Век самопознания. Поиски бессознательного в искусстве и науке с начала XX века до наших дней - Эрик Кандель

Gregory, R. L., and E. H. Gombrich, eds. Illusion in Nature and Art. New York: Scribner, 1980.

Helmholtz, H. von Treatise on Physiological Optics (1910). Southall, J. P. C., editor & translator. New York: Dover, 1925.

Henle, M. 1879 and All That: Essays in the Theory and History of Psychology. New York: Columbia University Press, 1986.

Hoffman, D. D. Visual Intelligence: How We Create What We See. New York: W. W. Norton, 1998.

Kemp, W. Introduction / In: Riegl, A. The Group Portraiture of Holland. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. P. 1.

King, D. B., and M. Wertheimer Max Wertheimer and Gestalt Theory. New Brunswick, NJ, and London: Transaction Publishers, 2004.

Kopecky, V. Letters to and from Ernst Gombrich regarding Art and Illusion, including some comments on his notion of “schema and correction” // Journal of Art Historiography 3 (2010).

Kris, E. Die Charakterköpfe des Franz Xaver Messerschmidt: Versuch einer historischen und psychologischen Deutung // Jahrbuch der Kunst-historischen Sammlungen. Wien 4 (1932): 169–228.

Kris, E. Ein geisteskranker Bildhauer (Die Charakterköpfe des Franz Xaver Messerschmidt) // Imago 19 (1933): 381–411.

Kris, E. The psychology of caricature // International Journal of Psycho-Analysis 17 (1936): 285–303.

Kris, E. Psychoanalytic Explorations in Art. New York: International Universities Press, 1952.

Kuspit, D. A little madness goes a long creative way // Artnet Magazine Online, 2010. См.: http://www.artnet.com/magazineus/features/kuspit/franzxaver-messerschmidt10-7-10.asp.

Mamassian, P. Ambiguities and conventions in the perception of visual art // Vision Research 48 (2008): 2143–2153.

Meulders, M. Helmholtz: From Enlightenment to Neuroscience. Cambridge, MA: MIT Press, 2010.

Mitrović, B. A defense of light: Ernst Gombrich, the Innocent Eye and seeing in perspective // Journal of Art Historiography 3 (2010): 1–30.

Neisser, U. Cognitive Psychology. New York: Appleton-Century-Crofts, 1967.

Persinger, C. Reconsidering Meyer Schapiro in the New Vienna School // Journal of Art Historiography 3 (2010): 1–17.

Popper, K. The Logic of Scientific Discovery. London and New York: Routledge, 1992.

Riegl, A. The Group Portraiture of Holland. Intro. by W. Kemp. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999.

Rock, I. Perception. San Francisco: W. H. Freeman, 1984.

Roeske, T. Traces of psychology: The art historical writings of Ernst Kris // American Imago 58 (2001): 463–474.

Rose, L. Daumier in Vienna: Ernst Kris, E. H. Gombrich, and the politics of caricature // Visual Resources 23 (1–2) 2007: 39–64.

Rose, L. Psychology, Art, and Antifascism: Ernst Kris, E. H. Gombrich, and the Caricature Project. Fordham University Press. In press. 2011.

Sauerländer, W. It’s all in the head: Franz Xaver Messerschmidt, 1736–1783: From Neoclassicism to Expressionism // New York Review of Books 57 (16) 2010.

Schapiro, M. The New Viennese School / In: The Vienna School Reader: Politics and Art Historical Method in the 1930s. C. S. Wood, ed. New York: Zone Books, 2000.

Schapiro, M. Theory and Philosophy of Art: Style, Artist, and Society. New York: George Braziller, 1998.

Schorske, C. E. Fin-de-Siècle Vienna: Politics and Culture. New York: Vintage Books, 1981.

Simpson, K. Viennese art, ugliness, and the Vienna School of Art History: The vicissitudes of theory and practice // Journal of Art Historiography 3 (2010): 1–14.

Wickhoff, F. Roman Art: Some of Its Principles and Their Application to Early Christian Painting. A. Strong, translator & editor. New York: Macmillan, 1900.

Worringer, W. Abstraction and Empathy: A Contribution to the Psychology of Style. New York: International University Press, 1908.

Wurtz, R. H., and E. R. Kandel Construction of the Visual Image / In: Principles of Neural Science. 4th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, eds. New York: McGraw-Hill, 2000. Pp. 492–506.

Глава 12. Мозг как творческий аппарат

Ferretti, S. Cassirer, Panofsky, and Warburg: Symbols, Art, and History. New Haven: Yale University Press, 1989.

Friedlander, M. J. On Art and Connoisseurship (Von Kunst und Kennerschaft). Berlin: Bruno Cassirer Ltd., 1942.

Gombrich, E. H. Art and Illusion. A Study in the Psychology of Pictorial Representation. Princeton and Oxford: Princeton University Press, 1960.

Handler-Spitz, E. Psychoanalysis and the aesthetic experience / In: Art and the Psyche. New Haven: Yale University Press, 1985. Pp. 55–65.

Holly, M. A. Panofsky and the Foundations of Art History. Ithaca, NY: Cornell University Press, 1984.

Necker, L. A. Observations on some remarkable optical phenomena seen in Switzerland, and on an optical phenomenon which occurs on viewing a figure of a crystal or geometrical solid // London and Edinburgh Philosophical Magazine and Journal of Science 1 (5) 1832: 329–337.

Panofsky, E. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. Boulder, CO: Westview Press, 1939.

Rock, I. Perception. San Francisco: W. H. Freeman, 1984.

Rose, L. Psychology, Art and Antifascism: Ernst Kris, E. H. Gombrich, and the Caricature Project. Manuscript (2010).

Searle, J. Minds, Brains, and Science (1984 Reith Lectures). Cambridge, MA: Harvard University Press, 1986.

Wittgenstein, L. Philosophical Investigations. New York: Macmillan, 1967.

Глава 13. Начало новой живописи

Gauss, C. E. The Aesthetic Theories of French Artists: 1855 to the Present. Baltimore: Johns Hopkins University Press, 1949.

Gombrich, E. H. The Story of Art. London: Phaidon Press, 1950.

Gombrich, E. H. Kokoschka in His Time. Lecture Given at the Tate Gallery on July 2, 1986. London: Tate Gallery Press, 1986.

Hughes, R. The Shock of the New: The Hundred-Year History of Modern Art – Its Rise, Its Dazzling Achievement, Its Fall. 2nd ed. London: Thames and Hudson, 1991.

Novotny, F. Cézanne and the End of Scientific Perspective. Excerpts / In: The Vienna School Reader: Politics and Art Historical Method in the 1930s. C. S. Wood, ed. New York: Zone Books, 2000. Pp. 379–438.

Глава 14. Обработка мозгом зрительных образов

Crick, F. The Astonishing Hypothesis: The Scientific Search for the Soul. New York: Charles Scribner’s Sons, 1994.

Daw, N. How Vision Works. New York: Oxford University Press, 2012.

Frith, C. Making Up the Mind. How the Brain Creates Our Mental World. Malden, MA: Blackwell Publishing, 2007.

Gombrich, E. H. The Image and the Eye: Further Studies in the Psychology of Pictorial Representation. London, Phaidon Press, 1982.

Gregory, R. L. Seeing Through Illusions. New York: Oxford University Press, 2009.

Hoffman, D. D. Visual Intelligence: How We Create What We See. New York: W. W. Norton, 1998.

Kemp, M. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven and London: Yale University Press, 1992.

Miller, E., and J. P. Cohen An integrative theory of prefrontal cortex function // Annual Review of Neuroscience 24 (2001): 167–202.

Movshon, A., and B. Wandell Introduction to Sensory Systems / In: The Cognitive Neurosciences III. M. S. Gazzaniga, ed. Boston: MIT Press, Bradford Books, 2004. Pp. 185–187.

Olson, C. R., and C. L. Colby The Organization of Cognition / In: Principles of Neural Science. 5th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, S. Siegelbaum, J. H. Hudspeth, eds. New York: McGraw-Hill, 2012.

Wurtz, R. H., and E. R. Kandel Constructing the Visual Image / In: Principles of Neural Science. 4th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, eds. New York: McGraw-Hill, 2000. Ch. 25.

Глава 15. Деконструкция зрительных образов: “строительные блоки” восприятия форм

Ball, P. Behind the Mona Lisa’s smile: X-ray scans reveal Leonardo’s remarkable control of glaze thickness // Nature 466 (2010): 694.

Changeux, J. P. Art and neuroscience // Leonardo 27 (3) 1994: 189–201.

Gilbert, C. The Constructive Nature of Visual Processing / In: Principles of Neural Science. 5th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, S. Siegelbaum, J. H. Hudspeth, eds. New York: McGraw-Hill, 2012. Ch. 25.

Hubel, D. H. Eye, Brain, and Vision. New York: W. H. Freeman, 1995.

Hubel, D. H., and T. N. Wiesel Brain and Visual Perception: The Story of a 25-Year Collaboration. New York: Oxford University Press, 2005.

Katz, B. Stephen William Kuffler // Biographical Memoirs of Fellows of the Royal Society 28 (1982): 225–259.

Lennie, P. Color Vision // In: Principles of Neural Science. 4th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, eds. New York: McGraw-Hill, 2000. Pp. 523–547.

Livingstone, M. Vision and Art: The Biology of Seeing. New York: Abrams, 2002.

Mamassian, P. Ambiguities and conventions in the perception of visual art // Vision Research 48 (2008): 2143–2153.

McMahan, U. J., ed. Steve: Remembrances of Stephen W. Kuffler. Sunderland, MA: Sinauer Associates, 1990.

Meister, M., and M. Tessier-Lavigne The Retina and Low Level Vision / In: Principles of Neural Science. 5th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, S. Siegelbaum, J. H. Hudspeth, eds. New York: McGraw-Hill, 2012. Ch. 26.

Purves, D., and R. B. Lotto Why We See What We Do: An Empirical Theory of Vision. Sunderland, MA: Sinauer Associates, 2003.

Sherrington, C. S. The Integrative Action of the Nervous System. Cambridge, MA: University Press, 1906.

Stevens, C. F. Line versus Color: The Brain and the Language of Visual Arts / In: The Origins of Creativity. K. H. Pfenninger, V. R. Shubick, eds. Oxford and New York: Oxford University Press, 2001. Pp. 177–189.

Tessier-Lavigne, M., and P. Gouras Color / In: Essentials of Neural Science and Behavior. E. R. Kandel, J. H. Schwartz, T. M. Jessell, eds. Stamford, CT: Appleton and Lange, 1995. Pp. 453–468.

Trevor-Roper, P. The World through Blunted Sight. Updated edition. Frome, UK: Souvenir Press, Boutler and Tanner, 1998.

Whitfield, T. W. A., and T. J. Wiltshire Colour psychology: A critical review // Genetic, Social and General Psychology Monographs 116 (1990): 387–413.

Wurtz, R. H., and E. R. Kandel Construction of the Visual Image / In: Principles of Neural Science. 4th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, eds. New York: McGraw-Hill, 2000. Ch. 25.

Zeki, S. Inner Vision: An Exploration of Art and the Brain. New York: Oxford University Press, 1999.

Глава 16. Реконструкция видимого мира:зрение и обработка информации

Albright, T. High-Level Vision and Cognitive Influences / In: Principles of Neural Science. 5th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, S. Siegelbaum, J. H. Hudspeth, eds. New York: McGraw-Hill, 2012. Ch. 28.

Cavanagh, P. The artist as neuroscientist // Nature 434 (2005): 301–307.

Daw, N. How Vision Works. New York: Oxford University Press, 2012.

Elsen, A. Drawing and a New Sexual Intimacy: Rodin and Schiele / In: Egon Schiele: Art, Sexuality, and Viennese Modernism. P. Werkner, ed. Palo Alto, CA: The Society for the Promotion of Science and Scholarship, 1994.

Frith, C. Making Up the Mind. How the Brain Creates Our Mental World. Malden, MA: Blackwell Publishing, 2007.

Gombrich, E. H. The Image and the Eye: Further Studies in the Psychology of Pictorial Representation. London, Phaidon Press, 1982.

Gregory, R. L. Seeing Through Illusions. New York: Oxford University Press, 2009.

Hochberg, J. In the Mind’s Eye / In: Contemporary Theory and Research in Visual Perception. R. N. Haber, ed. New York: Holt, Rinehart & Winston, 1968.

Hoffman, D. D. Visual Intelligence: How We Create What We See. New York: W. W. Norton, 1998.

Hubel, D. H., and T. N. Wiesel Brain Mechanisms of Vision / In: The Mind’s Eye: Readings from Scientific American. Intro. by J. M. Wolfe. New York: W. H. Freeman, 1986.

Hubel, D. H., and T. N. Wiesel Brain and Visual Perception: The Story of a 25-Year Collaboration. New York: Oxford University Press, 2005.

Kandel, E. R., Schwartz, J. H., and T. Jessell, eds. Principles of Neural Science. 4th ed. New York: McGraw-Hill, 2000.

Kemp, M. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven and London: Yale University Press, 1992.