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  1.  64
    Rudolf Arnheim (1970). Visual Thinking. London,Faber.
    "Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...
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  2.  2
    Rudolf Arnheim (forthcoming). Why Words Are Needed. Journal of Aesthetic Education.
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  3.  38
    Rudolf Arnheim, Sherman E. Lee & Calvin S. Brown (1961). Letters Pro and Con. Journal of Aesthetics and Art Criticism 19 (3):347-348.
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  4. Rudolf Arnheim (1993). From Pleasure to Contemplation. Journal of Aesthetics and Art Criticism 51 (2):195-197.
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  5. Rudolf Arnheim, Wolfgang M. Zucker & Joseph Watterson (1966). Inside and Outside in Architecture: A Symposium. Journal of Aesthetics and Art Criticism 25 (1):3-15.
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  6.  38
    Rudolf Arnheim (1996). Beauty as Suitability. Journal of Aesthetics and Art Criticism 54 (3):251-253.
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  7.  63
    Rudolf Arnheim (1997). Ancient Chinese Aesthetics and its Modernity. British Journal of Aesthetics 37 (2):155-157.
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  8.  44
    Rudolf Arnheim (1981). Style as a Gestalt Problem. Journal of Aesthetics and Art Criticism 39 (3):281-289.
  9.  57
    Rudolf Arnheim (1948). The Holes of Henry Moore: On the Function of Space in Sculpture. Journal of Aesthetics and Art Criticism 7 (1):29-38.
  10.  39
    Rudolf Arnheim (1998). The Ontological Limbo of Spirits. British Journal of Aesthetics 38 (1):63-65.
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  11.  35
    Rudolf Arnheim (1994). The Completeness of Physical and Artistic Form. British Journal of Aesthetics 34 (2):109-113.
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  12.  60
    Rudolf Arnheim (1999). Art as Such. British Journal of Aesthetics 39 (3):252-254.
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  13.  3
    Rudolf Arnheim (1980). A Plea for Visual Thinking. Critical Inquiry 6 (3):489.
    The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...)
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  14.  50
    Rudolf Arnheim (1959). Information Theory: An Introductory Note. Journal of Aesthetics and Art Criticism 17 (4):501-503.
  15.  45
    Rudolf Arnheim (1964). From Function to Expression. Journal of Aesthetics and Art Criticism 23 (1):29-41.
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  16.  42
    Rudolf Arnheim (1963). Picasso's Night Fishing at Antibes. Journal of Aesthetics and Art Criticism 22 (2):165-167.
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  17.  42
    Rudolf Arnheim, Charles Gauss, Richard Kuhns, Avrum Stroll, Selma Jeanne Cohen, Gordon Epperson, Arnold Berleant, Hilde Hein & Charles Hartshorne (1993). Reminiscences. Journal of Aesthetics and Art Criticism 51 (2):279-289.
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  18.  43
    Rudolf Arnheim (1998). The Expression and Composition of Color. Journal of Aesthetics and Art Criticism 56 (4):349-352.
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  19.  41
    Rudolf Arnheim (1993). The Two Authenticities of the Photographic Media. Journal of Aesthetics and Art Criticism 51 (4):537-540.
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  20.  6
    Rudolf Arnheim (1974). On the Nature of Photography. Critical Inquiry 1 (1):149.
    When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...)
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  21.  36
    Rudolf Arnheim (1992). Deus Ex Machina. British Journal of Aesthetics 32 (3):221-226.
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  22.  33
    Rudolf Arnheim (1984). Notes on Seeing Sculpture. Journal of Aesthetics and Art Criticism 42 (3):319-321.
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  23.  2
    Rudolf Arnheim (1990). Perceptual Aspects of Art for the Blind. Journal of Aesthetic Education 24 (3):57-65.
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  24.  30
    Rudolf Arnheim (1974). Colors: Irrational and Rational. Journal of Aesthetics and Art Criticism 33 (2):149-154.
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  25.  29
    Rudolf Arnheim (1943). Gestalt and Art. Journal of Aesthetics and Art Criticism 2 (8):71-75.
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  26.  31
    Rudolf Arnheim (1957). Accident and the Necessity of Art. Journal of Aesthetics and Art Criticism 16 (1):18-31.
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  27.  28
    Rudolf Arnheim (1997). Schönberg's Thought and the Theory of Music. British Journal of Aesthetics 37 (4):403-406.
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  28.  20
    Rudolf Arnheim (1955). A Review of Proportion. [REVIEW] Journal of Aesthetics and Art Criticism 14 (1):44-57.
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  29.  1
    Rudolf Arnheim & Arthur Knight (1958). Film as Art. Journal of Aesthetics and Art Criticism 17 (2):260-262.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...)
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  30. Rudolf Arnheim (1971). Entropy and Art. Berkeley,University of California Press.
  31.  1
    Rudolf Arnheim (1978). The Dynamics of Architecturel Form. Journal of Aesthetics and Art Criticism 37 (2):237-239.
    Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences of (...)
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  32.  21
    Rudolf Arnheim (1961). Perceptual Analysis of a Cosmological Symbol. Journal of Aesthetics and Art Criticism 19 (4):389-399.
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  33.  17
    Rudolf Arnheim (1963). Melancholy Unshaped. Journal of Aesthetics and Art Criticism 21 (3):291-297.
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  34.  12
    Rudolf Arnheim (1999). Book Reviews. [REVIEW] British Journal of Aesthetics 39 (1):402-403.
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  35.  10
    Rudolf Arnheim (1971). Letters Pro and Con. Journal of Aesthetics and Art Criticism 30 (2):255-256.
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  36.  11
    Rudolf Arnheim (1994). Consciousness: An Island of Images. Journal of Theoretical and Philosophical Psychology 14 (2):121-27.
    Discusses consciousness as an island of images, which informs us incompletely and indirectly about the mental and the physical worlds. A dualistic worldview separates the perceptual world from the transcendental physical world. Both universes of discourse are empowered by dynamic forces and are related to each other by reflection, the one reflecting the other. The physical world is understood and operated through the intermediary of perception. 2012 APA, all rights reserved).
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  37.  13
    Rudolf Arnheim (1949). The Priority of Expression. Journal of Aesthetics and Art Criticism 8 (2):106-109.
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  38.  11
    Rudolf Arnheim (1996). From Chaos to Wholeness. Journal of Aesthetics and Art Criticism 54 (2):117-120.
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  39.  11
    Rudolf Arnheim (2003). The Fable and the Scroll. British Journal of Aesthetics 43 (1):35-38.
    This essay offers a brief reading of, and reflection on, certain fables by the Chinese Taoist writer Chuang-Tzu. It also reflects on the art of Chinese scrolls and the Tao and Tinji.
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  40.  12
    Rudolf Arnheim (1952). Agenda for the Psychology of Art. Journal of Aesthetics and Art Criticism 10 (4):310-314.
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  41.  12
    Rudolf Arnheim (1979). The Dimensions of Disagreement. Journal of Aesthetics and Art Criticism 38 (1):15-20.
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  42.  10
    Rudolf Arnheim (1954). A Complexity Scale of Movement. Journal of Aesthetics and Art Criticism 13 (1):104-108.
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  43.  2
    Rudolf Arnheim (1998). Book Reviews. [REVIEW] British Journal of Aesthetics 38 (3):402-403.
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  44.  10
    Rudolf Arnheim (1953). Artistic Symbols: Freudian and Otherwise. Journal of Aesthetics and Art Criticism 12 (1):93-97.
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  45.  1
    Rudolf Arnheim (1963). Picasso's Guernica. The Genesis of a Painting. Journal of Aesthetics and Art Criticism 22 (1):88-89.
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  46.  2
    Rudolf Arnheim (1980). Review: Reconsiderations 2. [REVIEW] Journal of Aesthetics and Art Criticism 39 (2):201 - 203.
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  47.  9
    Rudolf Arnheim (1979). Fragments: Good Ones and Bad Ones. Journal of Aesthetics and Art Criticism 37 (3):351-352.
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  48.  6
    Rudolf Arnheim (1995). Book-Reviews. British Journal of Aesthetics 35 (4):402-403.
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  49.  6
    Rudolf Arnheim (1974). Hansen's Curvilinear Perspective. Journal of Aesthetics and Art Criticism 32 (3):424.
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  50.  6
    Rudolf Arnheim (1959). The Robin and the Saint: On the Twofold Nature of the Artistic Image. Journal of Aesthetics and Art Criticism 18 (1):68-79.
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