Hypertext and the changing aesthetics in photographic art

This study aims to determine how hypertext, which arises computer and internet technologies that influences the 21st century, changes the art of photography in an aesthetic level. In this context, the concept of aesthetics is examined from Ancient Greek philosophy to contemporary approaches. Besides, the relationship between text and work of art is also propounded. Thoughts are made up of acquisitions that belong to external world phenomena perceived by senses, as for text is consisted of transferring the thoughts with written symbols. The existence of phenomena depends on the place of time-space axis, just as in the subject that perceives them. Technological developments in communication and transportation bring with paradigm changes in time-space axis, which affects perceived reality and text that is produced by subject. These paradigm changes are effective for work of art and photograph, which are accepted as text in the context of poststructural theory. In this sense, modernism, postmodernism, and digimodernism, time-space and reality are also studied through the subject. In modernism, photography has developed aesthetic understanding under the influence of contemporary art movementsand other arts. In postmodern photography, intertextuality shadows out aesthetic superiority. In digimodern photography, a new aesthetic undrstanding affected by hypertext is developed. Hereby, aesthetic codes, which meet the aesthetic effect of photographic comprehension on hypertext, are examined with the first examples. In the last chapter, determined studies that are intended to evaluate the concept of hypertext on changing understanding of photography are analyzed. In this respect, the following artists' works are examined within the context of deconstruction: Maisie Crow's Half Lives: The Chernobyl Workers Now via multimedia storytelling, Taryn Simon's Chapter XI via rhizome, Jokakim Cortis and Adrian Sonderegger's Making of '9/11' via counter memory, Erik Kessels' 24 Hours in Photo via fluid-bounded text, Lev Manovich's The Exceptional and the Everyday: 144 Hours in Kyiv via haphazardness, Hebe Robinson's Johan Kristian Alfred Nilsen and Hanna Sofie Petersdatter via hypertime, Aydın Büyüktaş's Sultanahmet via hyperspace, Michael Wolf's Paris-028 via virtual reality, Thomas Ruff's Jpeg ny02 via anonymization of texts, Penelope Umbrico's Sunset Portraits via anonymous, multiple and social authorship.