Yeni Medya Sanatında Devingen İmgeler: Video Alanlar

Abstract

This study carried out under the heading “Dynamic Images in the New Media Art: Video Places’’ aims to investigate the process of changes in the video art from past to present and the hybrid approaches realized in new media, and to provide insights into their focus points in contemporary art parameters. The multi-layered structure of these parameters has affected the structural changes in video art and its conceptual sub-structure. The aim of this study is to present the new perspective of the multi-disciplinary, political and subjective approaches involved within the context of art. First, the study investigates the circumstances that gave rise to the emergence of video art after photography and the structural change that came into the picture in this process realized by combining the video art with computer technology. Then it moves on to discuss how the new media technologies have reformed the conception of time, space and reality, thereby also looking into the theoretical insights, and provides new interpretations in the context of art. In the light of these interpretations, the variants of the image in the correlation with the new media defined as tool-powers place the possibilities of a great transformation within the context of art, creating creative emulsions. Hence, filtered through an interpretation with a perspective of historical and theoretical nature, the origins of the new media enriched the data of this study and paved the way for the development of new contexts within the definition of video places.

In the first section, the study handles the history of the adventure of photography as the original fundament of the new media and the moving pictures that emerged from this adventure, also addressing its structure and variants that penetrates into today’s tools. In this process, the movements with avant-garde spirit, where the greatest disintegrations came to the picture in terms of artistic contexts, are of great importance, especially in respect of providing a revolutionary transformation of notions and the subject of the art. The investigation of the process of coming into existence of electronic images from this transformation and the integration of a medium like computer into the process and its further progress is the main objective of this study. The ever-increasing penetration of this revolutionary medium into our life spaces has demonstrated the power of an intense touch of communication filtering into the channels of all the systems and accelerating the flow in economic, social, cultural, political and artistic fields. But this touch of communication triggered the formation of new concepts ranging from our life spaces to temporal interventions and artistic events. The combination of the real and virtual environment played, however, the most efficient role within the circulation of these concepts.

The second section of the study, on the other hand, builds on the combination of the reality and virtuality in a theoretical sub-structure especially based on the theories of Deleuze. This sub-structure widened the scope of the video embedded in the new media art, integrating, one into the other, the definition of ‘’crystal image’’ put forward by Deleuze and the notion of ‘’art-being’’ and has been a source of inspiration in respect of researching its contexts along this axis line. The study examines, within the notion of emerging interface comprising of object, space and time interfaces, the effects of both a physical creation and a theoretical flow on the image. Looking into a series of contexts in the works that were handled through these effects, the study demonstrated that the dynamism anchored in the structure of video provided important implications in respect of determining the flow of the images.

Ultimately, the third section of the study manifests the ground of the moving images emerging on the projective surface of the video art in all the works, as a whole, inspired from all these historical and theoretical interpretations. This ground forms the existence field of a multiple rhetoric that is exposed to a transformation in the correlation of the triangle comprising of object, space and time with the subject. The dynamism of the time that can be manipulated through a tool comes into the foreground within the whole of these works taking form in this rhetoric.