İnteraktif Sanat Enstalasyonlarında Birim Tekrarının İncelenmesi

Year 2024, Issue: Sanatta Dijitalizm Özel Sayısı, 339 - 356, 28.11.2024

Sibel Aydin , Evrim Demir

https://doi.org/10.17484/yedi.1502939

Abstract

Bu makale, birim tekrarını temel bir tasarım öğesi olarak bütünleştiren dijital ve interaktif sanat formlarına odaklanarak, teknolojik gelişmelerin sanat üzerindeki etkisini araştırmaktadır. Araştırma, yeni medya bağlamında, birim tekrarının özellikle etkileşimli tekstil yüzeyleri ve etkileşimli video enstalasyonlarındaki organizasyonel bir ilke olarak işlevini ve anlatım diline katkısını incelemektedir. Gestalt teorisinin (Yakınlık İlkesi, Süreklilik İlkesi, Benzerlik İlkesi, Anlaşılırlık İlkesi, Basitlik İlkesi ve Şekil-Zemin İlişkisi) görsel tasarım ilkeleri, analizin temel ölçütlerini oluşturmaktadır. Bu ölçütler doğrultusunda makale, literatür taramasıyla belirlenen 20. ve 21. yüzyıla ait birim tekrarına dayalı sanatsal uygulamaları analiz etmektedir. Bu makale, tekrarlayan birimlerin sanatta sürükleyici ve çok duyulu deneyimler yaratmadaki etkisini saptamaktadır. Araştırma sorusu, birim tekrarının izleyici katılımını ve dinamik görsel etkileşimleri nasıl şekillendirdiğini incelemektedir. Nitel bir yöntem kullanılan bu araştırmada, seçilen etkileşimli enstalasyonlar üzerinden görsel veri analizi gerçekleştirilmiştir. Yapılan analiz, mekân, görsel tutarlılık ve dokunsal etkileşim açısından değerlendirilmiştir. Bulgular, birim tekrarının tutarlı bir görsel oluşturduğunu ve sanat eseri ile izleyici arasındaki duyusal etkileşimi derinleştirerek dijital ortamlardaki sanatsal ifadenin niteliğini arttırdığını göstermektedir. Bu araştırma, çağdaş interaktif sanatta dinamik bir görsel dil olan tekrarlayan birimlerin rolünü vurgulayarak alana katkıda bulunmaktadır.

Keywords

Dijital sanat, birim tekrarı, tekstil yüzeyler, interaktif sanat enstalasyonu, Gestalt teorisi

Examining Unit Repetition in Interactive Art Installations

Abstract

This article explores the impact of technological advancements on art, focusing on digital and interactive art forms that use unit repetition as an essential design element. The research examines the function of unit repetition as an organizational principle, particularly in interactive textile surfaces and interactive video installations, and its contribution to the language of expression within the context of new media. The visual design principles of Gestalt theory (Proximity, Continuity, Similarity, Pragnanz-Clarity, Simplicity, and Figure-Ground Relationship) constitute the basic criteria of the analysis. Based on these criteria, the article analyzes artistic practices based on unit repetition from the 20th and 21st centuries, determined by the literature review. This article explores how repeating units contribute to immersive, multi-sensory art experiences, shaping viewer engagement and dynamic visual interactions. The study uses a qualitative technique to evaluate space, visual coherence, and tactile interaction through the analysis of visual data from selected interactive installations. The findings show that unit repetition improves visual coherence and the quality of artistic expression in digital contexts by increasing sensory contact between the artwork and the viewer. This research contributes to the field by emphasizing repeating unitsa dynamic visual language in contemporary interactive art.

Keywords

Digital art, unit repetition, textile surfaces, interactive artinstallation, Gestalt theory

References

• Aikman, J. (2008). Echoes: Painterly repetitions and revisions in an age of digitally mediated images. (Doctoral dissertation, University of Cape Town). http://hdl.handle.net/11427/39169
• Albers, A. (2018). On weaving: New expanded edition. Princeton University Press.
• Arnheim, R. (1954). Art and visual perception: A psychology of the creative eye. University of California Press.
• Arnheim, R. (2023). Visual thinking. University of California Press.
• Ascott, R. (2003). Telematic embrace: Visionary theories of art, technology, and consciousness. Univ of California Press.
• Babbage, C. (2022). Passages from the life of a philosopher. DigiCat.
• Becer, E. (2015). İletişim ve grafik tasarım. Dost Kitabevi Yayınları.
• Behrens, R. R. (1998). Art, design and gestalt theory. Leonardo, 31(4), 299-303. https://doi.org/10.2307/1576669
• Bishop, C. (2006). Participation. The MIT Press Cambridge.
• Blais, J., & Ippolito, J. (2006). At the edge of art. Thames & Hudson.
• Bourriaud, N. (2020). Relational aesthetics. Les presses du réel.
• Bruno, F. J. (1996). Psikoloji tarihine giriş (Sevdiren G., Çev.). Kibele Yayınevi.
• Bulunmaz, B. (2014). Yeni medya eski medyaya karşı: Savaşı kim kazandı ya da kim kazanacak? Karadeniz Teknik Üniversitesi İletişim Araştırmaları Dergisi, 4(1), 22-29.
• Cohen, P. (2016). Harold Cohen and AARON. Ai Magazine, 37(4), 63-66. https://doi.org/10.1609/aimag.v37i4.2695
• Deleuze, G. (1994). Difference and repetition. Columbia University Press.
• De Oliveira, N., Oxley, N., & Petry, M. (2003). Installation art in the new millennium: The empire of the senses. Thames & Hudson.
• Dixon, S. (2015). Digital performance: A history of new media in theater, dance, performance art, and installation. MIT Press.
• Edmonds, E., Turner, G., & Candy, L. (2004, June). Approaches to interactive art systems. In Proceedings of the 2nd international conference on Computer graphics and interactive techniques in Australasia and South East Asia (113-117). https://doi.org/10.1145/988834.988854
• Eroğlu, E. ve Aksu, A. (2019). Çağdaş mimarlıkta ‘tekrar’ üzerine bir değerlendirme. yedi: Sanat, Tasarım ve Bilim Dergisi, 22, s. 91-101.
• Ferguson, S. J., Rowe, A., Bown, O., Birtles, L., & Bennewith, C. (2017). Sound design for a system of 1000 distributed independent audio-visual devices. New Interfaces for Musical Expression. http://hdl.handle.net/10453/123386
• Gonçalves, C., Ferreira da Silva, A., Gomes, J., & Simoes, R. (2018). Wearable e-textile technologies: A review on sensors, actuators and control elements. Inventions, 3(1), 14. https://doi.org/10.3390/inventions3010014
• Graham, B., & Cook, S. (2010). Rethinking curating: Art after New Media. The MIT Press.
• Grau, O. (2016). New media art. Oxford Bibliographies.
• Güngör, İ. H. (1983). Temel tasar. Afa Mat.
• Hafner, K., & Lyon, M. (1998). Where wizards stay up late: The origins of the Internet. Simon and Schuster.
• Hal, F. (1996). The Return of the real: The Avant-garde at the end of the century, Cambridge.
• Hansen, M. B. (2012). Bodies in code: Interfaces with digital media. Routledge.
• Hemmings, J. (2019). Floppy Cloth: Textile exhibition strategies inside the White Cube. Textile, 17(4), 412-434. https://doi.org/10.1080/14759756.2019.1588688
• Hicks, R. D. (Eds.). (2015). Aristotle de anima. Cambridge University Press.
• Hoberman, J. L. & Kuspit, D. B. (1987). Bill Viola: Installations and videotapes. B. London (Eds.). Museum of Modern Art.
• Hume, D. (1978). A treatise of human nature. Oxford University Press.
• Jönsson, E., & Kooroshnia, M. (2023). Creating sensuous experiences: Combining dichroic filters and textile weaving to create aesthetic spatial installations. Color Research & Application, 48(5), 484-496.
• Jorge, I. P. G. (2018). The use of textiles in Anne Wilson and Kathrin Stumreich’s work. In Textiles, Identity and Innovation: Design the Future (pp. 3-8). CRC Press.
• Kandinsky, W. (1979). Point and line to plane. Dover Publications.
• Karatay, A. (2019). Duyulardan algılara kodlanan sanat: İnteraktif enstalasyon sanatı. Ulakbilge Sosyal Bilimler Dergisi, 7(39), 511-518.
• Karpati J.E.& Torre E. (2024, 06 Nisan). https://ejtech.studio/DUNG-DKAR
• Kayapınar, U. (2023). Resim sanatında birim tekrarı: Neo-ekspresyonizm (puantalizm), op art, avangart sanat. Trakya Üniversitesi Sosyal Bilimler Dergisi, 25[Özel Sayı], 307-320. https://doi.org/10.26468/trakyasobed.1227169
• Kluszczynski, RyszardW. (2010). Strategies of interactive art. Journal of Aesthetics & Culture, 2(1). https://doi.org/10.3402/jac.v2i0.5525
• Koffka, K. (2013). Principles of Gestalt psychology. Routledge.
• Krueger, M., Packer, R., & Jordan, K. (2001). Multimedia: From Wagner to virtual reality. WW Norton & Company.
• Küre, S. (2022). Mekân ilişkisi bağlamında; tekstil malzemesinin sanat ürünü olarak kullanılması ve enstalasyon kavramı (Tez No: 720886) [Yüksek lisans tezi, Maltepe Üniversitesi]. Ulusal Tez Merkezi.
• Kwastek, K. (2013). Aesthetics of interaction in digital art. MIT press.
• Kwon, M. (2004). One place after another: Site-specific art and locational identity. MIT press.
• Lawhead, E. (2022). Networks of experience: Interactive digital art in the 21st century (Order No. 29998479). ProQuest Dissertations & Theses Global (2776046959). https://www.proquest.com/dissertations-theses/networks-experience-interactive-digital-art-21/docview/2776046959/se-2
• Lipton, B. H., & Bhaerman, S. (2009). Spontaneous Evolution: Our positive future and a way to get there from here. Hay House, Inc.
• Liu, T.-T., Lim, Y.-H., & Paik, J.-K. (2021). Human sense-based simulation-experience model for interactive art production. Journal of the Korea Convergence Society, 12(11), 169–184. https://doi.org/10.15207/JKCS.2021.12.11.169
• Loke, L., & Schiphorst, T. (2018). The somatic turn in human-computer interaction. Interactions, 25(5), 54-5863. https://doi.org/10.1145/3236675
• Mandelbrot, B. B., & Mandelbrot, B. B. (1982). The fractal geometry of nature (Cilt 1, 25-74). WH freeman.
• Mathew, P. R. (2014). The use of augmented reality media-a case study on the “alive”. Application by Times of India. Proceedings Book.
• Manovich, L. (2002). The language of new media. MIT press.
• Marynowsky, W., Ferguson, S., Fraietta, A., & Bown, O. (2020, February). 'The ghosts of Roller Disco', a choreographed, interactive performance for robotic roller skates. In Proceedings of the Fourteenth International Conference on Tangible, Embedded, and Embodied Interaction (631-637). https://doi.org/10.1145/3374920.3375284
• McCorduck, P. (1991). Aaron's code: meta-art, artificial intelligence, and the work of Harold Cohen. Palgrave Macmillan.
• Mercado, N. (2015). A framework for site informed light art installations (Master thesis, Kansas State University) http://hdl.handle.net/2097/19162
• Mey, J. L., & Gorayska, B. (Eds.). (1995). Cognitive technology: In search of a humane interface. Elsevier.
• Naimark, M. (1990). Realness and interactivity. Laurel, B., & Mountford, S. J. (Eds.). The art of human-computer interface design, 455-459. Addison-Wesley Longman Publishing Co., Inc.
• Newman, M. H. A., & Turing, A. M. (1955). 1954. Biographical memoirs of fellows of the royal society, 1, 253-263. https://doi.org/10.1098/rsbm.1955.0019.
• Nişanyan, S. (2011). Sözlerin soyağacı. Çağdaş Türkçenin kökenbilim sözlüğü. Everest.
• Norman, D. (2007). Emotional design: Why we love (or hate) everyday things. Basic books.
• Oppenheimer, R. (2007). Video installation: Characteristics of an expanding medium. Afterimage: The Journal of Media Arts and Cultural Criticism, 34(5), 14.
• Özdemir, Ö. (2010). Çağdaş sanatta dijital teknolojilerden yararlanan interaktif sanat (Tez No: 265752) [Yüksek lisans tezi, Erciyes Üniversitesi]. Ulusal Tez Merkezi.
• Özel, Z. (2010). Dijital sanat. Anadolu Üniversitesi Sosyal Bilimler Dergisi, 10(3), s. 213–238.
• Öztürk, S. (2011). Video ve enstalasyon sanatında mekân çözümlemeleri ve izleyici ilişkisi (Tez No: 296207) [Yüksek lisans tezi, Sakarya Üniversitesi]. Ulusal Tez Merkezi.
• Pan, P. (2021). Curating multisensory experiences: The possibilities of immersive exhibitions (Doctoral dissertation, OCAD University). https://openresearch.ocadu.ca/id/eprint/3271
• Paul, C. (2007). The myth of immateriality: Presenting and preserving new media. Leonardo. The MIT Press.
• Paul, C. (2023). Digital art. Thames & Hudson.
• Pearson, G. B. (1983). Form in repetition: A view of non-hierarchıcal composition in art (Doctoral dissertation, University of Saskatchewan).
• Popper, F. (2007). From technological to virtual art. MIT Press.
• Post, E. R., Orth, M., Russo, P. R., & Gershenfeld, N. (2000). E-broidery: Design and fabrication of textile-based computing. IBM Systems Journal, 39(3.4), 840-860. doi: 10.1147/sj.393.0840
• Quaranta, D. (2013). Beyond new media art (35-37). Link Editions.
• Resina, J. R., & Wulf, C. (2019). Repetition, recurrence, returns. Lanham.
• Sarioğlu Erdoğdu, G. P. (2016). Basic design education: A course outline proposal. Planlama Dergisi, 26(1), 7-19. https://dx.doi.org/10.5505/planlama.2016.52714
• Schroeder, F., & Rebelo, P. (2007). Wearable music in engaging technologies. Ai & Society, 22, 85-91. https://doi.org/10.1007/s00146-006-0071-4
• Schultz, D. P., & Schultz, S. E. (2007). Modern psikoloji tarihi (Aslay Y., Çev.). Kaknüs Yayınları.
• Schumann, M., Mantel, L. M. ve Rosenthal, M. (2020). Breathing softspace. Marie Schumann. https://marieschumann.com/project/breathing-softspace
• Seevinck, J. (2017). Emergence in interactive art. Springer.
• Serin, A. P., & Aksoy, M. (2020). Bilgi ve iletişim teknolojilerindeki dönüşümün zzaman-mekânda sınır algısına yansımaları: Bilgi ve iletişim teknolojilerindeki dönüşümün zaman-mekânda. Tasarim+ Kuram, 16(30), 1-20. https://doi.org/10.14744/tasarimkuram.2020.13008
• Shanken, E. A. (2002). Art in the information age: Technology and conceptual art. Leonardo, 35(4), 433-438.
• Spehar, B., Clifford, C. W., Newell, B. R., & Taylor, R. P. (2003). Universal aesthetic of fractals. Computers & Graphics, 27(5), 813-820. https://doi.org/10.1016/S0097-8493(03)00154-7
• Stern, N. (2013). Interactive art and embodiment: The implicit body as performance. Gylphi Limited.
• Stivale, C. J. (2014). Gilles Deleuze: key concepts. Routledge.
• Sylvester, D., & Magritte, R. (1992). Magritte: The silence of the world. Abrams.
• Taipale, M. (2021). Art experience in digital interactive technology (Master's thesis, Jyväskylä University). http://urn.fi/URN:NBN:fi:jyu-202105213117
• Tomaszewska, K. A. (2021). Floating in focus: exploring expressions in woven textiles for interior space (Master's thesis, University of Borås). https://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26579
• Türk Dil Kurumu, TDK (2024, 10 Kasım). https://sozluk.gov.tr/
• Tvrdišić, S. (2022). The impacts of digitalization on traditional forms of art. AM Časopis za studije umetnosti i medija, (27), 87-101.
• Ulusoy, E. (2022). Video enstalasyon: Mekân ve görüntü yüzeyleri (Tez No: 735700) [Yüksek lisans tezi, Hacettepe Üniversitesi]. Ulusal Tez Merkezi.
• Wands, B. (2007). Art of the digital age. Thames & Hudson.
• Wardrip-Fruin & N., Montford, N. (2003). The new media reader. MIT Press.
• Wertheimer, M. (1923). Laws of organization in perceptual forms. Psycologische Forschung, 4.
• Williams, J. (2013). Gilles Deleuze's difference and repetition. Edinburgh University Press.
• Włodzimierz, C. (2011). Materials and techniques used by artists–the participants of the international triennial of tapestry in Łódź. Fibres & textiles in Eastern Europe, 19(1), 84.
• Wong, W. (1993). Principles of form and design, John Wiley & Sons.
• Worbin, L. (2010). Designing dynamic textile patterns (Doctoral dissertation, Chalmers University of Technology). http://hb.diva-portal.org/smash
• Verschooren, K. A. (2007). Art: Situating Internet art in the traditional institution for contemporary art (Doctoral dissertation, Massachusetts Institute of Technology). http://hdl.handle.net/1721.1/39149
• Yaldızbaş, K. N., & Alp, K. Ö. (2023). 21. yüzyılda güncel lif sanatı ve enstalasyon örnekleri. Art-e Sanat Dergisi, 16(31), 514-537. https://doi.org/10.21602/sduarte.1268051
• Yengin, D. (2014). Yeni medya ve dokunmatik toplum. Derin yayınları.
• Zheng, Y., & Zhang, P. (2021, January). Interactive video installation art under New Media art. In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020) (91-94). Atlantis Press. https://doi.org/10.2991/assehr.k.210106.018