Videodaki sanatsal dilin ontolojisi
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Dosyalar
Tarih
2019-01-14
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
Bu çalışmanın amacı, video sanatını tarihsel yönden araştırırken onun ardında yatan süreçleri irdelemektir. Televizyon estetiği, video sanatına katkıları açısından ele alınırken videonun televizyona karşı olduğu noktalar belirlenmiştir. Televizyon ve video arasında, karşılaştırmalı bir yöntem izlenerek her iki aracın birbirleriyle olan farklarının anlaşılması sağlanmıştır. Video sanatı ve Fluxus arasındaki bağ, harekete mensup sanatçılar çerçevesinde ortaya koyulmuştur. Video sanatçılarının, aygıtı kendi görüşleri doğrultusunda kullanmaları, çok sesli anlatımlara yol açmıştır. Bu durum, video sanatındaki dilsel çeşitliliği beraberinde getirmiştir. Tezde, video sanatındaki bu yaklaşımlar, kuramcılar eşliğinde analiz edilmiştir. Disiplinlerin bir arada olması ile ilgili görüşlere yer verildikten sonra disiplinlerarası sanat süreçleri tartışmaya açılmıştır. Bu süreçler video sanatıyla ilgili örnekler üzerinden değerlendirilmiştir. İzleyicinin, edilgen olma halinden etkin olma haline geçişi araştırılıp bu bağlamda etkileşimli sanat ve video sanatı farklı fikirler üzerinden incelenmiştir. Postmodern dönemin özellikleri belirtildikten sonra bu dönemdeki toplumsal yapıdan bahsedilmiştir. Post-endüstriyel toplumun, endüstriyel ve öncesi toplum yapısından ayrıldığı noktalar açıklanmıştır. Postmodern sanat bağlamında kullanılan kavramlar, sanatçıların ürettiği çalışmalar üzerinden görünür kılınmıştır. Video sanatındaki postmodern algıya ilişkin saptamalarda bulunulmuştur.
The aim of this study is, while researching the video art historically, to examine the processes that lie behind it. While television aesthetics is considered in terms of contributions to video art, the points where video opposes television are determined. By using a comparative method between television and video, it is ensured that the difference between the two instruments is understood. The link between video art and Fluxus has been demonstrated within the framework of the movement's artists. Video artists’ using the device according to their own opinions, has led to polyphonic narratives. This situation brought about the linguistic diversity in video art. In the thesis, these approaches in video art were analysed accompanied with theorists. Interdisciplinary art processes were discussed after the views on the coexistence of disciplines were included. These processes were evaluated through examples of video art. The transition of the viewer from being passive to being active was explored and in this context, interactive art and video art has been examined through different ideas. After the characteristics of the postmodern period were stated, the social structure of this period was mentioned. The points where post-industrial society is distinguished from industrial and pre-industrial social structures were explained. Concepts used in the context of postmodern art were rendered visible through the works produced by the artists. Postmodern perception in video art has been determined.
The aim of this study is, while researching the video art historically, to examine the processes that lie behind it. While television aesthetics is considered in terms of contributions to video art, the points where video opposes television are determined. By using a comparative method between television and video, it is ensured that the difference between the two instruments is understood. The link between video art and Fluxus has been demonstrated within the framework of the movement's artists. Video artists’ using the device according to their own opinions, has led to polyphonic narratives. This situation brought about the linguistic diversity in video art. In the thesis, these approaches in video art were analysed accompanied with theorists. Interdisciplinary art processes were discussed after the views on the coexistence of disciplines were included. These processes were evaluated through examples of video art. The transition of the viewer from being passive to being active was explored and in this context, interactive art and video art has been examined through different ideas. After the characteristics of the postmodern period were stated, the social structure of this period was mentioned. The points where post-industrial society is distinguished from industrial and pre-industrial social structures were explained. Concepts used in the context of postmodern art were rendered visible through the works produced by the artists. Postmodern perception in video art has been determined.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves: 80-84)
viii, 85 leaves
Includes bibliographical references (leaves: 80-84)
viii, 85 leaves
Anahtar Kelimeler
Disiplinlerarası sanat, Etkileşimli sanat, Ontoloji, Postmodernizm, Video sanatı, Interactive art, Interdisciplinary art, Ontology, Postmodernism, Video art
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Bayhan, A. (2019). Videodaki sanatsal dilin ontolojisi. İstanbul: Işık Üniversitesi Sosyal Bilimler Enstitüsü.
