ادراک حسی

Art is an intuitive knowledge that has a definite role in human evolution. Having an intrinsic relationship with beauty and an aesthetic view of the world and the origin of the world, art has been able to create undeniable effects in the life of each person and to free man from the esoteric and spiritual approach, to free him from the pervasive disorders of today; Of course, the art that connects to the realities of the kingdom world. In religious thought, every phenomenon is a reference to a transcendent truth, and a conscious human being can take many and pious ways to achieve this truth. The authors try to introduce and analyze art as one of the ways of theology and knowledge of the Almighty, along with other methods. The study of sacred art and its characteristics for the promotion of human perfection and the importance of the epistemological missions of art, and the possibility of its occurrence in the path of knowing God, is one of the main topics of this research.

Somaesthetics, as an emerging and at the same time retrospective movement, has been proposed by Richard Shusterman in the field of contemporary aesthetics. This project is formulated in a pragmatic context and inspired by the idea of "philosophy as the art of living" and some Eastern embodied traditions and modern Western psychosomatic treatment methods. Somaesthetics is defined as the critical study and meliorative cultivation of the experience and use of the living body (soma) as the site of sensory appreciation (aesthesis), and its purpose is based on enriching propositional knowledge of the body and the lived somatic experience in the process of perception. The critical position of somaesthetics is, first of all, towards the dualism of mind-body arising from the western metaphysical thought and then towards the tradition of western aesthetics. After about two hundred and fifty years, Shusterman brought Baumgarten's aesthetics to the philosophical scene and presented it in a different discursive context. Schusterman's pragmatist reading of Baumgarten's aesthetics has opened a new perspective in the contemporary aesthetic space. This article was written with the aim of investigating the relationship between Schusterman's somaesthetics and Baumgarten's aesthetics and analyzing the consequences of this movement for contemporary aesthetics. By legitimizing the body and emphasizing the neglected role of sensory perception, somaesthetics has placed itself in an alternative and complementary position to Baumgarten's incomplete aesthetics. Shusterman considers somaesthetics to be the end of the neglect of the body. Influenced by the rationalism of the Enlightenment era, Baumgarten denied the body, and the neglect of the body was reinforced in the aesthetics of the 19th century through the idealist tradition. By taking a clear stance on the importance of the soma, somaesthetics has made a special impact on contemporary aesthetics. Somaesthetics has been able to revive the fundamental concept of aesthetics; expand the field of aesthetics beyond Hegel's philosophy of fine arts; realize the link between the aesthetic and the practical; expand the somatic perception turn to other fields of knowledge; and formalize a kind of aesthetic activism in theoretical-philosophical aesthetics.

The concept of "object" from the perspective of three great philosophers, namely Hegel, Michel Dufresne and Sartre, is associated with different interpretations, which are analyzed in detail in this article. According to the temporal precedence of the views, these three thinkers have presented different approaches to the object. Hegel sees the object on three levels: first, in nature, the object appears in the form of abstract perception; In the second stage, in the rational idea, the unity of consciousness and concrete subjective reality is observed; And finally, it reaches the sublime as an inherent and absolute totality. He believes that beauty is not perceptible in its essence and goes beyond sensory perception. The lowest order of beauty is nature which consists of inanimate objects and then moves towards the most perfect order. On the other hand, Michel Dufresne, with a different point of view, believes that the third level in external reality manifests intellectually as ideal and dominant ideas. But Sartre sees the object as a product of imagination and not sensory perception. Unlike Hegel and Dufresne, he presents a different approach to solve this problem, in which the aesthetic object not only does not have a pure intellectual reality, nor is it limited to psychological aspects, but is also not seen as an object in the form of representation, and instead, It is an imaginary reality.Keywords: object, aesthetics, sensory perception, imagination, sublime.

Children are the most sensitive and impressionable age group in society, playing a crucial role in the renewal of each generation. Without attention to child development, cognition, and education, societal progress is hindered. Architects and psychologists have highlighted the importance of light, color, and play in the built environment on learning and behavioral success. Studies also emphasize the negative impacts of excessive noise in learning environments. The study aims to evaluate the impact of environmental development stimuli on sensory perception in second-grade primary school students to enhance space efficiency in educational environments. The research employs a mixed-methods approach (both quantitative and qualitative). Initially, it involves document collection and analysis of various factors affecting environmental development. Subsequently, the overall school plan was examined using Depthmap software. Semi-structured interviews with the students and teachers provided insights into their opinions, values, and behaviors within the educational environment. Statistical analysis was conducted using questionnaire data and spss26 software to explore data relationships. In the following, according to the coefficients obtained from the research variables, graphs are produced. The results reveal that the key indicators impacting children's sensory perception in educational environments are, in order of importance: flexible space (14.93), spatial diversity (15.32), multifunctional spaces (14.76), and play areas (14.71).

Experimental cinema has been considered a format beyond the dominant stream of narrative cinema, focusing on the exploration of cinema's formal components. On this basis, the current article aims to analyze the main elements of this filmmaking format in search of an aesthetic framework. Therefore, the theoretical approach of empiricism in the philosophy of art is employed, as the views of its thinkers can offer insights into the aesthetic dimensions of this type of cinema. The method of this research is descriptive-analytical with a comparative approach, and by describing the main components of experimental cinema, it moves toward an analytical reading of these characteristics in the opinions of empiricists. The research findings indicate that experimental cinema possesses distinctive characteristics, the most important being its effect on human (sensory) perception. This perception is not bound by the narrative, logical, or other constraints of the dominant popular cinema, but rather challenges the viewer, moving toward psychological and technical innovation based on sensory, intellectual, and even instrumental foundations, and most importantly, a kind of intuition in perception. Hence, a conventional machine-causal aesthetic framework cannot accommodate such a non-normative, abstract, and fluid goal in artistic creation and perception. The research evidence suggests that the organon of this sensory-driven experimental cinema can be grounded in the aesthetics of 18th-century empiricists. This thought considers beauty a subjective issue, whose reference is not the object itself but the individual's mind, which plays the main role in defining beauty. In fact, aesthetic subjectivism denies the internality of aesthetic qualities in the essence of objects and claims that what makes an object beautiful is the unique reaction it evokes in the subject. This intuitive understanding goes so far as to reject the idea of beauty as proportionality, dismissing it as a goal tied to utility or perfection; beauty, in this view, is not seen as the product of reason. As a result, this system of thought prioritizes intuition over logic and causal rules in the realm of creation, understanding, and judgment, all of which are based on individual experiences in sensory perception-the essence of experimental cinema.

The phenomenon of perception is the main level of our contact with the world Perception is a rich phenomenon whose phenomenological clarification sometimes requires new conceptualizations and formulations, and sometimes it is necessary to review the conceptualization and formulation of many other phenomena. The present study evaluates the architectural concepts of historical Iranian housing based on the phenomenological theory of sensory perception from the point of view of contemporary experts. The final goal of the research is to pay special attention to the sense, lived experience and architecture of the house in order to discover their deep relationship and to express a scientific method for the phenomenon of sensory perception of architecture and the perceptual experience of the house at the same time as clarifying and clarifying the extent of the involvement of the senses with space and importance. It is the characteristic of being extracted from the perceptual experience in historical houses. This research is based on the phenomenology method based on the combined method (qualitative and quantitative) and the method of gathering information was alignment (triangulation). The researcher used three methods of group interview and participatory observation, Van-Menen method and comparative study method to gather information about the architectural concepts of the historical house and the result of the research in the phenomenological study of sensory perception from the point of view of contemporary experts shows the importance of the interactive communication of building architecture. Historical and its contamination with the mental-behavioral, cultural and social implications of the citizens, which are based on the architectural concepts of historical spaces such as visual attractions and architectural values, in relation to meaningful characteristics and interaction with the experiences and perceptions of the audience of the space. The specialness of the historical house and its permanence have been emphasized in the collective memory of the people.

In encountering the environment, sensory perception is an innate precursor in constructing meaning, with climatic parameters being among its most crucial elements. Iranian traditional architecture, especially bazaar architecture, embodies a visual and sensory type of architecture that engages all human sensory stimuli through a process of sensory awareness and understanding, remarkably influencing the audience under the environment's impact. Typically, historical bazaar architecture in Iran is designed and constructed considering the regulation of environmental conditions. Particularly, incorporating compatible designs and utilizing indigenous materials against local climatic indicators can enhance sensory perception as a vital element in human-environment interaction and a prominent characteristic of this vernacular architecture. Iranian historical bazaar architecture draws inspiration from its people's history and culture and now serves as a multidimensional representation of this culture. This research aims to investigate the relationship between sensory perception and climatic parameters as a human experience of the environment in Iranian historical bazaar architecture, aiming to evaluate the connection between environmental features and individuals' sensory experience in these spaces, providing a better understanding of the impact of location's climatic conditions on users' experience in Iranian historical bazaar architecture. The current study employs a combination of quantitative and qualitative research methods, with the main research framework being descriptive-analytical. Moreover, data collection is conducted through documentary studies from library sources and fieldwork using questionnaire surveys and analysis using a combined model of "DEMATEL" and "ANP", along with software such as "SPSS", and "SUPER DECISIONS." The research findings indicate that variables such as "creating connections," "forms", "creating diversity in customer experience" and "access routes", are among the most prominent variables interacting with interpretations in Iranian historical bazaar architecture. The final research result also suggests four variables: "access routes," "ease of movement", "interactive spaces", and "navigable architecture (Iranian)", in presenting variables of "paths and ways", focusing on interaction with interpretations of Iranian historical bazaar architecture due to sensory perception and climatic parameters. Thus, sensory perception in Iranian historical bazaar architecture is the result of the mutual influence and interaction between climatic parameters, shaping the psychological experience of the environment.

Problem statement: 

Perception of space is obtained based on a mutual relationship between human being and the environment and following a gradual process. The perception of space is related to all sciences whose concern is “creating a good place to live” for human beings and is grounded in the specialized literature of environmental sciences. However, the concept of perception as an epistemological subject is the concern of other fields of knowledge such as philosophy, something that has not been considered enough by environmental science researchers. Awareness of the essence of perception and explaining its mechanism and role it plays in the knowledge of existence has been considered for a long time by philosophers. Referring and paying attention to the views of our country’s philosophers to clarify the concept and process of perception and its role in the knowledge of urban environment design is the main subject of this research. The effectiveness of philosophers’ views in clarifying the features of perception, its levels, and how the process of perceiving the urban space based on it is the subject of this article.

This study aims to recognize the concept of perception (Apperception) and its practical features in designing the environment using Iranian philosophers’ views.

  This research is descriptive-analytical, and its content is the result of bibliographic studies, analysis of texts, and exploration of the thoughts of selected philosophers using logical reasoning. This research studies the issue of perception from two dimensions, substantive (nature of perception) and procedural (its structure and process) in the field of philosophy and its effectiveness in the field of urban design knowledge.

The research results indicate that getting help from the Iranian philosophers’ thoughts can be useful in clarifying the nature of perception and its four characteristics, including the re-creative process, impressionability, activism, and dynamism, as well as explaining the process of the urban environment perception. Finally, this article uses the two theoretical bases of philosophy and urban design to formulate the conceptual model of the “human-city perceptual relationship” and identifies the function and output of each level of the perceptual process.

Congenitally blind people always need to find a solution and resort to compatible factors in the environment in order to understand their surroundings, gain physical and social independence. In order to understand the environment, in addition to the external senses, they resort to the esoteric senses, memory, imagination and mental imagery. Perception, therefore, for these people is a kind of knowledge about the outside world that arises from the combination of sensory information and the mechanism of thinking and can be different from objective reality.The objectives of this study is answering the question of what process the perception of the environment by congenitally blind people is based on? The results show that there are quantitative and qualitative differences in the mental imagery of the blind and visually impaired. Blind people are able to perceive objects directly in space due to their ability to combine emotions. Having a clear picture of the environment enables them to move in it. The blind are not much different from the sighted in visualizing the movement that takes place in relation to physical perception. Blind people also use tactile information to perceive information in nearby spaces, and use auditory imaging to capture distant situations with the help of sound reflections and enhance auditory focus. Therefore, in order to understand the environment for all people, especially blind people who have no visual experience, it is necessary to use physical, auditory, olfactory, thermal, tactile and the like changes in designing and planning the physical environment to increase the quality of understanding the environment. This enables the active presence of blind people in public spaces in order to create equal opportunities and unhindered, independent, comfortable and safe access to the physical environment.

Maurice Merleau-Ponty, the twentieth century phenomenologist, believed that the body's functionality in sensual perception is a distinguished notion. From 1980s, a critical movement took form which made some changes in art works production in order to actualize a chiasm between the audience with an art work through senses. Farideh Lashaee, as one of the contemporary artists, in her recent works, has made use of videos to make rooms for hidden narrations. This article analyzes her Gone down the rabbit hole work in Tehran Contemporary Arts Museum _ the curtain painted from Iran's map with an art video of rabbits' leap into the map. The present article explains Merleau-Ponty's sensual perception through a descriptive-phenomenological approach. Afterwards, reliant on Merleau-Ponty's ideas, it intends to answer some questions analytically. What would be the roles of body and embodiment in perceiving the world from the painter's standpoint? How the euphony between video and painting would be actualized in the mentioned work? What would be the role of audience's body (subject) in her perception in such a work? Subject's confrontation with the hinted work is making a multi-sensual relations, how does the audiences' sensual perception  will come true? As a result, regarding the phenomenological approach, the main cocern rests on the painter as an embodied subject encountering the world while the body and sensation would be parts of her experience. Merleau-Ponty envisions painting as the representation of sensual experience. The euphony of the work is the outcome of the co-penentration of the sensual characteristics in Merleau-Ponty's viewpoint. The audience's chiasm with Lashaee's work is an embodied interaction. With regards to Geshtalt in Merleau-Ponty's perspective, the audience's sensual perception, takes shape because of the unity of sensations. Eventually, in Lashaee's work, the subject's integration with her body gives rise to the sensual perception of the world.

Biophilic architecture means loving nature and living creatures based on the definition of its theory creator Edward Wilson. The main methods by which phenomenologists try to reach a pure and true connection with "nature and the ecosystem" (biophilia), correct reflection in relation to deep thinking about the nature of nature and natural life (animals and plants), description A deep quality of natural subjects and especially living beings according to Edward Wilson's point of view, and a careful observation of natural and green urban environments or similar approaches to "feeling to love nature". The research method is descriptive analytical method and "hermeneutic phenomenology" method. The findings of the research show that such experiences can be obtained in different ways, including interviewing, observing, reading, writing and living. The reasoning process in the desired research method requires shaping and planning various parts and building wholes perceptually, and the best way to promote sensory perception (biophilia) to nature and the environment is to choose sensory options on the site that They can act as points, boundaries and sensory corridors on the site and originate from hidden forces on the site and help the designer in the design process. Also, how the path of the design process should be designed and how this approach is effective is coordinated with the presentation of the design process models defined by the architects.

The architectural tradition of the desert climate has both hidden and hidden teachings. The creation of rich sensory spaces is one of the gifts that the architecture of this context offers to its inhabitants. A considerable part of human sensory experiences in different spaces is formed by heat. Heat, like other sensory stimuli, can contribute to the richness of human perception of the environment and, in addition to the quantity of temperature, create a quality as pleasure. The concept of thermal pleasure is a quality that defines a satisfactory and positive human perception of thermal conditions in a specific space. How the concept of thermal pleasure is formed in the context of traditional desert architecture and how its occupants perceive it is a subject that has not been studied so far. So this the present study explores how "thermal pleasure" creates in the tradition of desert architecture. This research uses ethnographic method based on qualitative methodology. So, in order to discover and understand “how thermal pleasure is created”, using of interview technique and direct observation, it explores the lived experiences of individuals in the traditional desert architecture, which is considerable rich context. A comparison between the extracted codes and their analysis shows that "thermal distinction" between neighboring environments results in a thermal pleasure experience for individuals. In a situation where people are out of the temperature equilibrium, due to the interaction between climate and architectural space, facing a special thermal space that can return them to the thermal equilibrium, creates a thermal pleasure for them. The concept of thermal distinction in the interaction between the three rings of human, architecture and climate, makes a commonality to provide an opportunity to understand the thermal pleasure. The adjacency of spaces with thermal distinction, have a higher potential to create thermal pleasure in the tradition of desert architecture. Therefore, creating adjacent spaces with a specific thermal distinction is a latent pattern that can guide future designs to enrich the sensory landscape of heat.

The French phenomenological philosopher Maurice Merleau-Ponty, by emphasizing the priority of sensory perception, seeks to find and describe the subject’s relationship to the world in which he exists. For him, perception is related to the object, place, events, world in which we live and despite Our bodies emerge. According to him, perception is a secret in the depths and angles of the body, which, by appearing in every body, creates faces that are the basis of any human experience and understanding. The purpose of this study is to explain the sensory perception in the formation of Marina Abramovich’s performances from the perspective of Maurice Merleau-Ponty and to answer the question of what role sensory perception plays in the formation of her performances. One of the most important achievements of this research is that Abramovich developed the concept of sensory perception by using her body, place and time creatively, and subsequently formed her artistic performances by changing the level of consciousness. This research is a descriptive-analytical method and library resources and valid Internet databases have been used to collect data.

According to definitions, Landscape is a phenomenon that is perceived by man. First, Human beings have physiologically communicated with the environment through senses and stimuli, which leads to strengthening mental memory and sensory perception. In the following, in Intellectual Perception, sensory experiences will meaningful and cognition is obtained. Consequently, the lack of attention to all senses reduces sensory experiences. Since there has not been a comprehensive research on the landscape perception process, the present study seeks to answer the main question, what is the process of landscape perception? In order to answer this question, it is first necessary to answer these sub-questions. Based on which senses do human sensory perception form? What are human intellectual perception and its influencing factors?

This research aimed at increasing the sensory experiences and higher responsiveness of the landscape by identifying and considering the process of perception and its effective factors on the perception of the landscape.

The present study is qualitative and in terms of purpose is the applied research. The methodology of this research was qualitative content analysis and the method of data collection was the bibliographic method. The data were collected by the bibliographic method through studying the texts, documents, and others’ reviews. The induction method was used to analyze the data and investigated the process of landscape perception in two areas of sensory perception and Intellectual perception.

These results demonstrate that considering only five human senses in the landscape perception, regardless other 51 senses, intellectual perceptions and its factors (physical landscape, cultural factors, individual factors) can lead to an “objective and technical” description of the landscape. Besides, it can cause the record of a superficial layer of experiences, decreasing sensory experiences, weakening the relationship between the user and the physical environment and affecting humans’ behavior. So that, failure to meet humans’ expectations of the environment may result in one resentment and even leaving it.

At present, the principles and patterns of mosque shaping and its symbolic look have been forgotten, especially at the level of neighbourhood mosques. Since the restoration of Iranian-Islamic architecture and urban identity is one of the tasks of contemporary architects and urban planners, therefore, the purpose of the present study was identifying features, principles and values existing and influenced by Islamic verses and hadiths in mosques architecture and urban planning, as well as adapting them to the needs of the contemporary period and modelling the values of beyond place and time mosques. In the present study, a survey method had been designed to investigate the effect of sensory perception models on satisfaction and desirability increase in neighbourhood mosques of Qazvin City. After explaining the models and components of sensory perception, the criteria for effective assessment of satisfaction increase in mosques were extracted and the questionnaire was adjusted according to the Likert spectrum, and structural equation modelling (SEM) method analyzed the relationships between variables and their impact. The findings of the study show that there is a significant relationship between the components of sensory perception and satisfaction in neighbourhood mosques, in which the impact of cultural indicators and social system existing in the neighbourhood was more than other indicators. As a result, observing the sensory patterns in the design of the mosque's constituent elements increases the spatial utility, which creates and reinforces adaptive sensory architecture patterns in religious space and increases the motivation of worshipers to continue attending neighbourhood mosques.

Mosques have been the oldest, most important and uncompetitive religious element of Iranian cities. Unfortunately, mosque formation patterns and principles and symbolic perception, have been forgotten recently, especially at neighborhood mosques level. recovery of Iranian-Islamic architectural and urbanization identity is main responsibility of architects and urban planners, and this is the main object of current research. We will look forward achieving these goals by field survey and local condition analysis of cultural, social and even economical needs of social classes of these locals. Also, considering determined goal, research looks for its answer, can be   stated as following: whether value systems of different social classes of local habitants influences belonging sense among these neighborhood mosques. In the current research, the influence of sensory perception models have been investigated on the sense of belonging to place at Qazvin city by survey method. And also after specifying models and components of sensory perception, evaluating criteria effective on increasing belonging sense to mosque, extracted, then questionnaire prepared based on Likert spectrum by Structural Equation Modeling (SEM), which it analyzed the relations among variables and their impact amount on Haft-Darb mosque as an old texture and Javad Al-aemah as a new texture. research findings, shows a meaningful relationship among the components of sensory perception and the sense of belonging to place at neighborhood mosques, which in it the impact of cultural indicators and social system in the neighborhood is more than other indicators. Also regarding sensory patterns in designing mosques forming elements, promotes satisfaction sense which this leads to creating and strengthening of adaptive sensory architectural patterns in religious places. As a result, it is suggested to pay special attention to residents complementary role at mosques designing, because this matter cause more adaptability about neighborhood mosques architectural patterns. Also, recreating the sensory patterns of Iranian-Islamic architecture of mosques undoubtedly plays a vital and significant role in developing and deepening religious values, cultural, social and economic relations and also increases the motivation of worshipers to continue attending neighborhood mosques.