Consciousness and Mind
. . . . . . . “The experiences in which the artist sees his phantasy formations, or more precisely, that peculiar internal seeing itself or bringing to intuition of centaurs, heroic characters, landscapes, and so on, which we contrast to external seeing, to the external seeing that belongs to perception” (Meraud, 27). Husserl is of the opinion that phantasy is quite fairly evolved in the artist.
. . . . . . . . While Husserl asserts “aesthetic consciousness” in artists, Noe (2000) argues, "Art can make a needed contribution to the study of perceptual consciousness" (123). He means that artwork of artists can provide us the opportunity to gain a reflective experience. That is how one can do phenomenological investigation. . . . . . . .
. . . . . . . To put forth his point forward, Noe (2000) illustrates cases of Smith and Serra. Both create metal sculptures appropriate for outdoor installation. While Smith’s works are created based on mathematical or geometrical ratios. Serra’s works are purely experiential. Smith’s creation attempts to combine certain shapes such as terahedrons so as to fill out space. They are demonstrative pieces to show that space can be filled. In contrast, Serra’s pieces depend upon their scale, their milieu and their complexity. Smith’s pieces can be viewed as universal. Smith is more concerned with geometry, form and internal relationships while Serra’s sculpture invokes consciousness (Noe, 2000). He categorically emphasizes that works of some artists do qualify for phenomenological study meaning "Experiential art enables us to do this”.