Дизайн для реального мира

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^{Conrads, Ulrich, and Sperlich, Hans G. The Architecture of Fantasy.}

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^{Danz, Louis. Dynamic Dissonance in Nature and the Arts.}

^{New York: Longmans Green, 1952.}

^{___. It is Still the Morning. New York: Morrow, 1943.}

^{___. Personal Revolution and Picasso. New York: Longmans Green, 1941.}

^{___. The Psychologist Looks at Art. New York: Longmans Green, 1937.}

^{___.ZarathustraJr.. New York: Brentano, 1934.}

^{Dorfles, Gillo. Kitsch: An Anthology of Bad Taste.}

^{London: Studio Vista, 1970.}

^{Ehrenzweig, Anton. The Hidden Order of Art. London: Paladin, 1970.}

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^{Friedmann, Herbert. The Symbolic Goldfinch:}

^{Its History and Significance in European Devotional Art.}

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^{Gamow, George. One, Two, Three... Infinity, rev. ed.}

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^{Gilson, Etienne. Painting and Reality. Princeton, New Jersey:}

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^{Gombrich, E.H. Art and Illusion. Oxford: Phaidon, 1962.}

^{___. Ideals and Idok. New York: E. P. Dutton, 1979.}

^{___. The Image and the Eye. Ithaca: Cornell University Press, 1979.}

^{___. Meditations on a Hobbyhorse. Oxford: Phaidon, 1963.}

^{___. The Sense of Order. Ithaca: Cornell University Press, 1979.}

^{Graves, Robert. The White'Goddess. London: Faber, 1952.}

^{Hatterer, Lawrence J. The Artist in Society: Problems and Treatment of the}

^{Creative Personality. New York: Grove Press, 1965.}

^{Hauser, Arnold. The Social History of Art. 4 vols. London:}

^{Rou-tledge & Kegan Paul, 1951.}

^{Hinz, Berthold. Art in the Third Reich. New York: Pantheon, 1979.}

^{Hogben, Lancelot. From Cave Painting to Comic Strip.}

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^{Hon-En Historia. Catalogue. Stockholm: Moderna Museet, 1967.}

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^{in Human Culture. London: Paladin, 1970.}

^{Hulten, K.G. Pontus. The Machine as Seen at the End of the Mechanical Age,}

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^{Illich, Ivan. Energy and Equity. London: Calder & Boyars, 1974.}