ENRICHED PERCEPTION EXPERIENCE IN THE CASE OF TURKEY: PAINTING OF THE MESOPOTAMIA SYMPHONY

This study is carried out as applied practice and results are based on accurate and reliable data. The further data that will be obtained with medical imaging devices (fMRI) has not been included into this article yet. Final results of the study initiating with a variety of evidences, hypotheses and comparisons will be deduced in accordance with the data taken from these devices. This will be realized in the further phases of the study. The aim of study is by implementing the narrative forms of music within the expression skills of painting to reach to a pictorial representation of music as different forms and colors. By transforming a musical piece that is perceived by our auditory senses into a painting visually observed and combining both to reach a diversity of perception which we call richness. Fazıl SAY's symphonic musical work Mesopotamia Symphony no.2 ops 38 was chosen the sample for Turkey as enriched perception experience. 20 pieces of pictures that correspond to every part of the symphonic music and a huge painting of 10 meters width which was formed by the compilation of these pieces were produced. Colours and shapes matching the emotions music reflects were adopted in the production. Moreover, some of the aesthetic data composer took special care while performing was noted and tried to give a place to them in the painting. These pieces which are designed to represent each part of the symphony exist as a synthesis (each of them take part formally) in the symphonic painting. This aims to express the symphony as a whole. In this article, the musics are tried to express by their pictorial equivalents and various beliefs and mythological conceptions are arrived by using arrows among pictures; thus it has been maintained that they function as a whole and also trigger one another aesthetically. Consequently, every bit of information, every judgement, is an interpretation of an object and being. Thus, every work of art as an aesthetic object points out to an interpreted existence. So the painting of everything that could be able to come into an existence somehow could possibly be made.