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Books on the topic 'Control (Psychology) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Music as propaganda: Art to persuade, art to control. Westport, Conn: Greenwood Press, 1985.

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2

The art of using and losing control: Adjusting the therapeutic stance. Washington, DC: Brunner/Mazel, 1998.

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3

Titus, Lisa. Illustrations of power. Rosendale, New York]: Published by the Women's Studio Workshop, 1994.

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4

Dilenschneider, Robert L. Power and influence: Mastering the art of persuasion. New York: Prentice Hall Press, 1990.

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5

Dilenschneider, Robert L. Power and influence: Mastering the art of persuasion. London: Business Books, 1991.

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6

W, Savage Hugh, ed. Slavery is alive, and we are not well: How to recognize and escape inter-personal control. Minneapolis, MN: Educational Media Corp., 1995.

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7

The power of women: A topos in medieval art and literature. Philadelphia: University of Pennsylvania Press, 1995.

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8

Grant, Wendy. Are you in control?: A handbook for those who want to be in control of their lives. Shaftesbury: Element, 1996.

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9

Vienne, Véronique. The art of doing nothing: Simple ways to make time for yourself. New York: C. Potter, 1998.

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10

Are you in control?: A step by step handbook for those who wantto be in control of their own lives. Taunton: Eastbrook Publishing, 1992.

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11

Richey, Will H. Are you on the pill? Detroit, Mich. (P.O. Box 13089, Detroit 48213): Dominus Mens, 1987.

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12

The 33 Strategies of War. New York: Penguin Group USA, Inc., 2008.

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13

Las 33 estrategias de la guerra. México, D. F.: Oceano, 2011.

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14

The 33 strategies of war. New York: Viking, 2005.

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15

Piaget, Gerald W. Control freaks: Who they are and how to stop them from running your life. New York: Doubleday, 1991.

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16

We are all self-employed: How to take control of your career. San Francisco, CA: Berrett-Koehler, 2003.

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17

Schmitz, Michael, Peter M. Gollwitzer, and Gottfried Seebass. Acting intentionally and its limits: Individuals, groups, institutions : interdisciplinary approaches. Berlin: De Gruyter, 2013.

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18

Playing with desire: Christopher Marlowe and the art of tantalization. Toronto: University of Toronto Press, 1998.

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19

Kirkland, Edward. You are your own best friend: 50 simple truths to improve, control and create your life. Herndon, VA: LiveWell Institute, 2013.

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20

Schwartz, Jeffrey. You are not your brain: The 4-step solution for ending destructive behavior, changing bad habits, and taking control of your life. New York: Avery, 2011.

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21

Hateley, B. J. Gallagher. Why Don't I Do the Things I Know are Good For Me? New York: Penguin USA, Inc., 2009.

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22

Master your workday now!: Proven strategies to control chaos, create outcomes & connect your work to who you really are. San Ramon, Calif: New Academy Publishers, 2010.

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23

Why don't I do the things I know are good for me?: Taking small steps toward improving the big picture. New York: Berkley Books, 2009.

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24

Jornod, Jean Pierre. Art=+. St-Cyr-sur-Loire, France: C. Pirot, 1986.

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25

1949-, Thompson S., and Barraclough Bill, eds. The art of control engineering. Harlow: Addison Wesley, 1997.

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26

Depth psychology of art. Springfield, Ill., U.S.A: Thomas, 1989.

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27

Art without compromise*. New York: Allworth Press, 2009.

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28

Richmond, Wendy. Art without compromise*. New York, NY: Allworth Press, 2009.

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29

Richmond, Wendy. Art without compromise*. New York: Allworth Press, 2009.

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30

Richmond, Wendy. Art without compromise*. New York: Allworth Press, 2009.

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31

Richmond, Wendy. Art without compromise*. New York: Allworth Press, 2009.

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32

McNiff, Shaun. Depth psychology ofart. Springfield, Ill: Charles C. Thomas, 1989.

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33

The psychology of art appreciation. Copenhagen: Museum Tusculanum Press, 1997.

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34

Under Control. Krannert Art Museum, 2009.

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35

The Lost Art Of Letting Go A Control Freaks Quest For Contentment. Little Brown and Company, 2011.

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36

Grant, Wendy. Are You in Control. Vega Books, 2002.

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37

Fisher, Erik A., and Steven W. Sharp. The Art of Managing Everyday Conflict: Understanding Emotions and Power Struggles. Praeger Publishers, 2004.

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38

Whiteside, Richard G. Therapeutic Stances : the Art of Using and Losing Control: Adjusting the Therapeutic Stance. Taylor & Francis Group, 2015.

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39

Zi kong shu: Ru he guan zhu zi ji de sheng huo xin li xue = The art of self-control : the psychology of taking control of yourself. 2013.

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40

Are You in Control?: A Handbook for Those Who Want to Be in Control of Their Lives. Houghton Mifflin (P), 1996.

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41

GOLEMAN, Benedict. Manipulation and Dark Psychology: Learn the Art of Persuasion by Influencing People with Secret Techniques of Dark Psychology, Mind Control and PNL for a Successfull Life. Independently Published, 2020.

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42

F, Doherty, and International Symposium on Dental Hygiene (14th : 1998 : Florence, Italy), eds. The art and science of interdental cleaning. New York: Parthenon Pub. Group, 1999.

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43

Kennedy, Jack. Dark Psychology and Manipulation: The Ultimate Guide for Mastering Mind Control Techniques, Emotional Influence and the Art of Persuasion to Your Advantage. Independently Published, 2020.

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44

Dutton, Denis. Aesthetics and Evolutionary Psychology. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0041.

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The applications of the science of psychology to our understanding of the origins and nature of art is not a recent phenomenon; in fact, it is as old as the Greeks. Plato wrote of art not only from the standpoint of metaphysics, but also in terms of the psychic, especially emotional, dangers that art posed to individuals and society. It was Plato's psychology of art that resulted in his famous requirements in The Republic for social control of the forms and contents of art. Aristotle, on the other hand, approached the arts as philosopher more comfortably at home in experiencing the arts; his writings are to that extent more dispassionately descriptive of the psychological features he viewed as universal in what we would call ‘aesthetic experience’. Although Plato and Aristotle both described the arts in terms of generalizations implicitly applicable to all cultures, it was Aristotle who most self-consciously tied his art theory to a general psychology.

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45

Sanromán, Lucia, curator, editor, writer of added commentary, Kantor, Susie, curator, editor, writer of added commentary, Phelan, Peggy, writer of added commentary, Kester, Grant H., writer of added commentary, Lacy Suzanne interviewer, Reed, Ivan Muñiz, writer of added commentary, Falconi, José Luis, writer of added commentary, Center for the Arts at Yerba Buena Gardens, Universidad Nacional Autónoma de México. Museo Universitario Arte Contemporáneo, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), eds. Tania Bruguera: Talking to power = hablándole al poder. 2017.

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46

Goleman, James. Dark Psychology and Manipulation: Discover the Secrets and Daily Used Techniques Including Mind Control, NLP, Persuasion, and Influence - Learn the Art of Reading People. Independently Published, 2020.

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47

Las 33 estrategias de la guerra. Grupo Nelson, 2007.

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48

The 33 Strategies of War. Penguin (Non-Classics), 2008.

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49

Secrecy. Hatje Cantz Verlag GmbH & Co KG, 2018.

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50

Owens, David. Normativity and Control. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198713234.001.0001.

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Abstract:

This work collects ten chapters on matters first discussed in Reason without Freedom: The Problem of Epistemic Normativity (2000). That book asked what form of control we must have over something in order to be held to the norms governing that thing, and it was argued that belief, intention, and action each require a different type of control. The forms of freedom appropriate to each of them and so the presuppositions of responsibility to each of them vary. The present work elaborates and defends that idea. Reason without Freedom also aimed to show that discussion of issues in the moral psychology of belief would cast light on some of the traditional problems of epistemology and in particular on the problems of scepticism and testimony. The present work continues that project and responds to some pertinent developments in recent epistemology. Eight of the ten chapters that follow are previously published and appear with only minor alterations, one is published here for the first time (‘Human Testimony’), and one is a heavily revised version of a previously published essay (‘Value and Epistemic Normativity’). Also included is a substantial introduction.

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