Öz
Sanat tarihi ve sanatsal üretim mekanizmalarının tarihsel gelişimi, üretim süreci ile beraberinde getirdiği paha üretimi üzerinde durulması gereken önemli bir olgudur. Kronolojik bir yapı ile yeniden şekillenen bu olgu; malzeme kritiği ve mesaj döngüsünün yeniden ele alınmasını, malzeme ile fikir arasındaki ilişkinin yeniden kurulmasını ve kendi çağına hitap ettiği kronolojik noktadaki sosyolojik ve toplumsal bakış açısı, sanatçının bu ilişkiyi kurmadaki yükümlülüğünü artırmaktadır. Paha üretimi, malzeme ve fikir anlamında bakıldığında bu iki noktanın içerisindeki alt durumlar ve bu durumların birbiri ile bağlantısını kurmak temel etken olduğuna göre sanatçı bu temel görevi getirmek için alan yazındaki tarihsel gelişim sürecini iyi bilmek, yeni oluşan toplumsal yapıların strüktürel incelemesini yapmak ve kendini bu noktaya uyarlayıp ileriye dönük görüşler, tezler üretmek durumundadır. Ayrıca sanatçı baş döndürücü şekilde gelişen bilgi toplumunu ve web kavramı ile ortaya çıkan büyük verinin getirdiği durumları işlemeyi, bu noktada oluşan teorik ve pratik bilgiyi sanatına entegre etmeyi bir görev olarak görmesi gerektiğini de anlamıştır. Bu süreç içerisinde sanatçının üretim ile ortaya çıkardığı paha olgusunun bu değerler ile şekillenmesini, sanat eserinde oluşan değer-sahiplik ilişkisi ile bu bağlantıyı kurmasını, malzeme ve fikir üretimini kronolojik olarak eşleştirip süreç yönetimi ile öz değerlendirme yapmasını ve güncel tarihteki ortaya çıkaracağı etkiyi öngörebilmesini zorunlu hale getirmiştir.
Anahtar Kelimeler
Grafik Dijital Sanat Disiplinler arası Sanat Sanat Tarihi Sanat Sosyolojisi
Kaynakça
- Baca, M., Helmreich, A., & Gill, M. (2019). Digital Art History. Visual Resources, 35(1–2), 1–5. https://doi.org/10.1080/01973762.2019.1556887
- Chiem, K., & Colburn, C. S. (2015). Global Foundations for a World Art History. Visual Resources, 31(3–4), https://doi.org/10.1080/01973762.2015.1083675
- Wilfried van Damme, W., (2011). “Good to Think,” World Art 1, no. 1
- Ulrich Phisterer, “Origins and Principles of World Art History—1900 (and 2000),” inWorld Art Studies: Exploring Concepts and Approaches, ed. Kitty Zijlmans and Wilfriedvan Damme (Amsterdam: Valiz, 2008), 69–85
- Elkins, J., (2007). “Canon and Globalization in Art History,” in Partisan Canons, ed. AnnaBrzyski (Durham, NC: Duke University Press, 2007)
- Frederick I. Parke, F. I., (1972), “Computer Generated Animation of Faces”.
- Gere C., (2005), “Art, Time and Technology: Histories of the Disappearing Body”.
- Jaskot, P. B. (2019). Digital Art History as the Social History of Art: Towards the Disciplinary Relevance of Digital Methods. Visual Resources, 35(1–2), 21–33. https://doi.org/10.1080/01973762.2019.1553651
- John S. Bak. (2023). Notes on the Present and Future Research on World Literary Journalisms. Journalism and Media
- M. Suvajdzic, D. Stojanovic and J. Appelbaum, (2019). "Blockchain Art and Blockchain Facilitated Art Economy: Two Ways in Which Art and Blockchain Collide," 2019 4th Technology Innovation Management and Engineering Science International Conference (TIMES-iCON), Bangkok, Thailand.
- Marcos A., Zagalo, N., (2011), “Instantiating the creation process in digital art for serious games design”.
- Marcos A., Branco P., Zagalo, N., (2009), “The Creation Process in Digital Art”. 2009
- Nelson, R., S., (1997). “The Map of Art History,” Art Bulletin 79, no. 1
- Parke, F., I., (1972). “Computer Generated Animation of Faces”, Proceedings of the ACM annual conference-Volume 1
- Paul C., (2006), “Digital Art”.
- Rose, H., (2014), “The Evolution of the Graphics Tablet”.
- Rosen, M., (2024). In the beginning, there was the analogue. An alternative history of the beginnings of computer art. ARTNODES, Issue:34, DOI: 10.7238/artnodes.v0i34.424662
- Stice, J. E., Wanson, B S. (1965) Electronic Analog Computer Primer. New York, London, Toronto: Blaisdel Publishing.
- Ulman, B., (2022). Analog Computing. Oldenburg: De Gruyter.
- Weibel, P., (1999), “On the History and Aesthetics of the Digital Image”
- https://www.metmuseum.org/essays/introduction-to-prehistoric-art-20000-8000-b-c
- https://owdt.com/the-digital-art-revolution/
Öz
The historical development of art history and artistic production mechanisms, along with the production process and the resulting value generation, is a crucial phenomenon that deserves attention. This phenomenon, reshaped by a chronological structure, necessitates a reconsideration of material critique and the message cycle, a reestablishment of the relationship between material and idea, and the sociological and social perspective from which the artist addresses his or her own era, increasing the artist's obligation to establish this relationship. Considering the production of value in terms of material and idea, the sub-situations within these two points and their interconnection are fundamental factors. To fulfill this fundamental duty, the artist must thoroughly understand the historical development of the field, conduct a structural analysis of emerging social structures, adapt themselves to this framework, and generate forward-looking insights and theses. Furthermore, the artist has also recognized that it is his or her duty to process the dizzyingly evolving information society and the challenges posed by the emergence of big data through the concept of the web, and to integrate the theoretical and practical knowledge generated by these developments into his or her art. In this process, it has become necessary for the artist to shape the value phenomenon that he creates through production with these values, to establish this connection with the value-ownership relationship that occurs in the work of art, to match the material and idea production chronologically, to make self-evaluation with process management and to be able to foresee the impact it will create in current history.
Anahtar Kelimeler
Graphics Digital Art Interdisciplinary Art Art History Sociology of Art
Kaynakça
- Baca, M., Helmreich, A., & Gill, M. (2019). Digital Art History. Visual Resources, 35(1–2), 1–5. https://doi.org/10.1080/01973762.2019.1556887
- Chiem, K., & Colburn, C. S. (2015). Global Foundations for a World Art History. Visual Resources, 31(3–4), https://doi.org/10.1080/01973762.2015.1083675
- Wilfried van Damme, W., (2011). “Good to Think,” World Art 1, no. 1
- Ulrich Phisterer, “Origins and Principles of World Art History—1900 (and 2000),” inWorld Art Studies: Exploring Concepts and Approaches, ed. Kitty Zijlmans and Wilfriedvan Damme (Amsterdam: Valiz, 2008), 69–85
- Elkins, J., (2007). “Canon and Globalization in Art History,” in Partisan Canons, ed. AnnaBrzyski (Durham, NC: Duke University Press, 2007)
- Frederick I. Parke, F. I., (1972), “Computer Generated Animation of Faces”.
- Gere C., (2005), “Art, Time and Technology: Histories of the Disappearing Body”.
- Jaskot, P. B. (2019). Digital Art History as the Social History of Art: Towards the Disciplinary Relevance of Digital Methods. Visual Resources, 35(1–2), 21–33. https://doi.org/10.1080/01973762.2019.1553651
- John S. Bak. (2023). Notes on the Present and Future Research on World Literary Journalisms. Journalism and Media
- M. Suvajdzic, D. Stojanovic and J. Appelbaum, (2019). "Blockchain Art and Blockchain Facilitated Art Economy: Two Ways in Which Art and Blockchain Collide," 2019 4th Technology Innovation Management and Engineering Science International Conference (TIMES-iCON), Bangkok, Thailand.
- Marcos A., Zagalo, N., (2011), “Instantiating the creation process in digital art for serious games design”.
- Marcos A., Branco P., Zagalo, N., (2009), “The Creation Process in Digital Art”. 2009
- Nelson, R., S., (1997). “The Map of Art History,” Art Bulletin 79, no. 1
- Parke, F., I., (1972). “Computer Generated Animation of Faces”, Proceedings of the ACM annual conference-Volume 1
- Paul C., (2006), “Digital Art”.
- Rose, H., (2014), “The Evolution of the Graphics Tablet”.
- Rosen, M., (2024). In the beginning, there was the analogue. An alternative history of the beginnings of computer art. ARTNODES, Issue:34, DOI: 10.7238/artnodes.v0i34.424662
- Stice, J. E., Wanson, B S. (1965) Electronic Analog Computer Primer. New York, London, Toronto: Blaisdel Publishing.
- Ulman, B., (2022). Analog Computing. Oldenburg: De Gruyter.
- Weibel, P., (1999), “On the History and Aesthetics of the Digital Image”
- https://www.metmuseum.org/essays/introduction-to-prehistoric-art-20000-8000-b-c
- https://owdt.com/the-digital-art-revolution/
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Konular | Alan Eğitimleri (Diğer) |
| Bölüm | Derleme |
| Yazarlar | |
| Gönderilme Tarihi | 4 Kasım 2025 |
| Kabul Tarihi | 31 Aralık 2025 |
| Yayımlanma Tarihi | 31 Aralık 2025 |
| Yayımlandığı Sayı | Yıl 2025 Cilt: 9 Sayı: 16 |
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