A methodology research on the analysis of dadaist art movements in terms of entropy and causality

In Western European art, the nineteenth century is the source of major transformations and modern art movements.In fact, a large part of the crises seen in the transition from feudal to capitalist social order emerged in this century. Major breakthroughs in material production conditions, events that expanded the scope of human thought, scientific findings, philosophical teachings and definitions were reflected in the art movements of this century in various ways and therefore, as in every field, caused the "breaking of the chain of tradition" in plastic arts. Among the aesthetic attitudes developed against traditional art styles as a reaction to the academy, tendencies that are the expression of the individual's inner reality and loneliness in society have a large place. Although not a coherent art movement, such tendencies are examined within romantic movements in art history and are evaluated as a phenomenon of rebellion. Other important movements include Realism, impressionism, cubism, futurism and Dada, which is undoubtedly more than an art movement, the expression of a lifestyle or a universal anti-art phenomenon, has an important place. Dadaism is not a movement that developed as a specific art movement as in the traditions of modern art. However, the role of plastic arts is great in these movements that emphasize the uprising of the artists and intellectuals of a historical period against traditional institutions that justify war. Dadaists did not see plastic arts as an art activity in itself and evaluated these activities as a material aspect of Dada thought. For this reason, it is not possible to reach a conclusion with traditional aesthetic approaches in the analysis of Dadaist works as a form of art or anti-art. It is useful to consider these activities as a part of social and physical reality and evaluate them in terms of their natural relations with universal laws. In fact, it cannot be claimed that the analysis of art in terms of natural sciences is a new approach. Scholars who have explored the relationships between art and nature in ancient Greece up to the present day have developed theories in this field; contemporary aestheticians have made great strides in the analysis of art, especially in terms of positive sciences. In this study, after examining the series of events that constitute the social and cultural basis of Dada Thought in terms of contemporary thought movements, certain examples of Dadaist art are analyzed according to the principle of "Entropy", the second law of Thermodynamics. In this method, the elements that form the basis of the design fiction of Dadaist paintings and graphics, which are seen as a series of collages and signs, are abstracted from their philosophical content or representative features as they actually are. In the study, the principles that form the basis of the random order of these elements are revealed. After the structural structures that form the basis of the design processes and the dynamic laws that reveal the contrasts between these structures are indicated with short explanations and figures, the random orders in Dadaist art are interpreted according to the principle of entropy in certain sections of the study. According to the findings, it has been revealed that there is no distinction between geometric order and entropy order in the work of art, and that in both forms of order, the apparent difference is only a problem of method. As in universal systems, while creating a certain communication channel in the work of art, the necessity of creating regular situations with high probability from situations with low probability has been emphasized, and in the editing methods dependent on the laws of chance in Dadaist art, the regular situations created by the hidden structure elements that determine the increase in probability have been shown with various graphics. In the studies conducted in terms of information communication, the relationships between complex structure and information, entropy -information have been emphasized, and in Dadaist works of art, which are considered as a random system of signs and indicators, it has been determined that the higher the probability of a message, the less information that message carries / conveys; accordingly, in the case of absolute balance, information communication has decreased to the lowest level. On the other hand, in the analyses made in terms of the limits of deviation from the values of order in the work of art, the concepts of regularity and disorder, the effects created by dynamic and static orders, entropic structure and movement, two and three-dimensional movement, diagonal, vertical, horizontal and catabolic movement elements were emphasized and analyses were made according to these determinations. According to the results obtained from the analyses, the ideas that the visual communication structures presented in the Dada movements, which are an expression of absurdity and cause lessness are a universal language in terms of reflecting the contradictions of the age we live in and especially of its own period, gain importance. Indeed, although Dada quickly dissolved itself as an art or rebellion movement, it has always been able to enter the intellectual and artistic life of the Contemporary West through this language.