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The study addresses some aspects of Suprematist theory of perception, allowing to investigate the structure of Suprematist phenomenon in the context of ontology, socio-political and religious-mystical works of K. Malevich. The aim of the paper is to present Malevich’s theory of perception in the framework of enactivism. Namely, the article focuses on the theory of social affordances, which today is widely used in design, game development and other everyday practices. The author refers to Malevich’s theoretical and sociopolitical essays, as well as to the commentary literature. Although Suprematism represents a well-researched tradition in art theory, the author stress the need for a follow-up study of Malevich’s theoretical essays in the contemporary context of philosophy of consciousness. The author also emphasizes the relevance of Suprematist philosophy for today’s way of thinking. For the most authentic presentation of Malevich’s ideas I use the phenomenological and hermeneutical method on a par with elements of the ecological approach in psychology and enactivism in the philosophy of consciousness. Consequently, the theory of affordances an effective and natural unification of all the aspects discussed above. The study shows the affinity of Malevich’s ideas to this theory. The author focused on the thesis of feeling as the goal of the expressive act of art. As one could see, Kazemir Malevich always emphasized the bodily-affective dimension of art, and in this sense he participated in a global cultural-historical shift in our conception of the essence of art. Since then, art has ceased to be elitist, but has instead inherited everyday practices. Thus, Malevich speaks of a new art that suits the man of the new world, the Soviet citizen. In this context, I relate the idea of affordance, which means the creation of a feeling-opportunity for subjective action (agency), to the artistic act whose goal, according to Malevich, is the creation of an emotional body-affective feeling. I defend the theory of social affordances, explaining the mechanism of social interaction, as the most adequate model for explaining Suprematism. As a result, based on the already developed concept of bodily-affective dynamics, I show how visionary and creative Malevich was, and how his ideas contribute to the development of a theory of social, emotional affordances.

In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far.

Personal control has a considerable impact on individual perception of the indoor climate. This paper's objective is to shed more light on the perception of personal control at office workplaces by analysing: 1) the impact of perceived control on perception of indoor climate, 2) the effect of office type and season on level of control perceived, 3) objectively available adaptive opportunities; 4) subjective perception of their availability; 5) occupants' desire for certain adaptive opportunities; 6) how often and which controls were exercised; and 7) reasons for not exercising available adaptive opportunities. New variables were introduced: i) consistency of perception of controls and ii) conformity to expectation of controls, and their correlation with the level of personal control perceived hypothesised. A longitudinal survey was carried out in three office buildings (two mixed‐mode, one free‐running) in the hot‐summer Mediterranean climate of Amman, Jordan during four seasons. Indoor climate perception correlates positively with perceived control. Office type affects level of perceived control but not season. Most frequent stated reason for not exercising available adaptive opportunities was 'no need to change'. In this study, perceived control is not correlated with consistency of perception of controls but correlated with conformity to expectation of controls. [ABSTRACT FROM AUTHOR]

This article discusses the significance of physical substance as a craft-material within a working process, especially with reference to its potentials to promote personal development (Bildung). In a phenomenological and hermeneutic approach, experiential processes in woodcraft are explored from a first-person perspective and interpreted against the background of personal development. These are then reflected on in terms of their possible significance for teaching art and craft. [ABSTRACT FROM AUTHOR]

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The author will try to develop the notion of 'valence' ('Aufforderungscharakter'), first introduced in psychology by the work of K. Lewin, from a phenomenological point of view. In a first approximation, an object has valence insofar as it prompts us to action. Valence is an important – although in contemporary philosophy of mind quite neglected – feature of our practical experience. Here we will concentrate on the consciousness of valence and its descriptive features. After distinguishing, on the one hand, 'valence' from 'value', and pointing out how, on the other hand, 'valence' should also not be confused with J.J. Gibson's 'affordance', we will try to develop the implications of this notion beyond the original scope of Lewin's experimental psychology: on the one hand, by introducing the idea of 'passive valence' and, on the other hand, by investigating the relation between valence and emotion and discussing the possibility of 'emotional valence'. [ABSTRACT FROM AUTHOR]

Prägnanz was suggested by Max Wertheimer in the 1920s as subsuming all “Laws of Gestalt” as they apply to visual awareness. Thus, it assumes a prominent position in any account of Gestalt phenomena. From a phenomenological perspective, some visual stimuli evidently “have more Prägnanz” than others, so Prägnanz seems to be an intensive quality. Here, we investigate the intricacies that need to be faced on the way to a definition of formal scales. Such measures naturally depend both upon the stimulus and upon the observer. Structural complexity bottlenecks of visual systems play a role, as well as the relevance to biological fitness, that is the affinity to the optical user interface. This positions the notion of Prägnanz squarely within the realm of biology. Indeed, the familiar “releasers” of ethology are singular cases of extremely high Prägnanz.

Le fait de « tromper quelqu’un » n’est pas réservé au seul domaine des interactions humaines, puisque les objets peuvent, eux aussi, se révéler trompeurs. Engendrant, dans certains cas, des effets d’illusion, ils peuvent, dans d’autres, prétendre à une sorte d’« agentivité trompeuse ». Cette contribution a pour objectif d'examiner les objets sous l'angle du mensonge et de la perception trompeuse. Dans une première partie, le mensonge sera analysé comme phénomène sémiotique afin de comprendre en quoi il peut être mobilisé dans le domaine des objets matériels. Ensuite, on distinguera d’une part les objets en tant que « supports » du mensonge (1) et d’autre part en tant qu’agents matériels disposant de la capacité de tromper un acteur humain (2). S’inscrivant dans une approche sémiologique, cette contribution se propose donc d’identifier les différentes formes de duperie matérielle pour tenter d’esquisser une théorie des objets mensongers.

The CADMUS system produces maps of real and perceived difficulties of displacements in complex buildings, for valid people or for those suffering of a physical or perceptive disability. Using a numerical model of the environment as a foundation and a descriptive model of the user, CADMUS generates maps of the accessible spaces as perceived by the user. The maps thus produced allows building administrators and therapists to evaluate accessibility of the buildings for people taking into account their physical and cognitive state, along with the modifications of perception associated with these.

This article builds on approaches which focus on the human being in psychological consideration, that is to say humans can only be understood as active subjects embedded in their socio-cultural environment. Therefore, mental processes can be unfolded by the exposure to a socio-cultural environment and other acting subjects. The ability to coordinate each other by speech is a specifical aspect between the dynamics of subjects. The point at issue is that the intentional subject is able to expand his capacity of acting by coordinated cooperation with other subjects and finally applies these linguistic coordinations to himself. This article deals with the coherence between subject sciences and cultural-historical psychology and we will associate certain aspects with the philosophy of language and the psychology of perception. In this context we highlight the ability of coordination by speech. This mental basis can be seen as a starting point which will allow specific examinations of higher mental processes to be made.