Kathrin Kaulard

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When observing art the viewer's understanding results from the interplay between the marks made on the surface by the artist and the viewer's perception and knowledge of it. Here we use a novel set of stimuli to dissociate the influences of the marks on the surface and the viewer's perceptual experience upon the manner in which the viewer inspects art. Our(More)
The ability to communicate is one of the core aspects of human life. For this, we use not only verbal but also nonverbal signals of remarkable complexity. Among the latter, facial expressions belong to the most important information channels. Despite the large variety of facial expressions we use in daily life, research on facial expressions has so far(More)
Natural language use, acquisition, and understanding takes place usually in multisensory and multimedia communication environments. Therefore, for one to model language in its interaction and integration with sensorimotor experiences, one needs a representative corpus of such interplay. In this paper, we will present the first corpus of language use and(More)
The question of how humans perceive art and how the sensory percept is endowed with aesthetics by the human brain has continued to fascinate psychologists and artists alike. It seems, for example, rather easy for us to classify a work of art as either "abstract" or "representational". The artist Robert Pepperell recently has produced a series of paintings(More)
Research on the perception of facial emotional expressions (FEEs) often uses static images that do not capture the dynamic character of social coordination in natural settings. Recent behavioral and neuroimaging studies suggest that dynamic FEEs (videos or morphs) enhance emotion perception. To identify mechanisms associated with the perception of FEEs with(More)
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