Türkiye'de yeni medya sanatı'nda profesyonel sınırların belirlenmesi

In a world where the Post-media condition has rendered the artistic media hierarchies obsolete, New Media Art continues to exist as a professional territory with ambiguous boundaries. The term refers to a community of specialists and institutions with some common practices with, but also autonomous from the Contemporary Art territory. This dissertation defends the position that understanding New Media Art's current scope requires a close examination of the rhetorical tactics of the professionals involved in its territorial demarcation. It uses Thomas F. Gieryn's concept of "boundary-work" to explore whether the territory's cultural repertoire is diversified across subgroups, and whether it conforms to or contradicts the international cultural repertoire. The study finds that the professional ideology of the New Media Art territory in Turkey has developed in parallel with the world at large, especially starting from the mid-1990s, but not monolithically. The common ideology of the curators/producers has four defining characteristics: potential for democratization, intersections of art, science and technology, interaction/interactivity and interdisciplinary collaboration. The subjects use these concepts in two different meanings depending on their career orientations, exhibiting two main repertoire variants. The main characteristics of the artists' common ideology is similar to the curators'/producers', but thanks to the greater variety in their individual professional identities, their cultural repertoires are relatively more flexible and heterogeneous. Most importantly, the choice of the repertoire variant in both populations is positively correlated with the art funding conditions specific to Turkey.