VSAC Posters

The Visual Science of Art Conference Barcelona 26-28th of August 2016

Saturday the 27th of August - Agora Room, L-2, CosmoCaixa (Science Museum)

1. How to Make Partly Invisible Objects. Kokichi Sugihara, Meiji University.
2. High entropy of edge orientations characterizes artworks from different cultural backgrounds. Anselm Brachmann¹ & Christoph Redies², University of Jena School of Medicine¹ & University of Jena².
3. New areas within the image and image thinking: The artist’s perspective. Patrick Ceyssens, University Hasselt.
4. Beyond humans? Emulating a morally and ethically unaware android. Ramiro Martin Joly-Mascheroni, City University, London.
5. Aesthetic stimuli stay in memory. Bettina Rolke & Elisabeth Hein, University of Tuebingen.
6. Mors certa kitsch incerta: How does mortality salience affect kitsch judgements? Stefan A. Ortlieb, Fabian Gebauer & Claus-Christian Carbon, University of Bamberg.
7. A 3D printed reconstructing of a paintings original size: showing the original size of Saul and David, by Rembrandt Willemijn Elkhuizen, Delft University of Technology.
8. Aesthetic preferences for unfamiliar faces are modulated by a combination of dynamic social cues Pik Ki Ho, Trinity College Dublin, The University of Dublin.
9. New areas within the image and image thinking: The scientist’s perspective. Johan Wagemans¹, Yane Beckers² & Patrick Ceyssens³, University of Leuven (KU Leuven)^1,2 & University College Hasselt³.
10. Attractiveness of human body and fluency of gender categorization. Slobodan Marković & Tara Bulut, University of Belgrade.
11. Capturing the intangible: M5oX―A multi-dimensional toolbox for measuring dynamics of aesthetic experience. Marius Hans Raab, Claudia Muth & Claus-Christian Carbon, University of Bamberg.
12. The mystery of orientations in abstract paintings – an experimental study of preference. Johannes Zanker, Rachel Harding & Cerys Simpson, Royal Holloway University of London.
13. Photographing art: An experimental and naturalistic investigation into the effects of photo-taking on memory. Caitlin Mullin¹ & Johan Wagemans², MIT¹ & University of Leuven (KU Leuven)².
14. Individual Differences in Artistic Capture of Peripheral Appearance. Tilde Van Uytven¹, Erik Myin² & Bilge Sayim³, Royal Academy of Fine Arts, University of Antwerp^1,2 & University of Bern³.
15. Facial fixations: how visual exploration varies across artistic depictions of faces. Jeff MacInnes¹, Marianne Eileen Wardle² & Elizabeth N Johnson³, Duke University^1,3 & Duke University, Nasher Museum of Art at Duke University².
16. On the perception and production of drawings and graffiti tags. Frederic Fol Leymarie¹, Prashant Aparajeya², Daniel Berio³ & Ilona Kovács⁴, Goldsmiths, University of London^1,2,3 & Institute of Psychology, Péter Pázmány Catholic University⁴.
17. On the role of perceptual challenge in aesthetic stimuli. Sabine Albrecht, Claudia Muth & Claus Christian Carbon, University of Bamberg.
18. Effects of prior walking context on the vection induced by different types of global optic flow. Takeharu Seno¹, Stephen Palmisano² & Shinji Nakamura³, Kyushu University¹, Kyushu University, University of Wollongong² & Nihon Fukushi University³.
19. Making demo-movies of various vection stimuli. Emi Setoguchi & Takeharu Seno, Kyushu University.
20. Classification of Expertise in Photoediting based on Eye Movements. Tandra Ghose, Kartikeya Karnatak, Thomas Morris & Yannik Schelske, University of Kaiserslautern, Germany.
21. Visual preference and approach response for smooth curvature. Letizia Palumbo & Marco Bertamini, Liverpool Hope University, University of Liverpool.
22. Why do artists depict hands smaller than their actual size? Nicole Ruta, Alistair Burleigh & Robert Pepperell, Cardiff Metropolitan University.
23. A Tri-Level Explanation to Reconcile Competing Accounts of Picture Perception from the Visual Arts and Cognitive Neuroscience. Peter Coppin, Ontario College of Art and Design University, University of Toronto.
24. The influence of graphic long-term memories and attentional priming on drawing accuracy. Neil Harrison & Simon Davies, Liverpool Hope University.
25. How artists depict equidistance in perspective paintings and engravings. Casper Erkelens, Utrecht University.
26. It Matters Whom You Paint – Gender Differences in Art Portraits. Jana Katharina Schulz & Gregor Uwe Hayn-Leichsenring, University Hospital Jena.
27. Examining the Mere Exposure Effect in Dementia patients using recreational tasks. Fatima M Felisberti, Kinga Zyto, Shahnaz Akhtar & Oded Be-Tal, Kingston University London.
28. Colour Preferences Differ According to Object Context and Gender. Domicele Jonauskaite, Christine Mohr, Jean-Philippe Antonietti, Laetitia Chèvre & Nele Dael, University of Lausanne, Switzerland.
29. The effect of art appreciation education on aesthetic impression of paintings. Masahiro Wakabayashi¹, Tomoyuki Naito², Noriko Fuku³ & Hiromichi Sato⁴, Osaka University^1,2,4 & Kyoto University of Art and Design³.
30. Sketching the 'Strange-Face-in-the-Mirror' Illusion. Ute Leonards & Catherine Lamont-Robinson, University of Bristol.
31. Forming Hypotheses in Categorization Research by means of the Process of the Perception of and Interpreting Works of Art.  Anna Losonczi DLA², Anett Ragó³, Klára Sarbak⁴, Attila Kurucz⁵, Levente Gulyás¹, Júlia Losonczi⁶, Miklós Oroszlány⁷, András Gyökér⁸, Dániel Szabó, Sonit Bafna⁹ & Andrea Dúll¹⁰, Ginkgo-Green Architects, Budapest^{1,2,4,5,6,7,8}, Hungarian Academy of Sciences² , Department of Cognitive Psychology, Eötvös Loránd University, Budapest³ , School of Architecture, Georgia Institute of Technology, Atlanta⁹ & Department of Economic and Environmental Psychology, Eötvös Loránd University, Budapest¹⁰.
32. On which parts of the beautiful painting do I look longer and more carefully? Piotr Francuz, The John Paul II Catholic University of Lublin, Institute of Psychology.
33. Fractals: Converting 3D formula to artworks. Kazim Hilmi Or, Eye Surgeon Private Office.
34. Is she looking at you? The effect of distance (and memory) on Mona Lisa’s gaze. Daniele Zavagno, Christine Stivanin, Olga Daneyko & Natale Stucchi, University of Milano-Bicocca.
35. The influence of illumination on perception of works by Jan Schoonhoven. Maarten W.A. Wijntjes¹, Susan F. te Pas², Marga P. Schoemaker³, Sylvia C. Pont⁴, F. Zhang⁵, T. Kartashova⁶ & C. van Middelkoop⁷, Delft University of Technology¹, Perceptual Intelligence Lab, TU Delft, Helmholtz Institute, Faculty of Social and Behavioural Sciences, Utrecht University², Museum Prinsenhof, Delft³ & Perceptual Intelligence Lab, Faculty of Industrial Design Engineering, Delft University of Technology ⁴.
36. The impact of drawing instruction on perceptual abilities in training artists. Rebecca Chamberlain, KU Leuven.
37. Self-portraits, side biases, and lateralized expressiveness: New evidence from the updated SelfieCity database. Nicola Bruno¹, Vera Ferrari² & Lev Manovich³, Università di Parma^1,2 & CUNY³.
38. Angular versus Rounded shapes: aesthetic preferences and non-arbitrary correspondences. Olesya Blazhenkova & Melisa Maya Kumar, Sabanci University.
39. Photogenic Cranes – An Analysis of Bird Photography. Claudia Menzel & Gregor Uwe Hayn-Leichsenring, University Hospital Jena & Institute of Anatomy, University Hospital Jena, Germany.
40. Fascination of autumn foliage illuminated by LED lighting. Shino Okuda, Doshisha Women's College of Liberal Arts.

Art Exhibition: From Friday the 26th of August to Sunday the 28th of August - Agora Room, L-2, CosmoCaixa (Science Museum)

Participants:

The full programme can be downloaded from here