Abstract

Marcin Sobieszczanski develops, since the end of 1990s, a vast project of cognitive aesthetics. Envisaging, according to the terms of the reporter of his thesis, Daniel Charles, the hypothetical aesthetics of Husserl, he provides the connection and the passage between the phenomenological thought and the cognitive sciences, in the field of the aesthetic behavior. Since this basic work, formulated in the book of 2000, Éléments d'esthétique cognitiviste, Sobieszczanski is engaged in analyses of works and envisages perspectives in visual arts by the yardstick of the technological devices offering to the protagonists of the creative process the unprecedented perceptive and cognitive conditioning. His researches result at the moment in the concepts of immersion and biofeedback in the current art and in the forward-looking experiment of artists.

One suggests a path toward a cognitive aesthetics and a set of four studies where this aesthetics appears as methodology and key of the interpretation. Art is perception, for its material is the perceived world, its quest is of making present the existence of this original perception, and its result is the object designed to being perceived. One exercises a median way between 1) the gnoseological dualism of Kant (the appreciable donation of things assumed by the understanding mind), enclosed by some aspects of the thought of Husserl in the solipsism of the absolute consciousness, 2) the absolutism of the Mind equalled with the subject of the romantic. The sense is deducted at the same time from 1) some physical and phylogenetic processes of the establishment of the conscience of the world, 2) morphological appearingness, thought by a philosophy which is structuring the results of the cognitive sciences. Art is a doxothetic attitude carrying on the perceptions of the world and operating on the basis of an ontology of the personal, concrete and temporary. One oscillates, therefore, between the approach of the art in the setting of Husserl's problematic of constitution and the post-phenomenological one of ontology. One studies : In DLUBAK, the problem of the section that operates the physical limitations of the look on the spatial situation of the tri-dimensional object and of its projection in the subject's direction. In BURY, the morphogenetical effect of time in the change of a blackening graphic photo deposit viewed mereologically. Beyond all modes, the artist clings to the investigating of the irradiation that exercises the world on the perceiving subject. In RIVEIRO, the back-up tentative of pictorial corpus by the relinquishment of the framed picture, to the benefit of painting, like a fluid process marrying multiple circulating panels together. A visual ecology enlivens the endless process of the painter. In CAILLAUD, who combines the painting of chromatic random paradigm and the digital dynamic, one observes a "window to chronochromatic phenomena" where algebra and color go together. So, one considers, not the differences between techniques, but the technical differences existing between the various equivalences that the artists constitute as operational in the mediation of their intuitions and of their ostensive techniques.