Derya Ölçener

The aesthetic creation experience surpasses the regular known form of aesthetic subject-object relationship. It is unfortunately not sufficient to approach the problem in terms of sustaining subject and/or object side in this relation. However, the classical explanation of arts consider the relation according to one-sided approach(es). It is known that the fundamental approaches of aesthetics in the history of philosophy can be reduced to epistemological, ontological or ethical divisions. The contemporary approaches in aesthetics are in need of psychological theories as much as they require philosophical holistic outlook.

An aesthetic object should be understood and analyzed by the subject in accordance with its object characteristics, except that it is the subject of the subject. In this sense, the aesthetic object, rather than just an object, has all the cognitive characteristics of its artist. The aesthetic subject faces these cognitive characteristics. The perception-perception structure of the subject and the reciprocity relation with the object are examined in this thesis study in order to perceive the aesthetic object correctly and to judge about it. This study is also a study of what the subject can perceive in terms of their perception and interpretation abilities. Additionally, such an approach will enrich the perception-based aesthetic perspectives in the focus of discussions in the philosophy of art.

It has always been a matter of curiosity what kind of information art, which is far from ordinary and untouchable, provides people. Confronting a person with an art object means looking at the window of a world different from the world of daily routines, with his head stuck out. We can describe this world as magical in a romantic way. This magic arises from the difference in the functioning of perception, interpretation and judgment processes, which the person confronted with an art object has difficulty in explaining to himself from time to time. Because the acquisition of perception in the world of routines and the acquisition of perception from the art object are different in terms of the functioning of mental processes...

Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists.

Today, humanity is trying to turn the artificial intelligence that it produces into natural intelligence. Although this effort is technologically exciting, it often raises ethical concerns. Therefore, the intellectual ability of artificial intelligence will always bring new questions. Although there have been significant developments in the consciousness of artificial intelligence, the issue of consciousness must be fully explained in order to complete this development. When consciousness is fully understood by human beings, the subject of “free will” will be explained. Therefore, human consciousness should be re-examined and perceptions that we are not aware of from a philosophical point of view should be examined. The relevance of the perceptions we do not realize to the unconscious, and finally the impact on consciousness goes back to the sources of philosophy. Hegel, in particular, we may find information about these perceptions unusual. Consciousness cannot be separated from the unconscious. Consciousness should be rethought in the context of memory models and unconscious in this sense. Seeing how Hegel's human cognition acts, especially in Hegel's perception, raises the unconscious question again. If we expect something different from an artificial intelligence, we need to rethink the artificial cognitive model. This paper argues that without the unconscious component of artificial intelligence, it cannot approach human cognition. Key Words: Artificial Intelligence, Creativity, Memory, perception