Moving from part to whole in painting (Example of digital painting)

In this thesis, the effects of digitalisation in art on the art of painting are examined theoretically and conceptually. The new forms of expression that emerged with the inclusion of digital technologies in art production processes are analysed within the framework of the understanding of "going from the part to the whole". Unlike the traditional line of art history, with digitalisation, art is considered as a multi-layered and reproducible structure shaped by software, data and visual codes, rather than being only a physical production object. In this context, digital art changes both the meaning and the form of presentation of aesthetic production. The theoretical framework of the thesis is addressed through basic questions such as the conceptual foundations of digital art, its relationship with traditional art and its points of divergence, and how digital tools expand the artist's possibilities of expression. In particular, the effects of 20th century modern art movements on digital aesthetics are examined together with the social and technological conditions of the period, and the process in which these effects are reproduced and interpreted with digital tools is analysed. In addition, the study discusses the place of artificial intelligence, augmented reality and software-based productions in the field of art and draws attention to the transformation of the relationship between the audience and the work. The approach of "going from the part to the whole" is discussed in order to explain the structural features of digital art, and how fragmented visual elements turn into holistic and meaningful compositions on digital platforms is analysed. In conclusion, the thesis argues that digitalisation should be considered not only as a field of technological change, but also as an indicator of intellectual, aesthetic and social transformation and emphasises the determining role of digital structure in today's art production.