Haptic art object in the context of phenomenology of perception

Without questioning the existence of the tactile action, the haptic perception term as a type of perception in which tactile elements are included in information production, is located at an equal distance from tactile and visual perception. The idea of researching the coexistence of the concept of haptics and the art object with a phenomenological approach in the focus of material perception and tactile perception/experience forms the basis of this study. The motivation of this research and study includes phenomenology and Molecular Biophysics-oriented approach on the sense of touch, with the framework of a redefinition of the term haptic of the art object would improve a new reading, criticism, interpretation, and experimentation, and that hosts potential method in the context of contemporary art theory and philosophy. In this context, the aim of this study was to question the possibility of a critique/review approach of a work of art shaped by the relationship, interaction and relatedness established by Merleau-Ponty with the works of art based on the phenomenology of perception. Under the anti-ocular approach as a critique of as eye hegemony, on the basis of inter-sensory cooperation and equality between vision and touch should be treated as immanent and this approach should be developed within the framework of "haptic", a new term for the literature. 20th century it was intended to fill the void caused by eye hegemony until the century. In order to develop an aesthetic theory within the framework of the philosophy of art, art works from different periods are discussed with the criticism of haptic art object. In this context, "The Arnolfini Portrait" by Jan van Eyck, "Ambassadors" by Hans Holbein, "Plâtre à Toucher chez Marius de Zayas" by Edith Clifford Williams, "Fur-Lined Teacup" by Meret Oppenheim, and "Couple" series by Louise Bourgeois are analyzed in detail from the perspective of haptic criticism. Haptic strategies play an active role in the contemporary art environment. Plastic arts, cinema, New Media and interactive art, industrial design, robotics and augmented reality offer a wide range of possibilities and phenomena in this regard.