{"title":"MASS PRODUCTION OF ART: CONTEMPORARY ART FACTORIES","authors":"Erdem Oguz","doi":"10.7816/idil-11-100-08","DOIUrl":"https://doi.org/10.7816/idil-11-100-08","url":null,"abstract":"","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132926798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The negative effects of rapidly changing living standards in the world have become more visible in the last 10 years. The increase in production and consumption, depending on the main factor of the gradual increase in population, has expanded the framework of industrial areas. Increasing waste materials and depleted resources have begun to be dealt with within the waste management discipline. Sustainability is; It is interested in the characteristics of the measures that should be taken in a way that will not reduce the consumption and welfare levels of the people in the future compared to the present. These concepts, which offer positive concrete effects in the life processes of societies, act together; It has produced useful results with reuse, recycling and recovery methods. In this study, the usability of some solid waste materials in contemporary jewelry designs will be discussed in the upcycling process, which is evaluated within the scope of reuse. Since the beginning of the 1990s, pre- and post-production waste controls and recycling studies have been carried out in the jewelry sector, and sensitivity has been started to be increased. Along with the sector, the work carried out by contemporary jewelry designers at the level of global awareness is also geared towards sustainability. The designers preferred to use upcycling as a contribution to waste management -even on a small scale- in the materials, production methods and production stages to be used in their products. This attitude is related to the fact that waste materials evolve into a piece of jewelry other than their original use, and emerge directly as a design product. In addition, it has provided an effective popularity on the society in terms of environmental benefits and artistic features. Keywords: Contemporary, sustainable, waste, jewelry, design
{"title":"CONTEMPORARY JEWELRY DESIGNS WITHIN THE CONCEPT OF SUSTAINABILITY","authors":"","doi":"10.7816/idil-10-88-07","DOIUrl":"https://doi.org/10.7816/idil-10-88-07","url":null,"abstract":"The negative effects of rapidly changing living standards in the world have become more visible in the last 10 years. The increase in production and consumption, depending on the main factor of the gradual increase in population, has expanded the framework of industrial areas. Increasing waste materials and depleted resources have begun to be dealt with within the waste management discipline. Sustainability is; It is interested in the characteristics of the measures that should be taken in a way that will not reduce the consumption and welfare levels of the people in the future compared to the present. These concepts, which offer positive concrete effects in the life processes of societies, act together; It has produced useful results with reuse, recycling and recovery methods. In this study, the usability of some solid waste materials in contemporary jewelry designs will be discussed in the upcycling process, which is evaluated within the scope of reuse. Since the beginning of the 1990s, pre- and post-production waste controls and recycling studies have been carried out in the jewelry sector, and sensitivity has been started to be increased. Along with the sector, the work carried out by contemporary jewelry designers at the level of global awareness is also geared towards sustainability. The designers preferred to use upcycling as a contribution to waste management -even on a small scale- in the materials, production methods and production stages to be used in their products. This attitude is related to the fact that waste materials evolve into a piece of jewelry other than their original use, and emerge directly as a design product. In addition, it has provided an effective popularity on the society in terms of environmental benefits and artistic features. Keywords: Contemporary, sustainable, waste, jewelry, design","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125276322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this study; it is aimed to determine the perceptions and approaches of the 4th and 5th grade students regarding the COVID-19 pandemic. The phenomenology study, which is one of the qualitative research designs, was planned as the most appropriate method for the research. The study group of the research consisted of a total of 100 students studying at the 4th and 5th-grade levels in the city center of Van in the fall semester of the 2020-2021 academic year. Fifty of the students are in the fourth grade and 50 are in the fifth grade. In order to determine the reflections of the COVID-19 pandemic on children's drawings, drawings of students and their own explanations of drawings were evaluated as research data. Data were collected from the students in the study group by complying with the pandemic conditions. In this process, students were asked to make a drawing explaining their experiences during the COVID-19 pandemic. The obtained qualitative data (drawings) were analyzed by the content analysis method. As a result of the research, it has been observed that the news in the media has its counterparts in the world of children, and that this news have effects on the way the pandemic is reflected on the pictures. It was observed that there were descriptions of masks and distance in the paintings of both student groups. It has been observed that the pandemic, which children encounter in the early stages of their relationship with the environment, is transferred to the pictures as a reflection of fear, and expressed as the fear of getting sick and infecting their environment. It has been determined that children have learned the "14 rules" created in the early stages of the pandemic. Keywords: COVID-19 Pandemic, children’s drawings, schematic stage children’s drawings, dawning realism children’s drawings
{"title":"REFLECTIONS OF THE COVID-19 PANDEMIC ON CHILDREN'S DRAWINGS","authors":"","doi":"10.7816/idil-10-88-03","DOIUrl":"https://doi.org/10.7816/idil-10-88-03","url":null,"abstract":"In this study; it is aimed to determine the perceptions and approaches of the 4th and 5th grade students regarding the COVID-19 pandemic. The phenomenology study, which is one of the qualitative research designs, was planned as the most appropriate method for the research. The study group of the research consisted of a total of 100 students studying at the 4th and 5th-grade levels in the city center of Van in the fall semester of the 2020-2021 academic year. Fifty of the students are in the fourth grade and 50 are in the fifth grade. In order to determine the reflections of the COVID-19 pandemic on children's drawings, drawings of students and their own explanations of drawings were evaluated as research data. Data were collected from the students in the study group by complying with the pandemic conditions. In this process, students were asked to make a drawing explaining their experiences during the COVID-19 pandemic. The obtained qualitative data (drawings) were analyzed by the content analysis method. As a result of the research, it has been observed that the news in the media has its counterparts in the world of children, and that this news have effects on the way the pandemic is reflected on the pictures. It was observed that there were descriptions of masks and distance in the paintings of both student groups. It has been observed that the pandemic, which children encounter in the early stages of their relationship with the environment, is transferred to the pictures as a reflection of fear, and expressed as the fear of getting sick and infecting their environment. It has been determined that children have learned the \"14 rules\" created in the early stages of the pandemic. Keywords: COVID-19 Pandemic, children’s drawings, schematic stage children’s drawings, dawning realism children’s drawings","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128119905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the cave to today's residence, in addition to the need for shelter in every place, nutrition has been another important need. While the nutritional needs were met, the concept of the hearth was formed with the discovery of fire and the emergence of the act of cooking. The hearth, which continues to exist in different forms in shelters; It has also had an important place in Turkish culture over time. The cultural sustainability of the concept of the hearth, which can still exist today under different names and places, is a matter of debate. The aim of the study is to examine the spatial and structural changes of the concept of hearth and its cultural sustainability. In this context, a literature review on the use of the concept of hearth in four different periods has been made and its position in the space has been examined. In addition, online and face-to-face surveys were conducted with age groups in three different generations (X, Y and Z generations) in order to evaluate the cultural sustainability of the concept of hearth. The questionnaire form was prepared on a Likert type scale, and the data at the end of the questionnaire were analyzed using the SPSS 23.0 program. While evaluating the data, frequency, percentile distribution and arithmetic mean were used. As a result of the examinations, the change of the concept of the hearth in the Turkish shelters was tried to be revealed, and inferences were made about the cultural sustainability of the hearth. Keywords: Hearth, Housing, Cultural Sustainability, Traditional Turkish House
{"title":"CULTURAL SUSTAINABILITY OF THE HEARTH CONCEPT IN TURKISH SHELTERS","authors":"","doi":"10.7816/idil-10-88-06","DOIUrl":"https://doi.org/10.7816/idil-10-88-06","url":null,"abstract":"From the cave to today's residence, in addition to the need for shelter in every place, nutrition has been another important need. While the nutritional needs were met, the concept of the hearth was formed with the discovery of fire and the emergence of the act of cooking. The hearth, which continues to exist in different forms in shelters; It has also had an important place in Turkish culture over time. The cultural sustainability of the concept of the hearth, which can still exist today under different names and places, is a matter of debate. The aim of the study is to examine the spatial and structural changes of the concept of hearth and its cultural sustainability. In this context, a literature review on the use of the concept of hearth in four different periods has been made and its position in the space has been examined. In addition, online and face-to-face surveys were conducted with age groups in three different generations (X, Y and Z generations) in order to evaluate the cultural sustainability of the concept of hearth. The questionnaire form was prepared on a Likert type scale, and the data at the end of the questionnaire were analyzed using the SPSS 23.0 program. While evaluating the data, frequency, percentile distribution and arithmetic mean were used. As a result of the examinations, the change of the concept of the hearth in the Turkish shelters was tried to be revealed, and inferences were made about the cultural sustainability of the hearth. Keywords: Hearth, Housing, Cultural Sustainability, Traditional Turkish House","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127470955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as "time made sound" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory. Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt
{"title":"A RECOMMENDATION FOR AN APPROACH TO TEACHING THE PHENOMENONS WHICH FORM ANALYSIS OF FORM AND PERCEIVED TIME WITH GESTALT THEORY IN WORKS 6 AND 7 OF BELA BARTOK'S DUOS FOR TWO VIOLINS","authors":"","doi":"10.7816/idil-10-88-09","DOIUrl":"https://doi.org/10.7816/idil-10-88-09","url":null,"abstract":"Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as \"time made sound\" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory. Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129554954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ayse Erkmen is known for her site-specific installations and she created some of her artworks by making use of memory of the space. In these works, the artist transforms the space with its memory into an art material. By making simple but extraordinary interventions to the space, she grasps the past and memories of the space. In this way, in her works she touches the memory of the space created with a minimal reality. In her own words, the practice of the artist, standing at a point "between being an art and not being an art", brings forward the relationship between space and memory with an innovative approach. This research examines the relationship between memory and space that is especially inherent in the artist’s site-specific works. Therefore, a detailed research is carried out on the practice of the artist, who deals with this relation ship in a postmodern context. The aim of this article is to conduct a research on the relationship between space and memory in postmodern art, based on Ayse Erkmen’s site-specific works. In the research, document analysis method, which is one of the qualitative research methods, was applied. In the article, it has been concluded that the relationship between space and memory in Ayşe Erkmen's works does not contain an utopian discourse. Instead without creating a nostalgic feeling, this relationship carries a postmodern context with minor narratives. Keywords: Space Memory, Postmodern Art
{"title":"MEMORY AND SPACE IN AYSE ERKMEN'S ARTWORKS","authors":"","doi":"10.7816/idil-10-88-11","DOIUrl":"https://doi.org/10.7816/idil-10-88-11","url":null,"abstract":"Ayse Erkmen is known for her site-specific installations and she created some of her artworks by making use of memory of the space. In these works, the artist transforms the space with its memory into an art material. By making simple but extraordinary interventions to the space, she grasps the past and memories of the space. In this way, in her works she touches the memory of the space created with a minimal reality. In her own words, the practice of the artist, standing at a point \"between being an art and not being an art\", brings forward the relationship between space and memory with an innovative approach. This research examines the relationship between memory and space that is especially inherent in the artist’s site-specific works. Therefore, a detailed research is carried out on the practice of the artist, who deals with this relation ship in a postmodern context. The aim of this article is to conduct a research on the relationship between space and memory in postmodern art, based on Ayse Erkmen’s site-specific works. In the research, document analysis method, which is one of the qualitative research methods, was applied. In the article, it has been concluded that the relationship between space and memory in Ayşe Erkmen's works does not contain an utopian discourse. Instead without creating a nostalgic feeling, this relationship carries a postmodern context with minor narratives. Keywords: Space Memory, Postmodern Art","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116319208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The pandemic caused by Covid-19 virus, which emerged in Wuhan, China at the end of 2019 has caused changes in the production- consuption balances besides education, working environment and social life because of the full lockdown process. The increase in the time that is spent at home necessarily has caused people to question the concepts of damage to environment, waste, recycling and sustainability beside this, the fashion industry has been affected with its structure that encourages consuption, reflects change and temporary innovation. In this period the frequency of consumers' clothing purchases decreased, platforms selling second-handed products become more popular and fashion shows and fairs took place in digital platforms. The steps aimed at the conscious consumer for the use of organic and recyclable materials, recycling, and less water consumption, which started to be taken before the pandemic in the sector, gained speed with the introduction of digital technologies defined as industry 4.0. In the scope of the research, while the effects of the Covid-19 process on the fashion industry and design are disccused in the context of sustainability, it has been discussed what the positive and negative effects of sustainability moves which has increased its visibility. It is aimed that the study will contribute to sustainable development by drawing attention to the development of academic fashion literature and sustainable fashion as well as the other current studies in this field in the world. Keywords: sustainability, fashion and design, covid 19, digital fashion, sustainable fashion
{"title":"SUSTAINABILITY APPROACHES IN FASHION DESIGN IN THE COVID-19 PROCESS","authors":"","doi":"10.7816/idil-10-88-04","DOIUrl":"https://doi.org/10.7816/idil-10-88-04","url":null,"abstract":"The pandemic caused by Covid-19 virus, which emerged in Wuhan, China at the end of 2019 has caused changes in the production- consuption balances besides education, working environment and social life because of the full lockdown process. The increase in the time that is spent at home necessarily has caused people to question the concepts of damage to environment, waste, recycling and sustainability beside this, the fashion industry has been affected with its structure that encourages consuption, reflects change and temporary innovation. In this period the frequency of consumers' clothing purchases decreased, platforms selling second-handed products become more popular and fashion shows and fairs took place in digital platforms. The steps aimed at the conscious consumer for the use of organic and recyclable materials, recycling, and less water consumption, which started to be taken before the pandemic in the sector, gained speed with the introduction of digital technologies defined as industry 4.0. In the scope of the research, while the effects of the Covid-19 process on the fashion industry and design are disccused in the context of sustainability, it has been discussed what the positive and negative effects of sustainability moves which has increased its visibility. It is aimed that the study will contribute to sustainable development by drawing attention to the development of academic fashion literature and sustainable fashion as well as the other current studies in this field in the world. Keywords: sustainability, fashion and design, covid 19, digital fashion, sustainable fashion","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125336201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Flannery O'Connor’s (1925-1964) "The Lame Shall Enter First" (1962) deals with three characters: Sheppard, a widower, his son Norton, a ten years old boy and Rufus, a miscreant teenager, whom Norton dislikes. Rufus has a clubfoot, is very intelligent and fond of violence. Sheppard is a philanthropist and likes to help Rufus inviting him to live with them, contrary to Norton’s wishes. In fact, Rufus despises Sheppard, resists help and is aware of his own evil nature. He makes Sheppard embarrassed and causes Norton’s death deliberately, leaving both of them as victims. O’Connor in this context, de/reconstructs the prejudice against the disabled people; in the American South the disabled are regarded as evil characters. On the other hand, although it is generally accepted that the disabled people are good, she shows them as ordinary people having both good and wicked sides. Moreover, they may refuse help and prove personality despite the fact that non-disabled people are inclined or regard it duty to help them. She problematizes the disabled body as ‘the other/marginalized’ being pitiful and pitied. Thus, it becomes clear that O’Connor acknowledges the disabled people as normal as the non-disabled, or powerful, not physically but spiritually and intellectually. The tenets of ‘Disability Studies’ are insightful to discuss the work. Keywords: Flannery O'Connor, "The Lame Shall Enter First", “Disability Studies”, American South
{"title":"THE POWER OF THE DISABLED: FLANNERY O'CONNOR’S “THE LAME SHALL ENTER FIRST”","authors":"F. Gül","doi":"10.7816/idil-10-88-01","DOIUrl":"https://doi.org/10.7816/idil-10-88-01","url":null,"abstract":"Flannery O'Connor’s (1925-1964) \"The Lame Shall Enter First\" (1962) deals with three characters: Sheppard, a widower, his son Norton, a ten years old boy and Rufus, a miscreant teenager, whom Norton dislikes. Rufus has a clubfoot, is very intelligent and fond of violence. Sheppard is a philanthropist and likes to help Rufus inviting him to live with them, contrary to Norton’s wishes. In fact, Rufus despises Sheppard, resists help and is aware of his own evil nature. He makes Sheppard embarrassed and causes Norton’s death deliberately, leaving both of them as victims. O’Connor in this context, de/reconstructs the prejudice against the disabled people; in the American South the disabled are regarded as evil characters. On the other hand, although it is generally accepted that the disabled people are good, she shows them as ordinary people having both good and wicked sides. Moreover, they may refuse help and prove personality despite the fact that non-disabled people are inclined or regard it duty to help them. She problematizes the disabled body as ‘the other/marginalized’ being pitiful and pitied. Thus, it becomes clear that O’Connor acknowledges the disabled people as normal as the non-disabled, or powerful, not physically but spiritually and intellectually. The tenets of ‘Disability Studies’ are insightful to discuss the work. Keywords: Flannery O'Connor, \"The Lame Shall Enter First\", “Disability Studies”, American South","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"43 169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125944320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Enlightenment philosophy, inspired by the intellectual movements of the Renaissance and Reformation, emerging from the scholastic darkness of the Middle Ages, led to the emergence of the Industrial Revolution with its strong light; With the great acceleration given by the production, it has become the dominant ideology of science, culture and art by spreading first to Europe and then to the whole world. Modernism, which was shaped by the idea of Enlightenment, transformed into capitalism in a short time and caused the formation of a consumption culture. The enlightenment ideology brought the understanding of "objective reason" and "progressive history" to humanity, which transformed it into a consumer society shaped by capitalism instead of the "promised paradise". This is why the 'Age of Modernity' is called the age of capitalist transformation. The spread of capitalism to the whole world has been achieved through mass communication and production techniques. TVs, which are the broadcasting organs of capitalism, have become the main tool of capital transformation and have ensured the spread of consumption culture with advertising and marketing techniques. Modernism has carried the material, thinking and comprehension stages of art to a materialistic dimension within a structure that is far from emotional, formed by a technocentric and mechanical mentality. Art integrated with technology has become commodified with capitalist regulation and institutionalization; has gained a commercial dimension. Pop Art, which emerged in the 1960s, has become the symbol of commercialized art; It has emerged as an art movement that deals with the consumption society and its values. Andy Warhol, the famous representative of Pop Art, is one of the artists known to play a role in the commodification of works of art. Warhol's art has made serious contributions to the process of transforming today's art into commodity aesthetics. Meta art/aesthetics is a tradeable world of copies. This artificial world has turned into the real world in the consumer society, which can be reproduced in line with the possibilities of art production technologies; They have become objects of consumption whose uniqueness has been lost. Keywords: Art, Consumption Culture, Commercialization, Kitsch, Andy Warhol
{"title":"COMMERCIALIZATION OF ART IN THE CONTEXT OF CONSUMPTION CULTURE","authors":"","doi":"10.7816/idil-10-88-08","DOIUrl":"https://doi.org/10.7816/idil-10-88-08","url":null,"abstract":"The Enlightenment philosophy, inspired by the intellectual movements of the Renaissance and Reformation, emerging from the scholastic darkness of the Middle Ages, led to the emergence of the Industrial Revolution with its strong light; With the great acceleration given by the production, it has become the dominant ideology of science, culture and art by spreading first to Europe and then to the whole world. Modernism, which was shaped by the idea of Enlightenment, transformed into capitalism in a short time and caused the formation of a consumption culture. The enlightenment ideology brought the understanding of \"objective reason\" and \"progressive history\" to humanity, which transformed it into a consumer society shaped by capitalism instead of the \"promised paradise\". This is why the 'Age of Modernity' is called the age of capitalist transformation. The spread of capitalism to the whole world has been achieved through mass communication and production techniques. TVs, which are the broadcasting organs of capitalism, have become the main tool of capital transformation and have ensured the spread of consumption culture with advertising and marketing techniques. Modernism has carried the material, thinking and comprehension stages of art to a materialistic dimension within a structure that is far from emotional, formed by a technocentric and mechanical mentality. Art integrated with technology has become commodified with capitalist regulation and institutionalization; has gained a commercial dimension. Pop Art, which emerged in the 1960s, has become the symbol of commercialized art; It has emerged as an art movement that deals with the consumption society and its values. Andy Warhol, the famous representative of Pop Art, is one of the artists known to play a role in the commodification of works of art. Warhol's art has made serious contributions to the process of transforming today's art into commodity aesthetics. Meta art/aesthetics is a tradeable world of copies. This artificial world has turned into the real world in the consumer society, which can be reproduced in line with the possibilities of art production technologies; They have become objects of consumption whose uniqueness has been lost. Keywords: Art, Consumption Culture, Commercialization, Kitsch, Andy Warhol","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133281623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the rapid advances in visual perception and processing technologies, it has become easier to create 3D models (three dimensional visuals that have width height and depth data) of objects by processing 2D (two dimensional images that have width and height data like photography) images obtained from real life with the help of certain algorithms. These systems, which convert from two-dimensional painting to three-dimensional model format, now describe and translate most objects correctly. Like photogrametry and laser scanning, is used to quickly transfer large areas to 3D media, especially with coating materials. 3D images obtained by scanning 2D images show differences in terms of the obtained model quality and polygon density. This system, which serves to obtain very fast 3D models, is frequently used in computer games development, digital art and production / cinema studies, painting, sculpting, ceramic and photography to obtain a spesific result. In the research, image-based 3D model creation technologies were mentioned. The types of this technology and its usage purposes, methods and problems are the topics of this article Also problems faced while engaging the models accured from this methods to other platforms are included in the article. In this context, the aim of the study is to recognize the new scanning modeling processes and algorithms supported by artificial intelligence and to determine the usage areas of these modeling techniques in art. Keywords: Art, 3D Model, A.I., LIDAR, Photogrametry, Digital Art
{"title":"USES OF 3D MODELING TECHNIQUES IN THE DIGITAL ARTS","authors":"","doi":"10.7816/idil-10-88-05","DOIUrl":"https://doi.org/10.7816/idil-10-88-05","url":null,"abstract":"With the rapid advances in visual perception and processing technologies, it has become easier to create 3D models (three dimensional visuals that have width height and depth data) of objects by processing 2D (two dimensional images that have width and height data like photography) images obtained from real life with the help of certain algorithms. These systems, which convert from two-dimensional painting to three-dimensional model format, now describe and translate most objects correctly. Like photogrametry and laser scanning, is used to quickly transfer large areas to 3D media, especially with coating materials. 3D images obtained by scanning 2D images show differences in terms of the obtained model quality and polygon density. This system, which serves to obtain very fast 3D models, is frequently used in computer games development, digital art and production / cinema studies, painting, sculpting, ceramic and photography to obtain a spesific result. In the research, image-based 3D model creation technologies were mentioned. The types of this technology and its usage purposes, methods and problems are the topics of this article Also problems faced while engaging the models accured from this methods to other platforms are included in the article. In this context, the aim of the study is to recognize the new scanning modeling processes and algorithms supported by artificial intelligence and to determine the usage areas of these modeling techniques in art. Keywords: Art, 3D Model, A.I., LIDAR, Photogrametry, Digital Art","PeriodicalId":253717,"journal":{"name":"Idil Journal of Art and Language","volume":"336 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116348640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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