Alan ve Mekân Temsili Bağlamında Artırılmış Gerçeklik: Asad J. Malik’in Suriye’den Hologramlar Eseri Üzerine Bir İnceleme

Year 2024, Issue: Sanatta Dijitalizm Özel Sayısı, 293 - 302, 28.11.2024

Muhittin Eren Sulamacı

https://doi.org/10.17484/yedi.1503004

Abstract

Artırılmış Gerçeklik (Augmented Reality) (AR) her geçen gün sayısı artan eğitim, endüstriyel tasarım, inşaat, ticaret, mimari, eğlence, turizm, sanat gibi pek çok alanda karşımıza çıkmakta, dünya ile kurduğumuz ilişkilere yeni yaklaşımlar getirmektedir. Sanatsal bağlamda AR, sanat tarihinden ödünç aldığı stratejileri izleyiciyi merkeze alan etkileşimli deneyimlere dönüştüren bir alan olarak karşımıza çıkmaktadır. Artırılmış Gerçeklik teknolojisi çok kipli bir anlatımı, bunun yanı sıra geleneksel imge temsilleri ile karşılaştırıldığında izleyenlerin anlatıya aktif katılımını talep eden eserlerin ortaya çıkmasına imkân tanımaktadır AR'nin tabiatı gereği gerçek görüntülerin üzerine yerleştirilen sentetik imgelerden oluştuğunu düşünürsek, foto- gerçekçi mekân temsilleri açısından AR yeni üretim ve anlatım yöntemleri sunmaktadır. Bu bağlamda, Asad J. Malik’in Suriye'den Hologramlar isimli eseri, Suriye’deki iç savaşın etkilerini ve insanların yaşadığı travmaları olayın yaşandığı coğrafyadan çok uzaktaki bir izleyici kitlesine ulaştırmakta, AR teknolojisinin sanatsal ifade biçimleri için sunduğu olanakları göstermektedir. Bu sebeple, bu makalede geleneksel yöntemlerle alan (space) ve mekân (place) kavramlarını araştıran sanatçıların eserlerinden yola çıkılacak; eserler üretim yöntemleri, izleyicileri ile kurdukları etkileşim, gerçek- temsil ikilemleri açısından incelenecektir. Bu olgular Asad J. Malik’in Suriye’den Hologramlar isimli eseri ile karşılaştırılacaktır. Böylece, AR teknolojisinin sanat üretimi ve tüketimi açısından potansiyelini ve izleyiciler üzerindeki etkisini aydınlatmak hedeflenmektedir.

Keywords

Artırılmış Gerçeklik, alan, mekan, fotoğraf, Asad J. Malik

Augmented Reality and Representation of Space/Place: A Study on Asad J. Malik’s Holograms from Syria

Abstract

Augmented Reality (AR) is increasingly encountered in various fields such as education, industrial design, construction, commerce, architecture, entertainment, tourism, and art, bringing new approaches to our interactions with the world. In an artistic context, AR emerges as a field that transforms strategies borrowed from art history into interactive experiences centered around the viewer. The Augmented Reality technology enables multi-modal storytelling and the creation of works that demand active participation from viewers, especially when compared to traditional image representations. Considering that AR consists of synthetic images superimposed on real-world visuals by its very nature, it offers new production and narrative methods for photo-realistic space representations. In this context, Asad J. Malik's work Holograms from Syria communicates the effects of the civil war in Syria and the traumas experienced by its people to an audience far removed from the geography of the events, showcasing the artistic possibilities offered by AR technology. Therefore, this article will examine works by artists who explore the concepts of space and place using traditional methods; these works will be analyzed in terms of their production methods, their interactions with viewers, and the real-representation dichotomy. These phenomena will be compared with Asad J. Malik's Holograms from Syria. Thus, the aim is to shed light on the potential of AR technology in art production and consumption and its impact on viewers.

Keywords

Augmented reality, place, space, photography, Asad J. Malik

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