Değişen İmgeler ve Temsiliyet

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Değişen İmgeler ve Temsiliyet

Journal Title: AURUM Sosyal Bilimler Dergisi - Year 2016, Vol 1, Issue 2

Abstract

The world is the greatest"exhibition space"for the display of everything made by man and God. This world, which Nietzsche referred to as a "self-generating work of art", is the setting of a constantly repeating cycle of death, birth, renewal, and change. In the midst of this cycle and objective reality, human beings in different lands and cultures shape their lives through a variety of acts and activities which lead to the creation of "unique" products and artistic representations which bear their own imprint. It is possible to trace different ages’ and societies’ perceptions of reality in their artistic production. From ancient Greece until the invention of photography in the 19the century, the “representation of external reality” retained its importance and influence as one of the essential functions of art. By the 20th century however, contemporary attitude towards art took on new forms which, nourished by a variety of sources, held that “mimesis” was no longer a valid artistic endeavor. By the time Postmodernism arrived, technology had reached such a point that “reality” was transformed into an “operationality” which could be reproduced infinitely over and over again as a result of which “originals” dissolved into an infinite series of self-reflections. Individuals so thoroughly “liberated” by a technological advanced which had become such intimate parts of their everyday lives create not only their own virtual worlds but also “system” of this new order. Just as the ideology of consumption continues to hold us captive within these reflections, images now speak falsehoods to us to the very same end. This paper discusses this period in which traditional perceptions have been fractured , the progress of seeing parallels the development of digital technology, illusion has become a part of seeing, and “new media” and “digital art” are being redefined in terms not only of the media in which they are executed but also of the tools of being used and the presentation of the art object itself. Taking both the phenomenon of seeing and the operation of perception as its point of departure, this paper first defines “imagery”, “image”, and “concept” and then provides examples from this “world of images” in which everything from the products of contemporary art to advertisements are reduced to images through static and dynamic imagery. While considering the evolution of imagery together with its presentation and forms of representation in line with technology and techniques, the paper also maintains that the world of images is ultimately a product of both.

Authors and Affiliations

Cüneyt GÖK

Keywords

EP ID EP299394
DOI -
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