Michael Forster
Michael Forster
Consultant for central evaluations and statistics, Vetmeduni Vienna
Verified email at univie.ac.at
Title
Cited by
Cited by
Year
Move me, astonish me… delight my eyes and brain: The Vienna integrated model of top-down and bottom-up processes in art perception (VIMAP) and corresponding affective …
M Pelowski, PS Markey, M Forster, G Gerger, H Leder
Physics of Life Reviews 21, 80-125, 2017
2422017
It felt fluent, and I liked it: subjective feeling of fluency rather than objective fluency determines liking.
M Forster, H Leder, U Ansorge
Emotion 13 (2), 280, 2013
1322013
Image ambiguity and fluency
M Jakesch, H Leder, M Forster
PLoS One 8 (9), e74084, 2013
992013
Beyond the lab: an examination of key factors influencing interaction with ‘real’and museum-based art.
M Pelowski, M Forster, PPL Tinio, M Scholl, H Leder
Psychology of Aesthetics, Creativity, and the Arts 11 (3), 245, 2017
812017
Exploring the subjective feeling of fluency
M Forster, H Leder, U Ansorge
Experimental Psychology, 2016
552016
The glasses stereotype revisited
H Leder, M Forster, G Gerger
Swiss Journal of Psychology, 2011
532011
Private and shared taste in art and face appreciation
H Leder, J Goller, T Rigotti, M Forster
Frontiers in Human Neuroscience 10, 155, 2016
512016
The Vienna Art Interest and Art Knowledge Questionnaire (VAIAK): A unified and validated measure of art interest and art knowledge.
E Specker, M Forster, H Brinkmann, J Boddy, M Pelowski, R Rosenberg, ...
Psychology of Aesthetics, Creativity, and the Arts 14 (2), 172, 2020
392020
Well, if they like it... Effects of social groups’ ratings and price information on the appreciation of art.
JO Lauring, M Pelowski, M Forster, M Gondan, M Ptito, R Kupers
Psychology of Aesthetics, Creativity, and the Arts 10 (3), 344, 2016
362016
Innovation is appreciated when we feel safe: On the situational dependence of the appreciation of innovation
CC Carbon, SJ Faerber, G Gerger, M Forster, H Leder
International Journal of Design 7 (2), 2013
332013
Everything’s relative? Relative differences in processing fluency and the effects on liking
M Forster, G Gerger, H Leder
PloS one 10 (8), e0135944, 2015
182015
It felt fluent but I did not like it: Fluency effects in faces versus patterns
G Gerger, M Forster, H Leder
Quarterly Journal of Experimental Psychology 70 (4), 637-648, 2017
162017
Face inversion increases attractiveness
H Leder, J Goller, M Forster, L Schlageter, MA Paul
Acta psychologica 178, 25-31, 2017
132017
Do I really feel it? The contributions of subjective fluency and compatibility in low-level effects on aesthetic appreciation
M Forster, W Fabi, H Leder
Frontiers in human neuroscience 9, 373, 2015
112015
Indirect (implicit) and direct (explicit) self-esteem measures are virtually unrelated: A meta-analysis of the initial preference task
J Pietschnig, G Gittler, S Stieger, M Forster, N Gadek, A Gartus, ...
PloS one 13 (9), e0202873, 2018
62018
Warm, lively, rough? Assessing agreement on aesthetic effects of artworks
E Specker, M Forster, H Brinkmann, J Boddy, B Immelmann, J Goller, ...
Plos one 15 (5), e0232083, 2020
52020
On the mutual relation between art experience and viewing time.
D Brieber, M Forster, H Leder
Psychology of Aesthetics, Creativity, and the Arts 14 (2), 197, 2020
52020
Does gallery lighting really have an impact on appreciation of art? An ecologically valid study of lighting changes and the assessment and emotional experience with …
M Pelowski, A Graser, E Specker, M Forster, J von Hinüber, H Leder
Frontiers in psychology 10, 2148, 2019
42019
What do we actually hope to accomplish by modeling art experience?: Reply to comments on" Move me, astonish me... delight my eyes and brain: The Vienna Integrated Model of top …
M Pelowski, PS Markey, M Forster, G Gerger, H Leder
Physics of life reviews 21, 159-170, 2017
42017
The kitsch switch—or (when) do experts dislike Thomas Kinkade art? A study of time-based evaluation changes in top-down versus bottom-up assessment.
M Pelowski, G Cabbai, H Brinkmann, J Mikuni, LM Hegelmaier, M Forster, ...
Psychology of Aesthetics, Creativity, and the Arts, 2020
22020
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