Cupchik, G. C. (2017). Creative practices in the observation of everyday life: The crack in the door that invites a creative vision. In J. Cummings and M. Blatherwick (Eds.), Creative practices in teaching and learning in the 21st century. Sense Publishers:  Rotterdam, The Netherlands.

Cupchik, G. C. (2017). The half-life of a sustainable emotion: Searching for meaning in product usage. Handbook on Sustainable Product Design (pp. 25 -40). London: Routledge. doi:

Miller, I. D. & Cupchik, G. C. (2016). A Synthetic World Population for Agent-Based Social Simulation. In Proceedings of the 4th Collective Intelligence Conference. New York, NY, USA. doi:

Cupchik, G. C. (2014). Theoretical foundations for an empirical aesthetics. The Cambridge Handbook of the Psychology of Aesthetics and the Arts. P. Tinio & J Smith (Eds.). Cambridge: Cambridge University Press. doi:

Cupchik, G. C. & Hilscher, M. C. (2014). The floating narrative: Cinematic experience in the internet age. In J. Kaufman and D. K. Simonton (Eds.), The social science of cinema. New York: Oxford University Press. doi:

Cupchik, G. C. (2013). I am, therefore I think, act and express both in life and in art. In T. Roald & J. Lang (Eds.), Aesthetic Creations of Mind. Philosophical and Psychological Essays (pp. 69-94). Amsterdam: Rodopi.

Hilscher, M. C. & Cupchik, G. C. (2011). Researching lived-experiences through the thematic and structural coding of narratives. In T. Petersen, & C. Schwender, C. (Eds.), Die Entschlüsselung der Bilder – Methoden zur Erforschung visueller Kommunikation [The decoding of images – research methods in visual communication] (pp. 314-324). Köln: von Halem.

Cupchik, G. C. (2011). Framing emotional responses to mass media. In K. Döveling, C. von Scheve, & E. Konijn (Eds.), Handbook of emotion and mass media (pp. 332-346). London: Routledge. doi:

Cupchik, G. C., Damasco, V. G., & Hilscher, M. C. (2008). Representing life’s meanings: The long and short of it. In O. Vincze (Ed.) Representation and cognition (pp. 33-49). Budapest: Új Mandátum.

Cupchik, G. C., & Hilscher, M. C. (2008). Phenomenology and the design experience. In P. P. M. Hekkert and R. Schifferstein (Eds.), Product experience (pp. 241-255). Amsterdam: Elsevier.

Cupchik, G. C., & M. C. Hilscher (2007). Complementary relations between quantitative and qualitative approaches to research in aesthetics.  In L. Dorfman, C. Martindale, & V. Petrov (Eds.), Aesthetics and innovation (pp. 55-74). Cambridge: Cambridge Scholars Press.

Cupchik, G. C. (2005). Emotion in aesthetics and the aesthetics of emotion. In P. Locher, C. Martindale, L. Dorfman, & D. Leontiev (Eds.), New dimensions in aesthetics, creativity, and the arts (pp. 211-225). Amityville, NY: Baywood Publishing.

Cupchik, G. C. (2004). The design of emotion. In D. McDonagh, P. Hekkert, J. van Erp, & D. Gyi (Eds.), Design and Emotion, Episode III: The experience of everyday things (pp. 3-7). London: Taylor & Francis.

Cupchik, G. C. & Leonard, G. (2001). High and popular culture from the viewpoints of psychology and cultural studies. In D. Schram & G. Steen (Eds.), The psychology and sociology of literature: In honour of Elrud Ibsch (pp. 421-441). Amsterdam: John Benjamins. doi:

Cupchik, G. C. (2000). Siegfried Schmidt: Founder and facilitator. In A. Barsch, G. Rusch, & R. Veihoff (Eds.), Leading ideas – leading differences: The construction of curriculum vitaes- A Festschrift for Siegfried J. Schmidt. Seigen, Germany.

Cupchik, G. C., & Kemp, S. W. P. (2000). The aesthetics of media fare. In D. Zillmann and P. Vorderer (Eds.), Media entertainment: The psychology of its appeal (pp. 249-264). Mahwah, NJ: Erlbaum.

Cupchik, G. C. (1999). Emotion and industrial design: Reconciling meaning and feelings. In C. J. Overbeeke and P. P. M. Hekkert (Eds.), Proceedings of the first international conference on design and emotion (pp. 75-81). Delft, The Netherlands: Delft University of Technology.

Cupchik, G. C. (1999). Perception and creativity. In M. A. Runco and S. Pritzker (Eds.), Encyclopedia of creativity (pp. 355-360). San Diego, CA: Academic Press.

Cupchik, G. C., Arnheim, R. & Martindale, C. (1999). A history of Division 10 through the eyes of past presidents. In D. Dewsbury (Ed.), Unification through division: Histories of the divisions of the American Psychological Association, Volume 4, (pp. 9-34). Washington, DC: American Psychological Association.

Vorderer, P., Cupchik, G. C., & Oatley, K. (1997). Encountering the literary landscapes of experience and action from self-oriented and spectator perspectives. In S. Tötösy de Zepetnek, & I. Sywenky (Eds.), The systemic and empirical approach to literature and culture as theory and application (pp. 559-571). University of Alberta, Canada: RICL-CCS and Siegen University, Germany: LUMIS.

Cupchik, G. C. & Leonard, G. (1997).  The two “I’s” of the aesthetic process.  In L. Dorfman, C.     Martindale, D. Leontiev, G.Cupchik, V. Petrov, & P. Machotka (Eds.), Emotion,     Creativity, and Art (pp. 81-100). Perm, Russia: Perm Institute of Culture.

Cupchik, G. C. (1997) Identification as a basic problem for aesthetic reception.  In S. Tötösy de Zepetnek, & I. Sywenky (Eds.), The systemic and empirical approach to literature and culture as theory and application (pp. 11-22). University of Alberta, Canada: RICL-CCS and Siegen University, Germany: LUMIS.

Cupchik, G. C. & Winston, A. S. (1996). Confluence and divergence in empirical aesthetics, philosophy, and mainstream psychology. In E. C. Carterette and M. P. Friedman (Eds.), Handbook of perception & cognition, cognitive ecology (pp. 62-85). San Diego, CA: Academic Press.

Cupchik, G. C. (1996). Suspense and disorientation: Two poles of emotionally charged literary uncertainty. In P. Vorderer, H. J. Wulff, & M. Friedrichsen (Eds.), Suspense: conceptualizations, theoretical analyses, and empirical explorations (pp. 189-197). Hillsdale, NJ: Lawrence Erlbaum Associates.

Cupchik, G. C. (1995). Introduction: Discussion paper for workshop on emotions. In G. Rusch (Ed.), Empirical approaches to literature:  Proceedings of the fourth biannual conference of the International Society for the Empirical Study of Literature. (pp. 233-235).  Siegen, Germany:  LUMIS-Publications, Siegen University.

Cupchik, G. C. (1994). A constructive critique of the ecological approach in aesthetics.  In C. Dreyer, H. Espe, H. Kalkofen, I. Lempp, and R. Posner (Eds.), Life world — Sign world (pp. 103-114). Lüneburg: Jansen Verlag.

Cupchik, G. C. & Winston, A. S. (1992). Reflection and reaction: A dual-process analysis of emotional responses to art. In L. Ya. Dorfman, D. A. Leontiev, V. M. Petrov, and V. A. Sozinov (Eds.), Art and emotions, Vol 2, (pp. 65-72). Perm, CIS: The Perm State Institute of Culture.

Cupchik, G. C. (1992). From perception to production: A multilevel analysis of the aesthetic process. In G. C. Cupchik and J. Laszlo (Eds.) Emerging visions of the aesthetic process: Psychology,  semiology, philosophy (pp. 83-99). New York: Cambridge University Press.

Cupchik, G. C. (1990). Unity in the aesthetic process. In E. Ibsch, G. Steen and E. Ibsch (Eds.)  Proceedings of the Second International Conference on the Empirical Study of Literature (pp. 49-55). Amsterdam: Rodopie.

Cupchik, G. C. (1988).  Nonverbal communication in the visual arts. In F. Poyatos (Ed.), Nonverbal communication and cross-cultural psychology. New York: Hogrefe.

Cupchik, G. C. (1983). Empathy; emotion and aesthetics; emotion and art; experimental aesthetics. In R. Harre and R. Lamb (Eds.), Encyclopedic dictionary of psychology.  Oxford: Blackwell.

Cupchik, G. C. & Heinrichs, R. W. (1981). Toward an integrated theory of aesthetic perception in the visual arts. In H. Day (Ed.), Advances in intrinsic motivation (pp. 463-485).  New York: Pergamon.

Cupchik, G. C., Younger, J. C. & Klein, D. (1979). The integration of physical and social information in social perception. In M. Cook and G. Wilson (Eds.), Love and attraction. London:  Pergamon.

Cupchik, G. C. (1974). An experimental investigation of perceptual and stylistic dimensions of paintings suggested by art history. In D. E. Berlyne (Ed.), Studies in the New Experimental Aesthetics: Steps toward an objective psychology of aesthetic appreciation (pp. 235-257). Washington: Hemisphere.