Reception of Current Art Object in The Context of Perception Phenomenology

Abstract

Throughout history, perception has, being affected by sensual experiences, changed, transformed, and, generated different forms of meanings and concepts, built a basis for many intellectual data. The mindset started by Husserl on the perceptual nature of sensual experience and aesthetic experience, and later continued by Heidegger and Merleau-Ponty within the scope of phenomenological consciousness creates, after all, a philosophic discipline. Heidegger and Merleau-Ponty have dwelled on how the reflection of the aesthetic gains of phenomenology they have developed through their own approaches could be. They, by “suspending” the concepts in perception, have tried to uncover the essence of the objects, their reflection on perception, and determine how they are connected in the plane of phenomenology and aesthetic basis. They have also presented a special problem of how the current art object should be interpreted using the phenomenology of aesthetic experience and aesthetic admiration.

The subjects addressed throughout the research are studied using descriptive methods. In the research, the audience/viewer is discussed specific to the art object in the perspective of the approaches to the perception phenomenology and art object, and judgments on the data found are presented in the conclusion section.