Книга Ум в движении. Как действие формирует мысль, страница 102 – Барбара Тверски

Дуга повествования Фрейтага – Аристотеля

Freytag, G. (1863). Die Technik des Dramas.

Структура ячеек и пузырей речи в комиксах

Groensteen, T. (2007). The system of comics. Translated by B. Beaty & N. Nguyen. Jackson: University Press of Mississippi.

Добавление информации к словам и изображениям

Clark, H. H. (1975). Bridging. In Proceedings of the 1975 Workshop on Theoretical Issues in Natural Language Processing (pp. 169–174). Cambridge, MA: Association for Computational Linguistics.

Intraub, H., Bender, R. S., & Mangels, J. A. (1992). Looking at pictures but remembering scenes. Journal of Experimental Psychology: Learning, Memory, and Cognition, 18(1), 180.

Сегментирование событий и историй

McCloud, S. (1993). Understanding comics. New York, NY: William Morrow Paperbacks.

Tversky, B. and Zacks, J. M. (2013). Event perception. In D. Riesberg (Ed.), Oxford handbook of cognitive psychology (pp. 83–94). Oxford, England: Oxford University Press.

Zacks, J. M. (2014). Flicker: Your brain on movies. New York, NY: Oxford University Press.

Культура и язык влияют на создание комиксов

Tversky, B. & Chow, T. (2017). Language and culture in visual narratives. Cognitive Semiotics, 10(2), 77–89.

Глава 9. Общение со страницей: дизайн, естественные науки и изобразительное искусство

Цитаты из Пикассо и Брака

Georges Braque. (n. d.). Взято с сайта https://en.wikiquote.org/wiki/Georges_Braque.

Интервью Гастону Дилю (1945). Les Problèmes de la Peinture. Paris, France.

Picasso, P., & Fraisse, G. (1999). Conversations with Picasso. Chicago, IL: University of Chicago Press.

Жизнь и творчество да Винчи

Kemp, M. (2005). Leonardo. Oxford, England: Oxford University Press.

Преимущества неопределенности

Tversky, B. (2015). On abstraction and ambiguity. In J. Gero (Ed.), Studying visual and spatial reasoning for design (pp. 215–223). New York, NY: Springer.

Разработки да Винчи

Gopnik, A. (2005, January 17). Renaissance man: The life of Leonardo. The New Yorker.

Isaacson, W. (2017). Leonardo da Vinci. New York, NY: Simon & Schuster.

Kemp, M. (2005). Leonardo. Oxford, England: Oxford University Press.

Kemp, M. (2006). Seen/unseen: Art, science, and intuition from Leonardo to the Hubble telescope. Oxford, England: Oxford University Press.

Rosand, D. (2002). Drawing acts: Studies in graphic expression and representation. Cambridge, England: Cambridge University Press.

Wikipedia. (n. d.). Vebjørn Sand Da Vinci Project. Взято с сайта https://en.wikipedia.org/wiki/Vebj%C3%B8rn_Sand_Da_Vinci_Project.

Сотрудничество Джеммы Андерсон с учеными

Anderson, G. (2017). Drawing as a way of knowing in art and science. Bristol, England: Intellect Limited.

Создание визуальных объяснений улучшает понимание STEM-концепций

Bobek, E., & Tversky, B. (2016). Creating visual explanations improves learning. Cognitive Research: Principles and Implications, 1(1), 27.

Составление схем в действующих STEM-лабораториях

Burnston, D. C., Sheredos, B., Abrahamsen, A., & Bechtel, W. (2014). Scientists’ use of diagrams in developing mechanistic explanations: A case study from chronobiology. Pragmatics & Cognition, 22(2), 224–243.

WORGODS: WORking Group on Diagrams in Science. (n. d.). Diagrams in science. Взято с сайта http://mechanism.ucsd.edu/WORGODS/index.html.

Архитекторы делают открытия в собственных набросках

Goldschmidt, G. (1991). The dialectics of sketching. Creativity Research Journal, 4(2), 123–143.

Goldschmidt, G. (2014). Linkography: Unfolding the design process. Cambridge, MA: MIT Press.

Schön, D. A. (1987). Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. San Francisco, CA: Jossey-Bass.

Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their design sketches? A protocol analysis. Design Studies, 18(4), 385–403.

Профессионализм отражается в поиске новых идей в набросках

Ericsson, K. A., Hoffman, R. R., Kozbelt, A., & Williams, A. M. (Eds.). (2018). The Cambridge handbook of expertise and expert performance. Cambridge, England: Cambridge University Press.

Ericsson, K. A., & Smith, J. (Eds.). (1991). Toward a general theory of expertise: Prospects and limits. Cambridge, England: Cambridge University Press.

Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their design sketches? A protocol analysis. Design Studies, 18(4), 385–403.

Как дизайнеры и обычные люди находят новые идеи в набросках

Suwa, M., & Tversky, B. (1996). What architects see in their sketches: Implications for design tools. Conference Companion on Human Factors in Computing Systems (pp. 191–192). Vancouver, BC, Canada: ACM. doi:10.1145/257089.257255.

Suwa, M., & Tversky, B. (1997). What do architects and students perceive in their sketches? A protocol analysis. Design Studies, 18, 385–403.

Suwa, M., & Tversky, B. (2002). How do designers shift their focus of attention in their own sketches? In M. Anderson, B. Meyer, & P. Olivier (Eds.), Diagrammatic representation and reasoning (pp. 241–254). London, England: Springer.

Tversky, B., & Suwa, M. (2009). Thinking with sketches. In A. B. Markman & K. L. Wood (Eds.), Tools for innovation: The science behind the practical methods that drive new ideas. New York, NY: Oxford University Press.

Эффективная стратегия: перегруппировка частей

Suwa, M., Tversky, B., Gero, J., & Purcell, T. (2001). Seeing into sketches: Regrouping parts encourages new interpretations. In J. S. Gero, B. Tversky, & T. Purcell (Eds.), Visual and spatial reasoning in design (pp. 207–219). Sydney, Australia: Key Centre of Design Computing and Cognition.

Конструктивное восприятие

Suwa, M., & Tversky, B. (2003). Constructive perception: A metacognitive skill for coordinating perception and conception. Proceedings of the Annual Meeting of the Cognitive Science Society, 25(25).