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  1. The architect's brain: neuroscience, creativity, and architecture.Harry Francis Mallgrave - 2010 - Malden, MA: Wiley-Blackwell.
    Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The phenomenal (...)
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  • Social Science and Neuroscience beyond Interdisciplinarity: Experimental Entanglements. Des Fitzgerald & Felicity Callard - 2015 - Theory, Culture and Society 32 (1):3-32.
    This article is an account of the dynamics of interaction across the social sciences and neurosciences. Against an arid rhetoric of ‘interdisciplinarity’, it calls for a more expansive imaginary of what experiment – as practice and ethos – might offer in this space. Arguing that opportunities for collaboration between social scientists and neuroscientists need to be taken seriously, the article situates itself against existing conceptualizations of these dynamics, grouping them under three rubrics: ‘critique’, ‘ebullience’ and ‘interaction’. Despite their differences, each (...)
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  • Experiencing Architecture.Steen Eiler Rasmussen - 1961 - Journal of Aesthetics and Art Criticism 19 (3):357-358.
  • Embodiment and enculturation: the future of architectural design.Harry Francis Mallgrave - 2015 - Frontiers in Psychology 6:155356.
    A half-century ago the Dutch architect Aldo van Eyck encouraged designers to think about “space and time” not as abstractions in themselves but rather as cultural events better approached through the medium of “place and occasion.” Van Eyck made this point on the basis of his own travels and through his extensive readings in cultural anthropology, and his prescience is only now acquiring the credibility that it deserves through the work of a multitude of interdisciplinary researchers. Phenomenologists argue that we (...)
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  • The turn to affect: A critique.Ruth Leys - 2011 - Critical Inquiry 37 (3):434-472.
  • 'Nature and I are Two': A Critical Examination of the Biophilia Hypothesis.Yannick Joye & Andreas De Block - 2011 - Environmental Values 20 (2):189 - 215.
    In 1984, Edward O. Wilson proposed the idea that natural selection has resulted in an adaptive love of life-forms and life—like processes ('biophilia') in humans. To date, the idea of biophilia has been viewed as an ultimate explanation of many conservation attitudes in humans. In this paper, we contend that environmental ethics has little to gain from the biophilia hypothesis. First, the notion is open to various and even conflicting interpretations. Second, the empirical findings that do seem to corroborate a (...)
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  • 'Nature and I are Two': A Critical Examination of the Biophilia Hypothesis.Yannick Joye & Andreas De Block - 2011 - Environmental Values 20 (2):189-215.
    In 1984, Edward O. Wilson proposed the idea that natural selection has resulted in an adaptive love of life-forms and life-like processes ('biophilia') in humans. To date, the idea of biophilia has been viewed as an ultimate explanation of many conservation attitudes in humans. In this paper, we contend that environmental ethics has little to gain from the biophilia hypothesis. First, the notion is open to various and even conflicting interpretations. Second, the empirical findings that do seem to corroborate a (...)
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  • The Ecological Approach to Visual Perception.Marc H. Bornstein - 1980 - Journal of Aesthetics and Art Criticism 39 (2):203-206.
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  • The Ecological Approach to Visual Perception: Classic Edition.James J. Gibson - 1979 - Houghton Mifflin.
    This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...)
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  • Body, Memory and Architecture.Kent C. Bloomer & Charles W. Moore - 1978 - Journal of Aesthetics and Art Criticism 37 (1):113-114.
  • The Eyes of the Skin: Architecture and the Senses.Juhani Pallasmaa - 2012 - Wiley.
    First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that (...)
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  • Ignorance: How It Drives Science.Stuart Firestein - 2012 - Oxford University Press.
    Machine generated contents note: -- Chapter 1. A Short View of Ignorance -- Chapter 2. Finding Out -- Chapter 3. Limits, Uncertainty, Impossibility, and Other Minor Problems -- Chapter 4. Unpredicting -- Chapter 5. The Quality of Ignorance -- Chapter 6. Ignorance in Action: Case Histories -- Chapter 7. Ignorance beyond the Lab.
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  • The Visual Brain in Action.A. David Milner & Melvyn A. Goodale - 1995 - Oxford University Press.
    Although the mechanics of how the eye works are well understood, debate still exists as to how the complex machinery of the brain interprets neural impulses...
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  • Eye and Mind.Maurice Merleau-Ponty - 1964 - In The Primacy of Perception. Evanston, USA: Northwestern University Press. pp. 159-190.
     
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  • The visual brain in action (precis).David Milner - 1998 - PSYCHE: An Interdisciplinary Journal of Research On Consciousness 4.
    First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book has provoked (...)
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