Makale Koleksiyonu | Görsel Sanatlar Bölümü / Department of Visual Arts
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Güncel Gönderiler
Öğe Lacanian unconscious and new media aesthetics(Bursa Teknik Üniversitesi, 2023-06-20) Hatipoğlu, ÖzümContemporary biotechnologies provide an entryway into thinking about bodies and organisms not as natural and biological entities but as informational media, technological apparatuses, instrumental mediums, symbolic systems and coded means of communication, replacing the theories and practices concerning mimetic imitation of life and mechanical reproduction of nature with the semiotic, linguistic, and bioinformatic reproduction of bodies and organisms. This article examines postbiological articulation of bodies, desires, and sexualities at the site of the convergence between Lacanian psychoanalysis and new media aesthetics. It is at the interstices of the connections between information and communication technologies, modern biology, and structural linguistics that Jacques Lacan locates his psychoanalytic conception of the unconscious and desire. The notion of the unconscious as it is mapped by Lacan over structural linguistics’ intrinsic kinship with information and communication technologies enables him to examine desire and sexuality at the site of the convergence between linguistic-informational, biological, and psychoanalytic discourses. This bioinformatic revolution transforms the aesthetic stakes of everyday life by suggesting new ways of thinking about bodies, desires, and sexualities. By drawing on acoustic and visual remappings of the body, fragmented and hybrid bodies, digital desires and sexualities in new media artworks, I analyze the body in contemporary art as a biotechnological apparatus, symbolic system, and discursive and non-discursive mode of communication flowing among various media networks and systems.Öğe Adorno’s aesthetic theory: aesthetic display of the empirical reality(Bursa Uludağ Üniversitesi, 2022-03-30) Hatipoğlu, ÖzümTheodor Adorno’s Aesthetic Theory illuminates the basic question of the aesthetic claim to truth. Adorno’s text presents key philosophical questions about the nature of aesthetics. Through grounding Adorno’s aesthetic theory in Hegelian logic, this article explicates why and how the veracity of a modern artwork dwells in its claim to the truth of its own untruth. What is the relation between aesthetic truth and the objective truth of empirical reality? Can aesthetic truth disclose the truth of empirical reality? By relating negatively to what Adorno calls the empirical reality, modern artworks not only become identical to their nonidentity, but also present that which they are nonidentical with as their formative ground. If the truth of an object is mediated, aesthetic truth must disclose the degree of objectivity found in empirical reality. Consequently, aesthetic truth becomes for-itself a mediated truth, and aesthetic truth comes to reveal the mediatedness of empirical reality.Öğe Cybernetic philosophy, performativity, and new media aesthetics(Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi, 2022-05-26) Hatipoğlu, ÖzümBy drawing upon philosophical repercussions of cybernetics, this article reformulates the notion of performativity in the context of new media aesthetics. It links performativity to new media aesthetics via the cybernetic notions of information processing and generating systems, recursive electronic and digital feedback loops, emergency, complexity, dynamism, and autonomously evolving systems. In doing so, I argue that the operational logic and infrastructure of new media technologies can only be understood from a performative perspective. The term performance basically refers here to the movement which governs the generation and transformation of systems by putting them into action. It is through this action that the various components and parts of a system relay and process information and produce complex interactive systems. As a result, this kind of complex interactivity leads to the emergence of new forms. It is in this way that these complex systems produce new codes, configurations, and constellations. Such a formulation constitutes my starting point to describe a hybrid framework that may eventually lead to a better understanding of the essential characteristics of new media technologies and aesthetics. The shift from single, discrete, and isolated mechanical artifacts to technological systems laid the foundations for a new kind of aesthetics, the aesthetics of information processing and generating systems. The study of the art object as a system or an environment rather than a single object is crucial to address the way in which the system itself might be conceived of as an aesthetic medium. I foreground my definition of new media in the notions of medium and mediation and discuss the aesthetic possibilities brought forth by the emergence and advancement of information and communication technologies. The method used in this article is literature review.Öğe 16.-19.yüzyıl dönemi sosyal yaşamında Osmanlı kadını ve Osmanlı topraklarında yaşamış sanatçıların eserlerine yansımaları(Motif Yayıncılık, 2021-09-15) Kalyoncu, HülyaFarklı tarihçiler tarafından farklı yorumlarla ifade edilen, Osmanlı sosyal yaşamında kadın mevcudiyeti, günümüzde dahi tartışılan bir konudur. Mevcut tartışmalardan yola çıkılarak yapılan bu çalışmada Osmanlı sosyal yaşamında kadın konusuna, sanat tarihi disiplini açısından ve ressamların yapmış oldukları görsel sanat eserleri ışığında, sanatsal bir yaklaşım ile cevap bulunması amaçlanmıştır. Osmanlı İmparatorluğu’nun 600 yıllık çok uzun bir süreci kapsayan bir medeniyet olduğu bilinmektedir ve imparatorluğun çok değişken konjonktürel süreçleri bulunduğu aşikârdır. Ancak 16.19.yüzyıllar arası dönem, kadına bakış açısından benzer bir süreçtir ve yapılan bu çalışmada bahsi geçen yüzyıllar arasındaki süreç içerisinde Osmanlı kadınını sosyal yaşamın farklı yönleri ile ele almak sureti ile betimleyen sanatçıların eserleri ele alınmıştır. Çalışma kapsamına dâhil edilen eserlerin sanatçıları ise bu süreç içerisinde Osmanlı topraklarına gidip gelerek belli sürelerde de olsa bizzat, Osmanlı topraklarında yaşamış olan yabancı sanatçılar ve Osmanlı’da yerleşik Osmanlı vatandaşı sanatçılardır. Konuyu ele alan ve orijinallerinin günümüzde çeşitli dünya kütüphanelerinde muhafaza edildiği, Osmanlı topraklarına gelmek sureti ile gezgin seyyahlar tarafından yazılmış bulunan seyahatname anıları ve devlet arşiv belgeleri de konuya ışık tutacak olan verilerdir. Bu nedenle çalışmada dönemi anlatan yazınsal verilerin taramalarının ve incelemelerinin yapılması ve ressam sanatçılara ait görsel belgelerde görülen sahnelerin, eldeki veriler ile sentezleme yapılması çalışma metodu ve yöntemi olmuştur. Sanatçılara ait görsel eserler ve tarihçilere ve seyyahlara ait yazınsal kaynakların birlikte değerlendirildiği bu çalışma ile Osmanlı kadının, alt başlıklara ayrılan sosyal yaşamın kimi koşullarında oldukça sınırlandırılmış, kimi koşullarında ise nispeten serbest bir yaşam süreci geçirmiş olduğu sonucuna varılmıştır.Öğe Rum Architects and their Domed Greek Orthodox Churches that marked the change in the physical features of Istanbul(Atatürk Üniversitesi, 2022-03-28) Şarlak, Evangelia AleksandruThe cosmopolitan characteristic of Istanbul, expresses itself clearly not only in the political, economic and social domains but also in that of architecture, the traces left by different cultures and creeds. With the Non-Muslim Regulation issued after the conquest of Istanbul, it is stated that Christian and Jewish communities can live their religious lives freely. While the architectural activities continue within the determined rules, the construction of the dome and the lead coating of the dome are prohibited within the framework of these rules. With the Tanzimat Edict of 1839, non-Muslim Ottomans were granted equal rights with Muslims, Concrete steps were taken with the 1856 Reform Edict . On this date, with the permission given for the construction of new churches and domes, domed churches began to be built in Istanbul.
