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Journals / Nevşehir Hacı Bektaş Veli Üniversitesi SBE Dergisi / 2025 / Cilt: 15 Sayı: 4

Perceptual disruption and perceptual fluidity in Enter the void: An analysis from the perspective of 4E cognitive science

Enter the void filminde algısal ihlal ve algısal akışkanlık: 4E Bilişsel bilim perspektifinden bir inceleme

Işkın Özbulduk Kılıç(Ankara Hacı Bayram Veli Üniversitesi)0000-0003-4801-7381
Pages
1975–1994
Publication Date
2025-12-30
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

Ultimately, this theoretical approach positions cinema not as a representational medium alone, but as an active space of embodied intervention—one that directly engages the viewer’s bodily orientation, attention, and embeddedness in the environment.

📌 3 Key Takeaways

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Objective & Hypothesis:This study analyzes Enter the Void (Gaspar Noé, 2009) through the lens of the 4E paradigm in contemporary cognitive science—embodied, embedded, enactive, and extended cognition.
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Key Findings & Data:Perceptual disruption refers to the deliberate disturbance of the viewer’s sensory and cognitive habits through cinematic strategies, while perceptual fluidity denotes the dissolution of stable perceptual patterns, giving rise to a permeable, dynamic, and co-constituted experiential field between body, mind, and environment.
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Conclusion & Impact:Ultimately, this theoretical approach positions cinema not as a representational medium alone, but as an active space of embodied intervention—one that directly engages the viewer’s bodily orientation, attention, and embeddedness in the environment.
🔬Design:Araştırma Makalesi
📍Scope:2009 Verileri
⚙️Variables:4E Biliş · Algısal İhlal · Algısal Akışkanlık

Abstract

This study analyzes Enter the Void (Gaspar Noé, 2009) through the lens of the 4E paradigm in contemporary cognitive science—embodied, embedded, enactive, and extended cognition. It explores the sensory-cognitive structure of cinematic experience by introducing and applying two original conceptual tools: perceptual disruption and perceptual fluidity. These concepts were developed specifically within this research to articulate how the film experience can transcend representational frameworks and engage the viewer’s body and perceptual structures in transformative ways. Perceptual disruption refers to the deliberate disturbance of the viewer’s sensory and cognitive habits through cinematic strategies, while perceptual fluidity denotes the dissolution of stable perceptual patterns, giving rise to a permeable, dynamic, and co-constituted experiential field between body, mind, and environment. Employing a qualitative and interpretive methodology, the analysis focuses on five key scenes selected for their sensory and experiential intensity, examining how each sequence triggers a transformation in the viewer’s embodied engagement through the 4E cognitive framework. Ultimately, this theoretical approach positions cinema not as a representational medium alone, but as an active space of embodied intervention—one that directly engages the viewer’s bodily orientation, attention, and embeddedness in the environment.

Özet

Bu çalışma, çağdaş bilişsel bilimin 4E kuramı —bedenlenmiş (embodied), gömülü (embedded), etkinleşimci (enactive) ve yayılmış (extended) biliş— bağlamında Enter the Void (Gaspar Noé, 2009) filmini inceleyerek, sinema deneyiminin duyusal-zihinsel yapısını “algısal ihlal” ve “algısal akışkanlık” kavramlarıyla çözümlemektedir. Bu iki kavram, doğrudan bu çalışmada üretilmiş olup, film deneyimini temsil düzeyinin ötesine taşıyan, izleyici bedeninin ve algı yapılarının film aracılığıyla dönüştürüldüğü özgül duyumsal süreçlere karşılık gelmektedir. “Algısal ihlal”, film aracılığıyla izleyicinin duyusal ve bilişsel alışkanlıklarının bilinçli olarak sarsılması; “algısal akışkanlık” ise sabit algı örüntülerinin çözülerek beden-zihin-çevre etkileşimi içinde geçirgen, değişken ve eşzamanlı bir deneyim alanının kurulmasıdır. Niteliksel ve yorumlayıcı bir yöntemle yürütülen çözümlemede, filmden seçilen beş sahne 4E bilişsel çerçeveye göre değerlendirilmiş, her sahnede izleyicinin deneyiminin hangi düzlemde dönüşüme uğradığı gösterilmiştir. Bu kuramsal yaklaşım, sinemayı temsili yapılarla değil, doğrudan izleyici bedenini, dikkatini, yönelimini ve çevresel ilişkilerini hedefleyen bir eylem uzamı olarak ele alma imkânı sunmaktadır.

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Cite This Article

Kılıç, I. Ö. (2025). Perceptual disruption and perceptual fluidity in Enter the void: An analysis from the perspective of 4E cognitive science. Nevşehir Hacı Bektaş Veli Üniversitesi SBE Dergisi, Cilt: 15 Sayı: 4, 1975–1994. https://doi.org/10.30783/nevsosbilen.1724721

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