Abstract

While Kazimir Malevich is widely known for his suprematist contributions to art, little attention has been granted to his articulated philosophical premise and methodological manifestation concerning the non-objectivity of thought and its relationship to feeling. This paper shows how Suprematist philosophy gives rise to the concept of pedagogical sensing that was first characterized by UNOVIS. Casting Suprematist aspersions on dominant educational practices that seek to reproduce what seemingly ‘is’, a non-objective collapse of all-too-certain frames is replaced by abstract essence. As with the painter, teachers may be correspondingly invited to represent learning without past prejudice, as a creative contemplation in constituted spaces comprised of thoughts and feelings, that are so beautifully manifested through Malevich’s pieces of art and his associated, hitherto unrecognized, suprematist call to arms in education.

摘要

尽管卡齐米尔·马列维奇（Kazimir Malevich）对艺术的至高无上的贡献而广为人知，但很少有人关注他关于思想的非客观性及其与情感的关系的清晰的哲学前提和方法论表现形式。本文展示了至上主义哲学是如何产生由UNOVIS首次表征的教学感的概念的。在试图复制看似“是”的主流教育实践上施加至高无上的色彩，用抽象的本质代替了所有过于确定的框架的非客观崩溃。与画家一样，可以相应地邀请老师代表学习，而不会产生过分的偏见，这是对由思想和感觉组成的空间的创造性思考，