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21. Yüzyılda Karşı Sanat Anlayışı Olarak Glitch

Year 2023, Issue: 30, 43 - 56, 31.07.2023
https://doi.org/10.17484/yedi.1219249

Abstract

Hata ve aksaklığın estetik bir sonucu olan glitch sanatı, yeni medya sanatlarının içerisinde yer alan güncel bir sanat formudur. Bu sanat üretim biçimine dair farklı yaklaşımlar olmakla birlikte bu makalenin çıkış noktasında, hatanın ve aksaklığın mevcut normları sorgulama aracı olarak değerlendirilmesi ve glitch sanatının karşı sanat çalışmaları perspektifinde konumlandırılması yer almaktadır. Dijital teknolojinin mükemmelliğine dair söylemleri ters yüz eden, insan yapımının önemini vurgulayarak hatanın estetik bileşenlerini ortaya çıkaran glitch pratikleri ile teknolojik, ideolojik ve sosyal yapısallığa meydan okuyan sanatçılar, yazılımın ve algoritmaların hegemonyasını yıkarak mülkiyet, toplumsal bellek, kimlik, cinsiyet, gözetim ve denetim gibi aktivizmin evrensel temalarını eserlerinin merkezine yerleştirmişlerdir. Bu anlamda glitch sanatı, veri manipülasyonu ve algoritmalar tarafından yönlendirildiğimiz çağda, disiplinlerarası, ideolojik ve estetik bağlamlar yaratarak yeni direnç stratejileri geliştiren, radikal bir sanat formu olma potansiyeli taşımaktadır. Makalede glitch sanatına dair yaklaşımlar incelenerek, bu sanat üretim biçiminin 20. yüzyıl Avangard sanatıyla teknik, estetik ve ideolojik bağlamda benzerliklerinin altı çizilecektir. Avangard hareketlerin karşı sanat üretim metodolojisi, günümüz glitch sanatçılarının eserleri çerçevesinde yeniden değerlendirilecektir.

References

  • Bürger, P. (2014). Avangardist sanat eseri. Avangard kuram (113-156) içinde. (Erol Özbek, Çev.). İletişim Yayınları.
  • Cates, J. (2014). PØST-GL!TȻH. https://joncates.medium.com/pøst-gl-tȼh-joncates-2014-11050debaeba
  • Clark, T. (2011). Sanat ve propaganda (Esin Hoşsucu, Çev.). Ayrıntı Yayınları.
  • En.Oxford Dictionnaries (n. d.). Definition of glitch, in En.Oxford Dictionnaries. Retrieved November 17, 2022, from https://en.oxforddictionaries.com
  • Demircan, Ö. (2022). Fotografik gözetimden veri gözetimine estetik direniş. Praksis Dergisi, 59, 2022-2, Dipnot Yayınları, s. 57-82.
  • Gaulon, B. (2020). Benjamin Gaulon. http://www.recyclism.com/bio.html
  • Jackson, R. (2011). The glitch aesthetic (Master dissertation, Department of Communication, Georgia State University). doi: https://doi.org/10.57709/2370450
  • Kanat, S. (2018). Glitch sanatı. İnönü Üniversitesi Kültür ve Sanat Dergisi, 4(2), 28-35.
  • Kane, L. C. (2014). Compression aesthetics: Glitch from the avant-garde to kanye west. InVisible Culture: An Electronic Journal for Visual Culture, 21. https://ivc.lib.rochester.edu/compression-aesthetics-glitch-from-the-avant-garde-to-kanye-west/.
  • Kane, L. C. (2016). GIFs that glitch: Eyeball aesthetics for the attention economy https://www.researchgate.net/publication/316335262_GIFs_that_glitch_eyeball_aesthetics_for_the_attention_economy.
  • Manon, S. H. ve Temkin D. (2011). Notes on glitch. http://worldpicturejournal.com/WP_6/PDFs/Manon.pdf
  • Merleau-Ponty, M. (2005). Phenomenology of perception. Routletge.
  • Menkman, R. (2011). The glitch moment(um). Institute of Network Cultures.
  • Moradi, I. (2004). Glitch aesthetics. http://www.organised.info/wp-content/uploads/2016/08/Moradi-Iman-2004-Glitch-Aesthetics.pdf
  • Moradi, I. (2009). Glitch: Designing ımperfection. Mark Batty Publisher.
  • Nunes, M. (2011). Error: Glitch, noise, and jam in new media cultures. The Continuum International Publishing Group.
  • Paul, C. (2008). Digital art. Thames and Hudson.
  • Roy, M. (2014). Glitch ıt good: understanding the glitch art movement. http://www.theperipherymag.com/on-the-arts-glitch-it-good
  • Shabbar, A. (2018). Queer-Alt-Delete: glitch art as protest against the surveillance cis-tem, WSQ Women’s Studies Quarterly, 46(3-4), 191-211.
  • Speiser, A. (2017). Glitch art: noise as a creative act, challenging the myth of a perfect technology, https://www.academia.edu/35612265/glıtch_art_noıse_as_a_creatıve_act_challenging_the_myth_of_a_p erfect_technology
  • Unlike [Exhibition]. (2015). https://unlike.io/en/
  • Uysal, T. (2007). Fotoğrafi ve sinematografinin görsellik ilişkisi (Tez No. 207309) [Yayınlanmamış yüksek lisans tezi, Mimar Sinan Güzel Sanatlar Üniversitesi]. Ulusal Tez Merkezi.
  • Vavarella, E. (2015). Art, error, and the ınterstices of power. Citar Journal, 7(2), s. 7-17.
  • Yılmaz, M. (2016, 8 Mayıs). Gürültü sanatı. e-skop sanat tarih eleştiri. https://www.e-skop.com/skopbulten/gurultu-sanati/2935

Glitch as Anti-Art in the 21st Century

Year 2023, Issue: 30, 43 - 56, 31.07.2023
https://doi.org/10.17484/yedi.1219249

Abstract

Glitch art, which is an aesthetic result of error and malfunction, is a contemporary art form within the new media arts. Although there are different approaches to this form of art production, the point of this article is to evaluate the error and malfunction as a means of questioning the current norms and to place the glitch art in the perspective of anti-art works. Artists who challenge technological, ideological and social structurality through glitch practices that turn the discourse on the perfection of digital technology on its head and reveal the aesthetic components of error by emphasizing the importance of human construction have placed universal themes of activism such as property, social memory, identity, gender, surveillance and control at the center of their works by subverting the hegemony of software and algorithms. In this sense, glitch art has the potential to be a radical art form that develops new strategies of resistance by creating interdisciplinary, ideological and aesthetic contexts in an age where we are driven by data manipulation and algorithms. In this article, the approaches to glitch art will be analyzed and the similarities of this form of art production with 20th century Avant-garde art in technical, aesthetic and ideological contexts will be underlined. The methodology of the anti-art production of Avant-Garde movements will be re-evaluated within the framework of the art-works of today’s glitch artists.

References

  • Bürger, P. (2014). Avangardist sanat eseri. Avangard kuram (113-156) içinde. (Erol Özbek, Çev.). İletişim Yayınları.
  • Cates, J. (2014). PØST-GL!TȻH. https://joncates.medium.com/pøst-gl-tȼh-joncates-2014-11050debaeba
  • Clark, T. (2011). Sanat ve propaganda (Esin Hoşsucu, Çev.). Ayrıntı Yayınları.
  • En.Oxford Dictionnaries (n. d.). Definition of glitch, in En.Oxford Dictionnaries. Retrieved November 17, 2022, from https://en.oxforddictionaries.com
  • Demircan, Ö. (2022). Fotografik gözetimden veri gözetimine estetik direniş. Praksis Dergisi, 59, 2022-2, Dipnot Yayınları, s. 57-82.
  • Gaulon, B. (2020). Benjamin Gaulon. http://www.recyclism.com/bio.html
  • Jackson, R. (2011). The glitch aesthetic (Master dissertation, Department of Communication, Georgia State University). doi: https://doi.org/10.57709/2370450
  • Kanat, S. (2018). Glitch sanatı. İnönü Üniversitesi Kültür ve Sanat Dergisi, 4(2), 28-35.
  • Kane, L. C. (2014). Compression aesthetics: Glitch from the avant-garde to kanye west. InVisible Culture: An Electronic Journal for Visual Culture, 21. https://ivc.lib.rochester.edu/compression-aesthetics-glitch-from-the-avant-garde-to-kanye-west/.
  • Kane, L. C. (2016). GIFs that glitch: Eyeball aesthetics for the attention economy https://www.researchgate.net/publication/316335262_GIFs_that_glitch_eyeball_aesthetics_for_the_attention_economy.
  • Manon, S. H. ve Temkin D. (2011). Notes on glitch. http://worldpicturejournal.com/WP_6/PDFs/Manon.pdf
  • Merleau-Ponty, M. (2005). Phenomenology of perception. Routletge.
  • Menkman, R. (2011). The glitch moment(um). Institute of Network Cultures.
  • Moradi, I. (2004). Glitch aesthetics. http://www.organised.info/wp-content/uploads/2016/08/Moradi-Iman-2004-Glitch-Aesthetics.pdf
  • Moradi, I. (2009). Glitch: Designing ımperfection. Mark Batty Publisher.
  • Nunes, M. (2011). Error: Glitch, noise, and jam in new media cultures. The Continuum International Publishing Group.
  • Paul, C. (2008). Digital art. Thames and Hudson.
  • Roy, M. (2014). Glitch ıt good: understanding the glitch art movement. http://www.theperipherymag.com/on-the-arts-glitch-it-good
  • Shabbar, A. (2018). Queer-Alt-Delete: glitch art as protest against the surveillance cis-tem, WSQ Women’s Studies Quarterly, 46(3-4), 191-211.
  • Speiser, A. (2017). Glitch art: noise as a creative act, challenging the myth of a perfect technology, https://www.academia.edu/35612265/glıtch_art_noıse_as_a_creatıve_act_challenging_the_myth_of_a_p erfect_technology
  • Unlike [Exhibition]. (2015). https://unlike.io/en/
  • Uysal, T. (2007). Fotoğrafi ve sinematografinin görsellik ilişkisi (Tez No. 207309) [Yayınlanmamış yüksek lisans tezi, Mimar Sinan Güzel Sanatlar Üniversitesi]. Ulusal Tez Merkezi.
  • Vavarella, E. (2015). Art, error, and the ınterstices of power. Citar Journal, 7(2), s. 7-17.
  • Yılmaz, M. (2016, 8 Mayıs). Gürültü sanatı. e-skop sanat tarih eleştiri. https://www.e-skop.com/skopbulten/gurultu-sanati/2935
There are 24 citations in total.

Details

Primary Language Turkish
Journal Section Derleme Makaleler
Authors

Özlem Demircan 0000-0002-3041-7160

Publication Date July 31, 2023
Submission Date December 14, 2022
Acceptance Date March 30, 2023
Published in Issue Year 2023 Issue: 30

Cite

APA Demircan, Ö. (2023). 21. Yüzyılda Karşı Sanat Anlayışı Olarak Glitch. Yedi(30), 43-56. https://doi.org/10.17484/yedi.1219249

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