A vivência intencional do fruidor em OntoArte – aproximações fenomenológicas

Abstract

This research encompassed the intentional experience of the art beholder in OntoArt, highlighting its connections with Phenomenology. In the historical journey concerning the concept of intentionality, starting from its usage in Scholasticism, followed by the conceptions of Avicenna and Averroes in Medieval Philosophy, then addressed later by Brentano with the psychological conception, and subsequently, with the shift in the conception of science during the Crisis of European Sciences, the concept comes to be understood differently in the Phenomenology of Edmund Husserl, and years later, Ontopsychology also retrieves the question of intentionality, with Meneghetti presenting the types of intentionality. The theoretical understanding of intentional experience developed by Husserl was then pursued, learning how it occurs and what its premises are, connecting it to non-figurative art. Following this, OntoArt was elucidated as a Philosophy of art, thus a historical journey of its development was developed, as well as illustrated with some images of artworks to showcase what an OntoArt painting by Meneghetti is like, then developing questions about aesthetics, fruition, metaphysics, bodily perception, and the organismic criterion as essential points for the art beholder to carry out an intentional artistic experience, being capable of gathering the signaletic given by the artist in their artwork. Therefore, the general objective was to clarify the relationship between Psychology, Husserlian Phenomenology, and Ontopsychology, more specifically the issue of elucidating the artistic psychic experience described in OntoArt. And the specific objectives were: to clarify the relationship between Phenomenology and Ontopsychology, focusing on the issue of intentionality. To analyze, based on Husserlian phenomenology, the intentional experience of art given by the relationship between "nonfigurative" art. To describe theoretical aspects of the artistic experience proposed by OntoArt. The research question aimed to address was to seek the question of intentional experience in aesthetic living, present in OntoArt, in order to clarify its psychological roots, thus allowing a clearer understanding of the topic. To this end, the method used was the theoreticalbibliographical one presented by Lima and Mioto (2007) with a qualitative character. It was based on key authors: Husserl and Meneghetti using their original works that outlined the central theme of intentional experience and fruition in OntoArt, as different exponents of Phenomenology were considered, such as Bello (2009/2017), Goto (2015), Silva (2012), Serra (2022), Spiegelberg (1963), Torrez (2016), Uzelac (s.d), Xirau (2015), Zilles (2007), Zahavi (2015), and others. For the understanding of the concept of intentionality, Averroes and Avicenna from Medieval Philosophy, and Brentano from Psychology were used, and Philosophy and Ontopsychology dictionaries were consulted to clarify different concepts accurately. Finally, in the final considerations, it could be presented that intentional experience can be an artistic fruition, and that OntoArt is an aesthetic means for intentional experience to occur and constitute aesthetic fruition, with the beholder being the subject capable of gathering the signaletic given by the artist to the object that results from the artist's intentionality resulting in the artwork.