Дизайн для реального мира

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.