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(253) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 337—358, here 344—345.
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(254) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 345.
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(255) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 351—352．弗里德伯格提到的镜像神经元文章是B. Calvo-Merino et al., “Action Observation and Acquired Motor Skills: An fMRI Study with Expert Dancers”, Cerebral Cortex , 15/8 (2005), 1243—1249。
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(256) 见“索茨艺术家”（Sots Artists）考玛尔&梅拉米德（Komar & Melamid）在不同国家所做的“最受欢迎的绘画”系列调查。他们呈现了不同地区最受欢迎和最不受欢迎的艺术作品，见Komar & Melamid, “The Most Wanted Paintings on the Web”, accessed 13 March 2014。亦见“The Search for a people’s Art”, The Nation , 258/10 (14 March 1994), 334—348; Andrew Ross, “Poll Stars: Komar &Melamid’s ‘The People’s Choice’”, Art Forum (January 1995), 72—77, 109。
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(257) “事实上，由于我打算在其他地方阐明的原因，这种‘超审美’反映在图像上可能比在现实上更强烈，这最终取决于艺术家对这种可能性的直觉理解。”见David Freedberg, “Empathy, Motion and Emotion”, in Klaus Herding and Antje Krause-Wahl(eds.), Wie sich Gefühle Ausdruck verschaffen: Emotionen in Nahsicht (Berlin 2007), 17—51,here 41。
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(258) 又见Tomohiro Ishizu and Semir Zeki, “Toward a Brain-Based Theory of Beauty”, PLoS ONE , 6/7 (2011), e21852: 1—10。
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(259) Freedberg, “Memory in Art”, 347—348.
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(260) Freedberg, “Memory in Art”, 337.
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(261) Freedberg, “Empathy, Motion and Emotion”, 27.
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(262) Freedberg, “Empathy, Motion and Emotion”, 23.
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(263) David Freedberg and Vittorio Gallese, “Motion, Emotion and Empathy in Esthetic Experience”, Trends in Cognitive Sciences , 11/5 (2007), 197—203.
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(264) Fortunato Battaglia, Sarah H. Lisanby, and David Freedberg, “Corticomotor Excitability during Observation and Imagination of a Work of Art”, Frontiers in Human Neuroscience , 5(2011), 79: 1—6．弗里德伯格关注神经科学的发展，并且清楚地意识到镜像神经元假说是有争议的：“尽管镜像神经元不能支撑目前以它为名的许多主张”，见Freedberg,“Memory in Art”, 341。
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(265) Semir Zeki, A Vision of the Brain (Oxford: Blackwell Scientific Publications, 1993); Semir Zeki, Inner Vision: An Exploration of Art and the Brain (Oxford: Oxford University Press, 1999);Semir Zeki, Splendors and Miseries of the Brain: Love, Creativity, and the Quest for Human Happiness (Chichester: Wiley-Blackwell, 2009)．也见Whitney Davis, “Neurovisuality”, Nonsite.org , 2(12 June 2011) accessed 14 March 2014;John Oinans, Neuroarthistory: From Aristotle and Pliny to Baxandall and Zeki (New Haven: Yale University Press, 2008); Journal of Neuroesthetics ; Arts and Neurosciences Review 。
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(266) 参见Sianne Ngai, Ugly Feelings (Cambridge, MA: Harvard University Press, 2007); Jane F. Thrailkill, Affecting Fictions: Mind, Body, and Emotion in American Literary Realism (Cambridge,MA: Harvard University Press, 2007); Barbara Johnson, Persons and Things (Cambridge, MA
:Harvard University Press, 2008); Raoul Schrott and Arthur Jacobs, Gehirn und Gedicht: Wie wir unsere Wirklichkeiten konstruieren (Munich: Hanser, 2011)。又见Andreas Lambert, Oliver Kauselmann, and Boris Kleber, Cognitive Poetics: Visualisierung von emotionalen Reaktionen auf Literatur [web installation]
accessed 14 March 2014。
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(267) William E. Connolly, Neuropolitics: Thinking, Culture, Speed (Minneapolis: University of Minnesota Press, 2002), 3.
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(268) Brian Massumi, “Introduction: Like a Thought”, in Massumi (ed.), A Shock to Thought
:Expression after Deleuze and Guattari (London: Routledge, 2002), xiii—xxxix, here xiii.
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(269) Brian Massumi, “Introduction: Like a Thought”, in Massumi (ed.), A Shock to Thought
:Expression after Deleuze and Guattari (London: Routledge, 2002), xv.
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(270) Seigworth, “Inventory of Shimmers”, 24，原文强调。
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(271) William E. Connolly, A World of Becoming (Durham, NC: Duke University Press, 2011), 150—151.
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(272) John Protevi, Political Affect: Connecting the Social and the Somatic , Posthumanities 7(Minneapolis: University of Minnesota Press, 2009), 25.
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(273) Massumi, “Introduction”, xxxi，原文强调。关于马苏米对感情和情感的区分：“对于马苏米来说，情感是基本的、无意识的、非主观的或前主观的、非所指的、不受限制的和密集的；而感情是衍生的、有意识的、受限制的、有意义的，是一种可以归于一个已经构成的主体的‘内容’……或一种可以驯服并与该主体相称的‘内容’。主体被感情压倒，但他们拥有 自己的情感。”见Steven Shaviro, Post-Cinematic Affect (Winchester: Zero Books, 2009), 3，原文强调。
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(274) Connolly, World of Becoming , 23.
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(275) Connolly, World of Becoming , 24，原文强调。
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(276) Connolly, World of Becoming , 26.
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(277) 生机论者，或者更确切来说是新唯物主义的神经政治思想家简· 班纳特（Jane Bennett）思考了事物的能动性并得出了主要是政治学和生态学的结论，见Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham, NC: Duke University Press, 2010)；也见Andrew Barry,“ Materialist Politics: Metallurgy”, in Bruce Braun and Sarah J. Whatmore (eds.), Political Matter: Technoscience, Democracy, and Public Life (Minneapolis: University of Minnesota Press, 2010), 89—117; Gay Hawkins,“ Plastic Materialities”, in Braun and Whatmore (eds.), Political Matter , 119—138。
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