WHAT IS VISUAL FORM?

   The following exposition has the purpose to lay the foundation for the structural research of works of visual art using conventions and synthetic and essential models. They will describe a grammar of structural visual expression based on CONSTRUCTION and MORPHOLOGY. It is why this doesn’t have to be represented as a transposition of visual structure into literary language because the cognitive nature of literary expression is CONCEPTUAL, while the nature of visual expression is VISIONARY, so they are fundamentally different.

   THE VISUAL FORM can’t be defined in itself. It can’t be conceived as independent from its compositional context. It is why you must follow the context in order to find the VISUAL FORM!

   THE VISUAL FORM is the landmark of VISUAL CONSCIENCE that shows you the road to VISUAL CREATION. THE VISUAL FORM is THE ESSENCE of the VISUAL PHENOMENON, which is the apparition of visual structure.

   So, how do we conceive THE VISUAL FORM?

   In analytic and critical Kantian and Cartesian thinking, THE VISUAL FORM is just a constructive primitive, an element detached from its context. It is why we need a conceptual foundation in agreement with THE UNICITY and ORIGINALITY of the work of art and THE INTROSPECTIVE nature of the working process of a visual work of art, structurally integrated into its compositional context.

   THE METAPHYSICS or philosophical-conceptual bases, after which we orient our scientific method of research, consist of a PHENOMENOLOGY or ONTOLOGY of visual works structure. With its aid, we will approach, in the following expositions, just visual works made on flat and mobile support.

   PHENOMENOLOGICAL REDUCTION is the primary method of conceptual essentialisation in PHENOMENOLOGY. In the research of visual works of art, this method is not applied as bracketing, as it is in transcendental phenomenology, to suspend the conceptual context. In THE PHENOMENOLOGY of the visual art structure, THE REDUCTION applies to satisfy THE PRINCIPLE OF STRUCTURAL UNIFICATION, which consists of the absolute RELATIONSHIP between the surfaces of the researched composition.

   So THE VISUAL FORM is a complex of constructive COMPONENTS contextualized and unified by REDUCTION in order to ATTENTIVELY emphasize the component or components with morphological status of OBJECT from the ones with morphological status of BACKGROUND, which we ignore in the visual field.

   Therefore, in order to understand the constructive context in the way of morphological essentialization, we need to deepen the notions of PROPERTY, RELATIONSHIP, and COMPOSITION of surfaces, which I will develop in the following expositions.