Fictional Space: An Ontotechnological Perspective

H. Avni ÖZTOPÇU

The Quantitative Phenomenology and Epiphylogenetic System Model of Fictional Space: A Cognitive and Ontotechnological Analysis of Avni Öztopçu’s Art

Abstract
This study revisits Hüseyin Avni Öztopçu’s concept of “fictional space” through an ontotechnological lens. In Öztopçu’s art, space is not merely a physical expanse but a cognitive and existential organizational framework. To analyze this, the research employs a tripartite quantitative phenomenological model, including the Algorithmic Tension Index (AGI), Existential Load (VY), and the Algorithmic Depth of Intuition Coefficient (ASDC), designed to measure formal tension, epistemic resistance, and intuitive depth in artistic compositions. By linking these metrics to epiphylogenetic system theory, the artwork is treated as both an aesthetic object and a cognitive organism. This approach connects Öztopçu’s spatial conception with Simondon’s individuation theory, Stiegler’s philosophy of technics and time, and Mengüşoğlu’s ontological understanding of the human. “Fictional space” is thereby positioned as a new model of thought integrating human, machine, and consciousness in contemporary art. The study proposes an interdisciplinary framework combining aesthetic analysis with quantitative methods, forming a new ontotechnological aesthetic approach at the intersection of art philosophy, cognitive science, and AI aesthetics.

Introduction: Ontological Background and Research Aim

For Öztopçu, fictional space is not a mere surface arrangement; it represents a domain in which existence can be reconfigured. Space manifests as a projection of the network of relationships the subject forms with the world, functioning both as a mode of being and a site of cognitive production. The notion of space articulated in Fictional Space carries aesthetic, cognitive, and ontological dimensions. Rather than being a visual depiction, space operates as a cognitive process—a reflection of intuitive algorithms behind form, color, line, and void. This perspective allows human creativity to be understood not only as an emotional or cultural phenomenon but also as a structural-cognitive one. Accordingly, the artwork is approached as a cognitive organism, and fictional space is conceived as an ontotechnological threshold where human cognition intersects with aesthetic production. The research aims to situate Öztopçu’s spatial understanding within contemporary cognitive science and AI aesthetics through the method of Quantitative Phenomenology, translating subjective artistic intuition into measurable terms while engaging with post-human creativity and algorithmic intuition. This establishes a dual-layered aesthetic thinking that integrates artistic intuition and algorithmic analysis.

Theoretical Framework: Öztopçu – Mengüşoğlu – Simondon – Stiegler Connection

Öztopçu’s fictional space extends beyond classical abstraction, functioning as an ontological laboratory. Each painting, with its forms, voids, centers, and boundaries, engages viewers both visually and cognitively. The three core components of fictional space include form and individuation, center and balance, and boundary and epistemic resistance. Lines, surfaces, and geometric or organic shapes parallel Simondon’s individuation, directing cognitive energy, measured by AGI. The center and spatial distribution govern focus, quantified via ASDC, while frames and boundaries define epistemic resistance, measured by VY. Together, these components transform space from a purely aesthetic object into a measurable, experimental, and cognitive system.

Mengüşoğlu’s ontological conception emphasizes that humans bear responsibility for existence, manifesting in formal and aesthetic terms. Each compositional element in Öztopçu’s work presents viewers with a conscious perceptual and epistemic experience, which the AGI–VY–ASDC triad models quantitatively. Simondon’s individuation theory highlights that human self-realization occurs through interactions with environment and technical objects. Öztopçu’s arrangements directly influence viewers’ cognitive individuation, with AGI reflecting the tension experienced during this process. Stiegler’s perspective situates technology and art within collective memory; VY represents epistemic resistance, with complex patterns enhancing attention and cognitive processing. In the Ders BELGELİĞİ example, individual perception interacts with technical and collective memory, reinforcing the epiphylogenetic process. The synthesis of these perspectives positions fictional space as a measurable cognitive and epistemic laboratory: AGI quantifies individuation energy, VY captures epistemic resistance, and ASDC reflects dynamic perceptual balance.

Experimental Methodology and Quantitative Phenomenology

This study treats Öztopçu’s paintings as measurable cognitive and epistemic systems. Eye-tracking, fractal dimension, and color entropy analyses support the measurement of perceptual tension (AGI), epistemic resistance (VY), and cognitive homeostasis (ASDC). Dense central forms prolong visual fixation and increase cognitive tension, complex boundaries elevate VY, and balanced spatial arrangements optimize ASDC. Image preprocessing normalizes artworks to 512×512 pixels, while binarization and fractal analysis enhance reproducibility. Eye-tracking protocols correlate fixation, saccades, dwell time, and pupil diameter with AGI, providing a framework to experimentally verify Öztopçu’s fictional spaces.

Epiphylogenetic Memory and Ders BELGELİĞİ

Epiphylogenetic memory denotes the transformation of individual experiences into lasting collective forms through social interaction. Öztopçu’s works act as interfaces of collective knowledge, making visible the interplay between individual and collective consciousness, in line with Stiegler’s notion of technical memory. Ders BELGELİĞİ functions not merely as an archive but as an ontotechnological platform, redefining ethical human-technology relations pedagogically and aesthetically. Cognitive participation, fractal, and entropy measurements provide quantitative support for the epiphylogenetic process, transforming art into a collective cognitive laboratory and elevating local

Ontotechnological Aesthetics: Human, Machine, and the New Unity of Art

Ontotechnological aesthetics examines the interactions between human cognition, artificial intelligence, and artworks within a structured epistemic and ethical framework. It emphasizes how algorithmic processes can enhance human creative judgment while preserving ethical and aesthetic integrity.

In practice, the human-machine co-creation model functions as follows: algorithmic intuition (Sezgi) proposes potential variations or interpretations of a work, and the human artist evaluates these proposals, integrating cultural, ethical, and aesthetic considerations. The machine’s analysis does not replace human perception but amplifies the artwork’s epistemic and structural depth through techniques like fractal and entropy analysis and cognitive modeling. The ethical dimension ensures that AI-generated suggestions respect the original artwork’s integrity, maintaining the epistemic load (VY) and supporting critical, ontological awareness.

By integrating AGI, VY, and ASDC, this approach optimizes perceptual tension, cognitive homeostasis, and aesthetic experience, forming a new unity of art: a synergistic system of human insight, machine augmentation, and artworks as active nodes of knowledge transfer.

Universal Model in the Turkish Context: From Enlightenment Philosophy to the Age of Artificial Consciousness

Öztopçu’s approach situates Turkish art within a universal ontotechnological framework. Drawing on Mengüşoğlu’s ontological conception of humans as subjects responsible for existence, artworks embody formal and ethical responsibility: form, structure, and order are not only aesthetic but also ethical measures. The AGI–VY–ASDC triad quantitatively maps perceptual tension, epistemic resistance, and cognitive balance, while collective memory—exemplified in the Ders BELGELİĞİ—preserves and reproduces individual experiences within a communal epistemic framework.

This model extends local philosophical insights to the global paradigm of artificial consciousness, positioning Turkish art as a cognitive and epistemic reference. Quantitative phenomenology and experimental methodologies allow for the transformation of heritage into a universal ontotechnological laboratory, bridging cultural specificity with universal applicability.

Conclusion: The Universal Ontotechnology of Fictional Space

Öztopçu’s fictional space constitutes an aesthetic, ethical, and epistemic field. The AGI–VY–ASDC framework enables rigorous measurement of algorithmic tension, epistemic resistance, and dynamic balance, providing a comprehensive model for post-human cognition in art. Through this system, Turkish artistic heritage is transformed into a universal ontotechnological laboratory, demonstrating how local artistic practices can inform global discourses in cognitive, aesthetic, and experimental domains.

Abstract

Quantitative Phänomenologie und epiphylogenetisches Systemmodell des fiktiven Raums: Eine kognitive und ontotechnologische Analyse der Kunst von Avni Öztopçu

Diese Studie untersucht H. Avni Öztopçus Konzept des „fiktiven Raums“ aus ontotechnologischer Perspektive. In Öztopçus Kunst ist Raum nicht nur physisch, sondern ein kognitives und existenzielles Organisationssystem. Das Forschungsmodell umfasst den Algorithmischen Spannungsindex (AGI), die Existenzielle Last (VY) und den Algorithmischen Tiefenkoeffizienten der Intuition (ASDC), die formale Spannung, epistemischen Widerstand und intuitive Tiefe quantifizieren. Durch die Verbindung mit der epiphylogenetischen Systemtheorie wird das Kunstwerk als ästhetisches Objekt und kognitiver Organismus betrachtet. Der Ansatz verknüpft Öztopçus Raumauffassung mit Simondons Individuationstheorie, Stieglers Technik- und Zeitphilosophie und Mengüşoğlus ontologischem Menschenbild. Der „fiktive Raum“ wird so zu einem Modell, das Mensch, Maschine und Bewusstsein in der zeitgenössischen Kunst integriert.

Résumé

Phénoménologie quantitative et modèle systémique épiphylogénétique de l’espace fictif : Analyse cognitive et ontotechnologique de l’art de Avni Öztopçu

Cette étude revisite le concept d’« espace fictif » de H. Avni Öztopçu sous un angle ontotechnologique. Dans l’art d’Öztopçu, l’espace n’est pas seulement physique, mais constitue un cadre cognitif et existentiel. Le modèle analytique comprend l’Indice de Tension Algorithmique (AGI), la Charge Existentielle (VY) et le Coefficient de Profondeur de l’Intuition Algorithmique (ASDC), mesurant la tension formelle, la résistance épistémique et la profondeur intuitive. Relié à la théorie des systèmes épiphylogénétiques, l’œuvre est considérée à la fois comme objet esthétique et organisme cognitif. Ce cadre relie la conception spatiale d’Öztopçu aux théories de l’individuation de Simondon, à la philosophie de la technique et du temps de Stiegler, et à la conception ontologique de l’homme de Mengüşoğlu, positionnant l’espace fictif comme un modèle intégrant humain, machine et conscience.

Sommario

Fenomenologia quantitativa e modello sistemico epifilogenetico dello spazio fittizio: Analisi cognitiva e ontotecnologica dell’arte di Avni Öztopçu

Questo studio esamina il concetto di «spazio fittizio» di H. Avni Öztopçu attraverso una prospettiva ontotecnologica. Nella sua arte, lo spazio non è solo fisico, ma costituisce un quadro organizzativo cognitivo ed esistenziale. Il modello analitico comprende l’Indice di Tensione Algoritmica (AGI), il Carico Esistenziale (VY) e il Coefficiente di Profondità dell’Intuizione Algoritmica (ASDC), misurando tensione formale, resistenza epistemica e profondità intuitiva. Collegando queste metriche alla teoria dei sistemi epifilogenetici, l’opera è considerata sia come oggetto estetico sia come organismo cognitivo. L’approccio integra la concezione spaziale di Öztopçu con la teoria dell’individuazione di Simondon, la filosofia della tecnica e del tempo di Stiegler e la concezione ontologica dell’uomo di Mengüşoğlu, posizionando lo «spazio fittizio» come modello che integra uomo, macchina e coscienza nell’arte contemporanea.

The content of this study was prepared under the guidance of Pınar 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 Pınar Sumer Biber.

10 10 2025

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