Research Article
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Yapay Zekâ Sanatının Doğal ve Yapay Kavramına Tarihsel Süreçte Etkisi

Year 2024, Issue: 79, 280 - 306, 15.07.2024
https://doi.org/10.58634/felsefedunyasi.1489983

Abstract

Sanat tarihsel ve teknolojik değişimlerle kendini sürekli yeniler. Antik Yunan'ın mimesis odaklı sanatı, doğayı taklit ederek gerçeklikle sanat arasında sınır çizerken, 20. yüzyılda bu sınırlar belirsizleşmiştir. Andy Warhol’un "Brillo Kutuları" eseri, gerçeklikle sanat arasındaki farkı muğlaklaştırırken, bilgisayar ve yapay zekânın sanata dahil olması bu ayrımı daha da karmaşık hale getirmiştir. Turing’in "Makineler düşünebilir mi?" sorusu ve Turing Testi, yapay zekânın temellerini atmış, McCarthy'nin "yapay zekâ" terimini tanıtmasıyla bu alandaki çalışmalar hız kazanmıştır. Dijital sanat, insan ve makine iş birliğiyle ortaya çıkan eserlerle sanatsal ifadenin sınırlarını genişletmiş ve sanatçının rolünde değişime neden olmuştur. 2000'lerden itibaren algoritmaların gelişimiyle yapay zekâ, özellikle Üretken YZ, sanatın tanımını ve üretim süreçlerini yeniden şekillendirmiştir. Bu makale, yapay zekâ programları, yerli ve yabancı kaynaklar aracılığıyla doğal ve yapay kavramlarının değişimini, sanat akımları ve teknolojik gelişmelerin bu kavramlara etkisini ve yapay zekâ teknolojisinin bu kavramların yeniden tanımlanmasını gerektirdiği tartışacaktır. Bu doğrultuda sanatta yeni teknolojilerin doğal ve yapay kavramlarına yarattığı etki tespit edilerek sanatın dönüşümü analiz edilecektir.

References

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  • Ajani G (2022). “Human Authorship And Art Created by Artificial Intelligence-Where Do We Stand?” Digital Ethics. Dreier T., Andina T. (eds.). pp. 253-270. Nomos Publising. doi.https: //10.5771/9783748934011-253/.
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  • Aristoteles, (2018). Poetika- Şiir Sanatı Üzerine. Çev.: A. Çokona, Ö. Aygün, (3. b.), İstanbul: Türkiye İş Bankası Yayınları.
  • Aristotle. (2012). Poetics. trans. L. Taran, D. Gutas, Boston: Brill Press.
  • Bensaude, B. B., Newman W., Newman W.R. (2007). “Introduction: The Artificial and the Natural: State of the Problem.” The Artificial and Natural, Vincent B.B. and Newman W. R. (ed.). pp. 1-19, Cambridge: MIT Press.
  • Bernardet U., Easton, E., Ek´art A. (2023). “Is Beauty in the Age of the Beholder?” Artificial Intelligence in Music, Sound, Art and Design, 12th International Conference. EvoMUSART 2023, Johnson C., Rodríguez-Fernández N., Rebelo S. M. (eds.). pp. 84-99. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-29956-8.
  • Bundy, A. (1988). “Artificial Intelligence: Art or Science?” RSA Journal, 106, pp. 557-569.
  • Brandt, A., Eagleman D. (2017). The Runaway Species: How Human Creativity Remakes the World. New York: Catapult Publishing.
  • Collingwood, R.G. (2020). Doğa Tasarımı. Çev.: Kurtuluş Dinçer, İstanbul: Ayrıntı Yayınları.
  • Cotroneo P., Hutson J., Lang M., Lively J., Robertson B. (2017), Creative Convergence: The AI Renaissance in Art and Design. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-45127-0.
  • Coeckelbergh, M. (2016). New Romantic Cyborgs: Romanticism, Information Technology, and the End of the Machine. Cambridge: The MIT Press.
  • Çelgin, G. (2018). Sözlük, Eski Yunanca-Türkçe. İstanbul: Alfa Yayınları.
  • Danto, A. C. (2014). Sanat Nedir. Çev.: Zeynep Baransel, İstanbul: Sel Yayıncılık.
  • Danto, A. C. (2010). Sanatın Sonundan Sonra. Çev.: Zeynep Demirsü, İstanbul: Ayrıntı Yayınları.
  • Danto, A. C. (1998). “The End of Art: A Philosophical Defense.” History and Theory 37/4, pp. 127-143.
  • Deleuze, G. (2004). Sinema I: Hareket ve İmge. Çev.: Soner Özdemir, İstanbul: Norgunk Yayıncılık.
  • Descartes,R. (2020). Yöntem Üzerine Konuşma. Çev.: Murat Erşen, İstanbul: İş Bankası Kültür Yayınları.
  • Dietrich, F. (1986). “Visual Intelligence: The First Decade of Computer Art (1965-1975).” Leonardo 19/2, pp. 159-169.
  • Dyer-Witteford N., Kjøsen A.M., Steinhoff J. (2022). Yapay Zekâ ve Kapitalizmin Geleceği. Çev.: Barış Cezar, İstanbul: İletişim Yayınları.
  • Frankie, H. W. (1985). Computer Graphics-Computer Art. Berlin, Heidelberg, New York, Tokyo: Springer- Verlag.
  • Grau, O., Hoth J., Wandl-Vogt E. (2019). “Introduction: Digital Art & Digital Humanities.” Digital Art through the Looking Glass, Grau, O., Hoth J., Wandl-Vogt E. (eds.), pp.9-26. Austria: Donau Universität Krems.
  • Gupta, D., Srivastava, A. (2023). The Potential of Generative AI. London: Bpb Online.
  • Hartmann, N. (2014). Aesthetics. trans. Eugene Kelly, Berlin: De Gruyter Press.
  • Harvey, A. (2022). Circular Diffusion, https: //adam.harvey.studio/circular-diffusion/ (22.05.2024).
  • Heidegger, M. (1993). Basic Writings. ed. David Farrell Krell, San Francisco: Harper Collins Publisher.
  • Hemment, D. (2023). “Signal or Noise?” RSA Journal, 169, pp. 10-15.
  • Hobbes (2007). Leviathan. Çev.: Semih Lim, (6. Baskı), İstanbul: Yapı Kredi Yayınları.
  • https: //www.tate.org.uk/art/art-terms/d/digital-art (20.05.2024).
  • https: //www.seas.upenn.edu/about/history-heritage/eniac/ (10.07.2024).
  • https: //sougwen.com/project/drawing-operations (11.07.2024).
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  • İncegil D., Kayral İ. H., Çizmeci Şenel F. (2024). “The New Era: Transforming Healthcare Quality with Artificial Intelligence.” Algorithmic Discrimination and Ethical Perspective of Artificial Intelligence. Kılıç M., Kahyaoğlu S. B. (ed.), pp. 183-202. Springer Publisher. doi. https://doi.org/10.1007/978-981-99-6327-0.
  • Kane C. L. (2014). Chromatic Algorithms Synthetic Color, Computer Art, and Aesthetics after Code. Chicago and London: The University of Chicago Press.
  • Kurt, (2018). Artistic Creativity in Artificial Intelligence. The Department of Creative Industries, Master Thesis, Radboud University.
  • Lopes, D. M. (2009). A Philosophy of Computer Art. London& New York: Routledge Taylor & Francis Group.
  • Lowry, S., Geczy, A.(2022). “Where Is Art?” Where is Art? Space, Time, and Location in Contemporary Art. Simone Douglas, Adam Geczy, and Sean Lowry (ed.), pp. 4-34. London & New York: Routledge Taylor & Francis Group.
  • Lovejoy, M. (1992). Digital Currents: Art in the Electronic Age. London & New York: Routledge Taylor & Francis Group.
  • Maas M., Spiegeleire S., Sweijs T. (2017). “Artificial Intelligence And The Future of Defense.” What is Artificial Intelligence?. pp. 26-42. URL: http: //www.jstor.com/stable/resrep12564.7.
  • McAleese, N., et al. (2024). “LLM Critics Help Catch LLM Bugs”, OpenAI, pp. 1-23. https: //doi.org/10.48550/arXiv.2407.00215.
  • McCorduck , P. (1991). Aaron's Code: Meta-Art, Artificial Intelligence, and the Work of Harold Cohen. New York: W. H. Freeman and Company.
  • McCormack J. , Gambardella C. C., Rajcic N. , Krol S. J., Llano M. T., SensiLab M. Y. (2014). “Is Writing Prompts Really Making Art?.” Artificial Intelligence in Music, Sound, Art and Design, 12th International Conference, EvoMUSART 2023, Johnson C., Rodríguez-Fernández N., Rebelo S. M. (eds.). pp.84-99. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-29956-8.
  • Nalbant, K. G., Aydın, S., Uyanık, Ş. (2023). “Generative Adversarial Network And Digital Art Interactions with Metaverse Marketing.” Trakya Üniversitesi Sosyal Bilimler Dergisi 25(2), 375-396. https: //doi.org/10.26468/trakyasobed.1301771.
  • Neves, M.P., Almeida A. B. (2024). Before and Beyond Artificial Intelligence: Opportunities and Challenges, Multidisciplinary Perspectives on Artificial Intelligence and the Law. Antunes H. S., Freitas P.M., Oliveira A.L., Pereira C. M., Sequeira E. V., Xavier L. B. (eds.), pp. 107-126. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-41264-6.
  • Oliviera, A.L., Figueiredo M.A.T. (2024). “Artificial Intelligence: Historical Context and State of the Art.” Multidisciplinary Perspectives on Artificial Intelligence and the Law. Antunes H. S., Freitas P.M., Oliveira A.L., Pereira C. M., Sequeira E. V., Xavier L. B. (ed.), pp. 3-24. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-41264-6.
  • Paul, C. (2002). “Renderings of Digital Art.” Leonardo 35/5, pp. 471-474.
  • Paul, C. (2003). Digital Art. New York: Thames & Hudson Publisher.
  • Richards R., Csikszentmihalyi M. (2007). Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives. Washington: American Psychological Association (APA).
  • Roads, C. (1980). “Artificial Intelligence and Music.” Computer Music Journal, 4/2, pp. 13-25.
  • Rogers, P. (1995). “Towards a Language of Computer Art: When Paint isn't Paint.” Art Education 48/5, pp.17-22.
  • Rookhnik, D. (1998). Of Art and Wisdom, Pennsylvania: The Pennsylvania State University Press. Schiefsky, M. J. (2007). “Art and Nature in Ancient Mechanics.” The Artificial and Natural, Vincent B.B. and Newman W. R. (ed.) p. 67-108, Cambridge: MIT Press.
  • Soper, K. (1995). What is Nature?, Oxford: Blackwell Press.
  • Sokolowski, R. (1988). “Natural and Artificial Intelligence.” Deadalus 117, pp. 45-64.
  • Turing A.M. (1950). “Computing Machinery and Intelligence.” Mind 59, pp. 433–460.
  • Turing A.M. (2012) “Computing Machinery And İntelligence.” Machine Intelligence: Perspectives on the Computational Model, vol. 49, pp. 1–28. doi. https: //doi.org/10.1093/mind/lix.236.433.
  • Turkle, S. (2005). The Second Self: Computers and the Human Spirit, London: The MIT Press.
  • Ünlü, M. M. (2018). “Antik Dönem’de Mimesis.” International Journal of Social Science Research, 7(1), 83-92.
  • Wright, R. (1989). “The Image in Art and 'Computer Art'.” Leonardo 2, pp. 49-53.
  • Yonge, C. D., Drisler, H. (1870). An English-Greek Lexicon. London: Longman, Brown, Green and Longmans.

The Impact of Artificial Intelligence Art on the Concept of Natural and Artificial in the Historical Process

Year 2024, Issue: 79, 280 - 306, 15.07.2024
https://doi.org/10.58634/felsefedunyasi.1489983

Abstract

Art constantly renews itself with historical and technological changes. While the mimesis-oriented art of Ancient Greece drew boundaries between reality and art by imitating nature, these boundaries have become blurred in the 20th century. While Andy Warhol's “Brillo Boxes” obscured the difference between reality and art, the inclusion of computers and artificial intelligence in art has made this distinction even more complex. Turing's question “Can machines think?” and the Turing Test laid the foundations of artificial intelligence, and McCarthy's introduction of the term “artificial intelligence” accelerated studies in this field. Digital art has expanded the boundaries of artistic expression with works created through the collaboration of man and machine and caused a change in the role of the artist. With the development of algorithms since the 2000s, artificial intelligence, especially Generative AI, has reshaped the definition and production processes of art. In this article, through artificial intelligence programs and local and foreign sources, it will discuss the change in the concepts of natural and artificial, the impact of art movements and technological developments on these concepts, and that artificial intelligence technology requires the redefinition of these concepts. In this direction, the transformation of art will be analyzed by determining the impact of new technologies on the concepts of natural and artificial in art.

References

  • Akderin, F. (2018). Latince-Türkçe, Türkçe Latince Sözlük. (2. Baskı), İstanbul: Say Yayınları.
  • Alova, E. (2013). Latince Türkçe Sözlük. İstanbul: Sosyal Yayınları.
  • Aly. H. M. (2024). The Evolution of Digital Art: Exploring Innovation and Creativity in the Digital Age, Self Publishing.
  • Anonim, (1868). “The Natural and the Artificial.” Scientific American, Vol. 19- no: 20, pp. 308.
  • Ajani G (2022). “Human Authorship And Art Created by Artificial Intelligence-Where Do We Stand?” Digital Ethics. Dreier T., Andina T. (eds.). pp. 253-270. Nomos Publising. doi.https: //10.5771/9783748934011-253/.
  • Aristoteles (2001). Fizik. Çev.: Saffet Babür, (2. Baskı), İstanbul: Yapı Kredi Yayınları.
  • Aristoteles, (2018). Poetika- Şiir Sanatı Üzerine. Çev.: A. Çokona, Ö. Aygün, (3. b.), İstanbul: Türkiye İş Bankası Yayınları.
  • Aristotle. (2012). Poetics. trans. L. Taran, D. Gutas, Boston: Brill Press.
  • Bensaude, B. B., Newman W., Newman W.R. (2007). “Introduction: The Artificial and the Natural: State of the Problem.” The Artificial and Natural, Vincent B.B. and Newman W. R. (ed.). pp. 1-19, Cambridge: MIT Press.
  • Bernardet U., Easton, E., Ek´art A. (2023). “Is Beauty in the Age of the Beholder?” Artificial Intelligence in Music, Sound, Art and Design, 12th International Conference. EvoMUSART 2023, Johnson C., Rodríguez-Fernández N., Rebelo S. M. (eds.). pp. 84-99. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-29956-8.
  • Bundy, A. (1988). “Artificial Intelligence: Art or Science?” RSA Journal, 106, pp. 557-569.
  • Brandt, A., Eagleman D. (2017). The Runaway Species: How Human Creativity Remakes the World. New York: Catapult Publishing.
  • Collingwood, R.G. (2020). Doğa Tasarımı. Çev.: Kurtuluş Dinçer, İstanbul: Ayrıntı Yayınları.
  • Cotroneo P., Hutson J., Lang M., Lively J., Robertson B. (2017), Creative Convergence: The AI Renaissance in Art and Design. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-45127-0.
  • Coeckelbergh, M. (2016). New Romantic Cyborgs: Romanticism, Information Technology, and the End of the Machine. Cambridge: The MIT Press.
  • Çelgin, G. (2018). Sözlük, Eski Yunanca-Türkçe. İstanbul: Alfa Yayınları.
  • Danto, A. C. (2014). Sanat Nedir. Çev.: Zeynep Baransel, İstanbul: Sel Yayıncılık.
  • Danto, A. C. (2010). Sanatın Sonundan Sonra. Çev.: Zeynep Demirsü, İstanbul: Ayrıntı Yayınları.
  • Danto, A. C. (1998). “The End of Art: A Philosophical Defense.” History and Theory 37/4, pp. 127-143.
  • Deleuze, G. (2004). Sinema I: Hareket ve İmge. Çev.: Soner Özdemir, İstanbul: Norgunk Yayıncılık.
  • Descartes,R. (2020). Yöntem Üzerine Konuşma. Çev.: Murat Erşen, İstanbul: İş Bankası Kültür Yayınları.
  • Dietrich, F. (1986). “Visual Intelligence: The First Decade of Computer Art (1965-1975).” Leonardo 19/2, pp. 159-169.
  • Dyer-Witteford N., Kjøsen A.M., Steinhoff J. (2022). Yapay Zekâ ve Kapitalizmin Geleceği. Çev.: Barış Cezar, İstanbul: İletişim Yayınları.
  • Frankie, H. W. (1985). Computer Graphics-Computer Art. Berlin, Heidelberg, New York, Tokyo: Springer- Verlag.
  • Grau, O., Hoth J., Wandl-Vogt E. (2019). “Introduction: Digital Art & Digital Humanities.” Digital Art through the Looking Glass, Grau, O., Hoth J., Wandl-Vogt E. (eds.), pp.9-26. Austria: Donau Universität Krems.
  • Gupta, D., Srivastava, A. (2023). The Potential of Generative AI. London: Bpb Online.
  • Hartmann, N. (2014). Aesthetics. trans. Eugene Kelly, Berlin: De Gruyter Press.
  • Harvey, A. (2022). Circular Diffusion, https: //adam.harvey.studio/circular-diffusion/ (22.05.2024).
  • Heidegger, M. (1993). Basic Writings. ed. David Farrell Krell, San Francisco: Harper Collins Publisher.
  • Hemment, D. (2023). “Signal or Noise?” RSA Journal, 169, pp. 10-15.
  • Hobbes (2007). Leviathan. Çev.: Semih Lim, (6. Baskı), İstanbul: Yapı Kredi Yayınları.
  • https: //www.tate.org.uk/art/art-terms/d/digital-art (20.05.2024).
  • https: //www.seas.upenn.edu/about/history-heritage/eniac/ (10.07.2024).
  • https: //sougwen.com/project/drawing-operations (11.07.2024).
  • https://www.sothebys.com/en/auctions/ecatalogue/2019/contemporary-art-day-auction l19021/lot.109.html (11.07.2024).
  • İncegil D., Kayral İ. H., Çizmeci Şenel F. (2024). “The New Era: Transforming Healthcare Quality with Artificial Intelligence.” Algorithmic Discrimination and Ethical Perspective of Artificial Intelligence. Kılıç M., Kahyaoğlu S. B. (ed.), pp. 183-202. Springer Publisher. doi. https://doi.org/10.1007/978-981-99-6327-0.
  • Kane C. L. (2014). Chromatic Algorithms Synthetic Color, Computer Art, and Aesthetics after Code. Chicago and London: The University of Chicago Press.
  • Kurt, (2018). Artistic Creativity in Artificial Intelligence. The Department of Creative Industries, Master Thesis, Radboud University.
  • Lopes, D. M. (2009). A Philosophy of Computer Art. London& New York: Routledge Taylor & Francis Group.
  • Lowry, S., Geczy, A.(2022). “Where Is Art?” Where is Art? Space, Time, and Location in Contemporary Art. Simone Douglas, Adam Geczy, and Sean Lowry (ed.), pp. 4-34. London & New York: Routledge Taylor & Francis Group.
  • Lovejoy, M. (1992). Digital Currents: Art in the Electronic Age. London & New York: Routledge Taylor & Francis Group.
  • Maas M., Spiegeleire S., Sweijs T. (2017). “Artificial Intelligence And The Future of Defense.” What is Artificial Intelligence?. pp. 26-42. URL: http: //www.jstor.com/stable/resrep12564.7.
  • McAleese, N., et al. (2024). “LLM Critics Help Catch LLM Bugs”, OpenAI, pp. 1-23. https: //doi.org/10.48550/arXiv.2407.00215.
  • McCorduck , P. (1991). Aaron's Code: Meta-Art, Artificial Intelligence, and the Work of Harold Cohen. New York: W. H. Freeman and Company.
  • McCormack J. , Gambardella C. C., Rajcic N. , Krol S. J., Llano M. T., SensiLab M. Y. (2014). “Is Writing Prompts Really Making Art?.” Artificial Intelligence in Music, Sound, Art and Design, 12th International Conference, EvoMUSART 2023, Johnson C., Rodríguez-Fernández N., Rebelo S. M. (eds.). pp.84-99. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-29956-8.
  • Nalbant, K. G., Aydın, S., Uyanık, Ş. (2023). “Generative Adversarial Network And Digital Art Interactions with Metaverse Marketing.” Trakya Üniversitesi Sosyal Bilimler Dergisi 25(2), 375-396. https: //doi.org/10.26468/trakyasobed.1301771.
  • Neves, M.P., Almeida A. B. (2024). Before and Beyond Artificial Intelligence: Opportunities and Challenges, Multidisciplinary Perspectives on Artificial Intelligence and the Law. Antunes H. S., Freitas P.M., Oliveira A.L., Pereira C. M., Sequeira E. V., Xavier L. B. (eds.), pp. 107-126. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-41264-6.
  • Oliviera, A.L., Figueiredo M.A.T. (2024). “Artificial Intelligence: Historical Context and State of the Art.” Multidisciplinary Perspectives on Artificial Intelligence and the Law. Antunes H. S., Freitas P.M., Oliveira A.L., Pereira C. M., Sequeira E. V., Xavier L. B. (ed.), pp. 3-24. Springer Publisher. doi. https: //doi.org/10.1007/978-3-031-41264-6.
  • Paul, C. (2002). “Renderings of Digital Art.” Leonardo 35/5, pp. 471-474.
  • Paul, C. (2003). Digital Art. New York: Thames & Hudson Publisher.
  • Richards R., Csikszentmihalyi M. (2007). Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives. Washington: American Psychological Association (APA).
  • Roads, C. (1980). “Artificial Intelligence and Music.” Computer Music Journal, 4/2, pp. 13-25.
  • Rogers, P. (1995). “Towards a Language of Computer Art: When Paint isn't Paint.” Art Education 48/5, pp.17-22.
  • Rookhnik, D. (1998). Of Art and Wisdom, Pennsylvania: The Pennsylvania State University Press. Schiefsky, M. J. (2007). “Art and Nature in Ancient Mechanics.” The Artificial and Natural, Vincent B.B. and Newman W. R. (ed.) p. 67-108, Cambridge: MIT Press.
  • Soper, K. (1995). What is Nature?, Oxford: Blackwell Press.
  • Sokolowski, R. (1988). “Natural and Artificial Intelligence.” Deadalus 117, pp. 45-64.
  • Turing A.M. (1950). “Computing Machinery and Intelligence.” Mind 59, pp. 433–460.
  • Turing A.M. (2012) “Computing Machinery And İntelligence.” Machine Intelligence: Perspectives on the Computational Model, vol. 49, pp. 1–28. doi. https: //doi.org/10.1093/mind/lix.236.433.
  • Turkle, S. (2005). The Second Self: Computers and the Human Spirit, London: The MIT Press.
  • Ünlü, M. M. (2018). “Antik Dönem’de Mimesis.” International Journal of Social Science Research, 7(1), 83-92.
  • Wright, R. (1989). “The Image in Art and 'Computer Art'.” Leonardo 2, pp. 49-53.
  • Yonge, C. D., Drisler, H. (1870). An English-Greek Lexicon. London: Longman, Brown, Green and Longmans.
There are 62 citations in total.

Details

Primary Language Turkish
Subjects Systematic Philosophy (Other)
Journal Section Research Article
Authors

Betül Yıldırım 0000-0001-9494-9142

Publication Date July 15, 2024
Submission Date May 25, 2024
Acceptance Date July 13, 2024
Published in Issue Year 2024 Issue: 79

Cite

APA Yıldırım, B. (2024). Yapay Zekâ Sanatının Doğal ve Yapay Kavramına Tarihsel Süreçte Etkisi. Felsefe Dünyası(79), 280-306. https://doi.org/10.58634/felsefedunyasi.1489983