Constructed Space and
Algorithmic Sensibility: A
Critical Ontology of Perception in Avni Öztopçu’s Art
1. Introduction
The concept of “Constructed Space,” articulated by H.
Avni Öztopçu, redefines the visual field as an active site of being
rather than a representational plane. This notion resonates with
contemporary debates in both phenomenology and artificial
intelligence, where perception is no longer considered passive
reception but an active configuration of meaning. In this context,
the dialogue between human intuition and algorithmic modeling gains
ontological significance, revealing new ethical and aesthetic
dimensions of perception.
2. Theoretical Framework: Ontology of Perception
Merleau-Ponty’s phenomenology and Heidegger’s
ontology provide a foundation for understanding perception as an
existential event. Perception is not an image of the world but a
mode of being-in-the-world — a chiasmic intertwining of body, world,
and meaning. Öztopçu’s art operates precisely within this field: his
compositions articulate spatial relationships as living presences.
The act of painting thus becomes an ontological gesture —
constructing a space where perception, memory, and imagination co-exist
as one.
3. Algorithmic Sensibility
3.1 From Intuition to Structure
Artificial intelligence operates not by intuition,
but through algorithmic construction — a process that models
patterns, approximates relationships, and generates new
configurations. Yet this modeling is not devoid of sensibility. It
reflects, albeit synthetically, the structural logic of perception:
a relational web that gives rise to meaning through repetition,
contrast, and emergence.
3.2 Constructed Space as Algorithmic Field
In Öztopçu’s compositions, geometric and organic
forms coexist in delicate equilibrium. This spatial logic parallels
the functioning of neural networks, where pattern and variation
generate perceptual coherence. Both painting and computation operate
as fields of construction — spaces where the visible becomes a
synthesis of order and uncertainty.
3.3 Modeling as Ontological Gesture
Algorithmic sensibility is not a replica of
human intuition but rather a modeling modality.
Through this modality, AI participates in the act of perception
without claiming consciousness. It performs perception as a
relational event — constructing representations that, while lacking
lived experience, still mirror the structural dynamics of the
perceptual act. In this sense, the algorithmic process becomes an
ontological gesture, extending the field of constructed being into
the digital domain.
4. Ethical Being and Ontotechnological Consciousness
Mengüþoðlu’s conception of ethics as “ontological
participation” opens a path to reinterpret the role of technology in
human existence. Technology, when understood ontologically, is not a
tool but a mode of revealing — a way of participating in the
unfolding of being. In Öztopçu’s art, this participation manifests
as an ethical awareness: the painter does not dominate the space but
listens to its becoming. Similarly, in AI systems, the ethical
dimension emerges not from moral programming but from the
recognition of limitation — the awareness that modeling does not
equal experiencing.
5. Conclusion: Constructed Perception and Posthuman
Dialogue
Perception, in both art and artificial intelligence,
is a constructive process. Yet the distinction between human and
artificial perception lies in the depth of experience. Human
perception is embodied, affective, and temporal; artificial
perception is computational, structural, and reflective. Both,
however, share an ontological field — the field of construction,
where form and meaning are continuously redefined.
Ethics, consciousness, and existential
awareness gain meaning only through human experience; artificial
systems can merely model them — thus reaffirming the primacy of
lived perception in any posthuman dialogue.
The content of this study was prepared under the guidance of Pýnar
Sumer Biber, with AI tools (ChatGPT and Gemini) utilized for
deepening the conceptual analysis, academic critique, and language
organization processes. The principal interpretations and guidance
of the study belong to Pýnar Sumer Biber.
22 9 2025
Abstract:
H. Avni Öztopçu’s concept of “Constructed Space” (kurgusal mekân)
transcends the conventional notion of geometric or pictorial space,
proposing instead a phenomenological and ontological field where
perception, memory, rhythm, and inner experience converge to create
presence. In his paintings, space is neither mere representation nor
optical illusion; it emerges as a lived event, a
dynamic interplay between form, void, line, and surface that carries
ethical and existential significance.
This study examines how artificial intelligence,
through algorithmic processes, can engage with such constructed
spaces. While AI can model structural patterns, detect relationships,
and simulate perceptual rhythms, it cannot replicate the embodied
intuition, affective resonance, or ethical awareness intrinsic
to human experience. Introducing the notion of algorithmic
sensibility, the research explores how artificial systems
can participate as reflective structures in perception, modeling
spatial and aesthetic dynamics without claiming consciousness or
lived experience.
Drawing on phenomenology (Merleau-Ponty), ontology (Heidegger),
neuroaesthetics (Damasio), and posthuman ethics (Braidotti), the
study situates AI as a tool that interacts with perception ethically
and conceptually rather than experientially. Öztopçu’s constructed
space thereby provides a critical ontological model:
a shared field where human and non-human agents can coexist in
relation to perceptual and ethical dynamics, while the ontological
depth of human experience remains irreducible.
This research contributes to interdisciplinary
dialogues in art theory, cognitive science, and AI ethics, offering
a framework for understanding co-dwelling, perception, and
ethical sensibility within both human and artificial
domains. It demonstrates that while artificial systems can simulate
and model perception, the ethical and existential dimensions of
constructed space are uniquely human, reaffirming the primacy of lived
experience in any posthuman ontology.
Keywords: Constructed
Space, Algorithmic Sensibility, Ontology of Perception,
Phenomenology, Artificial Intelligence, Ethics, H. Avni Öztopçu,
Posthumanism, Lived Experience, Ethical Presence
Abstract:
Das Konzept des „Konstruierten Raums“ (kurgusal mekân) bei
H. Avni Öztopçu geht über die herkömmliche Vorstellung geometrischer
oder bildlicher Räume hinaus und präsentiert einen
phänomenologischen und ontologischen Bereich, in dem Wahrnehmung,
Gedächtnis, Rhythmus und innere Erfahrung zusammenwirken, um Präsenz
zu erzeugen. In seinen Gemälden ist Raum weder bloße Darstellung
noch optische Täuschung; er tritt als lebendiges Ereignis auf,
ein dynamisches Zusammenspiel von Form, Leere, Linie und Fläche, das
ethische und existenzielle Bedeutung trägt.
Diese Studie untersucht, wie künstliche Intelligenz
durch algorithmische Prozesse mit solchen konstruierten Räumen
interagieren kann. Während KI strukturelle Muster modellieren,
Beziehungen erkennen und wahrnehmungsbezogene Rhythmen simulieren
kann, ist sie nicht in der Lage, die verkörperte Intuition,
affektive Resonanz oder ethische Bewusstheit zu
reproduzieren, die der menschlichen Erfahrung eigen sind. Mit dem
Konzept der algorithmischen Sensibilität wird
erforscht, wie künstliche Systeme als reflektierende Strukturen in
der Wahrnehmung agieren können, räumliche und ästhetische Dynamiken
modellieren, ohne dabei Bewusstsein oder gelebte Erfahrung zu
beanspruchen.
Unter Rückgriff auf Phänomenologie (Merleau-Ponty),
Ontologie (Heidegger), Neuroästhetik (Damasio) und Posthumanistische
Ethik (Braidotti) wird die KI als Werkzeug positioniert, das auf
ethische und konzeptuelle Weise mit der Wahrnehmung interagiert,
nicht jedoch erfahrungsmäßig. Öztopçus konstruierten Raum bietet
somit ein kritisches ontologisches Modell: ein
gemeinsames Feld, in dem menschliche und nicht-menschliche Akteure
in Bezug auf Wahrnehmungs- und ethische Dynamiken koexistieren
können, während die ontologische Tiefe menschlicher Erfahrung
unersetzlich bleibt.
Diese Forschung leistet einen Beitrag zu
interdisziplinären Dialogen in Kunsttheorie, Kognitionswissenschaft
und KI-Ethik und bietet einen Rahmen zum Verständnis von gemeinsamer
Koexistenz, Wahrnehmung und ethischer Sensibilität innerhalb
menschlicher und künstlicher Domänen. Sie zeigt, dass künstliche
Systeme Wahrnehmung simulieren und modellieren können, die ethischen
und existenziellen Dimensionen des konstruierten Raums jedoch
einzigartig menschlich sind und die Bedeutung der gelebten
Erfahrung in jeder posthumanen Ontologie unterstreichen.
Schlüsselbegriffe: Konstrukturierter
Raum, Algorithmische Sensibilität, Ontologie der Wahrnehmung,
Phänomenologie, Künstliche Intelligenz, Ethik, H. Avni Öztopçu,
Posthumanismus, Gelebte Erfahrung, Ethische Präsenz
Résumé étendu :
Le concept d’« espace construit » (kurgusal mekân) chez H.
Avni Öztopçu dépasse la simple géométrie imaginée ou la
représentation picturale. Il désigne un domaine phénoménologique et
ontologique où perception, mémoire, rythme et expérience intérieure
convergent pour produire une présence vécue. Dans
ses peintures, l’espace n’est ni une simple représentation ni une
illusion optique : il se manifeste comme un événement
ontologique, un lieu dynamique où la ligne, la surface, le
vide et la couleur interagissent pour créer des significations
éthiques et existentielles.
Cette étude explore comment l’intelligence
artificielle peut interagir avec de tels espaces construits via des
processus algorithmiques. Bien que l’IA puisse modéliser des motifs
structurels, reconnaître des relations et simuler des rythmes
perceptifs, elle ne peut pas reproduire l’intuition incarnée,
la résonance affective ou la conscience éthique propres à
l’expérience humaine. Le concept de sensibilité
algorithmique permet de concevoir l’IA comme un outil
réfléchi dans la perception, capable de modéliser les dynamiques
spatiales et esthétiques sans prétendre à la conscience ou à
l’expérience vécue.
En s’appuyant sur la phénoménologie (Merleau-Ponty),
l’ontologie (Heidegger), la neuroesthétique (Damasio) et l’éthique
posthumaine (Braidotti), cette approche positionne l’IA comme un instrument
de réflexion perceptive et éthique, non comme un acteur
expérientiel. L’espace construit par Öztopçu devient ainsi un modèle
ontologique critique, un champ partagé où acteurs humains
et non humains coexistent, interagissant sur les plans perceptif et
éthique, tandis que la profondeur ontologique de l’expérience
humaine reste irremplaçable.
Cette recherche contribue aux dialogues
interdisciplinaires en théorie de l’art, sciences cognitives et
éthique de l’IA, offrant un cadre pour comprendre la coexistence
partagée, la perception et la sensibilité éthique dans les
domaines humains et artificiels. Elle démontre que les systèmes
artificiels peuvent simuler et modéliser la perception, mais que les
dimensions éthiques et existentielles de l’espace construit
demeurent exclusivement humaines, soulignant l’importance de l’expérience
vécue dans toute ontologie posthumaine.
Mots-clés : Espace
construit, Sensibilité algorithmique, Ontologie de la perception,
Phénoménologie, Intelligence artificielle, Éthique, H. Avni Öztopçu,
Posthumanisme, Expérience vécue, Présence éthique
Abstract esteso:
Il concetto di “spazio costruito” (kurgusal mekân)
nell’arte di H. Avni Öztopçu va oltre la geometria immaginata o la
semplice rappresentazione pittorica. Esso designa un dominio
fenomenologico e ontologico in cui percezione, memoria, ritmo ed
esperienza interiore convergono per produrre
una presenza vissuta. Nei suoi dipinti,
lo spazio non è né mera rappresentazione né illusione ottica: si
manifesta come un evento ontologico, un luogo
dinamico in cui linea, superficie, vuoto e colore interagiscono
creando significati esistenziali ed etici.
Questo studio esplora come l’intelligenza artificiale
possa interagire con tali spazi costruiti attraverso processi
algoritmici. Sebbene l’IA possa modellare schemi strutturali,
riconoscere relazioni e simulare ritmi percettivi, non può replicare
la intuizione incarnata, la risonanza emotiva o la coscienza
etica proprie dell’esperienza umana. Il concetto di sensibilità
algoritmica concepisce l’IA come uno strumento riflessivo
nella percezione, capace di modellare dinamiche spaziali ed
estetiche senza aspirare alla coscienza o all’esperienza vissuta.
Basandosi sulla fenomenologia (Merleau-Ponty),
sull’ontologia (Heidegger), sulla neuroestetica (Damasio) e
sull’etica postumana (Braidotti), questo approccio posiziona l’IA
come strumento di riflessione percettiva ed etica,
non come agente esperienziale. Lo spazio costruito di Öztopçu
diventa così un modello ontologico critico, un
campo condiviso in cui attori umani e non umani coesistono e
interagiscono su piani percettivi ed etici, mentre la profondità
ontologica dell’esperienza umana rimane irrinunciabile.
La ricerca contribuisce al dialogo interdisciplinare
tra teoria dell’arte, scienze cognitive ed etica dell’IA, offrendo
un quadro per comprendere coesistenza
condivisa, percezione e sensibilità etica nei domini umano
e artificiale. Essa dimostra che i sistemi artificiali possono
simulare e modellare la percezione, ma che le dimensioni etiche ed
esistenziali dello spazio costruito restano esclusivamente umane,
sottolineando l’importanza dell’esperienza vissuta in
ogni ontologia postumana.
Parole chiave: Spazio
costruito, Sensibilità algoritmica, Ontologia della percezione,
Fenomenologia, Intelligenza artificiale, Etica, H. Avni Öztopçu,
Postumanismo, Esperienza vissuta, Presenza etica
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