Дизайн для реального мира

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^{__. Prescription for Rebellion. New York: Rinehart, 1952.}

^{Neumann, Erich. The Archetypal World of Henry Moore. Londor:}

^{Routledge & Kegan Paul, 1959.}

^{Parnes, Sidney, and Harding, H. A Source Book of Creative Thinking.}

^{New York: Scribner, 1962.}

^{Peris, F.S. Ego, Hunger and Aggression. New York: Random Houses, 1969.}

^{___. Gestalt Therapy Verbatim. Edited by J. Stephens. Lafayette, California:}

^{Real People Press, 1969.}

^{___. In and Out of the Garbage Pail. Lafayette, California:}

^{Real People Press, 1969.}

^{Petermann, Bruno. The Gestalt Theory and the Problem of Configuration.}

^{New York: Harcourt, Brace, 1932.}

^{Rawlins, Ian. Aesthetics and the Gestalt. London: Nelson, 1953.}

^{Reich, Wilhelm. The Cancer Biopathy.}

^{New York: Orgone Institute Press, n.d.}

^{___. The Function of the Orgasm. London: Panther, 1968.}

^{___. The Mass Psychology oj Fascism. New York: Orgone Institute Press, 1946.}

^{___. Selected Writings: An Introduction to Orgonomy.}

^{New York: Vision Press, 1972.}

^{___. The Sexual Revolution. New York: Vision Press, 1969.}

^{Rolf, Dr. Ida P. Structural Integration.}

^{Santa Monica, California: Esalen Press, 1962.}

^{Ruesch, Jurgen. Communication. New York: Norton, 1951.}

^{___. Disturbed Communication. New York: Norton, 1957.}

^{___. Non-Verbal Communication.}

^{Berkeley: University of California Press, 1956.}

^{Shanks, Michael. The Innovators. Middlesex: Penguin, 1967.}

^{Smith, Paul. Creativity. New York: Hastings House, 1959.}

^{Spence, Lewis. Myth and Ritual in Dance, Came and Rhyme.}

^{London: Watts Ltd., 1947.}

^{Vernon, Magdalen D. A Further Study of Visual Perception.}

^{Cambridge: Cambridge University Press, 1952.}

^{Wertham, Fredric. Dark Legend. New York: Paperback Library, 1966.}

^{___. Seduction of the Innocent. New York: Macmillan, 1954.}

 ^{– The Show of Violence. New York: Paperback Library, 1966.}

^{___. A Sign for Cain: An Exploration of Human Violence.}

^{New York: Macmillan, 1966.}

^{Wiener, Norbert. Cybernetics. New York: Wiley, 1948.}

^{___. The Human Use of Human Beings. London: Sphere, 1969.}

^{Массовая культура, социальные факторы и дизайн}

^{Adams, Brooks. The Law of Civilization and Decay. New York: Vintage, n.d.}

^{Arensberg, Conrad M., and Niehoff, Arthur H. Introducing Social Change.}

^{Chicago: Aldine, 1964.}

^{Boorstin, Daniel J. The Image: A Guide to Pseudo-Events in America.}

^{New York: Harper & Row, 1964.}

^{Brightbill, Charles K. The Challenge of Leisure. New York: Spectrum, 1960.}

^{Brown, James A.C. Techniques of Persuasion. Middlesex: Penguin, 1963.}

^{Cassirer, Ernst. An Essay on Man. New Haven, Connecticut:}

^{Yale University Press, 1944.}

^{___. Language and Myth. New York: Harper & Brothers, 1946.}

^{___. The Myth of the State. London: Oxford University Press, 1946.}

^{Galbraith, John Kenneth. The Voice of the Poor.}

^{Cambridge, Massachusetts: Harvard University Press, 1983.}

^{Goodman, Paul. Art and Social Nature.}

^{New York: Arts and Science Press, 1946.}

^{___. Compulsory Mis-education. Middlesex: Penguin, 1971.}

^{___. Drawing the Line. New York: Random House, 1962.}

^{___. Growing Up Absurd. London: Sphere, 1970.}

^{___. Like a Conquered Province: The Moral Ambiguity of America.}

^{New York: Random House, 1967.}

^{___. Notes of a Neolithic Conservative. New York: Random House, 1970.}

^{___. Utopian Essays and Practical Proposals . New York: Vintage, 1964.}

^{Gorer, Geoffrey . Hot Strip Tease. London: Graywells Press, 1934.}

^{Gurko, Leo . Heros, Highbrows and the Popular Mind.}

^{New York: Charter Books, 1962.}

^{Hofstadter, Richard. Anti-intellectualism in American Life.}

^{London: Jonathan Cape, 1964.}

^{Hofstadter, Richard, and Wallace, Michael. American Violence.}

^{New York: Knopf, 1970.}

^{Jacobs, Norman (ed.). Culture for the Millions? Boston: Beacon, 1964.}

^{Joad, C.E.M. Decadence. London: Faber, 1948.}

^{Kefauver, Estes. In a Few Hands: Monopoly Power in America.}

^{Middlesex: Penguin, 1966.}

^{Kerr, Walter. The Decline of Pleasure.}

^{New York: Simon & Schuster, 1964.}

^{Kronhausen, Dr. Phyllis, and Kronhausen, Dr. Eberhard. Erotic Art.}

^{London: W.H. Alien, 1971.}

^{___. The First International Exhibition of Erotic Art. Catalogue.}

^{Copenhagen, Denmark: Uniprint, 1968.}

^{___. The Second International Exhibition of Erotic Art. Catalogue.}

^{Copenhagen, Denmark: Uniprint, 1969.}

^{Kiinen, James Simon. The Strawberry Statement: Notes of a College}

^{Revolutionary. New York: Random House, 1969.}

^{Larrabee, Eric, and Meyersohn, Rolf (eds.). Mass Leisure.}

^{New York: Free Press, 1958.}

^{Legman, Gershon. The Fake Revolt.}

^{New York: The Breaking Point Press, 1966.}

^{___. Love and Death: A Study in Censorship .}

^{New York; The Breaking Point Press, 1949.}

^{___. (ed.). Neurotica: 1948-1951. New York: Hacker, 1963.}

^{___. Rationale of the Dirty Joke: An Analysis of Sexual Humour.}

^{London: Panther, 1972.}

^{Levy, Mervyn. The Moons of Paradise: Reflections on the Female Breast in Art.}

^{New York: Citadel, 1965.}

^{MacDonald, Dwight. Masscult and Midcult.}

^{New York: Random House, 1961.}

^{McLuhan, Marshall. Culture is Our Business. New York: McGraw-Hill, 1970.}

^{___. The Gutenberg Galaxy. London: Routledge & Kegan Paul, 1962.}

^{___. The Mechanical Bride. London: Routledge & Kegan Paul, 1967.398 Библиография}

^{___. Understanding Media. London: Routledge & Kegan Paul, 1964}

^{___. and Carpenter, Edmund. Explorations in Communication.}

^{London: Jonathan Cape, 1970.}