Araştırma Makalesi
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“Post Dijital Estetik Bağlamında” İnteraktif Bir Devre Koklama (Circuit Sniffing)

Yıl 2022, Cilt: 12 Sayı: 25, 100 - 111, 05.09.2022
https://doi.org/10.16950/iujad.1093617

Öz

20. yüzyıl düşüncesinden hareketle, modernizm şemsiyesi altında yeni bir hayata başlayan insan, teknolojik gelişmelerin ışığında hatasız bir dünya yaratma telaşına kapılmış ve bir bakıma makinalara bağımlı yeni bir yüzyılın paydaşı olmuştur. Endüstri devriminin sonrasında hızla gelişimini sürdüren yeni iletişim ve ulaşım araçları ile insanoğlu eskiye göre daha da baskın bir biçimde gürültü ile yüzleşmiştir. Fütürizm sanat akımı ile sonik sanatların güdümüne girmeye başlayan gürültü; 20. Yüzyılın son evresinde post dijital estetik başlığı altında da ilk formlarını göstermiştir . Bir sonik pratik olarak internet aracılığı ile akademik bir alt yapı ve öğretimi olmadan kendi kendine öğrenme metodu ile gelişen glitch, microwave sinecore v.d; gibi isimler alarak hem analog hem de dijital dünyada dolaylı ya da dolaysız oluşan hataların ve kusurların bir sanatsal uğraşı olarak yansımasıdır Bu çalışmada bu düşünceden hareketle “post dijital estetik” kavramınının izinde çevremizi çepeçevre saran fark edemediğimiz donanımların, öz sonik örüntülerinden oluşan yeni bir sonik evreni interaktif olarak paylaşma çabası içerisinde olacaktır

Kaynakça

  • Andrews, I. (2002). Post Digital Aesthetics and the Return to Modernism, MAP-uts Lecture 1-11.
  • Bates, E. (2004) Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work. Bad Music The Music We Love to Hate, Edited by Christopher Washburne and Maiken Derno, Routledge Batur, E. (2015). Modernizmin Serüveni. İstanbul: Sel Yayıncılık.
  • Bennett, A., Guerra, P. (2019). DIY Cultures and Underground Music Scenes. London: Routledge. Berdahl, Edgar and Anthony T. Marasco. 2019. “Proposing ‘Computer Bending’ and ‘Circuit Vacuuming’ as Techniques in Experimental Music.” In Proceedings of the International Computer Music Conference, New York University, New York City, New York, USA, vol. 2019.
  • Berry, M. D., Dieter, M. (2015). Post Digital Aesthetics: Art, Computation and Design. UK: Palgrave Macmillan Press. Cascone, K. (2000). The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music. Computer Music Journal Winter 2000, Vol. 24, No. 4.
  • Carroll, N. (2012), Sanat Felsefesi, ÜtopyaYayınevi
  • Collins, N. (2006). Handmade Electronic Music. London: Routledge
  • Cox, Christoph. (2006). Invisible Cities: An Interwiev with Christine Kubisch. Cabinet Magazine. Eylül 2006. Erişim Tarihi 20 Şubat 2022, https://www.cabinetmagazine.org/issues/21/cox_kubisch.php Cramer, F. (2014). What Is ‘Post-Digital’?, ARPJA, 3, 11-24.
  • Durmaz, S. (2009) Müzik Teknolojisi ve Audio Terimleri Sözlüğü, Cinius Yayınları Fernandez, Alexandre, Marino, Iazetta Fernando (2011), “Circuit- Bending and DIY Culture”, Universidade de Sao Paulo - Brasil
  • Fırıncıoğlu, S. (2012), John Cage Seçme Yazılar,: Pan Yayıncılık
  • Griffiths, P. (2011), “Batı Müziğinin Kısa Tarihi”, ̇Türkiyė İş Bankası Kültür Yayınları
  • Kelly, Caleb (2009) “Cracked Media The Sound of Malfunction”, The MIT Press
  • Lechner, M., Zeitz, A., (2020). Inaudible Matters: Electrical Walks Paris (Christina Kubisch), Performances and Lectures at the Gaite Lyrique Paris. Sound Unheard, Issue 1, Volume 2020, 1-7.
  • Nies, J. (2013) “The Art of Circuit Bending” E- Musician
  • Perez, J. I. G. (2009). ‘DO IT YOURSELF: Cultura y Tecnologia’. In: Revista Icono 14, no13, pp. 278-291, Madrid, Spain.
  • Sangild, T. (2004) Glitch The Beauty of Malfunction, The Degeneration of Musical Recordings and the Contemporary Musical Work. Bad Music The Music We Love to Hate, Edited by Christopher Washburne and Maiken Derno, Routledge
  • Simon, D., Zeitz, A. (2020). Echos Magnetiques – Christina Kubisch: An Exhibition at the Musee des Beaux-Arts de Rennes. Sound Unheard, Special Issue, 1-15.
  • Stuart, C. (2003) Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval, MIT Press
  • Teboul, E. J., (2021). The Bloomsbury Handbook of Sonic Methodologies. Bull, M., Cobussen, M. (Ed.), Hacking Composition: Dialogues with Musical Machines (s. 807-820). USA: Bloomsbury Academic

“In The Context Of Post Digital Aesthetics” Experiment Of An Interactive Circuit Sniffing

Yıl 2022, Cilt: 12 Sayı: 25, 100 - 111, 05.09.2022
https://doi.org/10.16950/iujad.1093617

Öz

Commencing a new life under the umbrella of modernism, starting from the 20th century thought, the human being was in a rush to create an error-free world in the light of technological advancements and, in a way, became the shareholder of a new century dependent on machines. With the new ways of communication and transportation, which continued to develop rapidly after the industrial revolution, human beings faced noise even more pressingly compared to before. Without doubt, 20th century contemporary art took its slice from this intricacy. In itself, noise, which started to be guided by the futurism art movement and sonic arts , showed its first forms under the title of post-digital aesthetics in the last phase of the 20th century The new sound universe, which is the result of post-digital aesthetics, has matured its metamorphosis in other practices of 20th century sound art. As a sonic practice, it is the reflection of the mistakes and imperfections that occur directly or indirectly in both the analog and digital world, as an artistic endeavor, by taking names such as glitch, microwave sinecore, etc (Cascone, 2000, p.12). Based on this idea, in this study, in the footsteps of the concept of "post-digital aesthetics", our faculty uses the principle of expressing a sonic world, the pioneering artists of the equipment that surrounds us all around us, the intrinsic sonic patterns , the sound materials of a new sonic universe, the techniques they use in their creative fields. will be in an effort to interactively share a new sonic universe that is not possible to hear but surrounds us.

Kaynakça

  • Andrews, I. (2002). Post Digital Aesthetics and the Return to Modernism, MAP-uts Lecture 1-11.
  • Bates, E. (2004) Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work. Bad Music The Music We Love to Hate, Edited by Christopher Washburne and Maiken Derno, Routledge Batur, E. (2015). Modernizmin Serüveni. İstanbul: Sel Yayıncılık.
  • Bennett, A., Guerra, P. (2019). DIY Cultures and Underground Music Scenes. London: Routledge. Berdahl, Edgar and Anthony T. Marasco. 2019. “Proposing ‘Computer Bending’ and ‘Circuit Vacuuming’ as Techniques in Experimental Music.” In Proceedings of the International Computer Music Conference, New York University, New York City, New York, USA, vol. 2019.
  • Berry, M. D., Dieter, M. (2015). Post Digital Aesthetics: Art, Computation and Design. UK: Palgrave Macmillan Press. Cascone, K. (2000). The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music. Computer Music Journal Winter 2000, Vol. 24, No. 4.
  • Carroll, N. (2012), Sanat Felsefesi, ÜtopyaYayınevi
  • Collins, N. (2006). Handmade Electronic Music. London: Routledge
  • Cox, Christoph. (2006). Invisible Cities: An Interwiev with Christine Kubisch. Cabinet Magazine. Eylül 2006. Erişim Tarihi 20 Şubat 2022, https://www.cabinetmagazine.org/issues/21/cox_kubisch.php Cramer, F. (2014). What Is ‘Post-Digital’?, ARPJA, 3, 11-24.
  • Durmaz, S. (2009) Müzik Teknolojisi ve Audio Terimleri Sözlüğü, Cinius Yayınları Fernandez, Alexandre, Marino, Iazetta Fernando (2011), “Circuit- Bending and DIY Culture”, Universidade de Sao Paulo - Brasil
  • Fırıncıoğlu, S. (2012), John Cage Seçme Yazılar,: Pan Yayıncılık
  • Griffiths, P. (2011), “Batı Müziğinin Kısa Tarihi”, ̇Türkiyė İş Bankası Kültür Yayınları
  • Kelly, Caleb (2009) “Cracked Media The Sound of Malfunction”, The MIT Press
  • Lechner, M., Zeitz, A., (2020). Inaudible Matters: Electrical Walks Paris (Christina Kubisch), Performances and Lectures at the Gaite Lyrique Paris. Sound Unheard, Issue 1, Volume 2020, 1-7.
  • Nies, J. (2013) “The Art of Circuit Bending” E- Musician
  • Perez, J. I. G. (2009). ‘DO IT YOURSELF: Cultura y Tecnologia’. In: Revista Icono 14, no13, pp. 278-291, Madrid, Spain.
  • Sangild, T. (2004) Glitch The Beauty of Malfunction, The Degeneration of Musical Recordings and the Contemporary Musical Work. Bad Music The Music We Love to Hate, Edited by Christopher Washburne and Maiken Derno, Routledge
  • Simon, D., Zeitz, A. (2020). Echos Magnetiques – Christina Kubisch: An Exhibition at the Musee des Beaux-Arts de Rennes. Sound Unheard, Special Issue, 1-15.
  • Stuart, C. (2003) Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval, MIT Press
  • Teboul, E. J., (2021). The Bloomsbury Handbook of Sonic Methodologies. Bull, M., Cobussen, M. (Ed.), Hacking Composition: Dialogues with Musical Machines (s. 807-820). USA: Bloomsbury Academic
Toplam 18 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Müzik ve Sahne Sanatları / Music and Performing Arts
Yazarlar

Mehmet Kurtuluş 0000-0001-8532-4626

Can Paşa 0000-0001-9459-2200

Erken Görünüm Tarihi 7 Temmuz 2022
Yayımlanma Tarihi 5 Eylül 2022
Gönderilme Tarihi 25 Mart 2022
Kabul Tarihi 1 Temmuz 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 12 Sayı: 25

Kaynak Göster

APA Kurtuluş, M., & Paşa, C. (2022). “Post Dijital Estetik Bağlamında” İnteraktif Bir Devre Koklama (Circuit Sniffing). İnönü Üniversitesi Sanat Ve Tasarım Dergisi, 12(25), 100-111. https://doi.org/10.16950/iujad.1093617