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Sağlık çalışanlarının dijital okuryazarlık düzeyinin bilgi sistemlerine yönelik davranışsal niyet üzerindeki etkisi: Düzce örneği
Dijital teknolojilerde yaşanan hızlı değişim neticesinde bilgi sistemleri, yaşamın her alanında olduğu gibi sağlık alanında da gelişmekte ve yaygın kullanılmaya devam etmektedir. Hızlı gelişim, sağlık çalışanlarının kullanmak durumunda oldukları bilgi sistemlerine farklı uyum süreci gerektirmektedir. Araştırmanın amacı sağlık bilgi sistemlerini kullanan sağlık çalışanlarının dijital okuryazarlık düzeyini belirlemek ve bilgi sistemlerine olan etkisini Birleşik Teknoloji Kabulü ve Kullanımı Teorisi (UTAUT) çerçevesinde değerlendirmektir. Araştırma verileri Düzce ilinde bulunan iki Sağlık Bakanlığı, bir Özel ve bir Üniversite Hastanesi olmak üzere toplam 4 hastanede elde edilmiştir. Araştırma bilgi sistemlerini kullanan gönüllülük esasına uygun olarak yüz yüze ve çevrimiçi olarak anketi tamamlayan 334 sağlık çalışanı ile yürütülmüştür. Veri analizlerinde merkezi eğilim ölçütleri hesaplanmıştır. Araştırmada kullanılan ölçeklerin geçerlilik ve güvenirlilikleri test edilmiştir. Gruplar arası farklılıklara ilişkin analizlerde t testi ve ANOVA testi kullanılmıştır. Araştırmanın hipotezleri Yapısal Eşitlik Modeli (YEM) ile test edilmiştir. Analizler sonucunda, dijital okuryazarlığının Birleşik Teknolojik Kabul ve Kullanım Teorisi (UTAUT) alanlarına etkisine bakıldığında dijital okuryazarlığın; performans beklentisi, çaba beklentisi, sosyal etki, teknoloji kullanımına karşı tutum üzerinde pozitif anlamlı etkisinin olduğu belirlenmiştir. Ancak dijital okuryazarlığın doğrudan kullanım niyetine olan etkisi olmamakla birlikte, teknoloji kullanımına karşı tutum aracılığı ile etkilenmektedir. Araştırma modeli kapsamında davranışsal niyeti teknoloji kullanımına karşı tutum pozitif ve anlamlı olarak etkilemiştir. Ancak diğer değişkenlerden olan performans beklentisi, çaba beklentisi ve sosyal etki davranışsal niyet üzerinde herhangi bir anlamlı etkisi olmamıştır (p<0,05).
Sağlık çalışanlarında dönüşümcü liderlik, psikolojik sermaye ve iş yerindeki iyilik halinin görev perfomansı üzerindeki etkisi
Sağlık kuruluşlarının başarısı için en önemli faktör, sahip olduğu insan kaynağıdır. Sağlık kuruluşlarının insan kaynağını verimli ve etkili bir şekilde kullanabilmesi, iş yerinde beklenilen performans kriterlerine ve hedeflere ulaşabilmeyi kolaylaştırmaktadır. Sağlık kurumlarında görev performansının artması ise hızlı değişim ortamında yenilikleri yönetebilen çalışanlarla bire bir ilgilenen, yeni ve modern yönetim anlayışını merkeze alan yöneticilere bağlıdır. Ayrıca sağlık hizmetleri yoğun stres altında çalışılan, iş yükünün ağır olduğu ve çalışma saatlerinin uzayabildiği riskli çalışma ortamlarıdır. Psikososyal risklerin bulunduğu bir ortamda çalışan sağlık çalışanlarının başarısı için iş yerinde kendilerini iyi hissedebilmeleri gerekmekte ve buna özen gösterilmesi gerekmektedir. Bu araştırmanın amacı; sağlık çalışanlarında dönüşümcü liderliğin, psikolojik sermayenin, iş yerinde iyilik halinin görev performansı üzerindeki etkisini belirleyebilmektir. Araştırma, Türkiye'de Gaziantep ilinde 5 farklı hastanede görev yapan sağlık çalışanları üzerinde gerçekleştirilmiştir. Veriler 622 sağlık çalışanından gönüllülük esasına uygun olarak anket aracılığıyla toplanmıştır. Verilerin analizinde tanımlayıcı istatistikler, ölçüm modeli analizi, path (yol) analizi ve aracılık analizleri kullanılmıştır. Analizler SPSS 26 ve SmartPLS 4.0 programları yardımıyla yapılmıştır. Araştırma sonuçlarına göre sağlık kurumlarında dönüşümcü liderlik yönetim stilinin bulunması çalışanlarda psikolojik sermaye ve iş yerinde iyilik halinin yükselmesine neden olduğu ve böylelikle de görev performansında artışın sağlandığı yönde oluşudur.
II. Dünya Savaşı ve şiddetinin resim ve tiyatroya etkileri (1939-1960)
Bu çalışma, Şiddetin ve özelikle II. Dünya Savaşı şiddetinin etkilerinin 1939-1960 yılları arasındaki Resim ve Tiyatro sanatlarına yansımasını inceleyecektir. Söz konusu dönemde şiddete maruz kalan ve/veya uygulayanların Resim ve Tiyatro Sanatlarına nasıl konu edinildiği, sanatçıların bu dönemden nasıl etkilendiklerini eserleri üzerinden karşılaştırmalı araştırmayı hedeflemektedir. Resim ve Tiyatro'da eserler üzerinden literatür araştırması, yazılı ve görsel kaynak araştırması yapılarak şiddet kuramının görsel kaynaklara uygulanışı incelenecektir.
Aesthetic of ugliness in the art of painting between 17th century and early 20th century
Hereby this thesis titled "Aesthetic of Ugliness in the Art of Painting Between 17th Century and Early 20th Century" investigates the paintings that contain ugliness in them. The main focus is to show and discuss paintings that include ugly content or figures to reveal the fact that in the History of Fine Arts, since the 17th century, ugliness is used as a conceptual and aesthetic parameter. In this context, to understand and to define ugliness; beauty is explained first in chapter II and III, both in philosophy and in art. In chapter IV, ugliness is described and exemplified in accordance to the art periods. In chapter V, the explanations of the selected examples of paintings that mention ugly in them from 17th century starting with Baroque and until the early 20th century ending with New Objectivity is explained. As a result, the aim is to show the importance of ugliness in the art of painting.
The effects of istanbul modern on the Art Museum industry in Turkey
The art industry of Turkey started centuries ago and has developed considerably, especially in the last century. One of the most important factors of this development has been the art museums in the country. The public's interest in art through art museums has increased, thus the art industry in the country has progressed. Specifically for Turkey's art industry, the 21st century has seen the establishment of important art museums one by one, one of them being Istanbul Modern. Bringing the modern museum concept to our country for the first time, Istanbul Modern has immensely influenced the industry with all the services it offers, especially the art museums that came and will come after it. Therefore, this dissertation aims to convey the effects of Istanbul Modern on the art museum industry in Turkey. By considering this aim, the research focuses the questions what makes a modern and contemporary art museum, how did the art industry in Turkey originate and develop through centuries, and how was Istanbul Modern founded and reached its present importance.
New media art's transitions from festivals to museums transitions from temporary exhibition models to museum shows and collections
In this thesis, the effects of technological innovations that emerged with the possibilities of new media on artists, institutions and art in general are examined. The works of the artists who use technology and make experiments by collaborating with engineers were mentioned, and various events such as festivals and symposiums that paved the way for these experimental studies are mentioned. It is thought that the relationship of new media art with festivals and art institutions will give a general idea about how new media art has been taking its place in mainstream art. With the reshaping of societies by new media, institutions have also begun to change. These changes in the art environment have also led art museums to an inevitable change. In this context, new museology is a concept that needs to be mentioned. Today, with the emergence of important art investment platforms such as NFT, a new channel is formed for artists in the digital field in terms of exhibition, auction and sale of works. In this context, collection and copyright issues were also investigated in the thesis.
The first generation ottoman soldier painters and their impact on the local history of art
The beginning of Turkish figurative art has their origins in the 19th century. The first figurative artists came from the military of the Ottoman Empire. The causes of inevitable modernization process of Ottoman Empire resulted in modernization of Ottoman Army at the first stance. New schools established which were taken as examples from Western Military Schools and painting classes were added to their curriculum as a requirement of western perspective. The painting classes were planned in a narrow perspective for military officers in order to help their perspective on the battlefield i.e. drawing and reading map. Need for art (painting) teachers increased rapidly after the establishment of new schools. In the beginning, those needs were addressed by non-Muslim painting teachers. Yet, talented military officers were sent to Europe in order to satisfy those needs. As a result, military officers returned to the Empire as painters and started the figurative art in the Ottoman Empire. Framework of this thesis is limited with contribution of soldier painters in the beginning of Turkish figurative art. Soldier painters such as Seker Ahmed Pasha, Halil Pasha, Bahriyeli Ġsmail Hakkı have many contributions to Turkish figurative art such as production of first Turkish paintings and exhibitions in Beyoğlu – Istanbul. To put it in another way, they were pioneers of Turkish figurative art and they also rejuvenated the sense of art of citizens of Istanbul. In this thesis, painter soldiers will be examined in detail. Moreover, these questions will try to be answered: what are the reasons why soldier painters were sent to iii Europe? Who were them? Why did they go to Europe? How long did they stay in Europe? When did they return to the Ottoman Empire? What did they do in the Ottoman Empire after they returned? What were their effects on the sense of art in Istanbul? Key Words: soldier painters, first figurative arts in Ottoman Empire, Ottoman painters
COVID-19 pandemisinin sağlık kurumlarında çalışan idari personel üzerindeki etkisinin yönetim sürecine yansımaları
Covid-19 pandemisi bugüne kadar 6 milyondan fazla insanı etkisi altına almıştır. Pandemi hem uluslararası alanda hem ülkemizde birçok değişime yol açmıştır. Sağlık yönetimi açısından da pandemi ile mücadelede birtakım tedbir ve önlemler alınmak zorunda kalınmıştır. Bu çalışma ile sağlık yöneticilerinin süreç boyunca sahip oldukları görüşler ele alınarak sürece yönelik tespit ve değerlendirmeler yapılarak önerilerde bulunulmuştur. Araştırma evreni Erzincan ilinde bulunan Mengücek Gazi Eğitim ve Araştırma Hastanesi ve Özel Neon Hastanesinde görev yapmakta olan idari personelle sınırlı olup, örnekleme 18 kişi dahil edilmiştir. Araştırmada nitel araştırma deseni kullanılmıştır. Araştırma yöntemi olarak görüşme yöntemi; veri toplamak amacıyla da hazırlanmış olan yarı yapılandırılmış görüşme formu kullanılmıştır. Elde edilen veriler betimsel ve içerik analiz yöntemiyle açıklanmıştır. Çalışma sonucunda elde edilen bulgulardan yola çıkarak tartışma yapılarak öneriler sunulmuştur.
An alternative model proposal of an association for private cultural institutions in Istanbul
The subject of this research is to determine the problems of the private cultural institutions in Istanbul and to model an alternative association for these institutions. Especially the lack of well-established cultural policies, scarcity of public funding, the limited number of civil societies and their limited influence on policy making, the deficiencies in the legal areas and the lack of communication between the private cultural institutions and the local authorities and government are some of the major problems. These issues are resulted as relatively low number of private institutions on cultural field in Istanbul and the low level of demand for their activities when comparing to other metropoles. That indicates a need for a research to enhance the current situation. The examples of associations which are seen abroad led to a decision to propose a similar model that can work for Istanbul. The scope of the research was limited by the private cultural institutions which differ from the public alternatives in managerial and financial aspects. As Istanbul has the leading role in cultural life and contains the vast majority of the cultural institutions in Turkey, the study of an association will be modelled for Istanbul. The study will begin with analyzing the neo-liberal cultural policies that pave the way for development of the private cultural institutions in the world and in Istanbul. The evolution of these institutions and the cultural life in Istanbul will be explored as a whole. The current situation of the cultural environment, the problems and needs will be determined and the laws and regulations concerning cultural policies will be discussed accordingly. Some successful examples of associations from other fields and in the cultural field will be examined to serve as a model. Meetings with an expert focus group have been arranged to get their opinion of a potential association and interviews made with the presidents of current associations. And in the view of such information, the most effective potential model will be presented with its future benefits to the institutions and cultural life.
Kültür politikaları çerçevesinde fikri mülkiyet politikaları
Kültür politikaları; ülkelerin kültür ile ilgili devlet kuruluşlarının, yerel yönetimleri ve sivil toplum örgütleri gibi kuruluşların bu alanda izledikleri politikalardır. Fikri mülkiyet kavramı, kültür politikalarının önemli bir parçasıdır. Türkiye'de fikri mülkiyet uygulamaları cumhuriyet öncesine dayanmaktadır. Bu kavram gelişen teknolojinin geitirdiği mecburiyetler, küreselleşme ve Avrupa Birliği uyum süreci çerçevesinde daha da önemli bir yere sahip olmuştur. Türkiye, fikri mülkiyeti de kapsayan kültür politikaları taslakları için çalışmalarını sürdürmekte, Avrupa Birliği üye ülkeleri ise Türkiye'den de yayınlanması beklenen taslak çalışmalarını tamamlamış ve güncellemektedir.Bu çalışmada, geçmişten günümüze Türkiye'nin kültür politikaları ve fikri mülkiyet alanındaki tasarrufları, bu konulardaki yaklaşım ve tedbirleri, kalkınma planları ve özel ihtisas raporlarından derlenerek hazırlanacak, kültür politikaları ve fikri mülkiyet kavramlarının gelişimleri, kurumsal yapı ve işleyişleri analiz edilecektir.Bu tez, birden çok ulusun, politik araştırmalarına odaklanan, bir dizi temel kaynak, kanunlar, kanun hükmünde kararnameler, bakanlık yayınları gibi parlamento kararlarından yararlanacaktır.Anahtar Kelimeler: Kültür Politikaları, Fikri Mülkiyet, Avrupa Birliği
Curatorial practice as a new field of creativity in visual art since 1960
This study aims to introduce the history of curatorship which became an important profession specifically since the 1960s in the visual art scene; the development and the change within the job description; the initiative events; and to argue the current position of the curators. The research that starts with the first mention of the curatorship in the history, manifests the significant events which enables the profession more visible between the 18th century and 1960 and the effects of these events towards the curatorial practices. Because of the fact that the movements occurred due to the influence of artistic, social and political events through the end of the 1960s, and members of the art scene?s questioning of the institutions like museums and galleries, new and alternative search began; thus, a shift in the notion of curatorship has been seen. It can be observed that curatorship had a transformation in a creative way owing to the significant exhibitions held in the visual art scene in 1960s. Besides, the changes caused by the differentiation of the institutional and independent curators are investigated; varied descriptions of the profession are introduced; the current positions of the both parts with the help of the exhibitions they held and the utterance of variety of the titles are discussed. Lastly, associations, publications, biennials, prizes and curatorial studies that supported the profession to reach to the current position are referred.
Neon in contemporary Turkish art
Our study titled "Neon in Contemporary Turkish Art "examines the relationship between neon and arts, which are previously analyzed separately but not as a whole. It is investigated how neon is used in different art disciplines. While analyzing the relationship between arts and neon, we have adopted a limited period in order to serve the purpose of the study and analyzed the Contemporary Turkish art period and 18 artists who started to produce art works in this period together with their understandings. Key Words: Neon, Period, Art
İstanbul kafelerinden örnekler üzerine bir çalışma
Dünyadaki en popüler içecek olan kahvenin ana memleketi Yemen, Moka dolaylarıdır. Dünyaya yayılması ise 15. ve 16. yüzyıllardadır. Uzun süre Araplar tarafından içilen bu içecek İstanbul'a Kanuni Sultan Süleyman döneminde getirilmiştir. İstanbul'da ilk kahvehane biri Şam'lı diğeri Halep'li iki kişi tarafından 1554 yılında açılmıştır. 17. yüzyılda kahve içiminin yasaklanmışına rağmen halk toplumsal bir mekan haline gelen kahvehanelere gitmeye devam etmiştir.Başlangıçta kahvehaneler bir tüketim mekanıyken yavaş yavaş sohbet, eğlenme, dinlenme, gazetelere bakılarak siyasi tartışmaların yapıldığı mekanlar haline dönüşmüştür. 19.yüzyılın başında kahvehanelerde kahve dışında başka içecek ve yiyecekler de ikram edilmeye başlanmıştır. İstanbul'daki kafeler isimli bu çalışmada; tarihte bu içeceğin ne denli önemli olduğu ve 16. yüzyıldan günümüze değin sosyal hayattaki etkileri incelenmiştir. İstanbul'da farklı çeşitlerde pek çok kafe bulunmaktadır. Bu çalışmada zincir kafeler ve büyük oteller içindeki kafeler olmak üzere iki tür kafe ele alınmış ve aralarındaki özellikler karşılaştırılarak kafe tasarımlan ile ilgili bazı sonuçlar çıkartılmıştır. Çalışma kapsamında Hyatt Regency- Saray, Çırağan Kempinski- Gazebo büyük oteller içindeki kafelere; Linzer, Kalamış Marina Divan ve Paul ise zincir kafelere örnek olarak incelenmiştir. Bu çalışmada giriş bölümünden sonra ikinci bölümde kahve tarihi ve kafe tarihçesi, üçüncü bölümde ise kafe tasarım prensipleri ile ilgili bilgiler derlenerek verilmiştir. Dördüncü bölümden başlayarak her bölümde söz konusu kafeler beş ana başlıkta incelenmiştir. Önce kafenin konumu ve kullanım amaçları irdelenmiş sonra mekandaki zemin duvar va tavan özellikleri, teknik donanım, mobilya grupları ve tasarımda kullanılan renkler üzerine saptamalar yapılmıştır. Bu başlıklar altında incelenen kafelerin plan ve kesiteri de çizilerek aralarındaki benzerlikler ve farklılıklar araştırılmıştır. Dokuzuncu bölümde eldeki verilerin genel bir değerlendirilmesi yapılmış, onuncu bölümde popüler bir kafenin sahip olması gereken özellikler belirtilerek çalışmada varılan sonuçlar açıklanmıştır. xıv
Tasarımda stereotipi
Gündelik yaşamımızda, hayatımızı kolaylaştırmak, farklı gereksinmelere cevap vermek üzere yararlandığımız çeşitli nesne ve hizmetlerin anlaşılır, kolay kullanılır olması gerekmektedir. Kullanıcının, bu ürünleri tercih etmesi, kolayca anlaması ve beklentilere paralel davranışları ortaya koyması tasarımların stereotipiler çerçevesinde oluşturulması ile mümkündür. Stereotipiler, bir hareketin düşünmeye gerek kalmaksızın kolaylıkla oluşmasını sağlarlar. Belirli tasarım alanlarındaki güçlük ve olumsuzlukların giderilmesinde ve yanılgıların önlenmesinde önemli avantajlar getirirler. Bu tez çalışmasının amacı stereotipi ve tasarım kelimelerinin önderlik ettiği saptamalar doğrultusunda çeşitli bakış açılarına ulaşmak, örnekleri incelemek ve sonuca ulaşmaktır. Konu, beş ana başlıkta ele alınmaktadır. İkinci bölümde tasarım kelimesi ve kavramı açıklanmaya çalışılmıştır. Üçüncü bölümde stereotipi kavramı, çeşitli kıyaslamalar yardımıyla incelenmiş, stereotipilerin temelinde yatan sebepler ve stereotipilerin hedefleri ortaya konmuştur. Dördüncü bölümde tasarım ve stereotipi kelimelerinden yola çıkılarak oluşturulan bakış açılan açıklanmıştır. Beşinci bölümde bu bakış açılan doğrultusunda kontrol, gösterge ve kullanım nesneleri örnekleri incelenmiştir. Altıncı bölümde görsel tasarımda stereotipilere değinilmiş ve daha sonra sonuca ulaşılmıştır. vn
İngiliz ve Amerikan pop art'larının karşılaştırılması ile Türkiye'de pop art yansımaları
ÖZET 1950'lerin ortasında İngiltere ve Amerika'da eş zamanlı olarak ortaya çıkan Pop Art, modern sanat akımlarının gelişmesinde önemli bir rol oynar. Pop Art'ı oluşturan sanatsal etmenlere bakıldığında temellerinde başka birçok sanat akımında olduğu gibi Dada ve Sürrealizm' in etkileri görülür. Bu akımlar ana hatlarıyla ele alınmış ve konuya olan etkileri incelenmiştir. İngiltere'de Richard Hamilton, Eduardo Paolozzi, Peter Blake, Richard Smith, David Hockney, Peter Philips, R.B.Kitaj, Allen Jones, Amerika'da Andy Warhol, Roy Lichtenstein, James Rosenquist, Claes Oldenburg, Tom Wesselmann gibi sanatçılar, gelişen teknoloji dünyasının, popüler kültürün gündelik tüketim imgelerinden etkilenir ve konularında kullanırlar. Türkiye'de ise Cumhuriyet' in ilanıyla başlayan bireysel girişimler, 1960-70 yılları arası Batılı ülkelerle ekonomik alanda başlatılan gelişmelerle hız kazanır. Tarihe Pop yıllar olarak geçen bu devre dünyada sanat anlayışının değişimine sebep olurken, günümüzde de pek çok Türk sanatçısının yapıtlarına esin kaynağı olur. VI
Alışveriş mekanlarında kullanılan levha haldeki duvar kaplama malzemeleri, uygulama yöntemleri ve mekandaki görsel etkileri
Ticari bir eylem olarak kabul edilen alışveriş kavramı, insanlık tarihinde çok eski çağlara kadar dayanır. Günümüzde, alışveriş sadece ticari bir eylem değil, aynı zamanda günlük yaşamda önemli yer tutan sosyal bir etkinliklerden biri haline gelmiştir. Alışveriş mekanlarının insan hayatındaki önemi, daha fazla ihtiyaca yanıt verebilmeleri için, rekabetin de verdiği ivmeyle, sürekli yeni arayışları gündeme getirir. Görsel etki de öteden beri bunlardan biri olagelmiştir. Duvarlar, mekanda istenilen etkiyi yaratmak için kullanılan en geniş yüzeylerdendir. Bölücü eleman, sergileme yüzeyi vb. gibi karşıladığı fonksiyonların ötesinde, duvarların görsel etkisinin de mekana katkısı yadsınamaz. Duvar yüzeyinde kullanılacak malzeme mekanda yaratılmak istenen etkiyi doğrudan şekillendirir. Ancak tasarımda malzeme tercihi yapılırken görsel etkisi kadar, özellikleri ve uygulama yöntemleri de göz önünde bulundurulmalıdır. Bu çalışmada; alışveriş mekanlarında duvar kaplaması olarak kullanılan ana malzemelerden levha türleri araştırılmıştır. Uygulama yöntemleri ve örnekler incelenerek, mekanda yarattığı görsel etkiler üzerinde durulmuştur. Anahtar Sözcükler: Alışveriş Mekanları, Görsel Etki, Malzeme, Duvar Yüzeyleri, Levha Kaplamalar.
Resim sanatında biçim bozma ve doğaya yeniden biçim verme
Resim sanatının temelini, biçim, renk, çizgi ile tasan esası oluşturur. Resim sanatında doğal gerçekliği plastik anlatımla birleştirme çabası, resmin gerekleri doğrultusunda gerçekliğin araç haline getirilmesi daima ortak kaygı olmuştur. Dış dünya biçimlerinden uzaklaşma amacının, bu çalışma kapsamında ele alman her dönemde geçerli olduğu izlenmektedir. Bizans sanatından modernizme dek, biçim bozma anlayışı bilinçli bir tutumu sergilemektedir. Yeniçağı (Rönesansı) başlatan Floransalı sanatçı Giotto 'dan, Leonardo' ya, Neoklasik sanatçı Ingres 'a uzanan çizgide resimde, konu, gerçeklik sanatçılar için daima bir bahane olmuştur. Resimde, geometri esası ve ideal forma ulaşma bağlanımda, doğa biçimleri deforme edilerek yeniden oluşturulur. Bu anlamda, naturalist anlayışın doruk noktası olan Rönesans sanatı da doğa biçimlerinin birebir tekrarının oluşturulması amacından uzaktır. Klasik sanatçıların, gerçekliği verme ötesinde, plastik anlamda arayışları ve doğa biçimlerini resmin gerekleri doğrultusunda değiştirme eğilimleri bunu gösterir. Resmin geleneksel kurallarının dışma çıkarak, geçmiş dönem örneklerinin saf, yalm anlatmama ulaşma çabası, sanatçıların daima hedefi olmuştur. Sözgelimi Ingres, Yunan vazo resimlerinden etkilenir. Matisse, Giotto 'nun yalm anlatımından etkilenir ve eserlerinde geçmiş dönem örneklerine özgü kendiliğindenliği yakalamaya çalışırlar. Dönemler arasında paralellik kurulduğunda, doğayı birebir yansıtmaktan uzaklaşma anlayışının modernizimle başlayan bir olgu olmadığı görülür. Doğaya yeniden biçim verme anlayışının tüm dönemlerde varolduğu izlenmektedir. VI
Bir kültür kurumu olarak sinematekler
Günümüzde kar amacı gütmeyen sinematekler, ülkelerin kültürel ve sanatsal hayatında giderek artan bir öneme sahiptirler. Bir Sinematek başta film malzemesi olmak üzere görsel-işitsel mirası korumayı, saklamayı, bugün ve gelecekte erişime açmayı ve diğer faaliyetlerle film kültürünü geliştirmeyi amaçlar. Bu tez çalışması, öncelikle sinematek kurumunun ortaya çıkışını ve gelişimini, sinemateklerin yapısını, amacını ve çalışma alanlarını içermektedir. Bu çerçevede, dünyanın önemli sinemateklerinden British Film Institute (İngiltere), ScreenSound Australia (Avustralya) ve Pacific Cinematheque (Kanada), örnek alınarak yapıları, faaliyetleri, mal, durumları incelenmiştir. Türkiye'de sinemanın gelişimi ve sinematek çalışmaları da ele alınarak bir karşılaştırma olanağı sunulmuştur. Başlangıçta yalnızca arşiv ve gösteri amaçlı ortaya çıkan sinematekler, geçirdiği süreç sonunda modern anlamda gösteri, eğitim, araştırma ve yayın faaliyetlerini de içermektedir. Sinematekler artık, filmin yanında video ve televizyonu da kapsayan daha geniş bir medya üzerinde çalışmaktadır. Türkiye'de bireysel girişimlerle yürütülen sinematek kurma ve sürdürme çabaları sürekli kesintiye uğramıştır. Gelişmiş ülkelerdeki sinemateklere eş düzeyde sinematek ya da sinemateklere ihtiyaç vardır. Bu çeşit bir yapılanma, film kültürünü, bilimsel çalışmaları ve sinema sektörünü canlandırmada anahtar bir rol oynayacaktır.
İstanbul Arkeoloji Müzesi'nin ilk ve bugünkü müze politikaları
Founded in efforts of Westernization, in the most difficult times of the Empire politically and economically, Istanbul Archaeological Museum (IAM) was the first museum of the Ottoman Empire. As an imperial museum, IAM had different connotations for the West and the public, implying sovereignty of the state over the historical artifacts in its territory as well as underscoring `being modern? through the collections. As the state?s policy, regarding economic and political issues, both domestic and international changed, so did the collection and regulations of the museum. With the ending era of Osman Hamdi Bey, the museum had taken its current form in respect of museum premises and strict regulations on historical artifacts which were going to be in practice for long time even after the end of the Empire, had been enacted. Therefore, the process between the establishment of IAM in a time when there was not even a well constituted policy on cultural issues and the ending of the era of Osman Hamdi Bey is aimed to be studied with references to the State?s practices in respect of historical artifacts and implementations on IAM, whereby the museum policies of the time are aimed to be propounded.After the millennium, modern Turkey, in efforts of harmonization process to the EU, has faced certain changes in the perception of the role of the state in culture area, which has been under the strict authority of the state. According to this, Turkey has adopted an approach, which suggests that the state should assume a regulative, not determinative, role in respect of culture policies. Upon the accession to power of AKP (Justice and Development Party), several amendments to the legal framework were introduced as well as the enactment of several new regulations. IAM has been experiencing some changes accordingly in administrative issues and a new approach to the museum?s policy has been adopted. In this context, initial and current role of the museum for the state and people aimed to be studied.
From Grand Tour to art biennials: Venice and Istanbul
This thesis attempts to analyse the advancements in art which paved the way to the large scale exhibition model in contemporary society which is referred to as the ?Biennial?. In the first element of the research, particular attention is paid to the origins of large scale international art exhibitions and biennials. The history of the Grand Tour, Universal Expositions and the Venice Biennale are therefore areas of particular interest since they are the catalysts of large scale international art exhibitions. It becomes evident that a need existed for an examination into the origins of a biennial and the various motivations for initiating and continuing a biennial. In order to understand what created the need for a contemporary art biennial in Turkey, the second element of the research focuses upon the local art scene until the 1980?s and various large scale exhibitions in Turkey after the 1980?s which provided a foundation for important shifts within the art and culture scene. The International Istanbul Biennial is the third element of the research which focuses upon the organizational structure, exhibition model and effects of the biennial. The research also highlights how Istanbul became universally acknowledged as a creative city via the International Istanbul Biennial which took the limelight through taking advantage of the rich historical heritage of the city. The method used in this work is widely based on desk research. The majority of the materials are mostly provided by the Knowledge Centre of Yeditepe University and various libraries in other educational institutes. Also academic trips to Venice and Norway provided first hand experience for the research in question.Keywords: Venice Biennale, Grand Tour, Universal Expositions, International Istanbul Biennial, Large Scale Exhibitions in Turkey
Contemporary art and entertainment industry
It has been thought that contemporary art was linked to having a good time and entertainment sector in west more than ever, from 80s, with the privatization of culture. Even though the combination of entertainment industry and contemporary art has been faced heavy criticisms, it is known that a part of people support the need of more fun in museums and galleries in order to address wider communities. Concordantly, cooperation and intimacy between contemporary art and entertainment industry amoung the world and in our country from 2000s, will be studied (by scanning the newspaper, magazines, internet news and literature), and examined in this work. In the first part of the study, historical, political and cultural analysis of the platforms that take part together with contemporary art and entertainment industry will be seen. In second and third parts, the common work of entertainment industry and contemporary art‟s comprehensive deep analysis will be formed
The art market and cultural capital in the era of globalization (based on data from Russia, Ukraine, Belarus, Kazakhstan and Uzbekistan)
This work considers the problems of the creation of the contemporary art market in Russia, Ukraine, Belarus, Kazakhstan and Uzbekistan. It studies the state of museums, galleries and exhibitions of contemporary art and reviews the results of contemporary art sales in world famous auction houses such as Christie's and Sotheby's. Attention is also given to various trends in the development of the art market, from the Duchamp-style approach of "if you think it's art, then it's art" to the problem of "the popular market". My thesis applied Pierre Bourdieu's concept of cultural and symbolic capital to the post-Soviet area for the first time. The market of "symbolic goods" is beginning to play an increasing role in the era of globalization, which can be seen clearly, for example, even in the fashion world. The huge variations between prices on the global art market and the local art markets in the areas studied prompt the question – what's the secret? Keys to understanding the riddle were ideas of cultural and symbolic capital. I set out my understanding of the substance and main ideas of these researchers.
Reasons of holdings support of contemporary art in the context of globalization in regards to review in Turkey
In the era of neoliberal politics and globalisation after 1989, the intertwinement of art and culture with media and advertising is becoming more apparent. In the art market with an approximate size of 300-350 million USD in Turkey, contemporary art continues to increase its share.The purpose of this thesis is to examine the effects of globalisation on Turkey, the motives of large organizations to support contemporary art with examples from our country.In the thesis, the history of sponsorship both in Turkey and in the world is mentioned and motivations behind the support of contemporary art is laid out. Brand organization and image concerns became the priority for corporations as manufacturing was outsourced to the developing countries. It is observable that in a rapidly changing modern world, corporations seek to project an image of innovation, change and creativity to the consumer. Contemporary art is a feasible platform to create such lasting images. That is why contemporary art is used to create a positive corporate image, to increase brand awareness and to increase sales by achieving the goodwill of the public via social responsibility. While realizing these objectives, corporations took advantage from tax incentives, made good impressions on their employees, and benefited from the financial revenue of art related activities. While not expressed directly, art is also used as a tool to obtain higher social status. The fact that the market for fields like impressionist art is narrow increases the need for living artists; this results in a rise of sponsorship in this area.For the research, texts were read, interviews were conducted with the primary holdings and corporations in Turkey which engage in contemporary art sponsorship, and answers to the questionnaires sent to the PR departments of these corporations were analysed. Keywords: Contemporary art, globalisation, sponsorship, corporate image, social status
Hans Ulrich Obrist's curatorial practices at Serpentine Gallery between 2008-2020
This thesis titled "Hans Ulrich Obrist's Curatorial Practices at Serpentine Gallery Between 2008-2020" is mainly focused on understanding the curatorial practise through examination of a selection of exhibitions by Obrist during and before his Serpentine Gallery era. The starting point of the thesis is to contribute to the literature and to increase the focus on curator and curatorial practices such as theses focusing on artists' works. In this context, the first chapter explores the journey of curating in regards to its roots in history, e.g. various areas of work before contemporary art, while illuminating how it evolved to the present day. In the second chapter, Hans Ulrich Obrist's biography and works as a freelance curator are thoroughly described and his participation in the Serpentine Gallery is explained. In the third and last chapter, a selection review consisting of exhibitions by Obris at the Serpentine Gallery was presented, and Hans Ulrich Obrist's working principles as a curator are revealed in line with these exhibition analysis.
"Bad" Painting in contemporary art
Hereby this thesis titled "Bad" Painting in Contemporary Art explores the progress of the term "Bad" Painting from the late 1970s until today. The main focus of this thesis is the recent meaning of "Bad" Painting and its discourse that is started by curator Marcia Tucker in 1978. In other words, "Bad" Painting is a term and a curatorial discourse rather than an art movement. In this context, in chapter II, the term "Bad" Painting is analyzed in formal and conceptual sense and how the term was evolved in time is examined. In chapter III, the term was exemplified with the exhibitions that specifically include the term "Bad" Painting in their titles. In chapter IV, the continuity of the term "Bad" Painting in contemporary art was examined through contemporary artists and related exhibitions. As a result, the aim of this thesis is to re-examine the term of "Bad" Painting formally and conceptually and underline its continuity in contemporary art.
The work of Harald Szeemann- Curatorial theories and practices
Swiss curator Harald Szeemann, who developed his own way of expression, has held more than 150 exhibitions throughout his life. In the context of these exhibitions, he has highly contributed to the art history and exhibition techniques, besides become an owner of an extensive archive. As a result, Harald Szeemann's international exhibitions have created a new communication network in the context of artist, audience and curator triangle. Moreover, they have become a rich reference for many artists and curators from all around the world. Starting with the biography of Harald Szeemann, his selected exhibitions and his grand archive were examined in this thesis. In this context, Szeemann's professional and personal life were analyzed by prioritizing his special relationships with the artists.
Site-specific sound installations in Turkish contemporary art
This thesis is concerned with the similar trends shared by sound installations within contemporary art practices and the expressions that emerged in this context. Alternative auditory spaces created by the sound medium in the field of plastic arts which is based on the act of seeing, and the art practices of the artists working on the sound medium that discuss the sound as a form have formed the theme of the text. This thesis, which examines the transformations that sound medium has undergone in the historical process through pioneering works, presents a chronological view of the use of sound as a medium in the history of art. In the site-specific sound installations in Turkish contemporary art section, that constitutes the main line of the thesis, the forms and expressions created by the sound medium in the art environments based on the act of seeing are examined. The fact that the physical conditions of the art environments are not compatible with the sound medium, and the fact that such environments are built on the act of vision has forced the artists who install the sound installations to follow site-specific strategies and tactics. While the kind of strategies followed by these studies, where sound installations are examined through site-specific practices, are analyzed, new forms of expression brought to contemporary art by the utilization of sound are conceptually discussed as well. This study aims to foster discussion of the new forms of expression that sound as an artistic form will bring to contemporary art as well as encouraging debate on the auditory potential of art space based on the act of seeing.
Transformation of Seljuk madrasas into contemporary art centers and their current utilization
The spatial differentiation of contemporary art, one of the main problems introduced by postmodern thought into the contemporary art scene, is one of the hot topics of the last decade in the Turkish art scene. Historical buildings used to host contemporary art exhibitions in the 1980s due to spatial challenges offer limited solutions for new spatial attempts with contemporary arts becoming popular in the 1990s. With its main focus being the questioning of phenomena of urban and public spheres, this study discusses the application of the new kind of public art as well as the spatial differentiation of contemporary art in this respect. With regards the historical development process, madrasas survive in today's urban settings.In today's world, we need to explore the values of a city without disrupting its original characteristics by looking into its history, making best use of and promoting historical places in the social and cultural environment in the light of today's experiences in order to preserve a city, rather than giving new identities to cities. The artistic and cultural re-introduction of historical madrasas is one of the topics that deserve more attention. It is a process that allows a historical structure to be transferred to future generations by preserving the values in its natural and cultural environment. This process inevitably requires using the structure with a new function and establishing a link between the past and the future by preserving the cultural, architectural, historical and other values of the structure. Increasing cultural and memorial values in the minds of people living in the cities is also important for increasing the quality of the city life. The functioning of madrasas as elements of cultural heritage and their adaptation to the changing living conditions are parts of the natural development of the historical structure, and they should be preserved into the future. Madrasa structures are symbolic structures in terms of the architecture of their respective era. Nowadays, they are unable to adapt functionally. There are many madrasas in our country that started to be used as museums as these structures are works that need to be put on display because they reflect the characteristics of their era and they should be given new functions by putting them to the service of the society and by bringing the madrasas to the fore. No special attention should be given to the fact that they lack originality when using such structures as museums.
Türkiye'de Cumhuriyet döneminden günümüze Devlet Opera ve Balesi Genel Müdürlüğü'nün kurumsal yapısı ve yönetimi
Osmanlı İmparatorluğu'nda opera sanatı, Türkiye Cumhuriyet'inde opera ve bale sanatı ve onun kurumsallaşma çalışmaları, Devlet Opera ve Balesi Genel Müdürlüğü'nün kuruluşu gibi alt başlıklarla hazırlanan bu tez çalışmasında, Türkiye'de hizmet vermekte olan Devlet Opera ve Balesi Genel Müdürlüğü'nün kurumsal yapısı ve yönetimi incelenmiş, araştırmanın verimliliğini artırmak amacıyla, kurumun Türkiye'deki kurumsallaşma sürecinin tarihsel gelişimi ele alınmıştır. Bu araştırma çalışmasında, kurumun organizasyon yapısı, yönetimi ve görevleri hakkında bütün verilerin bir arada bulunduğu bir kaynak olmaması sebebiyle, tezin hazırlanma sürecinde katalog, dergi, afiş, çalışmada yer alan eserlerin librettoları, Devlet Opera ve Balesi Genel Müdürlüğü'nün düzenlediği yıllık faaliyet raporları, performans programları ve 1309 sayılı Kuruluş Kanunu'ndan faydalanılmıştır. Elde edilen verilerin bir araya getirilmesi ile tezin temel amacı olan, Devlet Opera ve Balesi Genel Müdürlüğü'nün yönetimi, hizmetleri, organizasyon yapısı ve görevleri hakkındaki sorulara cevap aranmıştır. Bu tez çalışması, bu alanda araştırma yapacak olan araştırmacılara kaynak olması ve kurumun işleyişinin tanıtılması bakımından önem arz etmektedir.
Art leadership in Turkey: A case study through Pozitif grubu
This thesis tries to discover, a style of leadership in arts organizations in Turkey, for the first time, that supports creative outcomes most effectively. This is done using ideas from leadership theories that appear in Chap 2. Pozitif Grubu,a well-established, for-profit company based in Istanbul, is analyzed as an art leader in two aspects: (1) bringing together music and masses using contemporary methods for the last 25 years;y; (2) as a record producer and distributer that successfully fuses Turkish music with world music so that "modernity evolves from local culture" as in Göle's book Engineers and Ideology. Since this is an empirical study on political leaders in Turkey that have come to power mainly because they were well-educated English-speaking engineers, I noticed a perfect match between them and the founders of Pozitif. The Case Study method that was utilized to analyze Pozitif includes: (i) summarizing interviews (published previously in the press) with the three engineer co-founders of Pozitif (ii) doing a face-to-face interview with Pozitif co-founder Ahmet Uluğ (iii) doing an Association Rule Discovery Experiment based on surveys filled out by 8 top executives. This experiment produced answers which could not have been attained by asking direct questions to respondents. Using an association rule discovery algorithm to find answers to questions that could not have been directly asked to respondents is a novelty that this thesis puts forward. Finally, Pozitif's leaders were assessed using the criteria of artistic excellence, international recognition, innovation and distinction, community ownership (of Pozitif's values), and financial stability. It was decided that Pozitif's leaders deserve top "grades" in all of these aspects.
The duality of curatorial fiction in contemporary art
Contemporary Art, called today's art, begins with 'Avant-garde Artists' opposition to the normative and traditional understanding of Classical Art that confines itself. The first priority is only the modernist approaches they have developed about Paintings and Sculpture, followed by the end of the 19th century and 20th century that it has started to take its place in the history of art effectively with urbanization and great transformation after industrialization. Especially, after the first and second World Wars, the effects of major losses and compulsory migrations between nations had diminished the discrimination between the classes. In the works of art, the aesthetic values never discussed in the classical period that had been destroyed by Dadaists. Besides, the art having been expressed with an incredible variety of tools, has become a Fiction Duality where the curators are necessarily at the centre until today. In this case, it has also revealed a different viewer in conceptual art, which is difficult to perceive metaphors and can react in a biased attitude towards artistic duality. In order to maintain its existence, some of the contemporary artists aiming to reach more viewers have created a sensational dialogue with the celebrities of the entertainment world since then. The art, evolving in this way, is now being known with a different perception of aesthetic that brings together opposing views. Key words: Contemporary Art, Contemporary Artist, Avant-garde, Metaphors, Neo Liberal Period, Commercial Meta, Curator, Fiction Duality.
Yaratıcı şehir kapsamında bir yaratıcı kümelenme örneği olarak Yeldeğirmeni
Knowledge was not considered a driving force for economic growth and better standards of living in the past, whereas today, the economies of all developed countries are based on knowledge, with societies having realized its importance in the 20th century. According to John Hartley, creation of knowledge is a human process and this constitutes a basis for creative industries. Built upon individual creativity, skills and talents, creative industries serve as a source of welfare and employment opportunities, and constitute a basis for creative economies. Driven by this active nature of knowledge and creativity—the primary source of today's economies—a creative environment has started to pervade all societies and all aspects of life. These environments, where technology is the engine for economic growth and where a climate of tolerance and openness to new ideas and people prevails, are used by the creative class who generate economic value with their creativity. Composed of, inter alia, artists, writers, designers and software developers, the creative class form clusters in these creative environments, which consequently turn into an attraction for innovative enterprises and new economic activities and turn into creative cities or islands. As a creative city, Istanbul has many creative areas where the creative class is clustered. Kadıköy Yeldeğirmeni district, today, is one of these areas, and faces the risk of gentrification due to the likelihood of creative industries to support urban transformation. Recently, receiving migration of creative clusters—who are generally based in the European side of Istanbul—as a result of the social, economic and cultural change and evolution in the country, Yeldeğirmeni is an important district as it sets a creative clustering example in the Anatolian side. As part of this study, the literature will be scanned and culture/creative industries defined, and emphasis will be made on the concept of creative cities that evolve as a consequence of cultural policies centered on creativity. This study will also identify clustering trends and criteria for creative cities and industries, while examining the areas creative industries center around, driven by the evolving culture and arts scene in Istanbul as a creative city. The last section of the dissertation will elaborate on demographic changes in Yeldeğirmeni, one of the first creative clustering examples in the Anatolian side, based on the data derived from the literature, as well as the consequent change and transformation the district has undergone throughout the years. The settlement criteria sought by the creative class who moved to the area; the threat of gentrification the area faces as a result of the renewal efforts undertaken; as well as the developments arising from the presence of creative industries based in Yeldeğirmeni will also be examined.
Use of text in Fluxus
Fluxus was ignored and neglected in art historical studies in the 1970s and 1980s, and has a wide influence on contemporary art practices today employing performance, happening, text, and ready-made. Fluxus was an interdisciplinary movement in which text has been used excessively. This thesis presents a chronological examination of the use of text from the Arts and Crafts Movement to the emergence of Fluxus in the 1960s. It seeks to answer how the text has been used before Fluxus and how Fluxus artists used text regarding i) form ii) content iii) language use and display. Five Fluxus artists' text-based works were analyzed with close reading and literary analysis techniques. The findings have shown that Fluxus is a proto-conceptual movement, Fluxus artists use text in various forms and deconstructively, and poetically, use it as instructions for the realisation of performance, and use language as a tool to liberate from the logical and linear structure of language in order to be free from artistic categorizations. Keywords: Text art, Anti-art, Language and art, Fluxus, Fluxus and text use
Kamusal alanda müzik performans sanatı - Beyoğlu, İstiklal Caddesi, Tünel bölgesi Sokak müzisyenleri incelemesi
The concept of the public sphere in Western societies has been debated by sociologists since the 17th century and came into discussion in the 2000s once again. The public sphere is a space for compromise between the state and the civil society according to Habermas' definition. In a public space that is open to everyone, citizens have the right to gather, organise and express what they think regarding issues about their common welfare with a sense of togetherness. The state is responsible for guaranteeing that society can use this right without limiting their freedom in any way. The democracy level of a society is in direct proportion to how freely the public spaces can be used by its people. Habermas' theory became a point of reference for the social scientists and academicians coming after him. The most important reason for this is that his definition describes the relation between the public sphere and democracy in a clear way. The English word "public" which means "public" connotes "state" in Turkish. This connotation arises not because of the fact that the state is responsible for maintaining public security in public places, but rather because in Turkey the use of public places is under state control. Due to the 13th Istanbul Biennial, whose theme was Creating Public Spaces, in addition to the violence of state authority in the public sphere as a result of the Gezi Park protests, the question regarding to what extent are public spaces open to people became a current issue in Turkey's agenda. When the public spaces in this land are traced back in history, it is seen that in the Ottoman Empire there were not public spaces such as squares and avenues, which were found in the Western societies, hence public life was experienced in Turkish baths by women, and in Turkish baths as well as coffee houses by men. In the Ottoman Empire mosque courtyards, bazaars, Turkish baths and coffeehouses functioned similar to the forums during Antiquity. Since the Ottoman times, Beyoglu has been a district turned towards the West. This district, which has always been a pioneer in fields such as art, culture, municipality, transportation and societal relations, is one of the first places that street musicians, a Western concept, was introduced. Since 1991, when it was closed to traffic, Istiklal Street has functioned as a large stage for street festivals, celebrations and street music. The aim of this thesis is to examine how street musicians that perform on Istiklal Street experience the street. The study is a field analysis; it consists of compiled interviews and observations. The kind and quality of music played by the musicians are not considered as a criterion during the analysis. The DVD in the attachment comprises of selections from performances of street musicians and interviews done with them. Keywords: public sphere, public space, street, Istiklal Street, Beyoglu, street musicians
Comparison between two soundartists Seth Kim Cohen and Salome Voegelin about the aim of the sounds used in soundart works
In my research I would like to focus on two points of view about the value of the sounds used in the works of soundart. But first of all I aimed to present the general development of Sound Art from the first steps to the last works of Soundart today. As to the first point of view, which is supported by the writer and artist Salome Voegelin, soundart requires a mode of listening whose aim is directed to sounds themselves and not the language, context, history, genre, category and such. On the other hand for the artist, musician and critic Seth Kim Cohen, sound art is a practice that inhabits the "extramusical" that investigates relationships, institutions, context, sociality, and history; it eschews sounds-in-themselves as a rejection of the metaphysics of presence. Followingly I am going to discuss these points of view in detail taking into account the conceptual and the perceptual features of soundart.
Türk resminde 1950 sonrası doğa ve insan ilişkisi
"Türk Resminde 1950 Sonrası Doğa ve İnsan İlişkisi" isimli çalışmamızda belki ayrı ayrı üzerinde çalışılmış ama bir bütün olarak pek de üzerinde durulmamış bir konu olan doğa ve insan ilişkisi üzerinde durulmuştur. Çalışmamızda öz itibariyle doğanın bir parçası ya da doğanın içinde bir unsur olarak yer alan insanın kimi zaman doğayla bir bütün, kimi zaman da doğadan farklı olgu gibi tuvale aktarılışı incelenmiştir. Üzerinde durduğumuz doğa ve insan ilişkisini incelerken çalışmamızın amacına hizmet edebilmesi için dönem kısıtlamasına giderek 1950 sonrası dönemi ve bu tarihten sonra eser vermeye başlayan 40 ressamın sanat anlayışı ve resimlerini inceledik.
An analysis on ruptures and intersections of art and politcs: Sample in consideration Istanbul in 2000's
Transition from a Fordist society to a post-Fordist society created a complex, multilayered relation between capital accumulation, creative industries and artistic practices. Urban space, contemporary art produced on this very space and even cultural heritage itself are instrumentalised as resources for regional development. As cultural and artistic products became smart commodities, questions on the possible strategies that art can employ to sustain a critical distance to this valorization came about. Yet, as neoliberalism positioned itself as the unrivaled ultimate economic model of a globalized economy and commodified almost everything, it also tended to obscure and subvert any opposition. Thus, this thesis aims to explore contemporary art's ability as a force of opposition, its ability in building civic capacities to challenge the post fordist, post democratic conditions subjugating the cultural terrain. To serve the purpose addressed here, the first chapter will focus on post-fordist production, and the political transformation it brought about on artistic and cultural domains. Its second section attempts to give a through analysis of the transitive nature of politics and aesthetics, in order to figure out the modalities of a counter hegemonic artistic resistance. The second chapter analyses the restructuring of cultural and urban spheres under post fordism. The sample in consideration is Istanbul. The third chapter examines artistic strategies that elicit response to the symptoms determined in the preceding parts. This chapter presents artworks that put inequalities of neoliberal policy to their focus. It tries to answer how to read criticality in the semiotics of the aesthetics. How this criticality operates and contributes to a counter hegemonic resistance challenging the post fordist post democratic conditions subjugating the cultural terrain. By considering the alterations in the labour process as put forward in the first chapter, this thesis concludes that the central position of creativity in the extraction of surplus value, has made creativity an active element, which the capitalist system requires for its constant production. Thus, such a central element of any established order can also play its part in the subversion of the order. It is also put forward that production of the common sense, which is required for the continuity of a perceptual and a conceptual order, is a common capacity shared by the terrains of politics and aesthetics. Thus artistic and cultural practices just like politics have their part in constructing our social reality. However it is not possible to measure the efficacy of critical strategies of artworks as if they are activist acts. It is the pluralistic quality of the public space created by artistic production and the emancipatory modalities of making sense offered through strategies of works of art that contribute to emancipation.
A selection of 20th century Turkish paintresses
Turkish paintresses had a unique place of their own within the 150 years of Turkish painting history. This had started with Müfide Kadri and Mihri Müşfik, continued with School of fine arts for women (Inas Sanayi Nefise Mektebi). The lives of these pioneer women have inspired various novels, movies, theaters, etc. This thesis has been prepared to give a perspective for these paintresses. School of Fine Arts for Women founded by the leadership of Mihri Müşfik had been a field for Turkish paintresses to flourish and to produce their paintings. They further improved their knowledge and experience through education abroad which they cascaded to the new generation following their return either at the school of fine arts or outside the school. Turkish paintresses followed by early pioneers have gained special space within the history of Turkish painting with their unique standpoint, attitudes and creativity. This thesis offers a selection of paintresses from our history of painting.
Artist-curated exhibitions in the exhibition history of Turkey
This study focused on exhibitions organized and curated by artists in the history of exhibitions in Turkey. Along with the proposition to think and discuss about the concept of "exhibition" and "the history of exhibitions" which are not emphasized enough in the local art environment, the artists' exhibition practices in the field of curatorship starting from the second half of the 19th century to the present were examined. The exhibitions, which are the spatial arrangements that institutionalize the public life of the work of art in its most general definition, have been transformed into tools for producing discourses today, while their essential and only meaning was to display following of artistic production and centering upon selection and presenting actions since their origins in the 15th century. The artist-curator is presented as a different model of the curatorial profession created by this transformation as of the 1990s. However, artists had existed in the history of exhibitions and art history as actors producing ideas on exhibiting art long before the 1970s when curatorship became popular in the world and the 1990s when it was recognized as a profession. This thesis examined this idea in detail in the case of Turkey by briefly touching upon its similar status in the world as well. Since the beginning of the history of the exhibitions, the artist's interest in exhibitions, the institutionalization of curatorship and the existence of numerous artists who have focused on exhibition practices as well as artistic practices have all created a model named "artist-curator". Today, there is a plethora of artist-curators who organize exhibitions in various collaborations or for biennials and museums. The research focusing on the exhibitions organized by the artist- curators constitutes an important area in the history of exhibitions and, therefore, in the history of art. Keywords: exhibition history, artist-curated exhibition, artist-curator, artist as curator, exhibition, history of exhibitions, curator, art history
Curatorial issues in public space in Turkey after the 1980's
The concept of public space, which has been known since the Ancient Age by sociologists such as philosophers, researchers, sociologists and whose meaning diversify in different cultures and communities, has begun to come to the agenda with various social movements and administrations after the 17th century. When Jürgen Habermas discussed the concept of Public Space in his doctoral thesis, the state and public and the boundaries of public space have begun to be rethought. According to Habermas's thesis, the public space is the negotiation space, in other words, conciliation space between the state and societies. The public space is an open space where everyone is united under equal conditions regardless of religion, language, race, thought and gender, where people have the same idea gather, be organized on the common decisions for the benefit of everyone rather than the personal benefit and have freedom of expression. The state's sole duty in the public space is to protect the fact of organizing, gathering and expressing opinions in the public sphere without restricting the right and freedom of citizens. When we examine the etymological origin of public space, the word "public", it means folk in English while it means state or state-owned in Turkish. This use of the word in Turkey stems from the state's desire to keep the control of public space, rather than the protection and assurance that the state is obliged to provide the public in the public sphere. When we examine the Ottoman Empire, we observe that there were no public spaces such as squares, streets, parks and gardens like in Western societies, and the act of publicity was divided into two as men and women by gender and conducted in small groups in Turkish baths, coffeehouses, mosque courtyards and bazaars. Today in Turkey, even though the public spaces are directly open areas such as squares, parks, gardens, roads and beaches, the indirect state control always exists. It is forbidden to be organized in public places without the permission of the state. If civil societies are organized, march, or pronounce a different view or opinion, the security forces intervene to the public for providing the state control. In terms of art and culture environment, today's Istanbul Biennial was held in 1987 under the title of Istanbul Contemporary Art Exhibitions. Biennials have been important elements in Turkey contributing to the shaping of public space and the concept of the curator. The curated exhibitions in the public space, which started with the Istanbul Biennials, continued with the STATION exhibition in 1995 and increased its speed with the growth of the art scene after 2000 and continued with exhibitions such as Sinopale, Çanakkale Biennial, Istanbul Pedestrian Exhibitions, Under Construction, Mardin Biennial, Red Bull Art Around and Cappadox. This thesis explores the curator's position in the public sphere and the production practice through curated exhibitions in the public space after 1980. The study is described as field analysis and consists of interviews and observations with curators of public exhibitions. The formal and contextual structure of the exhibitions has not been decomposed in any case in the thesis and has been indicated as alternative exhibition models. Curatorial strategies, conceptual approaches and empirical productions of curators in the public space have been handled indefinitely.
As is painting so is poetry: Use of text in visual arts
Since ancient times, text has found its place in the visual culture, therefore in visual arts. As the social, economic, geographical and political structures of the societies changed, the impacts echoed in the art scene. As a result, text was used for several different reasons in different time periods in art history. This thesis, presenting a chronological examination of use of text in art history (i) seeks an answer for how text has become an autonomous art form and (ii) defines its function of use in the history of art by examining the examples from the different periods from art history. (iii) When examining the examples from history, the function of text and its relation with the form are considered. The political and social shift in society and how it affected the relationship between text and image are clarified. (iv) The findings have shown that related to the historical and politic events, text has been used for different aims in art, revealed these functions according to the period, and exposed how text has become an autonomous art form Keywords: text art, visual arts, text, language, image, image and text relationship
A research on vandalism and its causes
Vandalism is a common problem worldwide; besides it is an important concept which has been subject to many researches in terms of its psychological, sociological and economic dimensions. It is seen that the researches on this subject around the world started earlier than our country and expanded to examine the cases of Vandalism in different disciplines. In Turkey studies on Vandalism are seen that they are focused mostly on attacks targeting public spaces such as parks and gardens, public furniture, public goods, schools and rarely public sculptures in public spaces; that is, on landscape architecture. On the other hand, it is understood that violence against historical artifacts and artworks is not emphasized enough. Besides it is not paid enough attention to this matter, it is obvious that the works of art in our country which are being exhibited whether in public spaces or in a museum or exhibition are under threat of Vandalism. However, on the occasion of limitation of the study; due to reasons such as the meaning and the scope of the Vandalism concept and the need to address dynamics that trigger Vandalist actions in Turkey within our own cultural system; on the grounds that it would be more appropriate to consider the issue in another study, cases of Vandalism in Turkey were not included in the study. This thesis aims to draw attention to the dimensions of this violence by investigating and classifying the causes of vandalism towards art works, including the examples of Vandalism dating back to the present day and early examples from the world. Considering the prevalence and excess of Vandalist attacks in many geographies and cultures around the world, the thesis tries to address relatively more important works or more sensational cases. In the study, considering the parallelism of the concept of vandalism with the concept of iconoclasm, the subject has been dealt with in the common denominator. In resource research; books, articles, periodicals, theses, dictionaries and web sites were searched using data collection management.
The methodologies to create succesful jazz music festivals in turkey
Jazz music and industry is quite developed in current age with its fantastic performance artists, recordings, new creations and especially fests. Jazz music fests are attracting thousands of people to activities each year, and International fests are contributing lots of important values to societies with their missions. Jazz fests are creating opportunities for new talents, informing societies about this great music, creating new disciplines with events, training people and opening stages for jazz music artists. Art management is an important effect on the application of managerial functions over the societies cultures.to define the financial needs,human relationships,planning and presenting the shows in this area is as important as rising the level of culture,economy and the solidarity of the societies. Shortly, jazz fests are adding several values to local people who are organizing it. Of course, international jazz fests are competing with each other to be the best also, and management of jazz fests have got several important points to reach success. In this thesis, successful jazz fests will be evaluated and their common features will be pointed out to compare them with Turkish jazz festivals. The mission of thesis is finding out problems in Turkey which ones are creating barriers to reach success for this festivals; and trying to suggest solutions with examples of World' successful jazz festivals. Thesis is claiming that, Turkey has got great potential for Jazz festivals with its audiences and culture; but country is not using this potential yet because of ignorance and weak supports.
Mehmet Aksoy and Statue of Humanity
The topic of this thesis is monument statues and in specific Statue of Humanity and Mehmet Aksoy, who has been on the agenda recently with his work of monument statue. The artist, who is well-known with his sculpture works in modern Turkish art, various installations of which his sculptures have been used, has usually used marble in his works. His works on various forms and different themes are in varied number of collections in Turkey and the world. These sculptures cover a wide range of works of which dimensions are from little bronze sculptures to monuments made as moulding. The sculptor has won several awards such as outstanding service award, honour award. The artist, representing Turkey in several biennials, has continued working on his works in 'bettle house' that he gave as a title to his workroom. Mehmet Aksoy, has recently been on the agenda with his Statue of Humanity which has been discussed in ideological dimensions. Being projected in cooperation with Kars deputy major of the period, the monument has started in 2004. The construction of monument was stopped as a result of some articles being changed in law during the construction period. After overcoming all these problems, the construction of the monument was continued. After overcoming the formidable obstacles, the monument was demolished completely in the middle of the year 2011. Key Words: Monument Statue, Mehmet Aksoy, Statue of Humanity, Ideological Approaches to Monument Statues
Güvenli ilaç kullanımı sürecine ilişkin hemşirelerin tutum ve bilgi düzeylerinin değerlendirilmesi
Bu çalışma, hemşirelerin güvenli ilaç kullanımı sürecine ilişkin bilgi düzeylerini ve bu sürece yönelik tutumlarını değerlendirmeyi amaçlamaktadır. Bu nedenle, hemşirelerin bu konudaki bilgi düzeyleri ve tutumları, hasta güvenliğinin sağlanmasında belirleyici bir unsur olarak öne çıkmaktadır. Araştırma, özel bir hastanede görev yapan hemşirelerin demografik ve mesleki özelliklerini, ilaç hatalarını raporlama davranışlarını ve ilaç hatalarına yönelik bilgi düzeylerini detaylı bir şekilde incelemiştir. Araştırmanın bulguları, hemşirelerin büyük çoğunluğunun ilaç güvenliği eğitimi aldığını ve ilaç hatası raporlamanın sağlık hizmetlerinin başarısını artırıcı bir kriter olarak değerlendirildiğini ortaya koymuştur. Ancak, raporlama sürecinde bazı hemşirelerin ilaç hatalarını bildirmekten kaçındıkları, bunun da raporlamanın kişisel yetersizlik olarak algılanmasından ve iş hayatına zarar verebileceği endişesinden kaynaklandığı belirlenmiştir. Araştırmada ayrıca, ilaç güvenliği eğitimi almış hemşirelerin bilgi düzeylerinin daha yüksek olduğu saptanmıştır. Bu bulgu, ilaç güvenliği eğitimlerinin bilgi artırıcı etkisinin yanı sıra, raporlama davranışlarına olan etkisinin sınırlı olduğunu göstermektedir. Bu durum, raporlama süreçlerinin yalnızca bilgi düzeyi ile değil, aynı zamanda mesleki algılar, kurumsal politikalar ve iş ortamı gibi diğer faktörlerle de şekillendiğini ortaya koymaktadır. Ayrıca, hata raporlamanın kişisel eksiklik olarak algılanmasının önüne geçmek için, hastane yönetimi tarafından destekleyici ve güvenli bir iş ortamı oluşturulmalıdır. Bununla birlikte, ilaç hatası raporlamasında anonimlik sağlayan sistemlerin geliştirilmesi, hemşirelerin hataları çekinmeden bildirebilmelerini sağlayacaktır.