TEKNOLOJİ İLE SANATIN KESİŞİMİNDE ÇAĞDAŞ DÖNÜŞÜMLER VE YARATICI SÜREÇLER ÜZERİNE BİR İNCELEME

Yıl 2024, Cilt: 8 Sayı: 2, 128 - 140

Mehmet Akif Özdal

Öz

Bilgisayar teknolojilerinin sanat üzerindeki etkisinin incelenmesi, teknoloji ve sanatın birleşim noktasında yer alan, derinlemesine multidisipliner bir araştırma alanını tanımlamaktadır. 1960'lı yıllardan günümüze, sanat eserlerinin üretimi, işlenmesi ve sunumu süreçlerinde bilgisayar teknolojilerinin entegrasyonu önemli ölçüde artmıştır. Bu entegrasyon, dijital sanat, bilgisayar grafikleri, sanal gerçeklik, interaktif kurulumlar ve algoritmik kompozisyonlar gibi yenilikçi disiplinlerin ortaya çıkmasına olanak tanımıştır. Bu süreçte, bilgisayar destekli tasarım (CAD), dijital görüntü işleme, yapay zeka uygulamaları ve yazılım tabanlı sanat eserleri, sanatın üretim ve algılanma biçimlerinde paradigmatik değişiklikler meydana getirmiştir. Bununla birlikte, bilgisayar teknolojilerinin sanat üzerindeki etkisinin incelenmesi, etik, telif hakkı ve orijinallik gibi konularda da yeni tartışmaları beraberinde getirmektedir. Bu kapsamda yapılan araştırma, bilgisayar teknolojilerinin çağdaş sanat uygulamaları üzerindeki etkilerini ve bu etkileşimin sanatçıların yaratıcı süreçlerine katkılarını incelemeyi amaçlayarak Daniel Rozin, Rafael Lozano-Hemmer, Daniel Canogar ve Camille Utterback’in eserleri üzerinden bilgisayar teknolojilerinin sanat üzerindeki yenilikçi kullanımları incelenmiştir. Bu kapsamda araştırmanın problem cümlesi, "Bilgisayar teknolojilerinin sanatsal ifade biçimleri üzerindeki etkisi ve bu etkileşimin çağdaş sanat pratikleri ve sanatçıların yaratıcı süreçleri üzerindeki dönüşümleri nelerdir?" şeklinde belirlenerek, metodolojisi, literatür taraması, mantıksal akıl yürütme ve tarihsel perspektif analizi benimsenmiştir. Bulgular, bilgisayar teknolojilerinin 1960'lardan itibaren sanatsal ifade aracı olarak kullanımının arttığını ve çoklu ortam uygulamalarının gerçekleştirilmesine katkıda bulunduğunu Sonuçlar ise, bu teknolojilerin sanatın tanımını, sanatçıların rolünü ve izleyicilerin sanat eserleriyle etkileşim biçimlerini yeniden şekillendirdiğini göstermiştir.

Anahtar Kelimeler

Bilgisayar Teknolojileri, Çağdaş Sanat, Yaratıcı Süreçler, Multidisipliner Araştırma, İnteraktif Sanat

A STUDY ON CONTEMPORARY TRANSFORMATIONS AND CREATIVE PROCESSES AT THE INTERSECTION OF TECHNOLOGY AND ART

Öz

Examining the impact of computer technologies on art defines an in-depth multidisciplinary field of research that lies at the intersection of technology and art. Since the 1960s, the integration of computer technologies in the production, processing and presentation of works of art has increased significantly. This integration has allowed the emergence of innovative disciplines such as digital art, computer graphics, virtual reality, interactive installations and algorithmic compositions. In this process, computer-aided design (CAD), digital image processing, artificial intelligence applications and software-based artworks have brought about paradigmatic changes in the ways art is produced and perceived. However, examining the impact of computer technologies on art brings about new discussions on issues such as ethics, copyright and originality. In this context, the research aimed to examine the effects of computer technologies on contemporary art practices and the contributions of this interaction to the creative processes of artists, and the innovative uses of computer technologies on art were examined through the works of Daniel Rozin, Rafael Lozano-Hemmer, Daniel Canogar and Camille Utterback. In this context, the problem statement of the research is "What are the effects of computer technologies on artistic expression forms and the transformations of this interaction on contemporary art practices and the creative processes of artists?" The methodology, literature review, logical reasoning and historical perspective analysis were adopted. The findings show that the use of computer technologies as a means of artistic expression has increased since the 1960s and contributed to the realization of multimedia applications. The results have shown that these technologies have reshaped the definition of art, the role of artists and the way audiences interact with works of art.

Anahtar Kelimeler

Computer Technologies, Contemporary Art, Creative Processes, Multidisciplinary Research, Interactive Art

Kaynakça

• Arozqueta, C. (2014). Connecting Realities: Rafael Lozano-Hemmer’s Pulse-based Works. Journal of Science and Technology of the Arts, 6(2), 21.
• Arriaga, M. (2024). Sounds for the Soul.
• Borchgrevink, H. (2024). Finding objects, connecting dots: Exploring serendipity as interruptive artistic strategy for audience interaction in public spaces. Nordic Journal of Art & Research, 13(2).
• Castillo, N. (2022). Innovative Approaches in Contemporary Art: A Focus on Daniel Canogar. Innovation in Art Journal, 5(1), 26-38.
• Colangelo, D., & Davila, P. (2013). Public interface effects: re-embodiment and transversality in public projection.
• Dorin, L. (2006). Camille Utterback’s Series EXTERNAL MEASURES. Dichtung Digital. Journal für Kunst und Kultur digitaler Medien, 8(1), 1-5.
• Duggan, T. J. (2016). MASTER ing the Art of Music Integration. In Recontextualized (pp. 51-64). Brill.
• Ertmer, P. A. (1999). Addressing first-and second-order barriers to change: Strategies for technology integration. Educational technology research and development, 47(4), 47-61.
• Ertmer, P. A., Ottenbreit-Leftwich, A. T., Sadik, O., Sendurur, E., & Sendurur, P. (2012). Teacher beliefs and technology integration practices: A critical relationship. Computers & education, 59(2), 423-435.
• Fernández, H. (2021). The Scale of Art: From Paintings to Public Installations. Scale in Art Review, 7(3), 102-115.
• García, A. (2017). Digital Reinterpretations: The Art of Daniel Canogar. Contemporary Art Review, 12(2), 45-59.
• Giorgio, A. (2020). Show Of Hands.
• Gómez, F. (2022). Digital Technologies and Projection Mapping in Contemporary Art. Digital Art International, 3(4), 78-91.
• GÜLFİDAN, K., & FİTÖZ, İ. (2023). Simetri Kavramı ve Periyodik Yüzey Tasarımları Üzerine Geçmişten Günümüze Bir Araştırma. Mimarlık ve Yaşam, 8(3), 625-653.
• Howard, S. K., Chan, A., Mozejko, A., & Caputi, P. (2015). Technology practices: Confirmatory factor analysis and exploration of teachers’ technology integration in subject areas. Computers & Education, 90, 24-35.
• İŞBECEREN, M. Ü., & OKUYUCU, Ş. E. (2023). Parametrik Tasarım Yöntemiyle Modellenen Oturma Bankının Üniversite Öğrencileri Üzerindeki Etkisinin Ölçülmesi: Afyon Kocatepe Üniversitesi Örneği. Journal of Planning Architecture and Design, 1(1), 1-18.
• Jiménez, K. (2022). The Role of Audience in Contemporary Art Installations. Art Interaction Quarterly, 8(1), 36-48.
• Kürkçüoğlu, S. S. (2020). Alevi-Bektaşi Kültürünün Deryası Kısas ve Yaşayan Bir Usta: Âşık Sefâî. Türk Kültürü ve Hacı Bektaş Velî Araştırma Dergisi, (96), 459- 490.
• Labbo, L. D., & Place, K. (2010). Fresh perspectives on new literacies and technology integration. Voices from the Middle, 17(3), 9-18.
• López, B. (2019). Electronic Waste in Contemporary Art: A Study of Daniel Canogar’s Work. Journal of Environmental Art, 5(2), 67-79.
• Lorenzo, M. (2023). The Intersection of Art and Society in the Works of Daniel Canogar. Art and Community Journal, 9(1), 15-28.
• Martínez, C. (2021). Critique of Consumption in Digital Age Art. Art and Society Journal, 6(3), 54-68.
• McCormack, J., & Wilson, E. (2024). Holon: a cybernetic interface for bio-semiotics. arXiv preprint arXiv:2404.03894.
• Navarro, G. (2019). Interactive Visual Experiences in Contemporary Art. Visual Arts Journal, 4(2), 32-45.
• Papadaki, E. (2015). Interactive Video Installations in Public Spaces: Rafael Lozano-Hemmer’s Under Scan. In Besides the Screen: Moving Images through Distribution, Promotion and Curation (pp. 197-212). London: Palgrave Macmillan UK.
• Paul, R. W., & Elder, F. (2002). Critical thinking: An introduction.
• Pérez, J. (2020). Participatory Art in the Digital Era: A Case Study of Daniel Canogar’s Works. Interactive Art Review, 2(1), 10-22.
• Ravetto-Biagioli, K. (2010). Shadowed by images: Rafael Lozano-Hemmer and the art of surveillance. Representations, 111(1), 121-143.
• Rohrbaugh, G. (2024). When Rules Become Art.
• Ruiz, I. (2017). Overcoming Life’s Obstacles: An Analysis of “Storming Times Square”. Urban Art Studies, 8(2), 77-89.
• Sadik, A. (2008). Digital storytelling: A meaningful technology-integrated approach for engaged student learning. Educational technology research and development, 56, 487-506.
• Sánchez, E. (2018). From Photography to Installations: The Evolution of Daniel Canogar. Artistic Trajectories, 11(4), 120-135.
• Seevinck, J., & Seevinck, J. (2017). Characterising Artworks for Emergence. Emergence in Interactive Art, 47-69.
• Sloan, A., & Turner, D. (2024, April). Adaptive Interactive Environments: Harnessing Audience Interaction for Immersive Multisensory Spaces. In International Moving Image Cultures Conference (IMOVICCON 2023) (pp. 4-16). Atlantis Press.
• Sutton, A. C. (2020). The composition of success: competition and the creative self in contemporary art music. Qualitative Sociology, 43(4), 489-513.
• Spicer, R., Danielescu, A., Kelliher, A., & Tinapple, D. (2011). Responsive Spaces: Motion, Activity and Interactive Art. In proceedings of the ISEA 2011 Istanbul Conference. Istanbul, Turkey.
• Stern, N. (2016). Interactive Art: Interventions in/to Process. A Companion to Digital Art, 310-329.
• SUYABATMAZ, E., & SEVER, İ. A. (2023). İç Mekanlarda Biyomorfik Yaklaşımlarla Parametrik Tasarım. Yapı Bilgi Modelleme, 5(1), 26-38.
• Torres, D. (2020). Memory and Time in Daniel Canogar’s Art. Time and Art Studies, 6(1), 45-57.
• Utterback, C. (2004). Unusual positions–embodied interaction with symbolic spaces. First person: New media as story, performance, and game, 218-226.
• Vázquez, L. (2019). The Use of LED Screens in Modern Art Installations. LED Art Review, 3(3), 60-73.
• Wilson, S. (2003). Information arts: intersections of art, science, and technology. MIT press.
• Xu, Z., & Zou, D. (2022). Big data analysis research on the deep integration of intangible cultural heritage inheritance and art design education in colleges and universities. Mobile Information Systems, 2022, 1-12.