Research Article
Year 2022,
Issue: Dijitalleşme Özel Sayısı, 173 - 193, 01.12.2022
Abstract
Bu çalışmada dijital dönüşümün ve sosyal medyanın, sanat organizasyonları ve sanat tüketimine olan etkisi incelenmektedir. Aynı zamanda, dijital sanatın, bilhassa sanatın toplumsal ölçüde yaygınlaştırılarak herkes tarafından ulaşılabilmesine ne ölçüde katkı sağladığı tartışılmaktadır. Mevcut literatürün, yapılan çalışma ve projelerin gözden geçirilmesiyle elde edilen bulgular eleştirel bir bakışla değerlendirilmektedir. Dijitalleşme, sanat eserlerini deneyimleme ve üretme biçimimizi dönüştürmesinin yanı sıra lokasyon, zaman ve para tüketimi konusundaki sınırlılıkları azaltır. Dijital medyanın, artırılmış gerçeklik (AR – Augmented Reality) ve sanal gerçeklik (VR – Virtual Reality) teknolojisini kullanarak yakaladığı ivme, sanat eserleriyle kapsamlı bir etkileşime girmemizi sağlayarak pasif bir deneyimden aktif bir sanat deneyimine geçişi sağlar. Son olarak, sosyal medyanın kullanım alanlarının genişlemesi, sanat tüketiminde çevrimiçi bir sosyalleştirici etki yaratırken, sanat organizasyonlarının sanat tüketicisine daha düşük maliyetlerle ulaşabilmesine olanak tanır.
References
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- Charitonidou, M. (2022). Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers. Visual resources, 36(4), 382-396. https://doi.org/10.1080/01973762.2022.2041218
- Clough, G. W. (2013). Best of both worlds: Museums, libraries, and archives in a digital age (1. baskı). Smithsonian Institution.
- Cohen, N. (2011, 16 Mart). Stopping to gaze, and to zoom. The New York Times. https://www.nytimes.com/2011/03/17/arts/design/google-art-project-teams-with-worlds-top-museums.html?pagewanted=all&_r=0
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- Digital R&D Fund for the Arts. (2013, Aralık). Digital culture?: How arts and cultural organisations in england use technology research. Arts council England. https://www.cacwa.org.au/documents/item/251
- Droitcour, B. (2013, 9 Temmuz). Mind the gap. Artforum. http://artforum.com/slant/id=41815
- Drucker, P. (1969). The age of discontinuity: Guidelines to our changing society (1. baskı). Butterworth-Heinemann.
- Enhuber, M. (2015). Art, space and technology: How the digitisation and digitalisation of art space affect the consumption of art—a critical approach. Digital creativity, 26(2), 121-137. https://doi.org/10.1080/14626268.2015.1035448
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- Grundhöfer, A. ve Iwai, D. (2018). Recent advances in projection mapping algorithms, hardware and applications. Computer graphics forum, 2(37), 653-675. https://doi.org/10.1111/cgf.13387
- Hai Ja, B. (2009). Breath of Light (Işığın Nefesi) [Yağlıboya tablo]. Korean Art Museum, Güney Kore.
- ITWissen.info. (____). Video on demand. https://www.itwissen.info/Video-on-Demand-video-on-demand-VoD.html
- Kaplan, A. M. ve Haenlein, M. (2010). Users of the world, unite! The challenges and opportunities of social media. Business horizons, 53(1), 59-68. https://doi.org/10.1016/j.bushor.2009.09.003
- Kaplan, A. M. ve Haenlein, M. (2011). Two hearts in three-quarter time: How to waltz the social media/viral marketing dance. Business horizons, 54(3), 253-263. https://doi.org/10.1016/j.bushor.2011.01.006
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- Peacock, D. (2008). Making ways for change: museums, disruptive technologies and organisational change. Museum management and curatorship, 23(4), 333-351. https://doi.org/10.1080/09647770802517324
- Petrelli, D. ve Dulake, N. (2022). Exploring digital-material hybridity in the post-digital museum. I. Gwilt (Ed.), Making data materializing digital information (1. baskı) (s. 107-124). Bloomsbury visual arts.
- Prakelt, V. (2014). Die netz-neurotiker (1. baskı). Artinvestor.
- Seidler, L. (2013, 23 Ekim). Essl museum: Like it! exhibition view (Essl müzesi: Beğen! sergisi görünümü) [Fotoğraf]. Essl Museum, Vienna.
- Tan, B. K. ve Rahaman, H. (2009). Virtual heritage: Reality and criticism. Joining languages, cultures and visions - CAADFutures 2009, Proceedings of the 13th international CAAD futures conference (1. baskı) (s. 143-156). https://scholarbank.nus.edu.sg/handle/10635/45499
- Tate. (____). Insight: The digitisation of the Tate collection. https://www.tate.org.uk/about-us/projects/insight-digitisation-tate-collection
- TeamLab. (2016a). Forest of Resonating Lamps (Rezonanslı Işıklar Ormanı) [Enstalasyon]. TeamLab Borderless, Tokyo.
- TeamLab. (2016b). Story of the Forest (Ormanın Öyküsü) [Enstalasyon]. TeamLab Borderless, Tokyo.
- TeamLab. (2021). Flowers and People, Cannot be Controlled but Live Together (Çiçekler ve İnsanlar, Kontrol Edilemez ama Birlikte Yaşarlar) [Enstalasyon]. Superblue, Miami.
- Thomas, N. (2016). The return of curiosity: What museums are good for in the twenty-first century (1. baskı). Reaktion.
- Tonta, Y. (2008). Libraries and museums in the flat world: Are they becoming virtual destinations? Library collections, acquisitions, and technical services, 32(1), 1-9. https://doi.org/10.1016/j.lcats.2008.05.002
- Valera, S. C., Valdés, P. F. ve Viñas, S. M. (2021). NFT and digital art: New possibilities for the consumption, dissemination and preservation of contemporary works of art. Artnodes, 28, 1-10. https://doi.org/10.7238/artnodes.v0i28.386317
- Wilson, D. W., Lin, X., Longstreet, P. ve Sarker, S. (2011). Web 2.0: A definition, literature review, and directions for future research. AMCIS 2011 Proceedings - All Submissions 368 (1. baskı) (s. 1-10). https://aisel.aisnet.org/amcis2011_submissions/368
Year 2022,
Issue: Dijitalleşme Özel Sayısı, 173 - 193, 01.12.2022
Abstract
In this study, the effects of digital transformation and social media on art organizations and art consumption are examined. At the same time, it is discussed to what extent it contributes to the dissemination of art on a social scale and makes it accessible to everyone. Findings obtained by reviewing the current literature, studies and projects are evaluated with a critical view. Digitalization transforms the way we experience and produce works of art, as well as reducing limitations on location, time and money consumption. Enhancing digital media with augmented reality and virtual reality technology enables us to interact extensively with works of art, enabling the transition from a passive experience to an active art experience. Finally, the expansion of the usage areas of social media creates an online socializing effect in the consumption of art, while allowing art organizations to reach the art consumer at lower costs.
References
- Aksu, M. (2019). Mimarlıkta video projeksiyon haritalama kullanımı. Tasarım enformatiği, 1(2), 107-117. https://dergipark.org.tr/tr/pub/te/issue/52433/469302
- Anadol, R. (2021). Machine Memories: Space (Makine Bellekleri: Uzay) [Enstalasyon]. Pilevneli Galeri, İstanbul.
- Boorsma, M. (2006). A strategic logic for arts marketing. International journal of cultural policy, 12(1), 73-92. https://doi.org/10.1080/10286630600613333
- Bourriaud, N. (2005). İlişkisel estetik (1. baskı) (Çev. S. Özen). Bağlam.
- Business Dictionary. (____). Digitisation. http://www.businessdictionary.com/definiti on/digitization.html
- Castells, M. (1996). The rise of the network society (1. baskı). Blackwell.
- Charitonidou, M. (2022). Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers. Visual resources, 36(4), 382-396. https://doi.org/10.1080/01973762.2022.2041218
- Clough, G. W. (2013). Best of both worlds: Museums, libraries, and archives in a digital age (1. baskı). Smithsonian Institution.
- Cohen, N. (2011, 16 Mart). Stopping to gaze, and to zoom. The New York Times. https://www.nytimes.com/2011/03/17/arts/design/google-art-project-teams-with-worlds-top-museums.html?pagewanted=all&_r=0
- Collins Dictionary. (____). Digitalisation. http://www.collinsdictionary.com/dictionary/english/digitalization#digitalization_1.
- Digital R&D Fund for the Arts. (2013, Aralık). Digital culture?: How arts and cultural organisations in england use technology research. Arts council England. https://www.cacwa.org.au/documents/item/251
- Droitcour, B. (2013, 9 Temmuz). Mind the gap. Artforum. http://artforum.com/slant/id=41815
- Drucker, P. (1969). The age of discontinuity: Guidelines to our changing society (1. baskı). Butterworth-Heinemann.
- Enhuber, M. (2015). Art, space and technology: How the digitisation and digitalisation of art space affect the consumption of art—a critical approach. Digital creativity, 26(2), 121-137. https://doi.org/10.1080/14626268.2015.1035448
- Fletcher, P. ve Helmreich A. (2020). Digital humanities for a spatial, global, and social history of art. K. Brown (Ed.), The routledge companion to digital humanities and art history (1. baskı) (s. 88-109). Routledge.
- Grundhöfer, A. ve Iwai, D. (2018). Recent advances in projection mapping algorithms, hardware and applications. Computer graphics forum, 2(37), 653-675. https://doi.org/10.1111/cgf.13387
- Hai Ja, B. (2009). Breath of Light (Işığın Nefesi) [Yağlıboya tablo]. Korean Art Museum, Güney Kore.
- ITWissen.info. (____). Video on demand. https://www.itwissen.info/Video-on-Demand-video-on-demand-VoD.html
- Kaplan, A. M. ve Haenlein, M. (2010). Users of the world, unite! The challenges and opportunities of social media. Business horizons, 53(1), 59-68. https://doi.org/10.1016/j.bushor.2009.09.003
- Kaplan, A. M. ve Haenlein, M. (2011). Two hearts in three-quarter time: How to waltz the social media/viral marketing dance. Business horizons, 54(3), 253-263. https://doi.org/10.1016/j.bushor.2011.01.006
- Lachaud, I. C. ve Passebois, J. (2008). Do immersive technologies add value to the museumgoing experience? An exploratory study conducted at France’s Paléosite. International Journal of Arts Management, 11(1), 60-71.
- Lugton, M. (2011, 6 Şubat). Reflection on the art gallery of the future, and why we must digitize art. Reflections. https://reflectionsandcontemplations.wordpress.com/2011/02/06/why-art-must-be-digitized/
- Meckel, M. ve Stanoevska-Slabeva, K. (2008). Web 2.0. die nahste generation internet (1. baskı). Nomos.
- McLuhan, M. (1962). The Gutenberg galaxy: The making of typographic man (1. baskı). Routledge.
- Negroponte, N. (1995). Being digital (1.baskı). Basic.
- Oxford Dictionary. (____). Virtual. https://www.oxfordlearnersdictionaries.com/definition/english/virtual?q=Virtual
- Padilla-Melendez, A. ve del Aguila-Obra, A. R. (2013). Web and social media usage by museums: Online value creation. International journal of information management, 33(5), 892-898. https://doi.org/10.1016/j.ijinfomgt.2013.07.004
- Peacock, D. (2008). Making ways for change: museums, disruptive technologies and organisational change. Museum management and curatorship, 23(4), 333-351. https://doi.org/10.1080/09647770802517324
- Petrelli, D. ve Dulake, N. (2022). Exploring digital-material hybridity in the post-digital museum. I. Gwilt (Ed.), Making data materializing digital information (1. baskı) (s. 107-124). Bloomsbury visual arts.
- Prakelt, V. (2014). Die netz-neurotiker (1. baskı). Artinvestor.
- Seidler, L. (2013, 23 Ekim). Essl museum: Like it! exhibition view (Essl müzesi: Beğen! sergisi görünümü) [Fotoğraf]. Essl Museum, Vienna.
- Tan, B. K. ve Rahaman, H. (2009). Virtual heritage: Reality and criticism. Joining languages, cultures and visions - CAADFutures 2009, Proceedings of the 13th international CAAD futures conference (1. baskı) (s. 143-156). https://scholarbank.nus.edu.sg/handle/10635/45499
- Tate. (____). Insight: The digitisation of the Tate collection. https://www.tate.org.uk/about-us/projects/insight-digitisation-tate-collection
- TeamLab. (2016a). Forest of Resonating Lamps (Rezonanslı Işıklar Ormanı) [Enstalasyon]. TeamLab Borderless, Tokyo.
- TeamLab. (2016b). Story of the Forest (Ormanın Öyküsü) [Enstalasyon]. TeamLab Borderless, Tokyo.
- TeamLab. (2021). Flowers and People, Cannot be Controlled but Live Together (Çiçekler ve İnsanlar, Kontrol Edilemez ama Birlikte Yaşarlar) [Enstalasyon]. Superblue, Miami.
- Thomas, N. (2016). The return of curiosity: What museums are good for in the twenty-first century (1. baskı). Reaktion.
- Tonta, Y. (2008). Libraries and museums in the flat world: Are they becoming virtual destinations? Library collections, acquisitions, and technical services, 32(1), 1-9. https://doi.org/10.1016/j.lcats.2008.05.002
- Valera, S. C., Valdés, P. F. ve Viñas, S. M. (2021). NFT and digital art: New possibilities for the consumption, dissemination and preservation of contemporary works of art. Artnodes, 28, 1-10. https://doi.org/10.7238/artnodes.v0i28.386317
- Wilson, D. W., Lin, X., Longstreet, P. ve Sarker, S. (2011). Web 2.0: A definition, literature review, and directions for future research. AMCIS 2011 Proceedings - All Submissions 368 (1. baskı) (s. 1-10). https://aisel.aisnet.org/amcis2011_submissions/368
There are 40 citations in total.
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | Research Articles |
| Authors | |
| Early Pub Date | November 21, 2022 |
| Publication Date | December 1, 2022 |
| Published in Issue | Year 2022Issue: Dijitalleşme Özel Sayısı |
ARTS is licensed under CC BY-NC 4.0 
PUBLISHER | JOURNAL BOARDS | INDEXES | PRICE POLICY | STATISTICS | MIAR | SHERPA ROMEO