Helmut Leder

Bio: Helmut Leder is an academic researcher from University of Vienna. The author has contributed to research in topics: Fluency & Face perception. The author has an hindex of 47, co-authored 184 publications receiving 8062 citations. Previous affiliations of Helmut Leder include Free University of Berlin & Hobart and William Smith Colleges.

A model of aesthetic appreciation and aesthetic judgments.

Abstract: Although aesthetic experiences are frequent in modern life, there is as of yet no scientifically comprehensive theory that explains what psychologically constitutes such experiences These experiences are particularly interesting because of their hedonic properties and the possibility to provide self-rewarding cognitive operations We shall explain why modern art's large number of individualized styles, innovativeness and conceptuality offer positive aesthetic experiences Moreover, the challenge of art is mainly driven by a need for understanding Cognitive challenges of both abstract art and other conceptual, complex and multidimensional stimuli require an extension of previous approaches to empirical aesthetics We present an information-processing stage model of aesthetic processing According to the model, aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation The model differentiates between aesthetic emotion and aesthetic judgments as two types of output

When inverted faces are recognized: the role of configural information in face recognition.

Abstract: The identification of upright faces seems to involve a special sensitivity to “configural” information, the processing of which is less effective when the face is inverted. However the precise meaning of “configural” remains unclear. Five experiments are presented, which showed that the disruption of the processing of relational, rather than holistic, information largely determines the occurrence as well as the size of the face-inversion effect. In Experiment 1, faces could be identified either by unique combinations of local information (e.g. a specific eye colour plus hair colour) or by unique relational information (e.g. nose-mouth distance). The former showed no inversion effect, whereas the latter did. A combination of local and relational information (Experiment 2) again produced an inversion effect, although this effect was smaller than that found when only relational information was used. The results were replicated in Experiment 3 when differences in the brightness of local features were used ins...

Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode – Developments and challenges in empirical aesthetics

Abstract: About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, neuroscience discovered the arts as an area of interest, and new theories offered a more comprehensive look at aesthetic experiences. Ten years ago, Leder, Belke, Oeberst, and Augustin (2004) proposed a descriptive information-processing model of the components that integrate an aesthetic episode. This theory offered explanations for modern art's large number of individualized styles, innovativeness, and for the diverse aesthetic experiences it can stimulate. In addition, it described how information is processed over the time course of an aesthetic episode, within and over perceptual, cognitive and emotional components. Here, we review the current state of the model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

Abstract: Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

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