two observer groups showed for abstract uniformly colored fields displaying a white-blue ...
Frontiers in Human Neuroscience, 2016
Research in the field of psychological aesthetics points to the appeal of stimuli which defy easy... more Research in the field of psychological aesthetics points to the appeal of stimuli which defy easy recognition by being "semantically unstable" but which still allow for creating meaning-in the ongoing process of elaborative perception or as an end product of the entire process. Such effects were reported for hidden images (Muth and Carbon, 2013) as well as Cubist artworks concealing detectable-although fragmented-objects (Muth et al., 2013). To test the stability of the relationship between semantic determinacy and appreciation across different episodic contexts, 30 volunteers evaluated an artistic movie continuously on visual determinacy or liking via the Continuous Evaluation Procedure (CEP, Muth et al., 2015b). The movie consisted of five episodes with emerging Gestalts. In the first between-participants condition, the hidden Gestalts in the movie episodes were of increasing determinacy, in the second condition, the episodes showed decreasing determinacies of hidden Gestalts. In the increasing-determinacy group, visual determinacy was rated higher and showed better predictive quality for liking than in the decreasing-determinacy group. Furthermore, when the movie started with low visual determinacy of hidden Gestalts, unexpectedly strong increases in visual determinacy had a bigger effect on liking than in the condition which allowed for weaker Gestalt recognition after having started with highly determinate Gestalts. The resulting pattern calls for consideration of the episodic context when examining art appreciation.
Perception, 2015
The afterimage illusion refers to a complementary colored image continuing to appear in the obser... more The afterimage illusion refers to a complementary colored image continuing to appear in the observer's vision after the exposure to the original image has ceased. It is assumed to be a phenomenon of the primary visual pathway, caused by overstimulation of photoreceptors of the retina. The aim of the present study was to investigate the nature of afterimage perceptions; mainly whether it is a mere physical, that is, low-level effect or whether it can be modulated by top-down processes, that is, high-level processes. Participants were first exposed to five either strongly female or male faces (Experiment 1), objects highly associated with female or male gender (Experiment 2) or female versus male names (Experiment 3), followed by a negativated image of a gender-neutral face which had to be fixated for 20s to elicit an afterimage. Participants had to rate their afterimages according to sexual dimorphism, showing that the afterimage of the gender-neutral face was perceived as significantly more female in the female priming condition compared with the male priming condition, independently of the priming quality (faces, objects, and names). Our results documented, in addition to previously presumed bottom-up mechanisms, a prominent influence of top-down processing on the perception of afterimages via priming mechanisms (female primes led to more female afterimage perception).
PloS one, 2015
Although fluency theory predominates psychological research on human aesthetics, its most severe ... more Although fluency theory predominates psychological research on human aesthetics, its most severe limitation may be to explain why art that challenges or even violates easy processing can nevertheless be aesthetically rewarding. We discuss long-standing notions on art's potential to offer mental growth opportunities and to tap into a basic epistemic predisposition that hint at a fluency counteracting aesthetic pleasure mechanism. Based on divergent strands of literature on empirical, evolutionary, and philosophical aesthetics, as well as research on disfluency, we presumed that challenging art requires deliberate reflexive processing at the level of "aboutness" in order to be experientially pleasing. Here, we probed such a cognitive mastering mechanism, achieved by iterative cycles of elaboration, as predicted by our model of aesthetic experiences. For the study, two kinds of portraits were applied, one associable to a high fluency and one to a high stimulation potentia...
PloS one, 2015
Modularity of face processing is still a controversial issue. Congenital prosopagnosia (cPA), a s... more Modularity of face processing is still a controversial issue. Congenital prosopagnosia (cPA), a selective and lifelong impairment in familiar face recognition without evidence of an acquired cerebral lesion, offers a unique opportunity to support this fundamental hypothesis. However, in spite of the pronounced behavioural impairment, identification of a functionally relevant neural alteration in congenital prosopagnosia by electrophysiogical methods has not been achieved so far. Here we show that persons with congenital prosopagnosia can be distinguished as a group from unimpaired persons using magnetoencephalography. Early face-selective MEG-responses in the range of 140 to 200ms (the M170) showed prolonged latency and decreased amplitude whereas responses to another category (houses) were indistinguishable between subjects with congenital prosopagnosia and unimpaired controls. Latency and amplitude of face-selective EEG responses (the N170) which were simultaneously recorded were ...
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Papers by Claus-Christian Carbon