Ezgi Tokdil
Bachelor’s degree at Dokuz Eylul University, Izmir, Buca Faculty of Education Department of Fine Arts Education.
Master's degree in 2015 at Dokuz Eylul University, Izmir, Institute of Educational Sciences, Fine Arts Education program with the graduation thesis titled "Abstract Tendencies, Content Analysis, and Fikret Mualla between 1940-1970".
In 2016, she began her Ph.D. studies.
In 2016, she conducted art education and calligraphy courses at Dokuz Eylul University, Buca Faculty of Education, Department of Classroom Teaching.
During the same period, she conducted drawing and painting courses at Dokuz Eylul University, Buca Faculty of Education, Department of Fine Arts Education.
In 2021, she started to work as a faculty member at Mehmet Akif Ersoy University.
Besides, she continues her artworks with the Kule Buca Art Group.
Master's degree in 2015 at Dokuz Eylul University, Izmir, Institute of Educational Sciences, Fine Arts Education program with the graduation thesis titled "Abstract Tendencies, Content Analysis, and Fikret Mualla between 1940-1970".
In 2016, she began her Ph.D. studies.
In 2016, she conducted art education and calligraphy courses at Dokuz Eylul University, Buca Faculty of Education, Department of Classroom Teaching.
During the same period, she conducted drawing and painting courses at Dokuz Eylul University, Buca Faculty of Education, Department of Fine Arts Education.
In 2021, she started to work as a faculty member at Mehmet Akif Ersoy University.
Besides, she continues her artworks with the Kule Buca Art Group.
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18. Oturum: Kavramdan Sinemaya Film Çözümlemeleri
Articles by Ezgi Tokdil
In the research, which analyzes the relationship of the works produced within the scope of digital culture and new media art with music festivals as a new application area in today's societies, starting from the basic indicators of the postmodern paradigm; The changing meanings of art, new definitions of concepts such as postmodern and contemporary, the distinction between traditional media and new media, and the changing dimensions of culture are discussed and analyzed dialectically. In this context, the position of music festivals, which can be considered as an extension of performance art on the axis of different application forms and usage/application areas of new media art, as an intertwined structure, should be considered among the important indicators of the multidimensional and versatile nature of today's art. However, as the cultural and social structure changes, traditional media has been replaced by new media, and installations of postmodern culture have been replaced by digital installations (digital installations have replaced sedentary installations of postmodern thought). Performance art came together with internet art and created a new perception of time and space, and new meanings were given to the known definitions of cultural dynamics and real life. Research carried out in this direction; based on the fact that the direction of art changes rapidly in parallel with the development of technology and new art forms or new uses of art emerge - and will continue to emerge - in a fluid reality, it aims to underline that the strict definitions and classifications of art in the past have lost their validity in today's digital culture.
The effects of the coronavirus (covid-19 global epidemic), which has affected the whole world since 2019, is the most important fact of the last century that should be examined with different dimensions. Interruption of the natural flow of life (change of lifestyle), social and individual isolation that comes with periods of closure, minimization of social interaction, economic and political disorder, fear of a contagious disease, anxiety and depression (mood disorders), quarantine and social Panic and anxiety created by isolation, losses experienced and the physical reality of the thought of death, increasing consumption habits on the basis of uncertainty, virtualization of cultural-specific exhibition spaces, change in the artist's production process and form, change in the areas where the production meets the audience are among the global effects of the coronavirus pandemic, both socially and individually. In the research, it is aimed to analyze the transformative effect of the first period and the second period (normalization period) of the pandemic on artist psychology, cultural production and exhibition spaces, and to examine the change experienced by the cultural structure between the years 2020-2021. For this purpose, by taking the example of Die Balkone, the balcony exhibitions project, which was held for the first time in Berlin's Prenzlauer Berg region in 2020; the answers to questions such as how cultural production was shaped during the pandemic period, what the stylistic changes of the exhibited works represent, the artist's perspective on the pandemic as a social being and how it was psychologically affected by the pandemic, and the transformative effect of the pandemic on exhibition venues and methods are examined on the axis of social psychology through the selected works.
The globalizing world, the changing perception of reality have also caused the concepts of art, artist and artwork to change, the concept of postmodernism has replaced modernist thought, and the speed phenomenon of the informationist society has placed the concept of consumption on the agenda of art. While the phenome-non of consumption takes its place in contemporary art both in its original meaning and as a metaphor, the changing image of the changing world has abstracted reality from concept to image. Art and works of art have also kept up with the slippery floor of the age, Pop Art's consumption phenomenon has been replaced by the consumption reality consumed in the new age. While information continues to change the world at a rapid pace, the avant-garde techniques of the 20th century (newspaper magazine pages, advertisements, graphic design products) have turned into the computer interfaces of the 21st century world (multimedia software, moving media, new cinematographic methods), and art is a new medium in a brand-new medium. has undergone a (forced) change towards becoming a part of the world order.The phenomenon of globalization, as the new lan-guage of the changing world, is an important issue on the agenda in today's societies with its positive and nega-tive consequences in many areas. Globalization essentially expresses an integration, this integration defines the common decision-making processes of the communities around the world, common problem-solving actions, similar political views, close cultural managements, economic interests, social views. The new reality of globali-zation and a globalizing world has brought along many discussions. The most important point to be emphasized about globalization is that today's societies are a product of informationalism, which is the new form of man-agement experienced by the 21st century. In today's societies, where informationalism is gradually replacing the capitalist mode of administration, a new paradigm shift is taking place and old values, ways of thinking, and communication methods are changing over time, leaving their places to a new information-centered universal framework. On the basis of this change; the development of satellite technologies, such as the effect of the printing press, lies in the emergence of the capitalist paradigm. Every new paradigm shift brings with it radical change in many areas. Of course, one of the fields that experience this change and transformation is culture and art. Art has also taken its share within the cultural policies of the global worldview, gained a new intellectual and formal reality, disintegrated, fragmented, embraced the tradition, attacked the new, and the new reality created a new aesthetic language.
Purpose of the research to reveal the appearance between capitalist and informationalist paradigms under the influence of philosophy of the metamorphosis process of a single construction (tower form) because of paradigm changes. In this context, Pieter Bruegel, Vladimir Tatlin, Nam June Paik and Cecil Balmond et al. are the main figures exemplifying the changing aesthetic consciousness in the digitalization process. By tracing the paradigm changes through the works of these artists, the reasons and fundamental dynamics of change in art history, social structure and philosophy are examined. While the reflections of the form in art history are examined in the triangle of ancient-modern-postmodern (digitization), the feudalism- capitalism- informationalism triangle of the social order, which both triggers the change and is one of the main reasons, and the totalist, modernist and mobilist (postmodern) structure of the intellectual base are analyzed mutually. A series of tower paintings, first described by Bruegel, have become an icon illustrating people's attempts to reach heaven. On the other hand, the idea of the utopian universe, which underlies the totalist thought, finds objective reality in a single hand, in the design of the ideal world that has its roots in Plato (the world of ideas). But the fluid reality of the 21st century; It is characterized by the slippery floor phenomenon, in which the peak point constantly changes and arises from digital consciousness, even though the tower form survives. Nietzsche, Deleuze and Foucault are the philosophical representatives of this fluid reality. Studies put forward in this context are also in spiral form formally and in a fluid experience of reality in terms of content. In the new paradigm, knowledge (technology-based knowledge/ information) moves to its former position from the moment of its emergence (market), and the existential self must constantly renew itself.
İncelemeler sonucunda Platon’un sanatı ve sanatçıyı kötüleyen taklit kuramının aksine Aristoteles’in estetik düşüncelerinde sanatın haz verici ve arındırıcı bir kimlik kazandığı görülür. Bu anlamda gerçeklik ve imge ayrımı ile nesnel dünya ile duyumlar dünyası olarak ayrılan iki yaklaşımında taklit kuramından yola çıksalar da söz konusu kavramın yalnızca gerçekliğin yeniden yapılandırması olmadığı sonucuna ulaşılır. Taklit gerçeğin yansıması olduğu kadar, gerçeğin estetik yolla yeniden tasarımıdır ve alımlayıcıda haz duygusu uyandırdığı kadar duyguların arınmasında da etkin rol oynar. Giacometti heykelleri ve resimleri bu doğrultuda her iki yaklaşımın da birer yansıması ve imgelerin yeniden üretimidir. Picasso ve Bacon karşılaştırması da Pla-ton ve Aristoteles arasındaki bu etkileşimli ayrılığın, duyguların dışavurumunun, ruhsal arınmanın ve haz duy-gusunun doğrudan yansımalarına sahiptir.
In the research, Plato, one of the ancient thinkers who first questioned the concepts of beauty and aesthetics, distinguished between the concepts of reality and idea, which was distinguished as the sensible and conceivable world, and the relationship between matter and form, which Aristotle brought together senses and thought in a common reality, and created art as an imitation of nature and as a complement to nature. aesthe-tic values are examined in the sample of Alberto Giacometti. In this context, Giacometti sculptures and their basic manifesto regarding existence, which are located at a contradictory point between Plato's idealism and Aristotle's realism, are reinterpreted with the reflectivity (imitation) and complementary features of art. In the continuation of the research, the similar and divergent aspects of the comparison of Alberto Giacometti and Francis Bacon and the reflections of this discussion from the Platonic perspective are included in the study and analyzed through the sampled works. Finally, Picasso and Giacometti's understanding of aesthetics and beauty are mutually analyzed with an Aristotelian point of view.
As a result of the studies, it is seen that art gained a pleasurable and purifying identity in Aristotle's aesthetic thoughts, unlike Plato's imitation theory, which denigrated the art and the artist. In this sense, although they start from the imitation theory in their two approaches, which are divided into the distinction between rea-lity and image, and the objective world and the world of sensations, it is concluded that the concept in question is not only a reconstruction of reality. Imitation is the aesthetic redesign of reality as well as the reflection of reality, and it plays an active role in the purification of emotions as well as arousing a sense of pleasure in the receptor. Giacometti sculptures and paintings are a reflection of both approaches and reproduction of images in this direction. The comparison of Picasso and Bacon also has direct reflections of this interactive separation between Plato and Aristotle, the expression of emotions, spiritual purification, and sense of pleasure.
In the research, first of all, the foundations of the understanding of pointillism as a formative understanding in the early 20th century, the reasons of the orientation, the reflections of the concept of shaping on the art of the period, the studies on color and light in the process starting with the Impressionists, the bridge between art and science through color and light (color knowledge), It is studied with examples from science (visual forms of the eye and time-space relation), psychology (gestalt theory) and philosophy (phenomenological approach). Then, by establishing a relationship between the working principle of computers and the shaping method of art, the mutual relationship between the formation of color through the combination of dots and the emergence of image and action through the combination of codes is analyzed. The bridge between art and science is evaluated within the scope of modern and postmodern art, and the working principle and aesthetic discourse of new media arts are interpreted from the Pointilist perspective. In this context, the sample of the research consists of the examples in which the Pointilist approach is used directly (using the dots to create the color) and the indirect use of the Pointilist approach (the combination of parts to form the form).
As a result of, there is a continuous relationship between art, science and philosophy, the boundaries of this relationship have increased in some historical periods while examining in others, the pointillist understanding, which is a form of expression of the modernist approach, changes meaning, purpose and form and is at the basis of new media arts in today's technology age, but again It is seen that objective reality is positioned on the same basis in the subjective transformation (reflection on the work). However, when the pointillist approaches in today's art are examined, it is seen that in parallel with the development of technological possibilities, wider subjectivities have emerged, and new art fields are created in the agenda of software technical limits, as well as the creation of both color and form.
Abstract
In this research, quantum physics, which covers the period of ordinary scientific activities about the definition of the micro world and its main theories and principles in the definition of the universe are analyzed by analyzing experimental film since the 1920s and its reflections on modern cinema since the end of the 20th century. In this respect, both the reflections of scientific reality in the context of cinema (the developmental aspect of science changes the narrative forms of cinema), the technological possibilities affect the changing language of the changing world in terms of cinematic philosophy, and the basic principles and discourses of the quantum field on the parallel discourse on cinematic thought and/or cinematic image. to examine the image properties. In order to define and understand this parallel relationship, a comparative analysis is performed on the films taken in order to understand how cinematic thought interprets the scientific mind, how the interpretation is made, the boundary of the real line in cinema philosophy and the paradigm shift as a whole. is being analyzed. Lev Kuleshov, Vsevolod Pudovkin, David W. Griffith, Sergei Eisenstein and Dziga Vertov use the montage technique, Ballet Mécanique (1924), directed by Fernand Leger and directed by Hans Richter, Man Ray and Viking Eggeling's experimental cinema examples, Duchamp's contributions to cinema, Jean-Luc Godard's Breathless (1960), Paul Thomas Anderson's Magnolia (1999), Butterfly Effect (2004), Another Earth, JJ Abrams, Alex Kurtzman and Roberto Orci's science fiction series Fringe (2008-2013) and the 1999 film Matrix and the 2014 Interstaller are considered as films that illustrate the reflections of scientific development and the fundamental principles and approaches of quantum to the cinema. The reality approach in these films is; It is the product of a new consciousness that has been freed from Newtonian assumptions under the influence of the great changes in every field since the beginning of the 20th century and has stepped into a reality that can be defined in multiple reference systems with relative universe understanding.
Araştırmada, bir öğretim yöntemi olan kavram haritası dayandığı temel kuramlar bakımından incelenerek; görsel deneyimin, bilişsel sürecin, kavram, düşünce ve izlenimlerin sembolik olarak şematize edilmesinde bir araç olarak kullanılmasının eğitim açısından katkıları analiz edilmektedir. Bu doğrultuda sanat eğitiminde bir kavram haritası modeli olarak sanat diyagramının önemi ve öğrenme kazanımlarına etkisi araştırma sürecine dahil edilerek, örnekleme alınan çalışmalar üzerinden kapsamlı bir değerlendirme yapılmaktadır. Araştırmanın örneklemini, çocuğun çizgisel gelişim basamaklarından şematik döneme karşılık gelen ilköğretim birinci kademe öğrencilerin yarattıkları diyagram örnekleri (kavram haritaları) oluşturmaktadır. Bu doğrultuda resimsel anlatının çocuğu tanıma etkinliği olduğu ve yaratılan diyagram örneklerinin çocuğun bilişsel ve duygusal dünyasının sembolik ifadelerine sahip olduğu düşüncesinden yola çıkılarak, örnekleme alınan çalışmalarda yer alan görsel motifler ve dayandığı temeller ayrıntılı olarak analiz edilmektedir.
Kavram haritaları genel tanımıyla, geçmişte öğrenilen bilgi ile yeni öğrenilen bilgi arasında öğrencinin ilişki kurarak soyut düşünceyi somut verilerle desteklemesi ve bu zihinsel süreci sembolik bir anlatımla ortaya koymasıdır. Bu anlatımın eğitim açısından önemine bakıldığında, etkili bir öğrenme tekniği olduğu, bireylerin zihinsel olarak düşünme biçimlerini şekillendirdiği, konuları analiz etmesinde, ilişkilendirmesinde ve bu yolla çözüme ulaşmasında bir araç işlevi gördüğü ve bunun yanında yaratıcı düşünmenin de önemli bir tetikleyicisi olarak rol oynadığı görülmektedir. Bu nedenle kavram haritaları eğitimcinin öğrenciye sunmak istediği bilginin kolay ulaşılırlığı, kalıcılığı, etkililiği açısından önem taşımaktadır. Bununla birlikte görsel sanatlar alanında uygulanan kavram haritası modellerinden olan sanat diyagramları bilginin zihinsel olarak düzenlenerek görsel semboller aracılığıyla aktarılması sürecini kapsar ve yukarıda belirtilen kazanımlarının yanında, eğitimcinin öğrencinin somut yaşantısının yanında soyut düşüce dünyası hakkında da bilgi edinmesine olanak tanır. Bu yönüyle görsel sanatlar alanında kullanılan kavram haritalarının (sanat diyagramı) çift yönlü bir işleve sahip oldukları görülmektedir. Bununla birlikte araştırma kapsamında örnekleme alınan çalışmalar yoluyla üzerinde durulmak istenen kavram haritası kullanımının bu ikinci işlevidir; bu işlev öğrencilerin sembolik ve şematik çizimleri yoluyla onların gelişim düzeyleri, bireysel özellikleri ve yaratıcı süreçleri hakkında eğitimciye "tanıma/tanımlama" imkanı verir.
Abstract
In the research, the concept map which is a teaching method is examined in terms of the basic theories on which it is based; The contribution of visual experience to the use of cognitive process as a tool to symbolically schematize concepts, thoughts and impressions is analyzed in terms of education. In this respect, the importance of the art diagram as a concept map model in art education and its impact on learning outcomes are included in the research process and a comprehensive assessment is made over the studies taken from the sampling. The sample of the study consists of diagrams (concept maps) created by primary school first grade students corresponding to the schematic period from the child's linear development steps. In this respect, the visual motifs and the foundations on which the sampling is taken in detail are analyzed in detail, based on the idea that the pictorial narrative is an activity to recognize the child and that the created examples of the diagram have symbolic expressions of the child's cognitive and emotional world. With the general definition of concept maps, it is the relationship between the knowledge learned in the past and the newly learned knowledge to support the abstract thought with concrete data and to reveal this mental process with a symbolic expression. When we look at the importance of this narrative in terms of education, it is seen that it is an effective learning technique, it shapes the way people think mentally, it functions as a tool in analyzing, associating and reaching the solution in this way and also plays a role as an important trigger of creative thinking. For this reason, concept maps are important for easy accessibility, permanence and effectiveness of the information the trainer wants to present to the student. Besides, the art diagrams, which are one of the concept map models applied in the field of visual arts, encompass the process of transferring information by means of visual symbols which are arranged mentally and besides the above mentioned acquisitions, it enables the educator to learn about the abstract dream world as well as the student's concrete life. In this respect, it is observed that concept maps (art diagram) used in the field of visual arts have a dual function. However, it is this second function of the concept map that is intended to be studied through sampling studies; This function allows students to ş recognize / define leri the educator about their developmental levels, individual characteristics and creative processes through their symbolic and schematic drawings.
Abstract
The aim of the research; to evaluate the paradigm phenomenon within the framework of the philosophy of science and to follow the parallel development line in the field of art and to analyze it through the films that put it in the focus of contemporary art. In this scope, The Square (2017) directed by Ruben Östlund and Manifesto (2015) directed by Julian Rosefeldt are analyzed in terms of the paradigm shifts. In this direction; issues such as the privatization of culture, the intervention of museums and galleries to art, the changing of the essential language of art and manipulating by press and advertising, acceptance of the manipulation by the artist, leaving the place of academic art to the contemporary, the evolving of modern art to the absurd, capitalism is criticized on the one hand, on the other hand its use by both the artist and the gallery are important points.
When we look at the paradigm phenomenon of Thomas Kuhn's and the paradigmatic understanding of science; it is seen that science has gone through deviations and that in every paradigm science is insufficient to answer new questions. When the questions begin to remain unanswered, a crisis is introduced, and this crisis the first signs of a new paradigm. Similarly, art movements and leading artists start new paradigms during crisis periods and happen to the similar process. Every new movement emerged by means of discourses and actions outside the paradigm adopted by the system. Even when the first signs of paradigm change were seen, and even change was inevitable, it was not easy for the advocates of the old paradigm to change direction towards it. It took a long time to find a party, just as the funeral scene where the Dadaist Manifesto reads in the film directed by Rosefeldt, "old" (ideas, ideologies, trends, lifestyles, art tendencies, etc.) was brought down to the old ground and the new was born in the dialectic of life and death (Depression period covers a long process in each system definition). However, change is inevitable despite all oppositions and objections. Just like in The Square, an installation (contemporary art), consisting of a floodlight frame placed in a museum garden, replaces a magnificent equestrian statue (academic art).
Araştırmada Hegel'in bilinç ve özbilinç kavramları üzerinden Efendi-Köle diyalektiği analiz edilerek mutlaklaşma, özgürleşme ve kendinin bilincinde olma durumları Hegel'in tarih yorumu etkisinde incelenmektedir. Ardından sanat alanında özbilincin devreye girdiği dönem ve sanat yaratımlarında eleştirel söylem dili araştırmaya dahil edilerek, sanatçının kendisi etrafındaki gerçeklik karşısında geliştirdiği farkındalık ve ortaya konulan sanat eserleri ile bilinçli bir başkaldırı gerçekleştirmesi ve bunun sanat tarihindeki yansımaları olan farklı dönemlere ait sanat hareketleri eleştirel bilinç odağında yeniden yorumlanmaktadır. Bu farkındalığa bir başkaldırı niteliği taşıyan feminist söylem dili ve eleştirel bilincin sanat alanında göstergeleri Barbara Kruger örnekleminde analiz edilmektedir. Barbara Kruger’ın çalışmaları Hegel’in Efendi-Köle diyalektiği bağlamında incelenerek örnekleme alınan çalışmalar ve mekan tasarımları ile yazı-görsel figürlü kolaj tasarımları bağımlı ve bağımsız özbilinç göstergeleri ile çözümlenmektedir. Araştırmanın yöntemi evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Benzeşim modelinden yararlanılan araştırmada ilişkisel tarama modelinde karşılaştırma türü tarama yöntemi kullanılmıştır.
Abstract
In the study, by analyzing Hegel's the master-slave dialectic on the concepts of consciousness and self-consciousness is examined under the influence of Hegel's interpretation of history in terms of absolutism, liberation and self-consciousness. Then, in the field of art, self-consciousness has been included in the period and artistic creations in which the critical discourse has been included in the research, the awareness that the artist has developed in the face of the reality around him and the realization of a conscious rebellion with the artworks revealed and the art movements of different periods are reinterpreted in the critical consciousness center. Feminist rhetoric, which is a rebellion to this awareness, and language and critical awareness are analyzed in the field of art in the sample of Barbara Kruger. By analyzing Barbara Kruger's works in the context of Hegel's master-slave dialectic, sampled works, space designs and collage designs with the written-visual figures are examined with regard to dependent and independent self-consciousness indicators.The method of research is a descriptive study on the universe and the sample. In the study using the affinity model, the coparison type screening method was used in the relational screening model.
Bu araştırmada, Lev Manovich'in yeni medya yaklaşımından yola çıkarak, yeni medyanın özellikleri olarak tanımladığı görsel atomizm, montaj, tipografi ve yeni bakış kavramlarının görsel sanatlar ve sinema alanında göstergeleri ve açılımları karşılaştırmalı olarak incelenmektedir. Manovich'in 1920'lerin avangard tekniklerinin 20. yüzyılda modern toplumların bilgisayar arayüzleri ve yazılımlarına dönüştüğü iddiası temelinde, yeni bir kültürel form olarak yeni medyanın 1990'larda genel görünümleri görsel sanatlar ve sinema alanından örneklerle analiz edilerek, 21. yüzyıl 'post-truth' çağında yeni medyanın sanatın içinde nasıl yer aldığı, hangi niteliklere sahip olduğu ya da yeni medya sanatının hangi alt kategorilere açımlandığı örnekleme alınan çalışmalar yoluyla incelenmektedir. Bu araştırmanın amacı, başlangıcından günümüze kadar teknolojik gelişmenin ve bilgisayar tabanlı teknolojilerin sanatın içine nasıl nüfuz ettiğinin, nerede sanatı manipule ettiğinin ve en sonunda hangi toplumlarda sanatın yönünü değiştirdiğinin örnekleme alınan sanatçı ve sanat eserleri yoluyla bütünsel olarak analizini yaparak değişen gerçeklik algısını ortaya koymaktır.
Abstract
In this research, Lev Manovich's approach to visual media and visual arts and cinematography of visual atomism, montage, typography and new perspectives, which are defined as features of new media, are examined comparatively. The post-truths of the 21st century were analyzed by analyzing Manovich's avant-garde techniques of the 1920s into computer interfaces and software of modern societies in the 20th century, by analyzing the general outlook of the new media in the 1990s with examples from visual arts and cinema as a new cultural form, in which the new media is included in art, what qualities it possesses, or in which subcategories of new media art are revealed. The purpose of this research is to reveal the changing perception of reality by analyzing technologically from the beginning to the end of the day, and analyzing how computer-based technologies penetrate art, manipulate art, and eventually change the direction of art in which societies.
Bu araştırmada Croce estetiği ve yaratma kuramı temelinde yaratım süreci ve temel dinamikleri çözümlenmektedir. Araştırma iki temel yaklaşımla sonuca ulaştırılmıştır. İlk yaklaşım sanatçı figürünün sezgisel/ kendiliğinden ve mekanik tasarım süreçleri, bilinçli bir edim sonucu seçilen imgenin sezgisel yaklaşımla değişen görüntüsel özelliklerini tanımlamıştır. İkinci temel yaklaşım, yazınsal sürecin görsel dille bir araya geldiği eklektik yapı ve buna paralel yazının göstergesel bir unsur olmasının yanında plastik bir unsura dönüşümünü incelemektedir. Bu araştırma; evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Genel tarama modeli kullanılan çalışmada veri çözümlemede doküman inceleme kullanılmıştır. Araştırmanın evrenini Türk resim sanatı oluştururken, örneklem olarak Murat Morova, Ergin İnan, Burhan Doğançay ve Erol Akyavaş'ın çalışmaları seçilmiştir. Bu sanatçıların çalışmaları üzerinden yaratımsal süreç kapsamında yazının barındığı göstergesel unsurlarla birlikte resimsel yapıya dönüşümü incelenmekte, çalışmalar birbirleri ile dönemsel olarak, sezgi ve bilgi yaklaşımında ilişkisel analiz edilmektedir.
Anahtar Kelimeler: Croce Estetiği, Yaratma Kuramı, Sezgisel Yaratım, Bilinçli Yaratım, Murat Morova, Ergin İnan, Burhan Doğançay, Erol Akyavaş
Abstract
In this research, creation process and basic dynamics are analyzed on the basis of Croce's aesthetics and creation theory. The research has been accomplished with two basic approaches. The first approach identifies intuitive/spontaneous and mechanical design processes of the artist's, changing visual characteristics of the chosen image with intuitive approach. The second basic approach examines eclectic structure in which the literary progressive is brought together visual structure and as well as being a symbolic element, examines the transformation of writing into the plastic element.This research is a descriptive research on the universe and the sample. In the study using general scanning model, document analysis was used in data analysis. While the study's universe was composed of Turkish painting arts, Murat Morova, Ergin İnan, Burhan Doğançay and Erol Akyavaş were chosen as examples. Through the works of these artists, the transformation of the writing into the pictorial structure within the scope of the creative process is examined and the studies are periodically analyzed with each other, relationally analyzed in the approach of intuition and information.
Keywords: Croce Aesthetics, Creation theory, Intuitive Creation, Conscious Creation, Murat Morova, Ergin Inan, Burhan Doğançay, Erol Akyavaş
Araştırmada; öncelikle yaşadığı dönemin bir sanatçısı olan William Turner'ın sanatı üzerinden Romantizm akımı, çağın yaşadığı gelişmeler ışığında modern toplumun temel değişkenleri ve modernlik düşüncesi ile modernizmin temel dinamikleri incelenmektedir. Ardından William Turner'ın dönemi ve sanatı üzerine bir inceleme yapılarak, yönetmenliğini Mike Leigh'ın üstlendiği, 2014 yapımı Mr. Turner isimli otobiyografik film üzerine analitik bir inceleme geliştirilmektedir. Bu araştırmanın amacını, döneminin temel paradigma değişimleri ile William Turner'ın yaşamını ve değişen dünya düzenine paralel insanın evreni algılama dinamiğinin değişimi sonucunda ortaya çıkan modernleşme süreçleri ve modern düşüncenin, dolayısıyla modern sanatın temel dinamiklerini ortaya koymak ve bu çerçeve içerisinde Mr. Turner filminin sanatsal ve toplumsal değerini, kültür tarihi içerisinde analiz etmek oluşturmaktadır. Abstract:
In the research; primarily Romanticism Movement through the art of William Turner, an artist of the period he lived in, the fundamental variables of modern society in the light of the developments of the period and the idea of modernity and basic dynamics of modernism are examined. Then, with an examination of the period and art of William Turner, an analytical review on the 2014 autobiographical film by Mike Leigh " Mr.Turner " was developed. The aim of this research is to examine the basic paradigm shifts of the period, William Turner's life and the modernization processes that arise as a result of the changes in the human's perception of the universe parallel to the changing world order and thus to reveal the basic dynamics of modern thought, namely modern art, and artistic and social value of the film " Mr.Turner " in the history of culture in this respect.
18. Oturum: Kavramdan Sinemaya Film Çözümlemeleri
In the research, which analyzes the relationship of the works produced within the scope of digital culture and new media art with music festivals as a new application area in today's societies, starting from the basic indicators of the postmodern paradigm; The changing meanings of art, new definitions of concepts such as postmodern and contemporary, the distinction between traditional media and new media, and the changing dimensions of culture are discussed and analyzed dialectically. In this context, the position of music festivals, which can be considered as an extension of performance art on the axis of different application forms and usage/application areas of new media art, as an intertwined structure, should be considered among the important indicators of the multidimensional and versatile nature of today's art. However, as the cultural and social structure changes, traditional media has been replaced by new media, and installations of postmodern culture have been replaced by digital installations (digital installations have replaced sedentary installations of postmodern thought). Performance art came together with internet art and created a new perception of time and space, and new meanings were given to the known definitions of cultural dynamics and real life. Research carried out in this direction; based on the fact that the direction of art changes rapidly in parallel with the development of technology and new art forms or new uses of art emerge - and will continue to emerge - in a fluid reality, it aims to underline that the strict definitions and classifications of art in the past have lost their validity in today's digital culture.
The effects of the coronavirus (covid-19 global epidemic), which has affected the whole world since 2019, is the most important fact of the last century that should be examined with different dimensions. Interruption of the natural flow of life (change of lifestyle), social and individual isolation that comes with periods of closure, minimization of social interaction, economic and political disorder, fear of a contagious disease, anxiety and depression (mood disorders), quarantine and social Panic and anxiety created by isolation, losses experienced and the physical reality of the thought of death, increasing consumption habits on the basis of uncertainty, virtualization of cultural-specific exhibition spaces, change in the artist's production process and form, change in the areas where the production meets the audience are among the global effects of the coronavirus pandemic, both socially and individually. In the research, it is aimed to analyze the transformative effect of the first period and the second period (normalization period) of the pandemic on artist psychology, cultural production and exhibition spaces, and to examine the change experienced by the cultural structure between the years 2020-2021. For this purpose, by taking the example of Die Balkone, the balcony exhibitions project, which was held for the first time in Berlin's Prenzlauer Berg region in 2020; the answers to questions such as how cultural production was shaped during the pandemic period, what the stylistic changes of the exhibited works represent, the artist's perspective on the pandemic as a social being and how it was psychologically affected by the pandemic, and the transformative effect of the pandemic on exhibition venues and methods are examined on the axis of social psychology through the selected works.
The globalizing world, the changing perception of reality have also caused the concepts of art, artist and artwork to change, the concept of postmodernism has replaced modernist thought, and the speed phenomenon of the informationist society has placed the concept of consumption on the agenda of art. While the phenome-non of consumption takes its place in contemporary art both in its original meaning and as a metaphor, the changing image of the changing world has abstracted reality from concept to image. Art and works of art have also kept up with the slippery floor of the age, Pop Art's consumption phenomenon has been replaced by the consumption reality consumed in the new age. While information continues to change the world at a rapid pace, the avant-garde techniques of the 20th century (newspaper magazine pages, advertisements, graphic design products) have turned into the computer interfaces of the 21st century world (multimedia software, moving media, new cinematographic methods), and art is a new medium in a brand-new medium. has undergone a (forced) change towards becoming a part of the world order.The phenomenon of globalization, as the new lan-guage of the changing world, is an important issue on the agenda in today's societies with its positive and nega-tive consequences in many areas. Globalization essentially expresses an integration, this integration defines the common decision-making processes of the communities around the world, common problem-solving actions, similar political views, close cultural managements, economic interests, social views. The new reality of globali-zation and a globalizing world has brought along many discussions. The most important point to be emphasized about globalization is that today's societies are a product of informationalism, which is the new form of man-agement experienced by the 21st century. In today's societies, where informationalism is gradually replacing the capitalist mode of administration, a new paradigm shift is taking place and old values, ways of thinking, and communication methods are changing over time, leaving their places to a new information-centered universal framework. On the basis of this change; the development of satellite technologies, such as the effect of the printing press, lies in the emergence of the capitalist paradigm. Every new paradigm shift brings with it radical change in many areas. Of course, one of the fields that experience this change and transformation is culture and art. Art has also taken its share within the cultural policies of the global worldview, gained a new intellectual and formal reality, disintegrated, fragmented, embraced the tradition, attacked the new, and the new reality created a new aesthetic language.
Purpose of the research to reveal the appearance between capitalist and informationalist paradigms under the influence of philosophy of the metamorphosis process of a single construction (tower form) because of paradigm changes. In this context, Pieter Bruegel, Vladimir Tatlin, Nam June Paik and Cecil Balmond et al. are the main figures exemplifying the changing aesthetic consciousness in the digitalization process. By tracing the paradigm changes through the works of these artists, the reasons and fundamental dynamics of change in art history, social structure and philosophy are examined. While the reflections of the form in art history are examined in the triangle of ancient-modern-postmodern (digitization), the feudalism- capitalism- informationalism triangle of the social order, which both triggers the change and is one of the main reasons, and the totalist, modernist and mobilist (postmodern) structure of the intellectual base are analyzed mutually. A series of tower paintings, first described by Bruegel, have become an icon illustrating people's attempts to reach heaven. On the other hand, the idea of the utopian universe, which underlies the totalist thought, finds objective reality in a single hand, in the design of the ideal world that has its roots in Plato (the world of ideas). But the fluid reality of the 21st century; It is characterized by the slippery floor phenomenon, in which the peak point constantly changes and arises from digital consciousness, even though the tower form survives. Nietzsche, Deleuze and Foucault are the philosophical representatives of this fluid reality. Studies put forward in this context are also in spiral form formally and in a fluid experience of reality in terms of content. In the new paradigm, knowledge (technology-based knowledge/ information) moves to its former position from the moment of its emergence (market), and the existential self must constantly renew itself.
İncelemeler sonucunda Platon’un sanatı ve sanatçıyı kötüleyen taklit kuramının aksine Aristoteles’in estetik düşüncelerinde sanatın haz verici ve arındırıcı bir kimlik kazandığı görülür. Bu anlamda gerçeklik ve imge ayrımı ile nesnel dünya ile duyumlar dünyası olarak ayrılan iki yaklaşımında taklit kuramından yola çıksalar da söz konusu kavramın yalnızca gerçekliğin yeniden yapılandırması olmadığı sonucuna ulaşılır. Taklit gerçeğin yansıması olduğu kadar, gerçeğin estetik yolla yeniden tasarımıdır ve alımlayıcıda haz duygusu uyandırdığı kadar duyguların arınmasında da etkin rol oynar. Giacometti heykelleri ve resimleri bu doğrultuda her iki yaklaşımın da birer yansıması ve imgelerin yeniden üretimidir. Picasso ve Bacon karşılaştırması da Pla-ton ve Aristoteles arasındaki bu etkileşimli ayrılığın, duyguların dışavurumunun, ruhsal arınmanın ve haz duy-gusunun doğrudan yansımalarına sahiptir.
In the research, Plato, one of the ancient thinkers who first questioned the concepts of beauty and aesthetics, distinguished between the concepts of reality and idea, which was distinguished as the sensible and conceivable world, and the relationship between matter and form, which Aristotle brought together senses and thought in a common reality, and created art as an imitation of nature and as a complement to nature. aesthe-tic values are examined in the sample of Alberto Giacometti. In this context, Giacometti sculptures and their basic manifesto regarding existence, which are located at a contradictory point between Plato's idealism and Aristotle's realism, are reinterpreted with the reflectivity (imitation) and complementary features of art. In the continuation of the research, the similar and divergent aspects of the comparison of Alberto Giacometti and Francis Bacon and the reflections of this discussion from the Platonic perspective are included in the study and analyzed through the sampled works. Finally, Picasso and Giacometti's understanding of aesthetics and beauty are mutually analyzed with an Aristotelian point of view.
As a result of the studies, it is seen that art gained a pleasurable and purifying identity in Aristotle's aesthetic thoughts, unlike Plato's imitation theory, which denigrated the art and the artist. In this sense, although they start from the imitation theory in their two approaches, which are divided into the distinction between rea-lity and image, and the objective world and the world of sensations, it is concluded that the concept in question is not only a reconstruction of reality. Imitation is the aesthetic redesign of reality as well as the reflection of reality, and it plays an active role in the purification of emotions as well as arousing a sense of pleasure in the receptor. Giacometti sculptures and paintings are a reflection of both approaches and reproduction of images in this direction. The comparison of Picasso and Bacon also has direct reflections of this interactive separation between Plato and Aristotle, the expression of emotions, spiritual purification, and sense of pleasure.
In the research, first of all, the foundations of the understanding of pointillism as a formative understanding in the early 20th century, the reasons of the orientation, the reflections of the concept of shaping on the art of the period, the studies on color and light in the process starting with the Impressionists, the bridge between art and science through color and light (color knowledge), It is studied with examples from science (visual forms of the eye and time-space relation), psychology (gestalt theory) and philosophy (phenomenological approach). Then, by establishing a relationship between the working principle of computers and the shaping method of art, the mutual relationship between the formation of color through the combination of dots and the emergence of image and action through the combination of codes is analyzed. The bridge between art and science is evaluated within the scope of modern and postmodern art, and the working principle and aesthetic discourse of new media arts are interpreted from the Pointilist perspective. In this context, the sample of the research consists of the examples in which the Pointilist approach is used directly (using the dots to create the color) and the indirect use of the Pointilist approach (the combination of parts to form the form).
As a result of, there is a continuous relationship between art, science and philosophy, the boundaries of this relationship have increased in some historical periods while examining in others, the pointillist understanding, which is a form of expression of the modernist approach, changes meaning, purpose and form and is at the basis of new media arts in today's technology age, but again It is seen that objective reality is positioned on the same basis in the subjective transformation (reflection on the work). However, when the pointillist approaches in today's art are examined, it is seen that in parallel with the development of technological possibilities, wider subjectivities have emerged, and new art fields are created in the agenda of software technical limits, as well as the creation of both color and form.
Abstract
In this research, quantum physics, which covers the period of ordinary scientific activities about the definition of the micro world and its main theories and principles in the definition of the universe are analyzed by analyzing experimental film since the 1920s and its reflections on modern cinema since the end of the 20th century. In this respect, both the reflections of scientific reality in the context of cinema (the developmental aspect of science changes the narrative forms of cinema), the technological possibilities affect the changing language of the changing world in terms of cinematic philosophy, and the basic principles and discourses of the quantum field on the parallel discourse on cinematic thought and/or cinematic image. to examine the image properties. In order to define and understand this parallel relationship, a comparative analysis is performed on the films taken in order to understand how cinematic thought interprets the scientific mind, how the interpretation is made, the boundary of the real line in cinema philosophy and the paradigm shift as a whole. is being analyzed. Lev Kuleshov, Vsevolod Pudovkin, David W. Griffith, Sergei Eisenstein and Dziga Vertov use the montage technique, Ballet Mécanique (1924), directed by Fernand Leger and directed by Hans Richter, Man Ray and Viking Eggeling's experimental cinema examples, Duchamp's contributions to cinema, Jean-Luc Godard's Breathless (1960), Paul Thomas Anderson's Magnolia (1999), Butterfly Effect (2004), Another Earth, JJ Abrams, Alex Kurtzman and Roberto Orci's science fiction series Fringe (2008-2013) and the 1999 film Matrix and the 2014 Interstaller are considered as films that illustrate the reflections of scientific development and the fundamental principles and approaches of quantum to the cinema. The reality approach in these films is; It is the product of a new consciousness that has been freed from Newtonian assumptions under the influence of the great changes in every field since the beginning of the 20th century and has stepped into a reality that can be defined in multiple reference systems with relative universe understanding.
Araştırmada, bir öğretim yöntemi olan kavram haritası dayandığı temel kuramlar bakımından incelenerek; görsel deneyimin, bilişsel sürecin, kavram, düşünce ve izlenimlerin sembolik olarak şematize edilmesinde bir araç olarak kullanılmasının eğitim açısından katkıları analiz edilmektedir. Bu doğrultuda sanat eğitiminde bir kavram haritası modeli olarak sanat diyagramının önemi ve öğrenme kazanımlarına etkisi araştırma sürecine dahil edilerek, örnekleme alınan çalışmalar üzerinden kapsamlı bir değerlendirme yapılmaktadır. Araştırmanın örneklemini, çocuğun çizgisel gelişim basamaklarından şematik döneme karşılık gelen ilköğretim birinci kademe öğrencilerin yarattıkları diyagram örnekleri (kavram haritaları) oluşturmaktadır. Bu doğrultuda resimsel anlatının çocuğu tanıma etkinliği olduğu ve yaratılan diyagram örneklerinin çocuğun bilişsel ve duygusal dünyasının sembolik ifadelerine sahip olduğu düşüncesinden yola çıkılarak, örnekleme alınan çalışmalarda yer alan görsel motifler ve dayandığı temeller ayrıntılı olarak analiz edilmektedir.
Kavram haritaları genel tanımıyla, geçmişte öğrenilen bilgi ile yeni öğrenilen bilgi arasında öğrencinin ilişki kurarak soyut düşünceyi somut verilerle desteklemesi ve bu zihinsel süreci sembolik bir anlatımla ortaya koymasıdır. Bu anlatımın eğitim açısından önemine bakıldığında, etkili bir öğrenme tekniği olduğu, bireylerin zihinsel olarak düşünme biçimlerini şekillendirdiği, konuları analiz etmesinde, ilişkilendirmesinde ve bu yolla çözüme ulaşmasında bir araç işlevi gördüğü ve bunun yanında yaratıcı düşünmenin de önemli bir tetikleyicisi olarak rol oynadığı görülmektedir. Bu nedenle kavram haritaları eğitimcinin öğrenciye sunmak istediği bilginin kolay ulaşılırlığı, kalıcılığı, etkililiği açısından önem taşımaktadır. Bununla birlikte görsel sanatlar alanında uygulanan kavram haritası modellerinden olan sanat diyagramları bilginin zihinsel olarak düzenlenerek görsel semboller aracılığıyla aktarılması sürecini kapsar ve yukarıda belirtilen kazanımlarının yanında, eğitimcinin öğrencinin somut yaşantısının yanında soyut düşüce dünyası hakkında da bilgi edinmesine olanak tanır. Bu yönüyle görsel sanatlar alanında kullanılan kavram haritalarının (sanat diyagramı) çift yönlü bir işleve sahip oldukları görülmektedir. Bununla birlikte araştırma kapsamında örnekleme alınan çalışmalar yoluyla üzerinde durulmak istenen kavram haritası kullanımının bu ikinci işlevidir; bu işlev öğrencilerin sembolik ve şematik çizimleri yoluyla onların gelişim düzeyleri, bireysel özellikleri ve yaratıcı süreçleri hakkında eğitimciye "tanıma/tanımlama" imkanı verir.
Abstract
In the research, the concept map which is a teaching method is examined in terms of the basic theories on which it is based; The contribution of visual experience to the use of cognitive process as a tool to symbolically schematize concepts, thoughts and impressions is analyzed in terms of education. In this respect, the importance of the art diagram as a concept map model in art education and its impact on learning outcomes are included in the research process and a comprehensive assessment is made over the studies taken from the sampling. The sample of the study consists of diagrams (concept maps) created by primary school first grade students corresponding to the schematic period from the child's linear development steps. In this respect, the visual motifs and the foundations on which the sampling is taken in detail are analyzed in detail, based on the idea that the pictorial narrative is an activity to recognize the child and that the created examples of the diagram have symbolic expressions of the child's cognitive and emotional world. With the general definition of concept maps, it is the relationship between the knowledge learned in the past and the newly learned knowledge to support the abstract thought with concrete data and to reveal this mental process with a symbolic expression. When we look at the importance of this narrative in terms of education, it is seen that it is an effective learning technique, it shapes the way people think mentally, it functions as a tool in analyzing, associating and reaching the solution in this way and also plays a role as an important trigger of creative thinking. For this reason, concept maps are important for easy accessibility, permanence and effectiveness of the information the trainer wants to present to the student. Besides, the art diagrams, which are one of the concept map models applied in the field of visual arts, encompass the process of transferring information by means of visual symbols which are arranged mentally and besides the above mentioned acquisitions, it enables the educator to learn about the abstract dream world as well as the student's concrete life. In this respect, it is observed that concept maps (art diagram) used in the field of visual arts have a dual function. However, it is this second function of the concept map that is intended to be studied through sampling studies; This function allows students to ş recognize / define leri the educator about their developmental levels, individual characteristics and creative processes through their symbolic and schematic drawings.
Abstract
The aim of the research; to evaluate the paradigm phenomenon within the framework of the philosophy of science and to follow the parallel development line in the field of art and to analyze it through the films that put it in the focus of contemporary art. In this scope, The Square (2017) directed by Ruben Östlund and Manifesto (2015) directed by Julian Rosefeldt are analyzed in terms of the paradigm shifts. In this direction; issues such as the privatization of culture, the intervention of museums and galleries to art, the changing of the essential language of art and manipulating by press and advertising, acceptance of the manipulation by the artist, leaving the place of academic art to the contemporary, the evolving of modern art to the absurd, capitalism is criticized on the one hand, on the other hand its use by both the artist and the gallery are important points.
When we look at the paradigm phenomenon of Thomas Kuhn's and the paradigmatic understanding of science; it is seen that science has gone through deviations and that in every paradigm science is insufficient to answer new questions. When the questions begin to remain unanswered, a crisis is introduced, and this crisis the first signs of a new paradigm. Similarly, art movements and leading artists start new paradigms during crisis periods and happen to the similar process. Every new movement emerged by means of discourses and actions outside the paradigm adopted by the system. Even when the first signs of paradigm change were seen, and even change was inevitable, it was not easy for the advocates of the old paradigm to change direction towards it. It took a long time to find a party, just as the funeral scene where the Dadaist Manifesto reads in the film directed by Rosefeldt, "old" (ideas, ideologies, trends, lifestyles, art tendencies, etc.) was brought down to the old ground and the new was born in the dialectic of life and death (Depression period covers a long process in each system definition). However, change is inevitable despite all oppositions and objections. Just like in The Square, an installation (contemporary art), consisting of a floodlight frame placed in a museum garden, replaces a magnificent equestrian statue (academic art).
Araştırmada Hegel'in bilinç ve özbilinç kavramları üzerinden Efendi-Köle diyalektiği analiz edilerek mutlaklaşma, özgürleşme ve kendinin bilincinde olma durumları Hegel'in tarih yorumu etkisinde incelenmektedir. Ardından sanat alanında özbilincin devreye girdiği dönem ve sanat yaratımlarında eleştirel söylem dili araştırmaya dahil edilerek, sanatçının kendisi etrafındaki gerçeklik karşısında geliştirdiği farkındalık ve ortaya konulan sanat eserleri ile bilinçli bir başkaldırı gerçekleştirmesi ve bunun sanat tarihindeki yansımaları olan farklı dönemlere ait sanat hareketleri eleştirel bilinç odağında yeniden yorumlanmaktadır. Bu farkındalığa bir başkaldırı niteliği taşıyan feminist söylem dili ve eleştirel bilincin sanat alanında göstergeleri Barbara Kruger örnekleminde analiz edilmektedir. Barbara Kruger’ın çalışmaları Hegel’in Efendi-Köle diyalektiği bağlamında incelenerek örnekleme alınan çalışmalar ve mekan tasarımları ile yazı-görsel figürlü kolaj tasarımları bağımlı ve bağımsız özbilinç göstergeleri ile çözümlenmektedir. Araştırmanın yöntemi evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Benzeşim modelinden yararlanılan araştırmada ilişkisel tarama modelinde karşılaştırma türü tarama yöntemi kullanılmıştır.
Abstract
In the study, by analyzing Hegel's the master-slave dialectic on the concepts of consciousness and self-consciousness is examined under the influence of Hegel's interpretation of history in terms of absolutism, liberation and self-consciousness. Then, in the field of art, self-consciousness has been included in the period and artistic creations in which the critical discourse has been included in the research, the awareness that the artist has developed in the face of the reality around him and the realization of a conscious rebellion with the artworks revealed and the art movements of different periods are reinterpreted in the critical consciousness center. Feminist rhetoric, which is a rebellion to this awareness, and language and critical awareness are analyzed in the field of art in the sample of Barbara Kruger. By analyzing Barbara Kruger's works in the context of Hegel's master-slave dialectic, sampled works, space designs and collage designs with the written-visual figures are examined with regard to dependent and independent self-consciousness indicators.The method of research is a descriptive study on the universe and the sample. In the study using the affinity model, the coparison type screening method was used in the relational screening model.
Bu araştırmada, Lev Manovich'in yeni medya yaklaşımından yola çıkarak, yeni medyanın özellikleri olarak tanımladığı görsel atomizm, montaj, tipografi ve yeni bakış kavramlarının görsel sanatlar ve sinema alanında göstergeleri ve açılımları karşılaştırmalı olarak incelenmektedir. Manovich'in 1920'lerin avangard tekniklerinin 20. yüzyılda modern toplumların bilgisayar arayüzleri ve yazılımlarına dönüştüğü iddiası temelinde, yeni bir kültürel form olarak yeni medyanın 1990'larda genel görünümleri görsel sanatlar ve sinema alanından örneklerle analiz edilerek, 21. yüzyıl 'post-truth' çağında yeni medyanın sanatın içinde nasıl yer aldığı, hangi niteliklere sahip olduğu ya da yeni medya sanatının hangi alt kategorilere açımlandığı örnekleme alınan çalışmalar yoluyla incelenmektedir. Bu araştırmanın amacı, başlangıcından günümüze kadar teknolojik gelişmenin ve bilgisayar tabanlı teknolojilerin sanatın içine nasıl nüfuz ettiğinin, nerede sanatı manipule ettiğinin ve en sonunda hangi toplumlarda sanatın yönünü değiştirdiğinin örnekleme alınan sanatçı ve sanat eserleri yoluyla bütünsel olarak analizini yaparak değişen gerçeklik algısını ortaya koymaktır.
Abstract
In this research, Lev Manovich's approach to visual media and visual arts and cinematography of visual atomism, montage, typography and new perspectives, which are defined as features of new media, are examined comparatively. The post-truths of the 21st century were analyzed by analyzing Manovich's avant-garde techniques of the 1920s into computer interfaces and software of modern societies in the 20th century, by analyzing the general outlook of the new media in the 1990s with examples from visual arts and cinema as a new cultural form, in which the new media is included in art, what qualities it possesses, or in which subcategories of new media art are revealed. The purpose of this research is to reveal the changing perception of reality by analyzing technologically from the beginning to the end of the day, and analyzing how computer-based technologies penetrate art, manipulate art, and eventually change the direction of art in which societies.
Bu araştırmada Croce estetiği ve yaratma kuramı temelinde yaratım süreci ve temel dinamikleri çözümlenmektedir. Araştırma iki temel yaklaşımla sonuca ulaştırılmıştır. İlk yaklaşım sanatçı figürünün sezgisel/ kendiliğinden ve mekanik tasarım süreçleri, bilinçli bir edim sonucu seçilen imgenin sezgisel yaklaşımla değişen görüntüsel özelliklerini tanımlamıştır. İkinci temel yaklaşım, yazınsal sürecin görsel dille bir araya geldiği eklektik yapı ve buna paralel yazının göstergesel bir unsur olmasının yanında plastik bir unsura dönüşümünü incelemektedir. Bu araştırma; evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Genel tarama modeli kullanılan çalışmada veri çözümlemede doküman inceleme kullanılmıştır. Araştırmanın evrenini Türk resim sanatı oluştururken, örneklem olarak Murat Morova, Ergin İnan, Burhan Doğançay ve Erol Akyavaş'ın çalışmaları seçilmiştir. Bu sanatçıların çalışmaları üzerinden yaratımsal süreç kapsamında yazının barındığı göstergesel unsurlarla birlikte resimsel yapıya dönüşümü incelenmekte, çalışmalar birbirleri ile dönemsel olarak, sezgi ve bilgi yaklaşımında ilişkisel analiz edilmektedir.
Anahtar Kelimeler: Croce Estetiği, Yaratma Kuramı, Sezgisel Yaratım, Bilinçli Yaratım, Murat Morova, Ergin İnan, Burhan Doğançay, Erol Akyavaş
Abstract
In this research, creation process and basic dynamics are analyzed on the basis of Croce's aesthetics and creation theory. The research has been accomplished with two basic approaches. The first approach identifies intuitive/spontaneous and mechanical design processes of the artist's, changing visual characteristics of the chosen image with intuitive approach. The second basic approach examines eclectic structure in which the literary progressive is brought together visual structure and as well as being a symbolic element, examines the transformation of writing into the plastic element.This research is a descriptive research on the universe and the sample. In the study using general scanning model, document analysis was used in data analysis. While the study's universe was composed of Turkish painting arts, Murat Morova, Ergin İnan, Burhan Doğançay and Erol Akyavaş were chosen as examples. Through the works of these artists, the transformation of the writing into the pictorial structure within the scope of the creative process is examined and the studies are periodically analyzed with each other, relationally analyzed in the approach of intuition and information.
Keywords: Croce Aesthetics, Creation theory, Intuitive Creation, Conscious Creation, Murat Morova, Ergin Inan, Burhan Doğançay, Erol Akyavaş
Araştırmada; öncelikle yaşadığı dönemin bir sanatçısı olan William Turner'ın sanatı üzerinden Romantizm akımı, çağın yaşadığı gelişmeler ışığında modern toplumun temel değişkenleri ve modernlik düşüncesi ile modernizmin temel dinamikleri incelenmektedir. Ardından William Turner'ın dönemi ve sanatı üzerine bir inceleme yapılarak, yönetmenliğini Mike Leigh'ın üstlendiği, 2014 yapımı Mr. Turner isimli otobiyografik film üzerine analitik bir inceleme geliştirilmektedir. Bu araştırmanın amacını, döneminin temel paradigma değişimleri ile William Turner'ın yaşamını ve değişen dünya düzenine paralel insanın evreni algılama dinamiğinin değişimi sonucunda ortaya çıkan modernleşme süreçleri ve modern düşüncenin, dolayısıyla modern sanatın temel dinamiklerini ortaya koymak ve bu çerçeve içerisinde Mr. Turner filminin sanatsal ve toplumsal değerini, kültür tarihi içerisinde analiz etmek oluşturmaktadır. Abstract:
In the research; primarily Romanticism Movement through the art of William Turner, an artist of the period he lived in, the fundamental variables of modern society in the light of the developments of the period and the idea of modernity and basic dynamics of modernism are examined. Then, with an examination of the period and art of William Turner, an analytical review on the 2014 autobiographical film by Mike Leigh " Mr.Turner " was developed. The aim of this research is to examine the basic paradigm shifts of the period, William Turner's life and the modernization processes that arise as a result of the changes in the human's perception of the universe parallel to the changing world order and thus to reveal the basic dynamics of modern thought, namely modern art, and artistic and social value of the film " Mr.Turner " in the history of culture in this respect.
Araştırmanın teorik çerçevesi sanat tarihinde doğayı ve insanla olan ilişkisini odağına alan farklı dönemlerden eserlerin incelenmesinden oluşmakla birlikte, iklim krizine ve sonuçlarına ilişkin bilinçli yönelimin nedenlerinin tespit edildiği dönem yeni medya sanatının dijital yaratımları ile sınırlandırılmıştır. İncelenen çalışmalar amaçlı eleman örnekleme yöntemi ile araştırmaya dahil edilerek konu alınan gerçeklik, vurgu yapılan toplumsal sorun, görsel-işitsel veriye dönüştürülen alt metin, eko-farkındalığı arttırmak adına izlenen yol ve hangi ülkelerde ekolojik sorunlara gönderme yapan dijital üretimlerin daha sık konu alındığı ile bunun o bölgelerdeki çevresel problemlerle olan ilişkisi gibi faktörler bakımından incelenmekte, oluşturulan tablolar yoluyla somut veriye ulaşılmak hedeflenmektedir.
By analyzing the reflections of the nature-human relationship in different periods of art, the research aims to draw the boundaries of art's perspective on nature and the social problems of the period in which it has been living throughout history, from the sublime aesthetics of modern art to the works of postmodern culture that extend beyond the gallery walls and focus on the earth, from naturalistic abstractions to ecological research and the manifesto, image aesthetics and technology-supported language of new media art aiming to increase eco-awareness regarding the climate crisis. In addition, defining the answers to questions such as why artists turn to environmental issues in the context of digital art, which ecological problems are more frequently at the center of cultural production, to what extent environmental problems have increased in parallel with technological development and scientific progress, and in which direction human conscious actions have developed are among the main objectives of the research. In this context, by determining the situation regarding the effects of the climate crisis and ecological pollution, which have become a global problem, on the natural environment and living life, the approach of the cultural field to ecological problems and the search and solution proposals to increase social awareness are analyzed through the sampled digital culture and new media works.
Although the theoretical framework of the research consists of the examination of works from different periods in the history of art that focus on nature and its relationship with human beings, the period in which the reasons for the conscious orientation towards the climate crisis and its consequences were determined was limited to the digital creations of new media art. The analyzed works are included in the research with the purposeful element sampling method and examined in terms of factors such as the reality taken as the subject, the social problem emphasized, the subtext transformed into audiovisual data, the path followed in order to increase eco-awareness, and in which countries digital productions referring to ecological problems are more frequently taken as the subject and its relationship with environmental problems in those regions, and it is aimed to reach concrete data through the tables created.
Pandemi döneminde yaşanan kısıtlamaların ve kapanma koşullarının yarattığı bireysel ve toplumsal karamsarlık ortamının kitlesel olarak kültür-sanat etkinliklerine yönelimi arttırdığı görülmektedir. Bu kapsamda kültür taşıyıcısı olarak müzelerin eğitsel rollerinin pandemi dönemindeki düzeyinin Türkiye, Avrupa ve Amerika ölçeğinde tespit edilmesinin önemli olduğu düşünülmektedir. Araştırma kapsamında örnekleme alınan müzelerin gerçekleştirdikleri etkinlik türlerinin tespit edilmesi ve yurt içi- yurt dışı düzeyinde kıyaslama yapılarak analiz edilmesi müzelerin sürece uyum sağlama düzeylerinin tespit edilmesi açısından da önem teşkil etmektedir. Elde edilen veri yoluyla ulusal ve uluslararası düzeyde müzelerin etkinlik düzeyleri ve hazır bulunuşlukları konusunda bir genellemeye ulaşılmasının da alana katkı sağlayacağı düşünülmektedir. Gerçekleştirilen araştırma alanyazın taraması ve betimsel içerik analizine dayalı nitel bir çalışmadır. Örnekleme alınan müze ve galeriler amaçlı eleman örnekleme yöntemi ile araştırmaya dahil edilip farklı değişkenler bakımından analiz edilmiştir.
Bu kapsamda araştırmada dijitalleşen kapitalizmin temel dinamiklerinin incelenmesinin ardından, yeni medyanın kültürel boyutu olarak dijital enstalasyonun temel karakteri, kullanılan teknik ve materyaller, iletişim teknolojilerinden ne ölçüde yararlandığı, izleyici-eser ilişkisini nasıl şekillendirdiği, deneyimi hangi noktada sağladığı ve hangi göstergeleri kullanarak hangi soyut anlamı vurguladığı analiz edilmektedir. Gerçekleştirilen analiz; görsel ve işitsel teknolojilerin etkileşimli tasarım yaratma ve hikaye anlatımında nasıl kullanılacağı, nasıl etkili bir değişimin başlatılacağı ve dijital enstalasyonun farklı alanlar arasındaki etkileşimi nasıl sağlayacağına ilişkin 2011 yılında kurulan ve Rusya merkezli bir sanat laboratuvarı/stüdyosu olan Kuflex Lab’ın 2020 yılında tasarladığı I Am The True Vine projesi örnekleminde yapılmakta ve dijital sanatın üretim (tasarım) ve tüketim (deneyim) sarmalında geldiği noktanın tanımlanması amaçlanmaktadır.
Although the current economic system is still based on capitalism, with the development of communication technologies, a new social order, informationalism has emerged and the digital capitalist system or digital capitalism has become the new way of life of this order. Digital capitalism has many sociological, economic and cultural sub-dimensions, and the paradigm shift has brought about important changes in the art dimension. The digitalization and digitization processes experienced in all other fields have enabled the experimentation of new dimensions beyond two or three dimensions in the field of culture and art, and art and science have come closer to each other than ever before. The production-consumption relations of capitalism, the needs of the network society that came with globalization, the emergence of informationalism, a social structure in which information and digital data replace the commodity, the development of communication technologies in parallel with scientific development, the creation of virtual realities and digitalization processes are interconnected with each other in a network of relations. They are phenomena that have evolved over time or in the past. While capitalism expanded and transformed into informationalism under the influence of the social and economic developments of the last century, the cultural structure also reached a new contemporary art form called digital installation by utilizing the technology-based creations of the new century and constructing it on the installations of the past.
In this context, after examining the basic dynamics of digitalized capitalism in the research, the basic character of the digital installation as the cultural dimension of the new media, the techniques and materials used, the extent to which it benefits from communication technologies, how it shapes the audience-work relationship, at what point it provides the experience and which abstract meaning it emphasizes by using which indicators. are analyzed. Performed analysis; I Am The True Vine, designed in 2020 by Kuflex Lab, a Russia-based art laboratory founded in 2011, on how to use visual and audio technologies in interactive design creation and storytelling, how to initiate an effective change and how digital installation will enable interaction between different fields. project, and it is aimed to define the point that digital art has reached in the spiral of production (design) and consumption (experience).
Bu kapsamda örnekleme alınan çalışmalar üzerinden küresel bir sorun olan ekolojik sürdürülebilirlik konusuna sanatın ve sanatçının nasıl tepki verdiği, bu tepkinin hangi problemlere değindiği, sanatın çözüm sürecinin neresinde olduğuna ilişkin bir tanımlama yapmak amaçlanmaktadır. Bu amaçla araştırma kapsamında kendimize ve örnekleme alınan sanatçıların sanatsal üretimleri süresince kendilerine sordukları sorular şunlardır; varoluşumuzun getirdiği çevresel sorunları nasıl asgari boyuta indirgeriz? Doğal dünya üzerindeki atık oluşumunu ve sonuçlarını nasıl dengeleriz? Doğal kaynakları nasıl daha az kullanabilir ve bunun farkındalığına ilişkin kültür alanını nasıl yönlendirebiliriz? Nasıl maddesel ihtiyaçları azaltır ve daha sürdürülebilir bir çevre yaratırız? Yaratıcılığı çevre konusunda kültürel tutumları değiştirmek adına nasıl kullanırız?
In the research, in the context of relational art, the processes of raising awareness and producing solutions on the consequences of our existence in contemporary art on the axis of environmental problems on a local and global scale, the deterioration of ecological balance, the destruction of bio-diversity and the destructive effects of humanity on the natural world are examined. The sampled artists are artists who have undertaken the important task of raising awareness as a social entity in order to raise awareness against ecological problems, in the face of the conditions required by our existence and our footprints that will exist as long as we live, and/or are aware of this duty. These artists are also aware that the functioning of the world outside us, which is shaped by our actions, cannot be changed individually; They emphasize that the search for solutions to ecological problems can be developed with life, the natural environment and cooperation, and in this way, steps can be taken to minimize the effects of destruction. Although the orientation of cultural production to environmental issues in the context of relational aesthetics started with earth art in the 1960s, these are mostly installations for the reorganization of the natural environment and without a political and critical language. On the other hand, the studies produced since the 2000s are studies/searches that produce partial solutions by directly criticizing and highlighting the devastating effects of the capitalist society structure, global warming and climate change, global environmental policies, industrial wastes, oil crises and hydroelectric power plants, as well as the social effects of individual footprints. These quests are discussed under three headings: "observing and reflecting environmental destruction as it is", "critical and ironic spatial studies on the dimensions of destruction and awareness of the conditions of the new world that will inevitably live in the future", "models and suggestions to reduce the extent of destruction and improve sustainability".
In this context, it is aimed to make a definition about how art and artists react to the issue of ecological sustainability, which is a global problem, through the sampled studies, what problems this reaction addresses, and where art is in the solution process. For this purpose, within the scope of the research, the questions asked by ourselves and the sampled artists during their artistic production are as follows; How do we minimize the environmental problems brought by our existence? How do we balance waste generation and its consequences on the natural world? How can we use natural resources less and guide the cultural field about awareness of it? How do we reduce material needs and create a more sustainable environment? How do we use creativity to change cultural attitudes about the environment?
In the research, it is intended to provide a comprehensive explanation on the references to the works produced in the past periods of the works of art revealed in the period that symbolizes post-1990 cultural production and post-capitalist society structure and/or the reasons for reconsidering these works as form and content and emphasizing new conceptual relations and, as a result, on the problems faced by the cultural structure of art in particular. In order to reach this explanation, Nicolas Bourriaud's concept of relational aesthetics, Eric Alliez's relational aesthetics and cultural hegemony and Claire Bishop's relational antagonism approach are among the important texts that direct the research and are used to determine the causes of the problem. However, the relationship esthetic or relational art, as discussed in the history of art, emphasizes the interpersonal interaction between people, often involves an investigation into post-1980-90 interactive art or public space placements, but it is covered in the context of the relationship between the past and the present, and the replication of the same image, it is analyzed through the indicators in the sampled works, such as re-production, structure-degradation, repetition, or re-creation. As a result of the analysis, answers to questions about whether this change, transfiguration or the same is the result of a social demand, whether cultural forms and cultural reproduction of the past are critical in the history-social reality of today, whether the consequences of art becoming an economic tool in the domination of cultural policies are demonstrated in the reality of the 21th century or whether this relationship -the conception of cultural production- is shaping a new cultural space, art production and an autonomous form language.
Çağdaş sanat, modern sanatın biçimciliğinin karşısında sanat alanında önemli bir değişim ve patlama noktası olmuştur. Estetik gerçeklik büyük bir değişim geçirmiş ve varlık olarak sanat nesnesi metafizik anlamda bir parçalanmaya doğru başkalaşım yaşamıştır. Bu değişimi tetikleyen farklı alanlarda birbirinden bağımsız ve/veya birbirleriyle ilişkili birçok etken söz konusudur. Bilimsel gelişmeler, tarihsel koşullar, felsefenin gerçeklik alanı, ekonomik ve toplumsal kırılmalar düşünsel değişimin temelinde önemli birer itici güç olmuştur. Araştırmada modern sanatın içinden çağdaş sanatın ortaya çıkışı, bu değişimi tetikleyen nedenler, söylem biçimleri ve gösterge kullanımındaki farklılıklar, değişim ve dönüşüme neden olan paradigmatik gelişmelerin incelenmesinin ardından tarihsel süreklilik içerisinde toplum alanında yaşanan kırılma noktaları, sanat ile toplum tarihi arasındaki bu kesişim noktalarının kültür alanındaki değişimi neden ve nasıl tetiklediği/etkilediği gibi sorulara cevap aranmaktadır. Bu doğrultuda gerçeklik algısının soyut-somut ikilemi, çağdaş sanatın metafor kullanımı etkisinde sergileme alanlarının genişlemesi, sergilenen objenin küçülmesi ve derinliğin artması ile yeniden yaratılan parçalanmış estetik algı örnekleme alınan eserler üzerinden incelenerek; kullanılan materyal, gönderme yapılan olgu ve göstergenin çağrışımlarına ilişkin oluşturulan tablolar yoluyla sanat ve toplum arasındaki ilişkiye olduğu kadar sanatçı ve içinde yaşadığı tarihsel süreç ile bu ilişki sonucunda değişen gerçeklik algısı karşısındaki sanatçının tepkisine ilişkin genel bir değerlendirmeye ulaşmak amaçlanmaktadır.
In the research, the meanings of the silence phenomenon, which expresses the situation where the sound is below audible perception in terms of physical reality, are analyzed under different headings under different headings and its historical existence is questioned in the context of psychology, sociology, philosophy, literature, aesthetics and ethics. While many philosophers, especially Socrates, Hegel, Derrida, Schopenhaur, Nietzsche, Heidegger, Wittgenstein, Leibniz, Foucault, in the field of philosophy examine silence in terms of silence or absence of words from positive or negative points, in the field of psychology, silence is a prerequisite for providing an environment conducive to the sensation of the inner voice. It has gained importance especially in the field of psychotherapy. In the field of sociology, it has been seen that silence is associated with definitions of social acceptance. While the direct and indirect silences that inspired many works in the field of literature are mentioned, the field of art has described silence as a search. In the history of art, which is examined from two different perspectives, silence (inner silence), which is the starting point of the creation process, and silence (external silence), which is the subject of creation, the theme of silence has mostly manifested itself as the loss of the subject and the ambiguity of the space from the beginning. On the other hand, polyphony, which can be observed formally when approached in terms of signs, eclectic new approaches, metaphors and aesthetic pluralism after modernism, has revealed the existence of a new dimension of perception that can be accepted as its opposite, the other or the reflection of reality. Undoubtedly, the object of creation always sprouts in a field of silence from its beginning to the present, but when it passes from the moment of formation to the field of existence, it is surrounded by sound both visually and intellectually, and acquires a noisy reality. In this direction, the "representation forms of silence" of art are analyzed relationally through the sampled works, and the common language between the aesthetic productions of different periods is analyzed in terms of different meaning patterns of the phenomenon of silence. In this context, the general aim of the research is to reveal the historical change and changing meanings of the phenomenon of silence in different fields from the perspective of art history and to question the concept in spatial reality through the artists taken as a sample.
In the research, the effects of the artist's autobiographical data and autoethnographic past on art productions, the reflections of the memories of the past and psychological factors in the formation process of the work in terms of material and technique are analyzed through the examples of Judith Scott and Yayoi Kusama. Although it is inevitable for the artist as an individual to be affected by the social structure, socio-cultural factors and other physical realities in which he lives, the concrete image revealed is primarily affected by personal experience and individual sensations. In this context, it is seen that a work of art is a product of experiential life. In this context, it is understood that art sometimes emerges as a purification, a return to inner nature, a war with reality -or the outside world-, a spiritual projection of the image, a new form of matter and a method of expression. Although the process of bringing the subconscious to consciousness forms the basis of the works of many artists within the scope of modernism and postmodernism, it is understood that this process replaces the communication established between the individual and the outside world in the works of the artists taken as a sample. In this context, primarily the relationship between art and psychology is examined and the dialectical reality between the two fields is analyzed. Then, the sampled artists are analyzed in terms of autobiographical data, and their individual identities and certain points in their experiential lives are determined. At the last stage, a holistic analysis is made by associating these points with the expression methods, used images, repetitive motifs, and concrete indicators in his works.
Bütün bu sürekliliğin tanımlanması adına arka planda özelde sanatın, genelde kültür politikalarının, teknoloji ile ilişkili bilimsel gelişmenin ve tarihsel koşulların sonucunda ortaya çıkan toplumsal ilişkilerin de felsefenin etkisinde analiz edilmesi ve kadın bedeninin genel olarak bu sistemler içerisindeki konumu ve özel olarak sanat alanındaki değişiminin tanımlanması araştırmanın temel amacını oluşturmaktadır. Bu doğrultuda yaşamın kaynağını temsil eden kadının farklı sanat eğilimleri ve dönemler kapsamında değişen görünümünün analiz edilmesi ile teknolojinin figüratif gerçeklik üzerinde değer kaybının aksine birey olarak kadının değişmeyen gücünün vurgulanması ve bu etkinin kültür alanına hangi koşullar altında ve hangi görüntü gerçekliği ile yansıtıldığının ortaya çıkarılması hedeflenmektedir.
In the research, a comparative analysis is carried out on the works taken from the field of art and visual culture related to the female body and female figure. In this context, it is aimed to reveal the taste judgments of different cultures by examining the changing aesthetic structure of the female body as well as the approaches to reality that are attributed to this structure or shaped through this structure. In addition to cultural diversification, the effects of different historical conditions on the female body are analyzed relationally in the ancient, modern, postmodern triangle of art and under the influence of philosophy. In this context, Kybele, one of the most important goddess statues of Anatolia, which symbolizes fertility, constitutes the initial sample of the research, while the research continues with examples representing the fragile body perception of the pre-modern period, and then the modernist thought's understanding of reproducibility, movement, objective and subjective time, and realistic and geometrical shaping. It is associated with works produced within the framework of realism, idealism and abstract art tendencies. Historically, postmodernism emerges as a paradigm in which meta-aesthetics and cultural pluralism, popular culture and critical thinking change and transform the female body and give it a new identity. The formal and discourse language of art, which survives under these conditions, is based on the virtual body perception and interactive reality of today's technology societies.
In order to define all this continuity, the analysis of the social relations that emerged as a result of art in particular, cultural policies in general, scientific development related to technology and historical conditions under the influence of philosophy, and defining the position of the female body in these systems in general and its change in the field of art in particular, are the mainstays of the research. constitutes its purpose. In this direction, it is aimed to analyze the changing appearance of women, who represent the source of life, within the scope of different art trends and periods, to emphasize the unchanging power of women as individuals, contrary to the devaluation of technology on figurative reality, and to reveal under which conditions and with which image reality this effect is reflected in the cultural field.
In the research, the alienation of the individual to himself and the society as well as to other individuals and the contradictory reality of social dynamism is analyzed under the influence of philosophy, and concepts such as isolation, exclusion, loss of identity, and isolation brought about by alienation are examined relationally. In this context, through the alienation phenomenon, Joel Peter Witkin's photographs and photomontages are taken as examples, and the expressionist and surrealistic elements in the artist's works are analyzed from the intersection points where the individual becomes alienated from himself and the society. Witkin's photographs, which present the past and the future, the dialectic of death and life together, are at the center of the alienation of man from man and man from society, with fictional reality and the opposite figures, fragmented values of human beings, images reduced to objects, and imaginary arrangements about the aesthetics of the ugly. In this sense, it is aimed to investigate the psychological dimensions of alienation and isolation, as well as the visible projections of this effect in the field of art.
Utopia represents a non-existent but designed new world, the ideal social structure and state order in the Platonic sense. Derived from the concepts of "non-existent", "ideal" and "location, place" in Greek, it had important reflections in the fields of philosophy, literature, cinema and art, triggering the emergence of new forms of creation and thought models. In this context, this phenomenon, which appeared for the first time in the idealist philosophical system, which became visible as Plato's theory of ideas and presented an explanation of an ideal state model in the research, in the ongoing process, the emergence of more comprehensive new ideal societies and utopian world models in the field of philosophy and discourse in the field of culture. It has laid the groundwork for approaches that trigger the orientation towards new worlds that are desired to be reached. The idea of utopia, which has reflections even in the field of science, has also been effective in the development of science and technology. The sample of the study consists of thinkers, writers, scientists and artists from different fields defined and in the last stage, the reflections of the idea of utopia and the reflections of the ideal world to the field of art and culture in general are analyzed by correlating them. In this sense, it is aimed to emphasize the dialectical elements such as reality and illusion, concrete and abstract realities and existing and redesigned.
Under the influence of social structure, historical conditions, socio-economic values and scientific developments, there have been paradigm shifts in the field of culture at different intersections throughout history, and this change represents the interactive nature of different dynamics and different fields and has both been influenced and influenced by them. In this direction, important changes and advances have been experienced in the field of art, however, each period and thought styles have reinterpreted the shaping understanding of the old and brought them together with the cultural values and different conditions of the period, created a new systematic thought and created its own new reality. In order to understand and make sense of this process and the reality that changes and remains the same in the new (ways of thinking, expression methods, ways of reflection) of the old, the different interpretations and forms of interaction of Duchamp's sampled work, Naked Descending the Staircase, in the postmodern cultural environment are analyzed and -Defining the future dialectic is aimed. The sample of the study is Marcel Duchamp, who can be included in the scope of modernism and modern art, which are a product of modernist thought in the field of art but took important steps in the emergence of a new way of seeing by questioning familiar concepts and actions with his view of reality and the outside world. However, by examining other interactive examples included in the research as a product of postmodern culture, both defining Duchamp's direction beyond modernism and analyzing how and in which direction he affected the paradigm period after him.
Bilim ve sanat arasındaki bu paralel ilişkinin tanımlanması ve anlamlandırılması adına örnekleme alınan çalışmalar üzerinden sanatın bilimsel aklı (nesnel gerçekliği) nasıl yorumladığı, söz konusu yorumlamanın hangi yöntemlerle yapıldığı, gerçeklik ve imge ayrımının sanat ve bilim diyalektiğinde hangi sınırda yer aldığı ve bütün olarak paradigmatik sürecin örnekleme alınan motifin estetik dönüşümünü nasıl yönlendirdiği gibi sorulara cevap aranmaktadır. İncelemeler sonucunda sanatın hem makro (evren) hem mikro (atom) dünyanın tanımlanmasına yönelik bilimsel aklın ortaya koyduğu gelişmeleri yorumlayışına yeni bir bakış sunmak amaçlanmaktadır.
In this research, the reality approach is questioned through the motives of the universe with examples taken from certain points of intersection of paradigmatic history in science and art. This study proceeds in the form of both the interpretation of reality by art and the interpretation of reality by scientific progress, and the common and dissociating points of both interpretations are analyzed under the influence of philosophy. The aim of the research is to emphasize the interactive side of scientific development and artistic change through selected works from art history. Accordingly, the distinction between reality and image through the sampled universe motif (sphere depiction) is initiated from the drawings of Copernicus and Kepler's universe models and on the outer cover of Hieronymus Bosch's "The Garden of Earthly Delights" in the first half of the 16th century. Then, the atomic physics of the nineteenth century and the pointilist (atomistic) shaping conception such as Post-Impressionism are examined. In the following, the basic principles and discourses of the quantum field of the 20th century and the way of interpreting the particle model of art (Kandinsky's abstract language and later Jackson Pollock's atomistic approach) and the experience of globalization under the influence of the scientific development of the 21st century and the bi-directional change and metamorphosis of art in the new media (pixel language) are analyzed.
In order to define and make sense of this parallel relationship between science and art, it is sought to answer the questions such as how the art interprets the scientific reason (objective reality), the methods of the interpretation, the boundaries of the distinction between reality and image in the dialectics of art and science, and how the paradigmatic process as a whole leads to the aesthetic transformation of the sampled motif. As a result of the investigations, it is aimed to give a new perspective to art's interpretation of the developments of scientific reason for defining both macro (universe) and micro (atomic) world.
Küreselleşen dünya ve değişen gerçeklik algısı, modernist düşüncenin egemenliğine son vererek yerini postmodern kültüre bırakmış, bu kültürün bir ürünü olan postmodern sanat ve sanat akımları dahilinde kültür kavramının farklı anlamları ve farklı gösterge biçimleri ortaya çıkmıştır. Bu doğrultuda kapitalist düşünce yapısının bir ürünü olan Pop Sanat (Richard Hamilton, Roy Lichtenstein vd.) popüler kültür imgelerini sanatın merkezine yerleştirmiştir. 20. yüzyılın başlarında tüketim nesneleri kompozisyonun biçimsel ve göstergesel dili iken aynı yüzyılın sonlarına doğru geçmişin tüketim nesneleri ve popüler kültür imgelerinin efemeral bir değer olarak yerleştirme sanatı ve kavramsal sanat işlerinde kullanılması söz konusudur. Yani yüzyılın başlarındaki popüler kültür imgeleri, yüzyılın sonlarına gelindiğinde efemeral belgeler haline gelmiştir. Günümüz post-truth toplumlarında sanatçı algısı ve sanat eserleri de köklü bir başkalaşım yaşamış, teknoloji efemeral kaynaklarla bir arada kullanılmış, gene belirli bir ileti taşısa da bu kez nesnel gerçeklik izleyenin duygu ve anlamlandırma boyutunun önüne geçememiştir. Çağdaş sanat içerisinde efemeranın kullanımı ikiye ayrılmaktadır; ilkinde sanatçı efemerayı kendi özgün anlamından ve biçimsel bağlamından uzaklaşmadan vitrin yerleştirmeleri şeklinde sanat izleyicisine sunmakta ve nesneler yoluyla tanıtmak istediği kişiyi, hatırlatmak istediği olguyu, düşünceyi, ifadeyi ya da dönemi aktarmaktadır (Christian Boltanski, Nicola Tyson ve Cengiz Çekil). İkincisinde, efemeral değer taşıyan belgelerin mekan içerisinde daha büyük bir örüntünün bir parçası olma durumu söz konusudur (Gülsün Karamustafa, Nil Yalter, Christian Boltanski vd. mekan düzenlemeleri). Araştırma kapsamında örnekleme alınan sanatçılar belirtilen süreçleri en güçlü yansıtan çalışmalara sahiptir.
Claes Oldenburg's artistic career started as a painter but continued as a sculptor as he was impressed by the shop windows, graffiti, advertisements and piles of garbage in New York City and started to use these objects in his sculptures. Initially, he started to form different objects by painting plaster pieces, later he started to make soft objects and like the Pop Art artists, he began to create works of art by selecting his subjects from objects of consumption. His most famous works are different food objects formed by soft materials (cake slices, hamburgers, an ice-cream cone). He also has giant sculpture installations in public spaces. Analysing different social, cultural and political meanings and connotations of food icons in Oldenburg sculptures within the scope of the artistic tendency of the of the period and its relation with conceptual art was the aim of this study.
The results obtained with the analysis in the relational study have also reached the conclusion that the use of performance art in art education determines the levels of social skills and perceptions related to perception. Within the context of creative drama activities, the work of different artists of performance art has an applicable quality in art education due to their being the expression of inner life into a shared dimension, being brought to the viewer (community) and the resultant relational solutions directing the experimental studies and this is of great importance.
Özet: Araştırmanın amacı; ortaokullarda yaratıcı drama etkinliklerinin sanat eğitiminde felsefe temelli yaklaşım ile birlikte yaratıcı edim sürecinin ve zihinsel aktarımlarının betimlenmesidir. Araştırma probleminin kuramsal çözümlemesini, estetiğe psikolojik ve sosyolojik yaklaşım getiren düşünürler oluşturmaktadır. Araştırmanın örnekleminde yer alan düşünürlerin sanat üzerine söylemleri birbirleriyle karşılaştırmalı olarak incelenerek, elde edilen temel felsefi düşünce sistemleri ile sanat eğitiminde yaratıcı drama etkinlikleri bağlamında performans sanatı ve yaratıcı drama etkinliklerinin sanat eğitimi derslerinde yaratıcı örneklem olarak kullanılabilirliği üzerine yeni bir yaklaşım geliştirilmektedir. Araştırmanın amaçlı örneklemini performans sanatı oluşturmaktadır. Performans sanatı bir gösteri gibi ortaya konulmasının yanında, bireysel, özgün duyum ve algı çalışmaları da yaşamsal dilin sanatsal eyleme dönüşmesi olarak tanımlanabilir. Örneğin, Rebecca Horn ve Lygia Clark gibi performans sanatçıları, çalışmalarını kendi bilinç süreçlerini tanıma, farkındalık geliştirme adına ortaya koymuş, insan ve çevre arasındaki iletişim dilini sorgulamışlardır. Bu bağlamda araştırmanın bulgularının yorumlanmasında kolay ulaşılabilir durum örneklemesi ile yaratıcı drama etkinliği kapsamında performans sanatı örneklemi analiz edilmektedir.
İlişkisel incelemede analizlerle de elde edilen verilerle performans sanatının sanat eğitiminde kullanımının sosyal beceri düzeylerine ve algılara ilişkin sonuç ilişkileri belirlediği sonucuna ulaşılmıştır. Yaratıcı drama etkinlikleri kapsamında performas sanatının farklı sanatçılarının çalışmaları bu anlamda, içsel yaşantının dışavurumu ve paylaşımsal boyuta taşınması, izleyici (topluluk) karşısına çıkması ve bunun getirisi olan ilişkisel çözümlemelerin deneysel çalışmaları yönlendirmesi sanat eğitiminde kullanılabilir bir niteliğe sahiptir ve büyük önem taşır.
Özet: Araştırmada Platon'dan başlayarak ilkçağ düşünürlerinde ironi kavramı, ardından Nietzsche ve Schlegel ile romantik felsefede kavramın yorumsamaları ve son olarak Kierkegaard'ın ironi ve ya/ya da söylemi analiz edilmektedir. Felsefe yaklaşımlarının incelenmesinin ardından ironi kavramının düşünsel yaklaşımı sanatsal süreçler bakımından değerlendirilmektedir. Bu doğrultuda sanatın modernist ve postmodernist paradigmalarında gerçeklik yaklaşımı sorgulanarak, ironik söylem dilinin göstergeleri çözümlenmektedir. Araştırmanın amaçlı örneklemini gerçekliğe ironik bir yaklaşım ortaya koyan ve yeni bir duyum gerçekliği yaratan Jan Fabre oluşturmaktadır. Araştırma modeli ilişkisel tarama yönteminde deneysel bir incelemedir. İroni kavramının düşünsel soyut ve sanatsal somut görünümlerinin incelenmesinin sonucunda gerçeklik yaklaşımının doğrusal bir gelişim süreci değil, döngüsel bir çizgide ilerlediği, böylelikle duyum ve algılamın bir arada gerçekleştiği bir modelin varlığı ortaya çıkmaktadır.