Читаем Awe полностью

Today, the passions we feel: Schindler, Ines, Georg Hosoya, Winfried Menninghaus, Ursula Beermann, Valentin Wagner, Michael Eid, and Klaus R. Scherer. “Measuring Aesthetic Emotions: A Review of the Literature and a New Assessment Tool.” PLoS ONE 12, no. 6 (2017): e0178899. https://doi.org/10.1371/journal.pone.0178899.

GO TO NOTE REFERENCE IN TEXT

The question we take on: Gopnik, Blake. “Aesthetic Science and Artistic Knowledge.” In Aesthetic Science: Connecting Minds, Brains, and Experience, edited by Art Shimamura and Steve Palmer. New York: Oxford University Press, 2012. Dennis Dutton and my colleague Keith Oatley have referred to this as the paradox of the arts, that they are obviously acts of the imagination but nevertheless evoke emotions that can feel truthful and informative of the most moral issues of our lives.

GO TO NOTE REFERENCE IN TEXT

“quietly revolutionary”: Sutton, Peter C. Pieter de Hooch, 1629–1684. Hartford, CT: Wadsworth Atheneum, 1998.

GO TO NOTE REFERENCE IN TEXT

Susanne Langer: Langer, Susanne. Feeling and Form. New York: Charles Scribner’s Sons, 1953, 374.

GO TO NOTE REFERENCE IN TEXT

Our language-based theories: Nisbett, Richard E., and Timothy D. Wilson. “Telling More Than We Can Know: Verbal Reports on Mental Processes.” Psychological Review 84, no. 3 (1977): 231–59. https://doi.org/10.1037/0033-295X.84.3.231. This revelatory article would make the point that our theories and words and concepts often do not map onto the more unconscious, automatic, intuitive ways in which we make sense of the world.

GO TO NOTE REFERENCE IN TEXT

Within the study of the brain: For work on visual art and the brain, see: Kawabata, Hidekai, and Semir Zeki. “Neural Correlates of Beauty.” Journal of Neurophysiology 91 (2004): 1699–1705. Nadal, Marcos, and Marcus T. Pearce. “The Copenhagen Neuroaesthetics Conference: Prospects and Pitfalls for an Emerging Field.” Brain and Cognition 76 (2011): 172–83. Chatterjee, Anjan. The Aesthetic Brain: How We Evolved to Desire Beauty and Enjoy Art. New York: Oxford University Press, 2014. Starr, Gabrielle G. Feeling Beauty: The Neuroscience of Aesthetic Experience. Cambridge, MA: MIT Press, 2013. Pelowski, Matthew, Patrick S. Markey, Michael Forster, Gernot Gerger, and Helmut Leder. “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, Evaluative, and Neurophysiological Correlates.” Physics of Life Reviews 21 (2017): 80–125.

GO TO NOTE REFERENCE IN TEXT

the neurochemical signals arrive: Pelowski, Markey, Forster, Gerger, and Leder. “Move Me, Astonish Me . . . Delight My Eyes and Brain.” Starr, Feeling Beauty.

GO TO NOTE REFERENCE IN TEXT

These champions of small awe: Auden, W. H., and Norman Holmes Pearson. Poets of the English Language. Vol. 4. New York: Viking Press, 1950, 18.

GO TO NOTE REFERENCE IN TEXT

There are geometries: Beardsley, Monroe C., Susan L. Feagin, and Patrick Maynard. Aesthetics. Oxford, UK: Oxford University Press, 1997.

GO TO NOTE REFERENCE IN TEXT

This first series of photos: Fisher, Rose-Lynn. Bee. New York: Princeton Architecture Press, 2010. See also: www.rose-lynnfisher.com.

GO TO NOTE REFERENCE IN TEXT

more than one thousand photos: Fisher, Rose-Lynn. The Topography of Tears. New York: Bellevue Literary Press, 2017. For a slideshow of this series, visit https://www.newyorker.com/tech/annals-of-technology/slide-show-the-topography-of-tears.

GO TO NOTE REFERENCE IN TEXT

measures of our body’s physiology: Kreibig, Sylvia D. “Autonomic Nervous System Activity in Emotion: A Review.” Biological Psychology 84 (2010): 394–421.

GO TO NOTE REFERENCE IN TEXT

This book has: Haeckel, E., O. Briedbach, I. Eibl-Eibesfeldt, and R. P. Hartmann. Art Forms in Nature: The Prints of Ernst Haeckel. Munich: Prestel, 1998. These scientific illustrations would inspire many movements in visual design, including the Jugendstil and art nouveau movements.

GO TO NOTE REFERENCE IN TEXT