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DIGITAL GAMES AND RELATIONAL AESTHETICS: GAMES AS AN ART FORM FROM THE PERSPECTIVE OF NICOLAS BOURRIAUD

Yıl 2025, Cilt: 15 Sayı: 1, 499 - 523, 20.06.2025
https://doi.org/10.20488/sanattasarim.1717694

Öz

This article analyses the function of digital games as an art form within the framework of
Nicolas Bourriaud's theory of relational aesthetics. It explores how digital games transform
social interactions in the context of contemporary art and create relational art through
participant-oriented experiences. Using conceptual analysis as a method, the theoretical
relationship between art approaches and digital games is discussed. The hypothesis is that
digital games are art forms that create social connections in line with Bourriaud's theory.
The findings reveal that digital games undertake the social bonding function of art by creating
virtual communities and social dynamics. As a result, it is concluded that digital games
redefine art as a co-creative process with participants, create micro-communities through
anonymous interactions, and make a significant contribution to the social role of art. This
study offers new perspectives on the artistic value of digital games. The results of this study
emphasize the artistic value of digital games within the framework of relational aesthetics
and their potential to create social bonds and offer new perspectives for future research.

Kaynakça

  • Binark, M., & Bayraktutan-Sütcü, G. (2008). Kültür endüstrisi ürünü olarak dijital oyun. Kalkedon.
  • Bourriaud, N. (2002). Relational Aesthetics (S. Pleasance & F. Woods, Trans.). Les presses du réel. (Original work published 1998).
  • Bruckman, A. (1997). MOOSE crossing: Construction, community, and learning in a networked virtual world for kids [Master’s thesis, Massachusetts Institute of Technology]. MIT DSpace.
  • Charles, D., & Black, M. (2004). Dynamic player modeling: A framework for player-centered digital games. Proceedings of the International Conference on Computer Games: AI, Animation, Mobile, Educational & Serious Games, 29-35. https://www.academia.edu/download/101186852/DynamicPlayerModelling.pdf
  • Cheremnykh, P. (2024). Gaming the Metaverse: User experience analysis and insights from Fortnite [Master’s thesis]. Theseus.fi. https://www.theseus.fi/bitstream/handle/10024/850495/Cheremnykh_Pedcharat.pdf?sequence=2
  • Fidaner, İ. B. (2009). Mod making: Mod yapımı: Oyun ile oynayanlar.. In M. Binark, G. B. Sütçü, & İ. B. Fidaner (Eds.), Dijital oyun rehberi (pp. 171-184). Kalkedon Yayınları.
  • Fraser, E. (2024). The future of digital space: Gaming, virtual reality, and metaversal thinking. Dialogues in Human Geography. https://journals.sagepub.com/doi/abs/10.1177/20438206231189586
  • Fyfe, D., Gaynor, S., & Remo, C. (2009). Journal of Games. Idle Thumbs. http://downloads.idlethumbs.net/misc/journalofgames_gdc09.pdf
  • Geraci, R. M. (2014). Virtually sacred: Myth and meaning in World of Warcraft and Second Life. Oxford University Press.
  • Hamari, J., & Tuunanen, J. (2014). Player types: A meta-synthesis. Transactions of the Digital Games Research Association, 1(2), 29-53. https://trepo.tuni.fi/bitstream/handle/10024/99064 player_types_a_meta_synthesis.pdf
  • Huizinga, J. (1971). Homo Ludens: A study of the play-element in culture. Beacon Press.
  • Isbister, K. (2016). How games move us: Emotion by design. MIT Press.
  • Jenkins, H. (2005). Games, the new lively art. In J. Raessens & J. Goldstein (Eds.), Handbook of computer game studies (pp. 175-189). MIT Press.
  • ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 522
  • Sanat&Tasarım Dergisi,15 (1), 2025: 499-523
  • Kilzer, N. (2022). Queer representation and visibility in video games. Netlibrary.
  • Loudoun, F. M., Boyle, B., & Larsson-Lund, M. (2024). Play value of digital play spaces: Children’s voices. Play & Digital Media Studies.
  • Mäyrä, F. (2008). An introduction to game studies: Games in culture. Sage Publications.
  • Murray, J. H. (2006). Toward a cultural theory of gaming: Digital games and the co-evolution of media, mind, and culture. Popular Communication, 4(3), 185–202. https://doi.org/10.1207/s15405710pc0403_3
  • Nguyen, J. (2016). Minecraft and the building blocks of creative individuality. Configurations, 24(4), 429-448.
  • Pötzsch, H. (2022). Microdystopias: Aesthetics and ideologies in a broken moment. De Gruyter.
  • Ramshaw, A. (2020). ‘World of Warcraft is my home from home’: An argument for the protection of virtual worlds. Journal of Law, Technology and Trust.
  • Reid, E. M. (1991). Electropolis: Communication and community on internet relay chat [Unpublished master’s thesis]. University of Melbourne.
  • Ringland, K. E. (2016). “Will I always be not social?” Re-conceptualizing sociality in the context of a Minecraft community for autism. Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, 1256-1269.
  • Rollings, A., & Adams, E. (2003). Andrew Rollings and Ernest Adams on game design. New Riders.
  • Salen, K., & Zimmerman, E. (2003). Rules of play: Game design fundamentals. MIT Press.
  • Spawforth, C., & Millard, D. E. (2017). A framework for multi-participant narratives based on multiplayer game interactions. https://eprints.soton.ac.uk/414445/1/framework_multi_participant.pdf
  • Stockton, S. (2019). Dating ga(y)mes: Queer performance in farming simulation roleplay games. Prism: The University of Calgary’s Digital Repository.
  • Sudnow, D. (1983). Pilgrim in the microworld. Warner Books.
  • Tavinor, G. (2009). The art of videogames. Wiley-Blackwell.
  • Taylor, T. L. (2006). Between worlds: The emergence of online game culture. MIT Press.
  • ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 523
  • Sanat&Tasarım Dergisi,15 (1), 2025: 499-523
  • Williams, D., Ducheneaut, N., Xiong, L., Zhang, Y., Yee, N., & Nickell, E. (2006). From tree house to barracks: The social life of guilds in World of Warcraft. Games and Culture, 1(4), 338-361. Game References
  • Verant Interactive. (1999). EverQuest [Video game]. Verant Interactive.
  • Blizzard Entertainment. (2004). World of Warcraft [Video game]. Blizzard Entertainment.
  • Epic Games. (2017). Fortnite [Video game]. Epic Games.
  • Nintendo. (2020). Animal Crossing: New Horizons [Video game]. Nintendo.
  • Linden Lab. (2003). Second Life [Online virtual world]. Linden Lab.
  • Mojang Studios. (2011). Minecraft [Video game]. Mojang Studios.
  • Electronic Arts. (2000-2020). The Sims series [Video game]. Electronic Arts.
  • Media Molecule. (2008). Little Big Planet [Video game]. Sony Computer Entertainment.
  • Media Molecule. (2020). Dreams [Video game]. Sony Interactive Entertainment
  • thatgamecompany. (2012). Journey [Video game]. Sony Computer Entertainment.
  • ConcernedApe. (2016). Stardew Valley [Video game]. ConcernedApe.
  • Hello Games. (2016). No Man’s Sky [Video game]. Hello Games.
  • FromSoftware. (2011-2022). Dark Souls series [Video game]. Bandai Namco Entertainment.
  • Niantic, Inc. (2016). Pokémon Go [Mobile game]. Niantic, Inc.
  • VRChat Inc. (2014). VRChat [Virtual reality game]. VRChat Inc.

DİJİTAL OYUNLAR VE İLİŞKİSEL ESTETİK: NICOLAS BOURRIAUD PERSPEKTİFİNDEN BİR SANAT FORMU OLARAK OYUNLAR

Yıl 2025, Cilt: 15 Sayı: 1, 499 - 523, 20.06.2025
https://doi.org/10.20488/sanattasarim.1717694

Öz

Bu makale, Nicolas Bourriaud'nun ilişkisel estetik teorisi çerçevesinde dijital oyunların bir
sanat formu olarak işlevini analiz etmektedir. Dijital oyunların çağdaş sanat bağlamında
sosyal etkileşimleri nasıl dönüştürdüğünü ve katılımcı odaklı deneyimler aracılığıyla ilişkisel
sanatı nasıl yarattığını analiz etmektedir. Yöntem olarak kavramsal analiz kullanılarak,
sanat yaklaşımları ve dijital oyunlar arasındaki teorik ilişki tartışılmaktadır. Bu çalışmanın
hipotezi, Bourriaud'nun teorisi doğrultusunda dijital oyunların sosyal bağlantılar
yaratan sanat formları olduğudur. Bulgular, dijital oyunların sanal topluluklar ve sosyal
dinamikler yaratarak sanatın sosyal bağ kurma işlevini üstlendiğini ortaya koymaktadır.
Sonuç olarak, dijital oyunların sanatı katılımcılarla birlikte yaratıcı bir süreç olarak yeniden
tanımladığı, anonim etkileşimler yoluyla mikro topluluklar yarattığı ve sanatın toplumsal
rolüne önemli bir katkı sağladığı sonucuna varılmıştır. Bu çalışma, dijital oyunların
sanatsal değerine ilişkin yeni bakış açıları sunmaktadır. Bu çalışmanın sonuçları, ilişkisel
estetik çerçevesinde dijital oyunların sanatsal değerini ve sosyal bağlar yaratma potansiyelini
vurgulamakta ve gelecekteki araştırmalar için yeni perspektifler sunmaktadır.

Kaynakça

  • Binark, M., & Bayraktutan-Sütcü, G. (2008). Kültür endüstrisi ürünü olarak dijital oyun. Kalkedon.
  • Bourriaud, N. (2002). Relational Aesthetics (S. Pleasance & F. Woods, Trans.). Les presses du réel. (Original work published 1998).
  • Bruckman, A. (1997). MOOSE crossing: Construction, community, and learning in a networked virtual world for kids [Master’s thesis, Massachusetts Institute of Technology]. MIT DSpace.
  • Charles, D., & Black, M. (2004). Dynamic player modeling: A framework for player-centered digital games. Proceedings of the International Conference on Computer Games: AI, Animation, Mobile, Educational & Serious Games, 29-35. https://www.academia.edu/download/101186852/DynamicPlayerModelling.pdf
  • Cheremnykh, P. (2024). Gaming the Metaverse: User experience analysis and insights from Fortnite [Master’s thesis]. Theseus.fi. https://www.theseus.fi/bitstream/handle/10024/850495/Cheremnykh_Pedcharat.pdf?sequence=2
  • Fidaner, İ. B. (2009). Mod making: Mod yapımı: Oyun ile oynayanlar.. In M. Binark, G. B. Sütçü, & İ. B. Fidaner (Eds.), Dijital oyun rehberi (pp. 171-184). Kalkedon Yayınları.
  • Fraser, E. (2024). The future of digital space: Gaming, virtual reality, and metaversal thinking. Dialogues in Human Geography. https://journals.sagepub.com/doi/abs/10.1177/20438206231189586
  • Fyfe, D., Gaynor, S., & Remo, C. (2009). Journal of Games. Idle Thumbs. http://downloads.idlethumbs.net/misc/journalofgames_gdc09.pdf
  • Geraci, R. M. (2014). Virtually sacred: Myth and meaning in World of Warcraft and Second Life. Oxford University Press.
  • Hamari, J., & Tuunanen, J. (2014). Player types: A meta-synthesis. Transactions of the Digital Games Research Association, 1(2), 29-53. https://trepo.tuni.fi/bitstream/handle/10024/99064 player_types_a_meta_synthesis.pdf
  • Huizinga, J. (1971). Homo Ludens: A study of the play-element in culture. Beacon Press.
  • Isbister, K. (2016). How games move us: Emotion by design. MIT Press.
  • Jenkins, H. (2005). Games, the new lively art. In J. Raessens & J. Goldstein (Eds.), Handbook of computer game studies (pp. 175-189). MIT Press.
  • ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 522
  • Sanat&Tasarım Dergisi,15 (1), 2025: 499-523
  • Kilzer, N. (2022). Queer representation and visibility in video games. Netlibrary.
  • Loudoun, F. M., Boyle, B., & Larsson-Lund, M. (2024). Play value of digital play spaces: Children’s voices. Play & Digital Media Studies.
  • Mäyrä, F. (2008). An introduction to game studies: Games in culture. Sage Publications.
  • Murray, J. H. (2006). Toward a cultural theory of gaming: Digital games and the co-evolution of media, mind, and culture. Popular Communication, 4(3), 185–202. https://doi.org/10.1207/s15405710pc0403_3
  • Nguyen, J. (2016). Minecraft and the building blocks of creative individuality. Configurations, 24(4), 429-448.
  • Pötzsch, H. (2022). Microdystopias: Aesthetics and ideologies in a broken moment. De Gruyter.
  • Ramshaw, A. (2020). ‘World of Warcraft is my home from home’: An argument for the protection of virtual worlds. Journal of Law, Technology and Trust.
  • Reid, E. M. (1991). Electropolis: Communication and community on internet relay chat [Unpublished master’s thesis]. University of Melbourne.
  • Ringland, K. E. (2016). “Will I always be not social?” Re-conceptualizing sociality in the context of a Minecraft community for autism. Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, 1256-1269.
  • Rollings, A., & Adams, E. (2003). Andrew Rollings and Ernest Adams on game design. New Riders.
  • Salen, K., & Zimmerman, E. (2003). Rules of play: Game design fundamentals. MIT Press.
  • Spawforth, C., & Millard, D. E. (2017). A framework for multi-participant narratives based on multiplayer game interactions. https://eprints.soton.ac.uk/414445/1/framework_multi_participant.pdf
  • Stockton, S. (2019). Dating ga(y)mes: Queer performance in farming simulation roleplay games. Prism: The University of Calgary’s Digital Repository.
  • Sudnow, D. (1983). Pilgrim in the microworld. Warner Books.
  • Tavinor, G. (2009). The art of videogames. Wiley-Blackwell.
  • Taylor, T. L. (2006). Between worlds: The emergence of online game culture. MIT Press.
  • ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 523
  • Sanat&Tasarım Dergisi,15 (1), 2025: 499-523
  • Williams, D., Ducheneaut, N., Xiong, L., Zhang, Y., Yee, N., & Nickell, E. (2006). From tree house to barracks: The social life of guilds in World of Warcraft. Games and Culture, 1(4), 338-361. Game References
  • Verant Interactive. (1999). EverQuest [Video game]. Verant Interactive.
  • Blizzard Entertainment. (2004). World of Warcraft [Video game]. Blizzard Entertainment.
  • Epic Games. (2017). Fortnite [Video game]. Epic Games.
  • Nintendo. (2020). Animal Crossing: New Horizons [Video game]. Nintendo.
  • Linden Lab. (2003). Second Life [Online virtual world]. Linden Lab.
  • Mojang Studios. (2011). Minecraft [Video game]. Mojang Studios.
  • Electronic Arts. (2000-2020). The Sims series [Video game]. Electronic Arts.
  • Media Molecule. (2008). Little Big Planet [Video game]. Sony Computer Entertainment.
  • Media Molecule. (2020). Dreams [Video game]. Sony Interactive Entertainment
  • thatgamecompany. (2012). Journey [Video game]. Sony Computer Entertainment.
  • ConcernedApe. (2016). Stardew Valley [Video game]. ConcernedApe.
  • Hello Games. (2016). No Man’s Sky [Video game]. Hello Games.
  • FromSoftware. (2011-2022). Dark Souls series [Video game]. Bandai Namco Entertainment.
  • Niantic, Inc. (2016). Pokémon Go [Mobile game]. Niantic, Inc.
  • VRChat Inc. (2014). VRChat [Virtual reality game]. VRChat Inc.
Toplam 49 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Bilgisayar Oyunları ve Animasyon
Bölüm Makaleler
Yazarlar

İlkay Kanık 0000-0002-9717-6680

Yayımlanma Tarihi 20 Haziran 2025
Gönderilme Tarihi 24 Ekim 2024
Kabul Tarihi 27 Mart 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 15 Sayı: 1

Kaynak Göster

APA Kanık, İ. (2025). DIGITAL GAMES AND RELATIONAL AESTHETICS: GAMES AS AN ART FORM FROM THE PERSPECTIVE OF NICOLAS BOURRIAUD. Sanat ve Tasarım Dergisi, 15(1), 499-523. https://doi.org/10.20488/sanattasarim.1717694