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Abstractions in prohographic art: the semiology of abstract meaning in perspective of conseptual attitudeUzun, ImranGörüntüleme Bilimi ve Fotoğraf TeknolojisiSanatThis study, which examines the transcendental thought in the art of photography, consists of essays utilizing the phe-nomenological manifestations of reality in the production of abstract concepts and the scientific endeavors that decipher these essays with a semiotic approach. In the post-modern era, when the immanence of the art of photography to matter is discussed, post-truth era artists, who speak of the assumption that truth loses objective features, are eager to examine the proposition that abstract dominates impressions as a form of material transcendence. This study aims to contribute to the literature on abstraction experiments which compiles the concept of abstraction formed by impressionist artistic point of view in a long term practice. The aim of the study is to explain abstract thought through the concrete outputs of a new photographic form of vision rising in cooperation with the classical naturalist attitude and conceptual attitude and to const-ruct the meanings of the indicators with an abstract intervention and creative action. In this context, 48 photographs from Imran Uzun photographic anthology were selected as essays and 16 of them were analyzed according to Roland Barthes’ semiotic approach for the purposes of the study. This approach, which decipheres the connotations of photographic indica-tors abstracted on surface, ice, water and light themes, tries to understand the instrumental relationship established with the conceptual and transcendental reality behind the visible from the position of the photograph. The study is important in that it contributes to the thoughts written, drawn, sung, and recorded in many other ways on photography and tells the trans-cendence of abstract thought through discoveries in the immanence of the concrete. The results of the study show that the experimental relationships established with the truth remain uninspired unless they produce a specific conceptual inference, and that the notion of meaning will reach the ideal form with a phenomenological but not objective object.2020Articlehttps://rdlopen.rawdatalibrary.net/r/bayburt/148661302-2938trSanat Dergisi: Atatürk Üniversitesi Güzel Sanatlar Fakültesiinfo:eu-repo/semantics/closedAccessinfo:eu-repo/semantics/articlehttps://bayburt-rdlopen.rawdatalibrary.net/tr/items/bayburt/14866