Rebecca Chamberlain
Affiliations: | Goldsmiths, University fo London |
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Publications
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Chamberlain R, Kozbelt A, Drake JE, et al. (2019) Learning to see by learning to draw: A longitudinal analysis of the relationship between representational drawing training and visuospatial skill. Psychology of Aesthetics, Creativity, and the Arts |
Chamberlain R, Drake JE, Kozbelt A, et al. (2019) Artists as experts in visual cognition: An update. Psychology of Aesthetics, Creativity, and the Arts. 13: 58-73 |
Chamberlain R, Brunswick N, Siev J, et al. (2018) Meta-analytic findings reveal lower means but higher variances in visuospatial ability in dyslexia. British Journal of Psychology (London, England : 1953) |
Chamberlain R, Swinnen L, Heeren S, et al. (2017) Perceptual flexibility is coupled with reduced executive inhibition in students of the visual arts. British Journal of Psychology (London, England : 1953) |
Chamberlain R, Van der Hallen R, Huygelier H, et al. (2017) Local-global processing bias is not a unitary individual difference in visual processing. Vision Research |
Chamberlain R, Wagemans J. (2015) Visual arts training is linked to flexible attention to local and global levels of visual stimuli. Acta Psychologica. 161: 185-97 |
Chamberlain R, McManus IC, Brunswick N, et al. (2014) Drawing on the right side of the brain: a voxel-based morphometry analysis of observational drawing. Neuroimage. 96: 167-73 |
Chamberlain R, McManus IC, Riley H, et al. (2013) Local processing enhancements associated with superior observational drawing are due to enhanced perceptual functioning, not weak central coherence. Quarterly Journal of Experimental Psychology (2006). 66: 1448-66 |
McManus I, Loo PW, Chamberlain R, et al. (2011) Does shape constancy relate to drawing ability? two failures to replicate Empirical Studies of the Arts. 29: 191-208 |
McManus IC, Chamberlain R, Loo PW, et al. (2010) Art Students Who Cannot Draw: Exploring the Relations Between Drawing Ability, Visual Memory, Accuracy of Copying, and Dyslexia Psychology of Aesthetics, Creativity, and the Arts. 4: 18-30 |