Other publications (listed in ISI WebOfScience)

[188]     Campagna, M., Pastukhov, A., & Carbon, C. C. (2024). Capturing Aesthetic Experience by verbal expressions: Identifying core concept variables from natural language processing. Perception, 53(S).

[187]     Carbon, C. C., Grüter, T. & Grüter, M. (2024). Congenital Prosopagnosia: Face agnostic but not social-emotional agnostic. Perception, 53(S).

[186]     Weithase, L., Schädlich, L., Carbon, C. C., & Pastukhov, A. (2024). Attention works as a filter for prior perceptual decisions in serial dependence. Perception, 53(S).

[185]     Pastukhov, A., Littke, O. & Carbon, C. C. (2024). Onset disambiguation of multistable displays relies on accumulation of sensory evidence over time. Perception, 53(S).

[184]   Kohllöffel, K., Luccarelli, M., & Carbon, C. C. (2023). Green product personality: developing a product concept made of recycled ocean plastic based on the collection of context-related personality traits. Proceedings of the Design Society, 3, 2065-2074.

[183]   Lavrsen, J., Daalhuizen, J., & Carbon, C. C. (2023). The design mindset inventory (D-Mindset0): A preliminary instrument for measuring design mindset. Proceedings of the Design Society, 3, 3355-3364.

[182]   Müller, R., Utz, S., Carbon, C. C., & Strobach, T. (2022).Face adaptation effects on non-configural face information.Perception, 51(1S), 135-135.

[181]   Döbler, N., della Guardia, J., & Carbon, C. C. (2022).Stumbling affords remembrance: Perceptual and behavioral engagement with a Holocaust memorial.Perception, 51(1S), 133-134.

[180]   Carbon, C. C., Styrnal, M. & Pastukhov, A. (2022).The central shadow rules them all: About how we assess the main location of light source via analysis of drop shadows in a scene.Perception, 51(1S), 124-124.

[179]   Pastukhov, A., & Carbon, C. C. (2022).Central EEG components P2 and P4 are sensitive to differentiating between bistable and unambiguous kinetic-depth effect displays.Perception, 51(1S), 86-86.

[178]   Pastukhov, A., & Carbon, C. C. (2022).Spread the word: Perceptual switches propagate new state within spatial surround.Perception, 51(1S), 59-59.

[177]   Koßmann, L., Carbon, C. C., & Pastukhov, A. (2022).How to form perceptual memory of multistability: Bias perception but gently.Perception, 51(1S), 14-14.

[176]   Schneider, T. M., & Carbon, C. C. (2022).The Episodic Prototypes Model (EPM): On the nature and genesis of facial representations based on a face-verification-task.Perception, 51(1S), 25-25.

[175]   Raab, M., Styrnal, M., Amichai-Hamburger, Y., Pastukhov, A., & Carbon, C. C. (2022).Face masks undermine first-glance affective responses to emotional facial displays.Perception, 51(1S), 24-25.

[174]   Koßmann, L., Carbon, C. C., & Pastukhov, A. (2022).How to form perceptual memory of multistability: Bias perception but gently.Perception, 51(1S), 14-14.

[173]   Strynal, M. Carbon, C. C., & Pastukhov, A. (2022).Kinetic-depth effect multistability persists when attention is distracted by an attention-demanding RSVP task.Perception, 51(1S), 13-13.

[170]   Mueller, R., Utz, S., Carbon, C. C., & Strobach, T. (2021).Face Adaptation Effects on Non-Configural Face Information.Perception, 50(1S), 87-88.

[169]   Styrnal, M., Pastukhov, A., & Carbon, C. C. (2021).Multistability: Perceptual history alters shape (not just the mean) of dominance phase distribution.Perception, 50(1S), 34-34.

[168]   Janković, D., & Carbon, C. C. (2021).Art experience in VR vs. real-world context: A question of ecological validity.Perception, 50(1S), 58-58.

[167]   Döbler, N. A., & Carbon, C. C. (2021).The View From Somewhere: Perspective and Relational Foundation of Outer Space Perception.Perception, 50(1S), 180-181.

[166]   Goetz, I. & Carbon, C. C. (2021). Theoretical and Empirical Considerations of The Mode of Art Experience (MAX) Concept.Perception, 50(1S), 107-108.

[165]   Maier, E. M., Ortlieb, S. A., & Carbon, C. C. (2021).When conventionality breeds contempt: Using the Repeated Evaluation Technique (RET) to predict kitsch judgements.Perception, 50(1S), 127-127.

[164]   Mertz, A. E., Schneider, T. M., & Carbon, C. C. (2021).Applying Fechner’s Aesthetic Association Principle to the World of Testimonials.Perception, 50(1S), 109-109.

[163]   Muth, C., Pastukhov, A., & Carbon, C. C. (2021).Anticipating transitions in a movie. On dynamic order and interesting dynamics.Perception, 50(1S), 88-88.

[162]   Raab, M. H., & Carbon, C. C. (2021).Perceiving the own fovea by using a rotating disc.Perception, 50(1S), 79-79.

[161]   Pastukhov, A., Styrnal, M., & Carbon, C. C. (2021).Multistability of homonyms’ meaning.Perception, 50(1S), 81-81.

[160]   Koßmann, L., Pastukhov, A., & Carbon, C. C. (2021).Proximity, expectations, and attention but not necessarily physics determine perception for simultaneously viewed multiple bistable displays.Perception, 50(1S), 81-82.

[159]   Ziat, M., Li, Z., Jhunjhunwala, R., & Carbon, C. C. (2021).Touching a Renoir: Understanding the associations between visual and tactile characteristics.Perception, 50(1S), 102-102.

[158]   Witt, J., Dumancic, S., Guns, T., & Carbon, C. C. (2021). A grammar-based description of perceptual organization for scene segmentation.Perception, 50(1S), 84-84.

[157]   Carbon, C. C., Pastukhov, A., & Serrano, M. (2021). Experiencing Face Masks. About the impact face masks have on perception and action.Perception, 50(1S), 45-46.

[156]    Pastukhov, A., & Carbon, C. C. (2020). Perceptual switch creates a transient bias in favor of the new state at neighboring locations. Stimulus ambiguity does not matter. Journal of Vision, 20(11), 349-349. DOI: 10.1167/jov.20.11.349

[155]    Pastukhov, A., Kastrup, P., Abs, I. F., & Carbon, C. C. (2019). Switch rates for orthogonally oriented kinetic-depth displays are correlated across observers. Journal of Vision, 19(6), 349-349. DOI: 10.1167/19.6.1

[154]   Carbon, C. C. (2019). Ecological art experience: How we can learn from ecologically valid settings and contexts. Art & Perception, 7, 332-332.

[153]  Muth, C., Briesen, J. & Carbon, C. C. (2019). How does restricting vision of a scene with masking or filtering affect drawing from observation? Art & Perception, 7, 298-298.

[152]  Ortlieb, S. & Carbon, C. C. (2019). Back to the roots: Towards a new ‘Aesthetic from Below’. Art & Perception, 7, 308-308.

[151]  Raab., M. H. & Carbon, C. C. (2019). There is a crack in everything. Is that how the appreciation comes in? Art & Perception, 7, 320-320.

[150]  Madjarev, M., Pavlovic, T., Carbon, C. C. & Jankovic, D. (2019). Aesthetic experience of artworks in VR gallery: The role of affective dimensions. Art & Perception, 7, 330-330.

[149]  Vlasova, J., Fischer, U. C., Vlasova, J., Carbon, C. C. & Ortlieb, S. A. (2019). An itch for kitsch: Do needs for security and arousal modulate the appreciation of decorative everyday objects? Art & Perception, 7, 317-317.

[148]  Fischer, U. C., Vlasova, J., Carbon, C. C. & Ortlieb, S. A. (2019). Who’s afraid of kitsch? Anxiety-related coping styles modulate the appreciation of decorative everyday objects. Art & Perception, 7, 316-316.

[147]  Tratz, C., Schneider, T. M. & Carbon, C. C. (2019). Terminology and classification of Selfies. Art & Perception, 7, 313-313.

[146]  Fingerhut, J., Ballestrem, M. & Carbon, C. C. (2019). How does restricting vision of a scene with masking or filtering affect drawing from observation? Art & Perception, 7, 289-289.

[145]  Janković, D., Jevremović, V. & Carbon, C. C. (in press). Visual art in the digital age: About the art experience in VR vs. ordinary displayed museum contexts. Art & Perception, 7, 291-291.

[144]   Pastukhov, A. & Carbon, C. C. (2019). Perceptual inference is facilitated by transient propagation of information about newly established state to nearby locations.Perception, 48(S2), 65-66.

[143]   Knebel, K., Pastukhov, A., & Carbon, C. C. (2019). Psychophysical testing in virtual reality: The future lab Setting or misleading garden-path?Perception, 48(S2), 219-219.

[142]   Carbon, C. C. & Hesslinger, V. M. (2019). Experiencing ASMR: About the phenomenology of video sequences that trigger excitement and subsequent relaxation.Perception, 48(S2), 97-97.

[141]   Muth, C. & Carbon, C. C. (2019). Ambivalence of artistic photographs can foster interest and the motivation to engage.Perception, 48(S2), 97-97.

[140]   Mueller, R., Utz, S., Carbon, C. C., & Strobach, T. (2019). Face adaptation effects on nonconfigural information.Perception, 48(S2), 132-133.

[139]   Witt, J. M. & Carbon, C. C. (2019). Frequency-based object identification: Exploring spectral analysis as a means of simulating human perception in visual systems.Perception, 48(S2), 135-135.

[138]   Kossmann, L., Carbon, C. C., & Pastukhov, A. (2019). Perceptual dominance in face rivalry is driven by low-level properties.Perception, 48(S2), 176-177.

[137]   Styrnal, M., Walther, K., Pastukhov, A., & Carbon, C. C. (2019). Bistable photos do not pop out but provoke a prolonged inspection.Perception, 48(S2), 177-177.

[136]   Utz, S., Hartmann, J., & Carbon, C. C. (2019). Crossmodal correspondence between sensory mode and hue: Comparing explicit and implicit measures.Perception, 48(S2), 198-198.

[135]   Adiarte, S., & Carbon, C. C. (2019). How dynamic visual cues help to expose a liar: Laban/Bartenieff Movement Studies in the field of police interviewing. Perception, 48(S1), 57-57.

[134]   Roeder, S., Trapp, W., & Carbon, C. C. (2019). Nature-themed puzzles and the Aesthetic Aha.Perception, 48(S1), 113-113.

[133]   Utz, S., & Carbon, C. C. (2019). The iron lady gets emotional: Emotional expressions strongly impact the Thatcher illusion.Perception, 48(S), 72-72.

[132]   Mueller, R., Utz, S., Carbon, C. C., & Strobach, T. (2019). Face adaptation aftereffects on local information. Perception, 48(S1), 19-19.

[131]   Pastukhov, A., Zaus, C. R., & Carbon, C. C. (2019). Location-specific priming of perceptual reversals for kinetic-depth effect.Perception, 48(S), 37-37.

[130]   Carbon, C. C. (2019). What happens when you perceive a sun eclipse? Perception, 48(S1), 23-23.

[129]   Schneider, T. M., Pastukhov, A., & Carbon, C. C. (2019). Historic Faces: An investigation of head and eye direction in art portraits across 1000 years of Western history.Perception, 48(S1), 24-24.

[128]   Raab, M. Burmester, A., Carbon, C. C., & Pastukhov, A. (2019). Add-on gamification might help to increase participants' motivation, but not evidently their performance in a visual color-matching task. Perception, 48(S1), 134-135

[127]    Utz, S., Weigand, S., & Carbon, C. C. (2018). Implicit measurement of the own-race bias using the visual search paradigm. Journal of Vision, 19(10), 290-290. doi: 10.1167/18.10.290

[126]    Carbon, C. C., & Fingerhut, J. (2017). Abstracts from the 5th Visual Science of Art Conference (VSAC). Art & Perception, 5(4), 337-426. doi: 10.1163/22134913-00002099

[125]    Utz, S., Knauss, F. & Carbon, C. C. (2017). The unnoticed zoo: inattentional deafness of animal sounds in music. Journal of Vision, 17(10), 1209-1209. doi: 10.1167/17.10.1209

[124]   Pastukhov, A., Prasch, J., & Carbon, C. C. (2017). Out of sight, out of mind: Complete occlusion destabilizes moving multi-stable structure-from-motion displays.Perception, 46(S), 226-226.

[123]   Utz, S., & Carbon, C. C. (2017). When vision is more emotionally loaded than music – the impact of visual-acoustic compatibilities in films on emotional assessments.Perception, 46(S), 189-190.

[122]   Muth, C., Albrecht, S. A., & Carbon, C. C. (2017). “Aha”ptics: Experiencing and enjoying an Aesthetic Aha during haptic exploration.Perception, 46(S).

[121]   Brütting, U., & Carbon, C. C. (2017). Ekman’s expression research revisited: Theoretically and empirically checking the current standards of emotion expression research. Perception, 46(S), 29-29.

[120]   Poungjit, A., & Carbon, C. C. (2017). Reflecting and optimizing the terminology of prosopagnosia research.Perception, 46(S), 105-105.

[119]   Wehrle, T., Ortlieb, S. A., & Carbon, C. C. (2017). How modified brand logos affect implicit attitudes: Is “Subvertising” really subversive?Perception, 46(S).

[118]   Schneider, T. M., & Carbon, C. C. (2017). How a face becomes familiar? Episodic facial prototypes and representations are generated across the life-span.Perception, 46(S).

[117]   Wirth, B., & Carbon, C. C. (2017). Face experts? Assessing passport-matching performance in police officers and novices.Perception, 46(S).

[116]   Raab, M. H., & Carbon, C. C. (2017). The clear-cut water drop: A visual illusion to perceive top-down saccadic fill-in.Perception, 46(S).

[115]   Roeder, S., & Carbon, C. C. (2017). Men’s perception of women’s personality from static and dynamic visual cues.Perception, 46(S).

[114]   Muth, C., Albrecht, S. A., & Carbon, C. C. (2017). “Aha”ptics: Experiencing and enjoying an Aesthetic Aha during haptic exploration.Perception, 46(S).

[113]   Carbon, C. C. (2017). The Moon Illusion revisited: New insights by employing the Moon Diary app in the field.Perception, 46(S).

[112] Carbon, C. C. (2017). Measurement problems and measurement strategies for capturing the rich experience of art. Electronic Imaging, 2017(17), 242-247.

[111]    Raab, M. H., Mironova, A., & Carbon, C. C. (2016). Yellow is more creative than you know: Exploring implicit color associations with the multidimensional IAT. Perception, 45(S), 220-221.

[110]    Ortlieb, S. A., Rutar, D., Stojilovic, I., & Carbon, C. C. (2016). Blue, white and pink—A cross-cultural comparison of kitsch and kic concepts from Bavaria, Serbia, and Slovenia. Perception, 45(S), 216-216.

[109]    Fischer, U. C., Carbon, C. C., Rutar, D., Stojilovic, I., & Ortlieb, S. A. (2016). The big picture of aesthetics changes depending on the level of analysis. Perception, 45(S), 191-192.

[108]    Breitschaft, S. J., & Carbon, C. C. (2016). Multisensory adaptation: How visual are haptics? Perception, 45(S), 147-147.

[107]    Schneider, T. M., & Carbon, C. C. (2016). An episodic face space model for representing faces. Perception, 45(S), 88-89.

[106]    Röder, S., Carbon, C. C., Shackelford, T. K., Pisanski, K., Weege, B., & Fink, B. (2016). Men’s visual attention to and perceptions of women’s dance movements. Perception, 45(S), 61-61.

[105]    Utz, S., & Carbon, C. C. (2016). Influences on the perception of the morphing face illusion. Perception, 45(S), 39-40.

[104]    Muth, C., & Carbon, C. C. (2016). Interest is evoked by semantic instability and the promise of new insight. Perception, 45(S), 38-39.

[103]    Carbon, C. C. (2016). The simplest visual illusion of all time? The folded paper-size illusion. Perception, 45(S), 38-38.

[102]    Utz, S., & Carbon, C. C. (2016). Do children with Autism Spectrum Disorder perceive emotional faces differently? Journal of Vision, 16, 486-486. DOI: 10.1167/16.12.486

[101]    Ditye, T., Hiess, B., Petzka, M., Carbon, C. C. & Ansorge, U. (2016). Long-term face aftereffects are more robust following distributed adaptation. Journal of Vision, 16, 532-532. DOI: 10.1167/16.12.532

[100] Carbon, C. C. (2016). Beyond the predominance of the visual empire: A functional model on haptics & more. Electronic Imaging, 2016(16), 1-2.

[99]    Hörnig, F., Möller, M., & Carbon, C. C. (2015). The colorful stranger in the mirror – the strange-face-inthe-mirror illusion revisited. Perception, 44(S1), 218-218.

[98]    Albrecht, S. A., & Carbon, C. C. (2015). The Fluency Amplification Model (FAM). Perception, 44(S1), 172-172.

[97]    Carbon, C. C. (2015). The concept of fluency: Current streams, active models, new challenges, general limitations. Perception, 44(S1), 170-171.

[96]   Hesslinger, V. M., & Carbon, C. C. (2015). Testing several hypotheses for dissociate colour perception on #TheDress. Perception, 44(S1), 148-148.

[95]   Albrecht, S., Pastukhov, A., & Carbon, C. C. (2015). Startling fluency? Testing effects of processing fluency on           affect-modulated startle. Perception, 44(S1), 69-70.

[94]   Raab, M. H., Ortlieb, S. A., Gebauer, F., Ettner, J., & Carbon, C. C. (2015). Vita brevis, kitsch longae—When death was salient, kitsch appears less kitschy. Perception, 44(S1), 67-67.

[93]   Deibel, S., Gebauer, F., & Carbon, C. C. (2015). Investigating visual stimuli processing under mortality salience on a microgenetic level. Perception, 44(S1), 62-63.

[92]   Schneider, T. M., & Carbon, C. C. (2015). On the genesis and processing of facial representations and prototypes. Perception, 44(S1), 53-53.

[91]   Utz, S., & Carbon, C. C. (2015). Impaired configural processing for other-race faces revealed by a Thatcher illusion paradigm. Perception, 44(S1), 48-49.

[90]   Muth, C., Carbon, C. C., & Hesslinger, V. M. (2015). Unsolvable, yet insightful: The appeal of indeterminate and ambiguous artworks. Perception, 44(S1), 34-35.

[89]   Reiter, T., K., Ortlieb, S., & Carbon, C. C. (2015). Kitsch: Is it better than its reputation? Comparing explicit and implicit aesthetic processing. Perception, 44(S1), 33-34.

[88]    Ortlieb, S., Fischer, U. C., & Carbon, C. C. (2015). Burke’s fallacy: Is there a male gaze in empirical aesthetics? Perception, 44(S1), 30-30.

[87]    Röder, F. & Carbon, C. C. (2015). Average faces: Skin texture more than facial symmetry predicts attractiveness perceptions of female faces. Perception, 44(S1), 25-26.

[86]    Gebauer, F. & Carbon, C. C. (2015). Perceiving the Ukraine Crisis is a matter of visual depiction. Perception, 44(S1), 6-7.

[85]    Utz, S., & Carbon, C. C. (2015). Do task demands influence the perception of symmetry? Journal of Vision, 15(12), 147-147. DOI: 10.1167/15.12.147

[84]    Utz, S., & Carbon, C. C. (2014). Do task demands influence the perception of symmetry? Journal of Vision, 14(10):91-91. DOI: 10.1167/14.10.91

[83]    Albrecht, S. & Carbon, C. C. (2014). Amplification effects of processing fluency on implicit affective evaluation. Perception, 43(S), 154-154.

[82]    Utz, S. & Carbon, C. C. (2014). Face familiarity as a modulating but not a necessary factor for specific Thatcherization effects? Perception, 43(S), 18-18.

[81]    Roeloffs, H., Tredoux, C., Harsányi, G., & Carbon, C. C. (2014). Cross-cultural categorization of black and white faces. Perception, 43(S), 128-128.

[80]    Schneider, T. M., & Carbon, C. C. (2014). Why is this specific image of Madonna the most prototypical one? Predicting prototypicality on basis of inspection frequency and familiarity. Perception, 43(S), 17-17.

[79]    Hesslinger, V., & Carbon, C. C. (2014). Red card for red: Questioning the positive effect of the colour red on male attractiveness. Perception, 43(S), 156-156.

[78]    Raab, M., Muth, C., & Carbon, C. C. (2014). What can the pupil size tell us about aesthetics? Towards a multidimensional model of complex continuous experience. Perception, 43(S), 159-159.

[77]    Muth, C., Raab, M., & Carbon, C. C. (2014). Stream along the aesthetic mind. The dynamics of elaborating artistic movies. Perception, 43(S), 10-10.

[76]    Carbon, C. C. & Hesslinger (2014). Analyzing artworks by means of vision sciences: the case of two Mona Lisas generating a stereogram. Perception, 43(S), 9-9.

[75]    Ortlieb, S., & Carbon, C. C. (2014). In the mood for kitsch? Towards a functional model linking aesthetic appreciation to the dynamics of social motivation and self-determinacy. Perception, 43(S), 159-159.

[74]    Hesslinger, V. M., & Carbon, C. (2013). Who is the best Gioconda of them all? On the relativity of artistic quality caused by prior visual elaboration. Perception, 42(S), 103-103.

[73]    Muth, C., Pepperell, R., & Carbon, C. C. (2013). In search of Gestalt. Detectability of objects within cubist artworks enhances appreciation. Perception, 42(S), 102-102.

[72]    Möller, M. K., & Carbon, C. C. (2013). „He’s got his father’s nose!“ – Factors involved in kinship – perception. Perception, 42(S), 200-200.

[71]    Utz, S., & Carbon, C. C. (2013). Do first impressions count? – Influences on the perception of ambiguous pictures. Perception, 42(S), 106-106.

[70]    Carbon, C. C., & Jakesch, M. (2013). Empirical aesthetics from a haptic perspective: A functional model for haptic aesthetic processing. Perception, 42(S), 105-105.

[69]    Utz, S., & Carbon, C. C. (2012). Does the direction of dimensional changes influence reaction time costs in visual search. Journal of Vision, 13(9):688-688. DOI: 10.1167/13.9.688

[68]    Fischer, U. C., Carbon, C. C., Wagemans, J., & Augustin, M. D. (2012). Is there a common trait of aesthetic assessment or does it depends on the assessed content? Perception, 41(S), 96-96.

[67]    Wirth, B. E., & Carbon, C. C. (2012). Matching unfamiliar faces under ecological conditions: Factors of stimulus similarity and feature exchange. Perception, 41(S), 101-101.

[66]    López Hernan Perez, T., & Carbon, C. C., & Hesslinger, V. (2012). High-level color adaptation for familiar objects. Perception, 41(S), 184-184.

[65]    Groh, M. K., & Carbon, C. C. (2012). How heavy is red? Towards a psychophysical framework of color weights. Perception, 41(S), 233-233.

[64]    Kraemer, P., & Carbon, C. C. (2012). How Expectation changes the appreciation of arts. Perception, 41(S), 181-181.

[63]    Utz, S., & Carbon, C. C. (2012). Does top-down information influence the afterimage illusion? Perception, 41(S), 54-54

[62]    Carbon, C. C., & Diener Rico, F. (2012). Forty years later: Are objects still mentally rotated as in 1971? Perception, 41(S), 116-116.

[61]    Albrecht, S., & Carbon, C. C. (2012). Perceptual Fluency does not necessarily increase aesthetic appreciation: Evidence against the Hedonic Fluency Model. Perception, 41(S), 234-234.

[60]    Reiter, T. K., & Carbon, C. C. (2012). The spot that decides on the Gestalt: Gestalt psychology in the context of blindspot perception. Perception, 41(S), 100-100.

[59]    Harsanyi, G., Raab, M., Hesslinger, V., Düclos, D., Zink, J., & Carbon, C. C. (2012). The face of terrorism: Stereotypical Muslim facial attributes evoke implicit perception of threat. Perception, 41(S), 111-111.

[58]    Raab, M., Shengelia, N., & Carbon, C. C. (2012). Towards an emotional footprint: Non-verbal analysis of emotionally processed visual stimuli via posturography. Perception, 41(S), 96-96.

[57]    Haertel, M., & Carbon, C. C. (2012). What is the main ingredient for transforming an ordinary object to a piece of art? Aesthetic Evaluations on objects of judgments ambiguous art quality. Perception, 41(S), 231-231.

[56]    Muth, C., & Carbon, C. C. (2012). There’s more than one way to irritation! An attempt to categorize ambiguity in art. Perception, 41(S), 233-233.

[55]    Boehringer, J., Carbon, C. C., & Faerber, S. J. (2012). The specificity of art revealed by an empirical study on multi-cultural aesthetic material. Perception, 41(S), 231-231.

[54]    Schneider, T. M., Carbon, C. C., & Hecht, H. (2012). Estimating weight and height based on mental norms: A cross-cultural study from Germany and Japan. Perception, 41(S), 96-96.

[53]    Luedtke, R. A., Hesslinger, V. M., & Carbon, C. C. (2012). Different facets of facial attractiveness: Specification of the relationship between attractiveness, beauty, prettiness and sexual attraction. Perception, 41(S), 116-116.

[52]    Hesslinger, V. M., & Görlitz, R., & Carbon, C. C. (2012). What 80 Lisas can reveal about Leonardo’s Mona Lisa: One step further in demystifying La Gioconda’s absorbing smile. Perception, 41(S), 232-232.

[51]    Faerber, S. J., & Carbon, C. C. (2012). Adaptation transfer effects are moderated by the similarity to the adaptors. Perception, 41(S), 180-180.

[50]    Carbon, C. C. (2012). On the evolution of taste: Why and how taste emerges, changes, adapts. International Journal of Psychology, 47(S1), 371-371. {IF=0.404}

[49]    Carbon, C. C. (2012). Why cognitive deficits like congenital prosopagnosia are often overlooked and what we can do against this neglect. International Journal of Psychology, 47(S1), 110-110. {IF=0.404}

[48]    Carbon, C. C. (2012). Dynamics of aesthetic appreciation. Proceedings of SPIE (International Society for Optics and Photonics), 8291, 82911A.

[47]    Augustin, M. D., Carbon, C. C., & Wagemans, J. (2011). Measuring aesthetic impressions of visual art. Perception, 40(S), 219-219 {IF=1.293}

[46]    Schneider, T., Hecht, H., & Carbon, C. C. (2011). Losing weight without dieting: viewpoint-dependent weight assessment on basis of faces. Perception, 40(S), 71-71 {IF=1.293}

[45]    Rockelmann, L., Zimmermann, R., Raab, M., & Carbon, C. C. (2011). How you look at art: Analyzing beholder’s movement pattern by radio-based identification. Perception, 40(S), 222-222 {IF=1.293}

[44]    Faerber, S. J., & Carbon, C. C. (2011). Impact of priming and elaboration on the dynamics of aesthetic appreciation. Perception, 40(S), 217-217 {IF=1.293}

[43]   Gattol, V., Carbon, C. C., & Schoormans, J. P. L. (2011). Depicting crosshairs can indeed promote violence. Perception, 40(S), 216-216 {IF=1.293}

[42]    Raab, M., Imhof, M. & Carbon, C. C. (2011). Eyes for an agent: simulation of dynamically evolving preferences for visual stimuli by a neural network and a multiple-trace memory model. Perception, 40(S), 205-205 {IF=1.293}

[41]    Harsanyi, G., & Carbon, C. C. (2011). Adaptive categorization of own- and other-group faces. Perception, 40(S), 71-71 {IF=1.293}

[40]    Hesslinger, V., & Carbon, C. C. (2011). Dynamics in aesthetic appreciation: Differential effects for average and non-average natural stimuli. Perception, 40(S), 222-222 {IF=1.293}

[39]    Muth, C., & Carbon, C. C. (2011). The relation between elaboration and liking in perceiving ambiguous aesthetic stimuli. Perception, 40(S), 217-217 {IF=1.293}

[38]    Härtel, M., & Carbon, C. C. (2011). Cognitive and emotional associations evoked by the imagination of pieces of favorite music and visual art. Perception, 40(S), 218-218{IF=1.293}

[37]    Jakesch, M., & Carbon, C. C. (2011). Humans prefer curved objects also on basis of haptic evaluation. Perception, 40(S), 219-219 {IF=1.293}

[36]    Jander, A., & Carbon, C. C. (2011). On the microgenesis of facial attractiveness. Perception, 40(S), 69-69 {IF=1.293}

[35]    Carbon, C. C., & Hergovich, A. (2011). Using computer-animated magic tricks as a promising experimental paradigm for investigating perceptual processes. Perception, 40(S), 169-169 {IF=1.293}

[34]    Carbon, C. C., Gruber, P., & Sommer, P. (2010). On the search for the Super-Jesus. Which features does a depiction in art history need to be identified as Jesus? Perception, 39(S), 115-115 {IF=1.360}.

[33]    Wirth, B. E., & Carbon, C. C. (2010). How do prototypes of visual objects develop and establish? Exemplars perceived early in life might have an essential influence. Perception, 39(S), 129-129 {IF=1.360}.

[32]    Raab, M., & Carbon, C. C. (2010). Objective measures for complexity and curvature in visual objects and scenes. Perception, 39(S), 114-115 {IF=1.360}.

[31]    Neuhauser, K., & Carbon, C. C. (2010). That’s typical! Isn’t it? About the microgenesis of art perception as a function of expertise. Perception, 39(S), 113-113 {IF=1.360}.

[30]    Lüdtke, R., Grüter, T., Derntl, B., Grüter, M., & Carbon, C. C. (2010). Reduction of facial emotion processing in congenital prosopagnosia. Perception, 39(S), 93-93 {IF=1.360}.

[29]    Löffler, S., & Carbon, C. C. (2010). Processing of style in artworks: A highly complex matter. Perception, 39(S), 116-116 {IF=1.360}.

[28]    Kaltenbach, R. N., & Carbon, C. C. (2010). Compatibility of context sizes in face perception – a different perspective on holistic effects. Perception, 39(S), 130-130 {IF=1.360}.
[27]    Jakesch, M., & Carbon, C. C. (2010). Touched by the moment? Factors modulating haptic and visually – based mere exposure effects. Perception, 39(S), 131-132 {IF=1.360}.

[26]    Imhof, M., Straif, M., Stein, C. W., & Carbon, C. C. (2010). Implicit classification reveals priority of processing physical properties in novices but processing of higher cognitive properties in experts. Perception, 39(S), 103-103 {IF=1.360}.

[25]    Hesslinger, V., & Carbon, C. C. (2010). Cues of being watched enhance pro-social attitudes. Perception, 39(S), 93-93 {IF=1.360}.

[24]    Harsanyi, G., & Carbon, C. C. (2010). Matching style and content in art perception. Perception, 39(S), 115-115 {IF=1.360}.

[23]    Faerber, S. J., & Carbon, C. C. (2010). On the role of visual adaptations on aesthetic appreciation via changes of the object space. Perception, 39(S), 76-76 {IF=1.360}.

[22]    Augustin, M. D., Wagemans, J., & Carbon, C. C. (2010). Visual aesthetics: Relevant measures and their dependence on object class. Perception, 39(S), 114-114 {IF=1.360}.

[21]    Albrecht, S., & Carbon, C. C. (2010). Bartlett’s theory of visual reproduction revisited: Ambiguous face-like stimuli do not necessarily transform to prototypical face schemata. Perception, 39(S), 40-40 {IF=1.360}.

[20]    Carbon, C. C., & Jagsch, R. (2009). Abnormal facial outward appearances and their impact on facial attractiveness and attribution of personality. Perception, 38(S), 81-81. {IF=1.617}.

[19]    Carbon, C. C. (2009). What is the cognitive basis of impairments in congenital prosopagnosia? International Journal of Psychology, 43(3-4), 38-38. {IF=0.272}.

[18]    Carbon, C. C. (2008). How strong is a car’s brand from a visual perspective? Searching for an objective measure. Perception, 37(S), 31-31. {IF=1.585}.

[17]    Jakesch, M., Zachhuber, M., Leder, H., & Carbon, C. C. (2008). Scenario-based cross-modal touching. How top-down processes influence tactile appreciation. Perception, 37(S), 92-92. {IF=1.585}.

[16]    Zachhuber, M., Jakesch, M., Leder, H., & Carbon, C. C. (2008). Developing a reference frame for testing cross-modality effects of vision and touch. Perception, 37(S), 92-92. {IF=1.585}.

[15]    Bohrn, I., Nabecker, G., & Carbon, C. C. (2008). Are Curved Visual Objects Always Preferred? Perception, 37(S), 75-75. {IF=1.585}.

[14]    Augustin, M. D., Schild, M., Gross, C., & Carbon, C. C. (2008). Towards a psychophysics of art perception. Perception, 37(S), 116-116. {IF=1.585}.

[13]    Augustin, M. D., Leder, H., & Carbon, C. C. (2007). The microgenesis of style and content in art perception. Perception, 36(S), 16-16. {IF=1.585}.

[12]    Gerger, G., Leder, H., & Carbon, C. C. (2007). Contributions of boredom to liking judgments over time. Perception, 36(S), 17-17. {IF=1.585}.

[11]    Farber, S., Carbon, C. C., & Leder, H. (2007). From exposure to evaluation: Dynamic changes in appreciation of innovative designs. Perception, 36(S), 17-17. {IF=1.585}.

[10]    Ditye, T., & Carbon, C. C. (2007).Dynamics and flexibility in mental representations of familiar faces. Perception, 36(S), 147-147. {IF=1.585}.

[09]    Gattol, V., Ditye, T., Carbon, C. C., & Hutzler, F. (2007).A Call for Attention! - TV News Broadcasts and the Effects of Competing News Feeds on Perception. Perception, 36(S), 27-27. {IF=1.585}.

[08]    Carbon, C. C., Leder, H., & Ditye, T. (2007).When style matters – Art specific adaptation effects. Perception, 36(S), 17-17. {IF=1.585}.

[07]    Carbon, C. C., Ditye, T., & Leder, H. (2006). Setting the trend: When attractiveness is a matter of adaptation. Perception, 35(S), 199-199. {IF=1.585}.

[06]    Carbon, C. C. (2006). What can we learn from prosopagnosia about face processing? Perception, 35(S), 135-135. {IF=1.585}.

[05]    Carbon, C. C. (2006). Face adaptation effects: When stable representations are quite flexible. Perception, 35(S), 210-210. {IF=1.585}.

[04]    Carbon, C. C. (2006). The Repeated Evaluation Technique or 'How can we measure attractiveness in a valid way'? Perception, 35(S), 200-201. {IF=1.585}.

[03]    Carbon, C. C.  (2005). Innovation in Design and Aesthetics. How attributes of Innovation influence Attractiveness on the long run. Perception, 34(S), 8-8. {IF=1.585}.

[02]    Carbon, C. C., Schweinberger, S., Kaufmann, J., & Leder, H. (2004).Early face processing investigated by ERP. Perception, 33(S), 13-13. {IF=1.585}.

[01]    Carbon, C. C., & Leder, H. (2004). Face recognition is not template-based. Perception, 33(S), 103-103. {IF=1.585}

Further publications
(varia 1)

[046]    Breitschaft, S. J., and Carbon, C.-C. (2020). Semantic Differentiation of Haptic Edges rendered on an Electrostatic Friction Modulation Display in IEEE 2020 Eurohaptics conference (IEEE).

[045]    Breitschaft, S. J., Heijboer, S., Shor, D., Tempelman, E., and Carbon, C.-C. (2020). Physical Fights Back: Current affairs of haptic technology in user interface design for practitioners in IEEE 2020 Eurohaptics conference (IEEE).

[044]    Breitschaft, S. J., Pastukhov, A. and Carbon, C.-C. (2020). Examining detectability of virtual haptic items rendered on an electrostatic friction display in IEEE 2020 Eurohaptics conference (IEEE).

[043]    Breitschaft, S. J., and Carbon, C.-C. (2020). An exploratory evaluation of participants’ reactions to electrostatic friction modulation in a UI-research context in IEEE 2020 Eurohaptics conference (IEEE).

[042]    Breitschaft, S. J., Clarke, S., and Carbon, C.-C. (2019). Using haptic shapes for orientation and identification in automotive user interfaces in IEEE 2019 World haptics conference (WHC) (IEEE).

[041]    Heijboer, S., Breitschaft, S. J., and Carbon, C.-C. (2019). Characterization of active haptic feedback for user interface design and development in IEEE 2019 World Haptics conference (WHC) (IEEE).

[040]    Carbon, C. C. (2018). Teaching and researching: Two sides of a coin.Art & Perception, 6(4), 170-170.

[039]    Carbon, C. C. (2018). Aesthetic appreciation: The power of Zeitgeist.Art & Perception, 6(4), 173-173.

[038]    Muth, C., & Carbon, C. C. (2018). Shifting in and out of Semantic (In)stability. A dynamic view on interest in visual ambiguity, indeterminacy, and disorder.Art & Perception, 6(4), 174-174.

[037]    Heiligensetzer, S., Schmittlutz, T., & Carbon, C. C. (2018). Creativity and complexity: Creative solutions are more complex but need also more time.Art & Perception, 6(4), 187-187.

[036]    Utz, S., Reichenbecker, A., & Carbon, C. C. (2018). Evaluation of dynamic preferences using the Repeated Evaluation Technique (RET) – The impact of innovation, complexity, attractiveness, and personality on the perception of fashion.Art & Perception, 6(4), 188-188.

[035]    Fischer, U. C., Vlasova, J., Carbon, C. C., & Ortlieb, S. A. (2018). Coping with kitsch? People with different coping-styles respond differently to decorative everyday objects.Art & Perception, 6(4), 189-189.

[034]    Raab, M., Wolff, F., & Carbon, C. C. (2018). Character design in video game art: Stereotypical facial aesthetics elicits emotional distress in morally demanding situations.Art & Perception, 6(4), 189-189.

[033]    Vlasova, J., Fischer, U. C., Carbon, C. C., & Ortlieb, S. A. (2018). Home sweet home: Is kitsch more popular with people who value security over arousal?Art & Perception, 6(4), 194-194.

[032]    Schneider, T. M., & Carbon, C. C. (2018). One thousand and one selfies: About the rules, specificities and curiosity of selfies and the impact on attractiveness, sympathy and perceived competence.Art & Perception, 6(4), 203-203.

[031]    Prasch, J., Blijlevens, J., Neelim, A., Laban, J., & Carbon, C. C. (2018). Gamified Behavioural Nudge towards Social Inclusion. Poster presentation at the 2018 HDR Poster Competition of the Business Research Office at RMIT University, Melbourne, Australia, 23 October 2018.

[030]    Carbon, C. C. (2018). A conspiracy theory is not a THEORY about a conspiracy. Social Epistemology Review and Reply Collective, 7(6), 22-25.

[029]    Wirth, B. E., & Carbon, C. C. (2017). Face experts? Assessing passport-matching performance in police officers and novices. Oral talk presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 257.

[028]    Pastukhov, A., Prasch, J., & Carbon, C. C. (2017). Out of sight, out of mind: Complete occlusion destabilizes moving multi-stable structure-from-motion displays. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 226.

[027]   Utz, S., & Carbon, C. C. (2017). When vision is more emotionally loaded than music – the impact of visual-acoustic congruencies in films on emotional assessments. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 189.

[026]   Wehrle, T., Ortlieb, S., & Carbon, C. C. (2017). How the aesthetics of the urban space might shape our implicit attitudes towards brands: The role of artistic „Subvertising“ via modified brand logos. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 135.

[025]   Muth, C., Albrecht, S., Markovic, S., & Carbon, C. C. (2017). “Aha”ptics: Experiencing and enjoying an aesthetic aha during haptic exploration. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 117.

[024]   Röder, S., Fink, B., & Carbon, C. C. (2017). Men’s perception of women’s personality from static and dynamic visual cues. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 115.

[023]   Poungjit, A., & Carbon, C. C. (2017). Reflecting and optimizing the terminology of prosopagnosia research. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 105.

[022]   Raab, M. H., & Carbon, C. C. (2017). The clear-cut water drop: A visual illusion to perceive top-down saccadic fill-in. Illusion poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 84.

[021]    Carbon, C. C. (2017). The moon illusion revisited: New insights by employing the moon diary app in the field. Oral talk presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 64.

[020]   Schneider, T. M., & Carbon, C. C. (2017). How a face becomes familiar? Episodic facial prototypes and representations are generated across the life-span. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 34.

[019]   Brütting, U., & Carbon, C. C. (2017). Ekman’s expression research revisited: Theoretically and empirically checking the current standards of emotion expression research. Poster presented at the European Conference on Visual Perception 2017, Berlin, Germany. Retrieved from URL: http://journals.sagepub.com/page/pec/collections/ecvp-abstracts/index/ecvp-2017 on 5 March 2018; page 29.

[018]   Utz, S., & Carbon, C. C. (2017). Do the perceived balance, harmony, and liking of original Mondrian paintings differ from Mondrian-like variant?Art & Perception, 5(4), 414-414.

[017]   Raab, M. H., Waechter, H., Mchedlidze, T. & Carbon, C. C. (2017). The relation of graph visualization and aesthetics: An empirical approach. Art & Perception, 5(4), 404-404.

[016]   Pastukhov, A., & Carbon, C. C. (2017). Painted light: What 10000 pictures reveal about the source of light across ten centuries.Art & Perception, 5(4), 403-403.

[015]   Wehrle, T., Schifferstein, H. N. J., & Carbon, C. C. (2017). Consumer expectations for vegetables with atypical colors: the case of carrots. Art & Perception, 5(4), 420-420.

[014]   Ortlieb, S. A., Fischer, U. C., Moosmann, A. & Carbon, C. C. (2017). Let’s talk about gender: Linking aesthetic preferences to assertiveness and nurturance.Art & Perception, 5(4), 400-400.

[013]   Muth, C., Carbon, C. C., & Westphal-Fitsch, G. (2017). Experiencing (dis)order: simplicity and order might be appealing but interesting patterns are those that diverge from an obvious order.Art & Perception, 5(4), 370-370.

[012]    Carbon, C. C. (2017). True art experience: What we can learn from ecological contexts, settings, and material. Art & Perception, 5(4), 365-365.

[011]    Utz, S., & Carbon, C. C. (2014). Do task demands influence the perception of symmetry? Journal of Vision, 14(10), 91-91.

[010]   Renzi, C., Schiavi, S., Carbon, C. C., Vecchi, T., Silvanto, J., & Cattaneo, Z. (2014). Featural and Configural processing of faces are dissociated in the dorsolateral prefrontal cortex: A TMS study. Clinical Neurophysiology, 124(10), e86.

[009]    Utz, S., & Carbon, C. C. (2013). Does the direction of dimensional changes influence reaction time costs in visual search? Journal of Vision, 13(9), 688-688.

[008]    Carbon, C. C. (2012). Dynamics of aesthetic appreciation. Proceedings of the SPIE (International Society for Optics and Photonics, 8291, 82911A.

[007]    Carbon, C. C. (2009). What “exactly” is a prototype? Not sure, but average objects are not necessarily good candidates for..... Journal of Vision, 9(8), 512-512.

[006]    Augustin, M. D., Fuchs, H., Defrancheschi, B., Carbon, C. C., & Hutzler, F. (2009). Style follows content revisited: Evidence from an ERP study. Journal of Vision, 9(8), 1080-1080.

[005]    Carbon, C. C. (2007). When stability means flexibility! Familiar faces under permanent adaptation. Journal of Vision, 7(9), 880-880.

[004]    Carbon, C. C., Leder, H., Grueter, T., Grueter, M., Weber, J. E., & Lueschow, A. (2006). Reduced configural processing abilities in congenital prosopagnosia. Journal of Vision, 6(6), 433-433.

[003]   Lueschow, A., Weber, J., Sander, T., Carbon, C. C., Grueter, T., Grueter, M., Trahms, L., & Curio, G. (2007). A combination of electrophysiological and behavioural data as objective measure of the impairment in congenital prosopagnosia. Clinical Neurophysiology, 118(4), 72-72.

[002]   Lueschow, A., Weber, J. E., Sander, T., Carbon, C. C., Grueter, T., Grueter, M., et al. (2006). A combination of electrophysiological and behavioural data as objective measure of the impairment in congenital prosopagnosia. Klinische Neurophysiologie, 37, A145.

[001]    Weber, J. E., Sander, T., Carbon, C. C., Grueter, T., Grueter, M., Curio, G., Trahms, L., Lueschow, A. (2006). Characterization of subjects with congenital prosopagnosia by combined electrophysiological and behavioural data. Journal of Vision, 6(6), 657-657.

 

Further publications
(varia 2)

[27] Meissner, U., & Carbon, C. C. (2021). „Co-Ki“ – Keine Unterstützung der Kinderärzte zur Versorgung von Eltern mit evidenzbasierten Informationen. Commentary on: Schwarz, S., Jenetzky, E., Krafft, H. et al. (2021) Coronakinderstudien „Co-Ki“: erste Ergebnisse eines deutschlandweiten Registers zur Mund-Nasen-Bedeckung (Maske) bei Kindern. Monatsschrift Kinderheilkunde, 169, 353–365.

[26] Carbon, C. C. (2020). Wat is kunst [What is art], EOS Psyche & Brein, 2020, 12-17.

[25] Brandenstein, N., & Carbon, C. C. (2020). Verurteilt auf den ersten Blick? Über die Hintergründe und die Macht des ersten Eindrucks. The Inquisite Mind, 2020(1).

[24] Carbon, C. C. (2020). Kunst: Der andere Blick [Art: Looking at with different eyes], Gehirn & Geist, 2020(2), 20-25.

[23] Carbon, C. C. (2019). Interieurgestaltung mit Methoden der Psychologie [design of interiors by means of psychological methods], ATZ Extra(Sonderheft IAA), 30-32.

[22] Carbon, C. C. (2019). Über die Wahrnehmung und Wertschätzung von Regionen [On the perception and appreciation of regions], Kropf Solutions.

[21] Carbon, C. C. & Ortlieb, S. A. (2019). Was unterscheidet Kunst von Kitsch? [What is the difference between Art and Kitsch?], Gehirn & Geist.

[20] Carbon, C. C. (2018). Understanding human perception by Human Illusions. in Chinpilas, T.: Seeing Red.

[19] Carbon, C. C. (2016). Der öffentliche Raum in den Köpfen [The public space in our minds]. DEMO:POLIS - Das Recht auf Öffentlichen Raum. Park Books, Zürich (pp. 72-73).

[18] Carbon, C. C. (2016). Warum wir fotografieren: Über den langen Traum der Menschheit, ewig zu sein. fotoMAGAZIN, 2016(4), 28-28.

[17] Carbon, C. C. (2015). Predicting Preferences for Innovative Design: The “Repeated Evaluation Technique” (RET). GfK Marketing Intelligence Review, 7(2), 34-39. [PDF][DirectLink GfK]

[16] Carbon, C. C. (2014). Warum wollen Menschen bei uns braun werden? [Why do people like a teint?]. National Geographic, 8, 22-22.

[15] Raab, M. & Carbon, C. C. (2014). Mona Lisa lächelt in 3D [Mona Lisa smiles in 3D]. Denken – Fühlen – Handeln, uni.vers Forschung, 10-13.

[14] Carbon, C. C., & Albrecht, S. (2013). Towards a culture of an ongoing reconsideration and replication of findings in psychological science. The Irish Psychologist, 39(12), 304-205.

[13] Raab, M. H., Muth, C., Carbon, C. C. (2013). M5oX: Methoden zur multidimensionalen und dynamischen Erfassung des Nutzererlebens. Mensch & Computer, Workshopband, 155-163.

[12] Harsányi, G., Gebauer, F., Kraemer, P., & Carbon, C. C. (2013). Design Evaluation: Zeitliche Dynamik ästhetischer Wertschätzung. Mensch & Computer, Workshopband, 145-153.

[11] Carbon, C. C. (2013). Haptische User Experience. Mensch & Computer, Workshopband, 165-172.

[10] Ortlieb, S., Streffing, G., & Carbon, C. C. (2013). Ein System für alle Fälle: Entwicklung eines intelligenten Hausnotrufsystems im Dialog mit den zukünftigen Nutzern. Mensch & Computer, Workshopband, 345-348.

[09] Carbon, C. C. (2012). Top oder Flop? Wie man zukünftiges Gefallen erforscht [Top or Flop? How to find out what will be liked in the future]. InteriorFashion, 2, 1-2.

[08] Schmid, U., Grossmann, P., Wachter, M., Raab, M., Carbon, C.-C., Faerber, S. J. (2011). How visible are different variations of spatial features and relations in logos and how does visibility affect prototype generation? Post-Proceedings of the KI'11 Workshop Visibility in Information Spaces and in Geographic Environments, 25-36

[07] Schmid, U., Faerber, S. J., Raab, Marius, Björn, Ivens, & Carbon, C. C. (2011). Schön ist, was man kennt [Beautiful is, what someone knows]. Digital Humanities: Technologien für die Geisteswissenschaften, 40-43.

[06] Carbon, C. C. (2011). Living on a sphere does not prevent to think and behave like living on a plain. SciTopics. http://www.scitopics.com/ [PDF]

[05] Carbon, C. C. (2010). Adaptation as a basis of triggering long-term design and fashion trends. SciTopics. http://www.scitopics.com/ [PDF]

[04]    Schabmann, A., Leidenfrost, B., Gomes, C., Strassnig, B., Feuchtl, S. & Carbon, C. C. (2007). Support for Freshmen at a Mass-University Program - The Cascaded Blended Mentoring Project (CBM). http://edoc.mpg.de

[03]    Carbon, C. C., Schwarz, M., Jenkel, N., & Harsanyi, G. (2004). Banking der Zukunft: Entwicklung des Retailbanking im Spannungsfeld von Kundenwünschen und Rentabilitätsforderungen. Eine empirische Studie zur Zufriedenheit der Bankkunden im deutschsprachigen Raum. Nominated for the Postbank Finance Award 2003/2004.

[02]    Schumacher, S., & Carbon, C. C. (2000). Telearbeit. Entwicklung einer Strategie zur Integration von behinderten Menschen. In Bundesministerium für Arbeit und Soziales (Eds.), Berufliche Integration durch Innovationen in der Arbeitsorganisation in Verbindung mit neuen Technologien (112 pages).

[01]    Carbon, C. C. (2001). The DADA faces. A standardized face databank: Faces with different affective states from different angles. Unpublished manuscript. Berlin, Freie Universität Berlin.

 

Books

[02]    Carbon, C. C., Faix, W. G., Kisgen, S., Mergenthaler, J., Muralter, F., Schwinn, A., Windisch, L. (2021). Steinbeis-Innovationsstudie. Eine Metastudie über die Innovationsfähigkeit und -tätigkeit der Volkswirtschaften Brasilien, China, Deutschland, Schweiz und USA. Stuttgart: Steinbeis-Edition.

[01]    Raab, M. H., Carbon, C. C., & Muth, C. (2017). Am Anfang war die Verschwörungstheorie. Heidelberg: Springer.

 

Book Chapters

[09]   Carbon, C. C. (in press). The Umwelt for Creative Design addressing existential global challenges. In J. S. Gero & M. L. Maher (Eds.), Computational and cognitive models of creative design. Berlin: Springer.

[08]   Ortlieb, S. A., Fischer, U. C. & Carbon, C. C. (2019). Männerphantasien – der Ursprung unserer Ideen vom Erhabenen und Schönen? In Schwender, C., Schwarz, S., Lange, B. P., & Huckauf, A. (Eds.), Geschlecht und Verhaltens aus evolutionärer Perspektive (S. 273-292). Lengerich: Pabst Science Publishing.

[07]   Carbon, C. C. (2018). Empirical Aesthetics: In quest of a clear terminology and valid methodology. In Kapoula, Z., Volle, E., Renoult, J., & Andreatta, M. (Eds.), Exploring Transdisciplinarity in Art and Sciences (S. 107-119). Springer: Heidelberg.

[06]   Ortlieb, S. A., & Carbon, C. C. (2017). Kitsch oder Coping? Die biologischen Grundlagen der sozialen Motivation als Determinanten des ästhetischen Erlebens. In Schwender, C., Lange, B. P. & Schwarz, S. (Eds.), Evolutionäre Ästhetik (S. 145-162). Lengerich: Pabst Science Publishing.

[05]   Carbon, C. C. (2016). New perspectives on design research via psychology and neuroscience. In P. Cash, T. Stanković, & M. Štorga (Eds.), Experimental design research: Exploring complex design activity (pp. 113-126; 1. ed.). Berlin: Springer.

[04]    Carbon, C. C. (2015). Wahrnehmungspsychologie [Perceptual Psychology]. In A. Schütz, M. Brand, H. Selg & S. Lautenbacher (Eds.), Psychologie. Eine Einführung in ihre Grundlagen- und Anwendungsfelder [Psychology. An introduction to its basic and applied fields] (pp. 42-52; 5. ed.). Stuttgart: Kohlhammer.

[03]    Carbon, C. C. (2009). European Publication issues from an Austrian perspective. In E. Weichselgartner, M. Uhl & G. Krampen (Hrsg.), European publication issues in Psychology (S. 184-193).

[02]    Strassnig, B., Leidenfrost, B., Schabmann, A., & Carbon, C. C. (2007). Cascaded Blended Mentoring Unterstützung von StudienanfängerInnen in der Studieneingangsphase. In M. Merkt, K. Mayrberger, R. Schulmeister, A. Sommer & I. van den Berk (Hrsg.), Studieren neu erfinden – Hochschulen neu denken (S. 318-327). Münster: Waxmann.

[01]    Schwaninger, A., Carbon, C. C., & Leder, H. (2003). Expert face processing: Specialisation and constraints. In Schwarzer, G., & Leder, H. (Eds.), The Development of Face Processing (pp. 81-97). Ashland, OH, US: Hogrefe & Huber Publishers.

 

Book Reviews

[03]    Carbon, C. C. (2018). Carbon on A. Lothian’s “The science of scenery: How we view scenic beauty, what it is, why we love it, and how to measure and map it”. Perception, 47(4), 470-471.

[02]    Carbon, C. C. (2014). Carbon on G. Gabrielle Starr’s “Feeling Beauty: The Neuroscience of Aesthetic Experience“. Perception, 43(2/3), 226-228.

[01]    Pohlandt, A., & Carbon, C. C. (2010). Human Factors. Zeitschrift für Arbeits- und Organisationspsychologie, 54(3), 142-144.

 

Theses

[4]    Carbon, C. C. (2006). On the processing and representation of complex visual objects. (Habilitation thesis). University of Vienna, Vienna. 451 pages.

[3]    Carbon, C. C. (2003). Face Processing: early processing in the recognition of faces. (Doctoral thesis). Berlin: DARWIN, Freie Universität Berlin, URL:http://www.diss.fu-berlin.de/2003/35/. 216 pages.

[2]    Carbon, C. C. (1999). Konnektionistische Systeme: Simuliertes 'Bewußtsein' oder Bewußtsein selbst? [Connectionism: may connectionist systems develop a form of consciousness?]. M.A. thesis for Philosophy (Magisterarbeit). Universität Trier. 109 pages.  

[1]    Carbon, C. C. (1998). Emotionale und konfigurale Einflüsse auf die Verarbeitung räumlicher Informationen [Influences of emotional and configural variables on the processing of spatial information]. Diploma thesis for Psychology (Diplomarbeit). Universität Trier. 128 pages.