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The Aesthetic Representation of Digital Writing: The Relationship between Letter, Form, and Meaning in New Media Arts

Yıl 2025, Cilt: 5 Sayı: 11, 138 - 161, 30.12.2025

Öz

This article examines the aesthetic and semiotic aspects of digital writing in
new media art, emphasizing the transformation of the relationship between
letter, form, and meaning in technologically mediated contexts. This study
utilizes a qualitative and multidisciplinary approach, integrating art historical
analysis, semiotic interpretation, and detailed visual examination, to
investigate chosen case studies of artists who incorporate digital writing as a
fundamental aspect of their creative processes. The examination elucidates
how post-digital aesthetics, interactivity, and algorithmic processes have
transformed textual representation, facilitating novel modes of communication
and artistic expression. The article enhances comprehension of digital writing
as a visual and conceptual language in contemporary art by linking academic
perspectives with artistic practices.

Kaynakça

  • Azuma, R. T. (1997). A survey of augmented reality. Presence: Teleoperators & Virtual Environments, (4), 355–385.
  • Anderson, L., & Huang, H. C. (2017). The Chalkroom, VR installation. Laurie Anderson official website.
  • Retrieved August 23, 2025, from https://laurieanderson.com/?portfolio=chalkroom
  • Anderson, L., & Marranca, B. (2018). Laurie Anderson: Telling stories in virtual reality. PAJ: A Journal of Performance and Art, 40(3), 37–44.
  • Anadol, R. (2019). Machine Hallucination: NYC, Immersive digital installation. ARTECHOUSE NYC, New York, United States. Retrieved August 11, 2025, from https://www.artechouse.com/program/machine-hallucination-nyc/
  • Anadol, R. (2019). Machine Hallucinations. Retrieved August 10, 2025, from https://refikanadol.com/works/machine-hallucinations/
  • Anadol, R. (2023). Refik Anadol Studio. Retrieved August 17, 2025, from https://refikanadol.com
  • Apollinaire, G. (1916). Il Pleut (It Rains) Visual poem. The Museum of Modern Art Library, New York, United States. Retrieved August 10, 2025, from https://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?work=17
  • Apollinaire, G. (1980). Calligrammes (A. H. Greet, Trans.; S. I. Lockerbie, Intro.). University of California Press.
  • Arn, J. (2024, June 3). Jenny Holzer has the last word, at the Guggenheim. The New Yorker. Retrieved August 20, 2025, from https://www.newyorker.com/magazine/2024/06/10/light-line-jenny-holzer-art-review
  • Berger, J. (2007). O Ana Adanmış, çev: Yurdanur Salman, İstanbul, Metis Yayınlar.
  • Baetens, J. (2010). Text into image, image into text: Theories of ekphrasis. In V. Robillard & E. Jongeneel (Eds.), Ekphrasis in literature and film (pp. 197–219). Rodopi.
  • Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. Verso.
  • Bass, S. (1959). North by Northwest (opening title sequence still) Film title sequence. Art of the Title.
  • Retrieved August 14, 2025, from https://www.artofthetitle.com/title/north-by-northwest/
  • Braque, G. (1929). Still Life le Jour. National Gallery of Art, Washington, DC, United States. Retrieved August 10, 2025, from https://www.nga.gov/artworks/46566-still-life-le-jour
  • Candaş Şişman. (n.d.). Yekpare. Retrieved August 11, 2025, from https://csismn.com/YEKPARE
  • Clotmag. (2021). Nohlab Studio: Creating immersive design stories for the modern world. Retrieved August 17, 2025, from https://clotmag.com
  • CollabCubed. (2012, June 25). Shakespeare Machine by Ben Rubin. Retrieved August 8, 2025, from https://collabcubed.com/2012/06/25/shakespeare-machine-ben-rubin/
  • Ear Studio. (n.d.). About Ben Rubin. Retrieved August 11, 2025, from https://www.earstudio.com/about
  • Foucault, M. (2021). Kelimeler ve Şeyler, çev: Mehmet Ali Kılıçbay, Ankara, İmge Kitabevi.
  • Flores, T. (2000). Vectorial elevation: A telematic artwork. ArtNexus, (38), 66–67.
  • Flusser, V. (1983). Towards a philosophy of photography. Reaktion Books. Retrieved November 13, 2025, from http://imagineallthepeople.info/Flusser_TowardsAPhilosophyofPhotography.pdf
  • Frentiu, R. (2013). Beyond linguistic borders: Visual poetry at the confluence between the West and the Far East. European Scientific Journal, 9(19), 661. Retrieved August 13, 2025, from https://www.academia.edu/25907261/Beyond_Linguistic_Borders_Visual_Poetry_at_the_Confluence_Between_the_West_and_the_Far_East
  • The Aesthetic Representation of Digital Writing: The Relationship between Letter, Form, and Meaning in New Media Arts Cilt. 5, Sayı. 11, 138-161, Aralık, 2025
  • Guggenheim Museum. (2024). Jenny Holzer: Light Line. Retrieved August 21, 2025, from https://www.guggenheim.org/exhibition/jenny-holzer-lightline
  • Huang, L., Xu, C., Sun, W., Liu, X., & Zhao, Y. (2019). Research progress on and prospects for virtual brush modeling in digital calligraphy and painting. Frontiers of Information Technology & Electronic Engineering, 20(10), 1307–1321.
  • Holzer, J. (2024–2025). Lightline, Installation view. Solomon R. Guggenheim Museum, New York, United States. Retrieved August 21, 2025, from www.guggenheim.org/video/jenny-holzer-light-line-at-the-guggenheim
  • Hayles, N. K. (2012). How we think: Digital media and contemporary technogenesis. University of Chicago Press. Retrieved November 13, 2025, from https://press.uchicago.edu/ucp/books/book/chicago/H/bo13707659.html
  • Kosuth, J. (1991). Art After Philosophy and After, Collected Writings, 1966-1990, G. Guercio (Ed.), London, MIT Press.
  • Kittler, F. (1999). Gramophone, film, typewriter. Stanford University Press. Retrieved November 13, 2025, from https://www.sup.org/books/title/?id=2652
  • Kader, D., & Şişman, C. (2010). Yekpare, Digital media projection. Istanbul 2010 European Capital of Culture Agency, Istanbul, Turkey. Retrieved August 8, 2025, from https://csismn.com/YEKPARE
  • Kosuth, J. (1965). One and Three Chairs, Installation: chair, photograph, dictionary definition. The Museum of Modern Art, New York, United States. Retrieved August 3, 2025, from https://www.moma.org/collection/works/81435
  • Kruger, B. (1989). Untitled (Your Body Is a Battleground) Photographic silkscreen on vinyl. The Broad, Los Angeles, United States. Retrieved August 16, 2025, from https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground
  • Loknar, N., Bratic, D., & Agic, A. (2020). Kinetic typography—figuration and technology. In GRID Conference Proceedings (pp. 715–723).
  • Lunenfeld, P. (2000). Snap to grid: A user’s guide to digital arts, media, and cultures. MIT Press.
  • Lozano-Hemmer, R. (2000). 33 Questions per Minute (Relational Architecture 5) Digital installation. The Museum of Modern Art, New York, United States. Retrieved August 2, 2025, from https://www.moma.org/collection/works/102431
  • Magritte, R. (1929). The Treachery of Images (This is not a pipe) Oil on canvas. Los Angeles County Museum of Art, Los Angeles, United States. Retrieved August 12, 2025, from https://collections.lacma.org/node/239578
  • Manovich, L. (2001). The language of new media. MIT Press. Retrieved November 13, 2025, from https://mitpress.mit.edu/9780262632553
  • MoMA. (2010, February 19). A few words with legendary web designer Yugo Nakamura. MoMA Inside/Out. Retrieved August 18, 2025, from https://www.moma.org/explore/inside_out/2010/02/19/a-few-words-with-yugo-nakamura/
  • Nakamura, Y. (2000s). Yugop.com, Website screenshot. The Museum of Modern Art, New York, United States. Retrieved August 18, 2025, from https://www.moma.org/explore/inside_out/2010/02/19/a-few-words-with-yugo-nakamura/
  • Ravetto-Biagioli, K. (2010). Shadowed by images: Rafael Lozano-Hemmer and the art of surveillance. Representations, 111(1), 121–143.
  • Rhoades, T. (2011). From representation to sensation: The transduction of images in John F. Simon Jr.’s Every Icon. Fibreculture Journal, (18), 146–176.
  • Riyadh Art. (2021). Nohlab. Retrieved August 17, 2025, from https://riyadhart.sa/en/artists/nohlab/
  • Rubin, B. (2012). Shakespeare Machine, Algorithmic text installation. The Public Theater, New York, United States. Retrieved August 5, 2025, from https://www.parallel.nyc/shakespeare-machine
  • International Journal of Troy Art and Design Vol. 5, No. 11, 138-161, December, 2025
  • Sanat Tanımı Topluluğu. (1997). Çalışma 3. İstanbul: STT Yayını.
  • Şahiner, R. (2008). Sanatta postmodern kırılmalar ya da modernin yapıbozumu. İstanbul: Yeni İnsan Yayınevi.
  • Simon, J. F. (1997). Every Icon, software, Java applet. Haus der elektronischen Künste (HEK), Basel, Switzerland. Retrieved August 13, 2025, from https://hek.ch/en/collection/artworks/every-icon/ Smith, J. (2020). Laurie Anderson’s virtual realities. Performance Art Journal, 42(2), 37–45.
  • Smithsonian Magazine. (2020). Refik Anadol’s immersive art uses data as a raw material. Retrieved August 10, 2025, from https://www.smithsonianmag.com/innovation/refik-anadol-immersive-art-180974201/
  • Südor, S. (2021, December). The use of 3D model creation techniques in digital arts. İdil Journal of Art and Language, 88, 1757–1779.
  • Tzara, T. (1918). Dada manifestosu. In A. Antmen (Ed.), Sanatçılardan yazılar ve akımlarla 20. yüzyıl Batı sanatında akımlar. İstanbul: Sel Yayıncılık.
  • Utterback, C., & Achituv, R. (1999). Text Rain. Retrieved August 9, 2025, from https://camilleutterback.com/projects/text-rain/
  • Utterback, C., & Achituv, R. (1999). Text Rain [Interactive installation]. Smithsonian American Art Museum, Washington, DC, United States. Retrieved August 10, 2025, from https://americanart.si.edu/artwork/text-rain-109552
  • Vadiraj, S., & Rosh, R. (2024). Kinetic typography in digital media. European Journal of Arts, Humanities and Social Science, 1(4), 61–66.
  • Weiner, L. (2008). Açıklamalar (1969–1972). In A. Antmen (Ed.), Sanatçılardan yazılar ve akımlarla 20. yüzyıl Batı sanatında akımlar. İstanbul: Sel Yayıncılık.
  • Yalter, N. (2019). Black Sand, Installation: neon, dark sand, metal. Galerist, Istanbul, Turkey. Retrieved August 22, 2025, from https://www.galerist.com.tr/artworks/560-nil-yalter-black-sand-2019
  • Yetişkin, E. (2012, July). Sular artık tersine akıyor: Yeni medya sanatı nasıl okunabilir? Art Unlimited. Retrieved August 16, 2025, from https://www.academia.edu/2044021/Yeni_Medya_Sanat%C4%B1_Nas%C4%B1l_Okunabili

Dijital Yazının Estetik Temsili: Yeni Medya Sanatında Harf, Biçim ve Anlam İlişkisi

Yıl 2025, Cilt: 5 Sayı: 11, 138 - 161, 30.12.2025

Öz

Bu makale, yeni medya sanatında dijital yazının estetik ve göstergebilimsel
boyutlarını incelemekte; harf, biçim ve anlam arasındaki ilişkinin teknolojik
ortamlarda nasıl değiştiğini ele almaktadır. Sanatçıların dijital yazıyı yaratıcı
yöntemlerinin merkezine alan çalışmaları, sanat tarihi analizinde nitel ve
disiplinlerarası bir yöntemle incelenmektedir. Bu analiz, göstergebilimsel
yorumları ve seçilmiş örneklerin yakın görsel incelemelerini içermektedir.
Analiz, post-dijital estetik, etkileşim ve algoritmik süreçlerin metin temsilini
nasıl değiştirdiğini ve yeni iletişim ve sanatsal ifade yollarını mümkün
kıldığını göstermektedir. Çalışmada, teorik görüşlerle sanatsal stratejiler
arasında bir bağ kurulmakta ve dijital yazının hem görsel hem de kavramsal
bir dil olarak çağdaş sanatta nasıl işlediğine dair daha kapsamlı bir kavrayış
sunulmaktadır.

Kaynakça

  • Azuma, R. T. (1997). A survey of augmented reality. Presence: Teleoperators & Virtual Environments, (4), 355–385.
  • Anderson, L., & Huang, H. C. (2017). The Chalkroom, VR installation. Laurie Anderson official website.
  • Retrieved August 23, 2025, from https://laurieanderson.com/?portfolio=chalkroom
  • Anderson, L., & Marranca, B. (2018). Laurie Anderson: Telling stories in virtual reality. PAJ: A Journal of Performance and Art, 40(3), 37–44.
  • Anadol, R. (2019). Machine Hallucination: NYC, Immersive digital installation. ARTECHOUSE NYC, New York, United States. Retrieved August 11, 2025, from https://www.artechouse.com/program/machine-hallucination-nyc/
  • Anadol, R. (2019). Machine Hallucinations. Retrieved August 10, 2025, from https://refikanadol.com/works/machine-hallucinations/
  • Anadol, R. (2023). Refik Anadol Studio. Retrieved August 17, 2025, from https://refikanadol.com
  • Apollinaire, G. (1916). Il Pleut (It Rains) Visual poem. The Museum of Modern Art Library, New York, United States. Retrieved August 10, 2025, from https://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?work=17
  • Apollinaire, G. (1980). Calligrammes (A. H. Greet, Trans.; S. I. Lockerbie, Intro.). University of California Press.
  • Arn, J. (2024, June 3). Jenny Holzer has the last word, at the Guggenheim. The New Yorker. Retrieved August 20, 2025, from https://www.newyorker.com/magazine/2024/06/10/light-line-jenny-holzer-art-review
  • Berger, J. (2007). O Ana Adanmış, çev: Yurdanur Salman, İstanbul, Metis Yayınlar.
  • Baetens, J. (2010). Text into image, image into text: Theories of ekphrasis. In V. Robillard & E. Jongeneel (Eds.), Ekphrasis in literature and film (pp. 197–219). Rodopi.
  • Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. Verso.
  • Bass, S. (1959). North by Northwest (opening title sequence still) Film title sequence. Art of the Title.
  • Retrieved August 14, 2025, from https://www.artofthetitle.com/title/north-by-northwest/
  • Braque, G. (1929). Still Life le Jour. National Gallery of Art, Washington, DC, United States. Retrieved August 10, 2025, from https://www.nga.gov/artworks/46566-still-life-le-jour
  • Candaş Şişman. (n.d.). Yekpare. Retrieved August 11, 2025, from https://csismn.com/YEKPARE
  • Clotmag. (2021). Nohlab Studio: Creating immersive design stories for the modern world. Retrieved August 17, 2025, from https://clotmag.com
  • CollabCubed. (2012, June 25). Shakespeare Machine by Ben Rubin. Retrieved August 8, 2025, from https://collabcubed.com/2012/06/25/shakespeare-machine-ben-rubin/
  • Ear Studio. (n.d.). About Ben Rubin. Retrieved August 11, 2025, from https://www.earstudio.com/about
  • Foucault, M. (2021). Kelimeler ve Şeyler, çev: Mehmet Ali Kılıçbay, Ankara, İmge Kitabevi.
  • Flores, T. (2000). Vectorial elevation: A telematic artwork. ArtNexus, (38), 66–67.
  • Flusser, V. (1983). Towards a philosophy of photography. Reaktion Books. Retrieved November 13, 2025, from http://imagineallthepeople.info/Flusser_TowardsAPhilosophyofPhotography.pdf
  • Frentiu, R. (2013). Beyond linguistic borders: Visual poetry at the confluence between the West and the Far East. European Scientific Journal, 9(19), 661. Retrieved August 13, 2025, from https://www.academia.edu/25907261/Beyond_Linguistic_Borders_Visual_Poetry_at_the_Confluence_Between_the_West_and_the_Far_East
  • The Aesthetic Representation of Digital Writing: The Relationship between Letter, Form, and Meaning in New Media Arts Cilt. 5, Sayı. 11, 138-161, Aralık, 2025
  • Guggenheim Museum. (2024). Jenny Holzer: Light Line. Retrieved August 21, 2025, from https://www.guggenheim.org/exhibition/jenny-holzer-lightline
  • Huang, L., Xu, C., Sun, W., Liu, X., & Zhao, Y. (2019). Research progress on and prospects for virtual brush modeling in digital calligraphy and painting. Frontiers of Information Technology & Electronic Engineering, 20(10), 1307–1321.
  • Holzer, J. (2024–2025). Lightline, Installation view. Solomon R. Guggenheim Museum, New York, United States. Retrieved August 21, 2025, from www.guggenheim.org/video/jenny-holzer-light-line-at-the-guggenheim
  • Hayles, N. K. (2012). How we think: Digital media and contemporary technogenesis. University of Chicago Press. Retrieved November 13, 2025, from https://press.uchicago.edu/ucp/books/book/chicago/H/bo13707659.html
  • Kosuth, J. (1991). Art After Philosophy and After, Collected Writings, 1966-1990, G. Guercio (Ed.), London, MIT Press.
  • Kittler, F. (1999). Gramophone, film, typewriter. Stanford University Press. Retrieved November 13, 2025, from https://www.sup.org/books/title/?id=2652
  • Kader, D., & Şişman, C. (2010). Yekpare, Digital media projection. Istanbul 2010 European Capital of Culture Agency, Istanbul, Turkey. Retrieved August 8, 2025, from https://csismn.com/YEKPARE
  • Kosuth, J. (1965). One and Three Chairs, Installation: chair, photograph, dictionary definition. The Museum of Modern Art, New York, United States. Retrieved August 3, 2025, from https://www.moma.org/collection/works/81435
  • Kruger, B. (1989). Untitled (Your Body Is a Battleground) Photographic silkscreen on vinyl. The Broad, Los Angeles, United States. Retrieved August 16, 2025, from https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground
  • Loknar, N., Bratic, D., & Agic, A. (2020). Kinetic typography—figuration and technology. In GRID Conference Proceedings (pp. 715–723).
  • Lunenfeld, P. (2000). Snap to grid: A user’s guide to digital arts, media, and cultures. MIT Press.
  • Lozano-Hemmer, R. (2000). 33 Questions per Minute (Relational Architecture 5) Digital installation. The Museum of Modern Art, New York, United States. Retrieved August 2, 2025, from https://www.moma.org/collection/works/102431
  • Magritte, R. (1929). The Treachery of Images (This is not a pipe) Oil on canvas. Los Angeles County Museum of Art, Los Angeles, United States. Retrieved August 12, 2025, from https://collections.lacma.org/node/239578
  • Manovich, L. (2001). The language of new media. MIT Press. Retrieved November 13, 2025, from https://mitpress.mit.edu/9780262632553
  • MoMA. (2010, February 19). A few words with legendary web designer Yugo Nakamura. MoMA Inside/Out. Retrieved August 18, 2025, from https://www.moma.org/explore/inside_out/2010/02/19/a-few-words-with-yugo-nakamura/
  • Nakamura, Y. (2000s). Yugop.com, Website screenshot. The Museum of Modern Art, New York, United States. Retrieved August 18, 2025, from https://www.moma.org/explore/inside_out/2010/02/19/a-few-words-with-yugo-nakamura/
  • Ravetto-Biagioli, K. (2010). Shadowed by images: Rafael Lozano-Hemmer and the art of surveillance. Representations, 111(1), 121–143.
  • Rhoades, T. (2011). From representation to sensation: The transduction of images in John F. Simon Jr.’s Every Icon. Fibreculture Journal, (18), 146–176.
  • Riyadh Art. (2021). Nohlab. Retrieved August 17, 2025, from https://riyadhart.sa/en/artists/nohlab/
  • Rubin, B. (2012). Shakespeare Machine, Algorithmic text installation. The Public Theater, New York, United States. Retrieved August 5, 2025, from https://www.parallel.nyc/shakespeare-machine
  • International Journal of Troy Art and Design Vol. 5, No. 11, 138-161, December, 2025
  • Sanat Tanımı Topluluğu. (1997). Çalışma 3. İstanbul: STT Yayını.
  • Şahiner, R. (2008). Sanatta postmodern kırılmalar ya da modernin yapıbozumu. İstanbul: Yeni İnsan Yayınevi.
  • Simon, J. F. (1997). Every Icon, software, Java applet. Haus der elektronischen Künste (HEK), Basel, Switzerland. Retrieved August 13, 2025, from https://hek.ch/en/collection/artworks/every-icon/ Smith, J. (2020). Laurie Anderson’s virtual realities. Performance Art Journal, 42(2), 37–45.
  • Smithsonian Magazine. (2020). Refik Anadol’s immersive art uses data as a raw material. Retrieved August 10, 2025, from https://www.smithsonianmag.com/innovation/refik-anadol-immersive-art-180974201/
  • Südor, S. (2021, December). The use of 3D model creation techniques in digital arts. İdil Journal of Art and Language, 88, 1757–1779.
  • Tzara, T. (1918). Dada manifestosu. In A. Antmen (Ed.), Sanatçılardan yazılar ve akımlarla 20. yüzyıl Batı sanatında akımlar. İstanbul: Sel Yayıncılık.
  • Utterback, C., & Achituv, R. (1999). Text Rain. Retrieved August 9, 2025, from https://camilleutterback.com/projects/text-rain/
  • Utterback, C., & Achituv, R. (1999). Text Rain [Interactive installation]. Smithsonian American Art Museum, Washington, DC, United States. Retrieved August 10, 2025, from https://americanart.si.edu/artwork/text-rain-109552
  • Vadiraj, S., & Rosh, R. (2024). Kinetic typography in digital media. European Journal of Arts, Humanities and Social Science, 1(4), 61–66.
  • Weiner, L. (2008). Açıklamalar (1969–1972). In A. Antmen (Ed.), Sanatçılardan yazılar ve akımlarla 20. yüzyıl Batı sanatında akımlar. İstanbul: Sel Yayıncılık.
  • Yalter, N. (2019). Black Sand, Installation: neon, dark sand, metal. Galerist, Istanbul, Turkey. Retrieved August 22, 2025, from https://www.galerist.com.tr/artworks/560-nil-yalter-black-sand-2019
  • Yetişkin, E. (2012, July). Sular artık tersine akıyor: Yeni medya sanatı nasıl okunabilir? Art Unlimited. Retrieved August 16, 2025, from https://www.academia.edu/2044021/Yeni_Medya_Sanat%C4%B1_Nas%C4%B1l_Okunabili
Toplam 58 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Grafik Tasarımı, Görsel İletişim Tasarımı (Diğer), Tasarım (Diğer)
Bölüm Derleme
Yazarlar

Islam Allboun 0009-0009-1797-6206

Seda Yavuz 0000-0002-7268-2149

Gönderilme Tarihi 15 Eylül 2025
Kabul Tarihi 18 Kasım 2025
Yayımlanma Tarihi 30 Aralık 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 5 Sayı: 11

Kaynak Göster

APA Allboun, I., & Yavuz, S. (2025). The Aesthetic Representation of Digital Writing: The Relationship between Letter, Form, and Meaning in New Media Arts. International Journal of Troy Art and Design, 5(11), 138-161.