The ostranenie phenomenon in the context of contemporary art and new media and a photography project

The art of photography has gained potential with the productions of Russian Avant-garde artists. Therefore, this potential has taken its place in the rich productions of New Media. The phenomenon of ostranenie defined in Viktor Shklovsky's article on Art as Device, which was published in 1917, gained a new form in the perspective of Alexander Rodchenko and became a turning point in the history of photography. The formalist perspective spreading from Russia to the Bauhaus and from there to the world has acquired a new environment in cyberspace with computers and the internet reaching the masses. In the digital era, which contemporary art benefits from photography with different functions, the phenomenon of ostranenie continues to awaken our perception, refresh our perspectives, and challenge normalization. In this thesis, the phenomenon of Ostranenie, the avant-garde tendencies of the Constructivist photographers, the formalist understanding of art and Lev Manovich's New Media Principles were analyzed. Thus, the current positioning of the Ostranenie case was defined. In parallel with the theoretical studies, the project titled Dispersion Cube of Fourth Dimension and its exhibition were designed.