Görsel İletişim Tasarımı Bölümü Koleksiyonu

Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/62

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Now showing 1 - 7 of 7

Citation Count: 2
Cybernetic narrative Modes of circularity, feedback and perception in new media artworks
(Emerald Group Publishing Ltd, 2015) Selen, Eser
Purpose - The purpose of this paper is to explore how second-order cybernetics (von Foerster, 2002) functions in new media artworks, specifically through information, system and user. While formulating the relationship between new media artworks and the discourses surrounding cybernetics the paper analyzes Popp's (2006) Bit. Fall, Wojtowicz's (2007) Elsewhere News and Zeren Goktan's (2013) The Counter, as exemplars of alternative methods of narration. This study further argues that these new media artworks employ a cybernetic narrative via modes of "circularity," "feedback," and "perception." Design/methodology/approach - This paper offers a theoretical approach to new media art and cybernetics in order to analyze three select works. Since the works mentioned have diverse takes on the presented concepts each is discussed and analyzed in their frame of production in relation to cybernetics and new media standpoints. Findings - It is significant that these three artists attempt to invert the quotidian into the concept of new media while cybernetics facilitates their interactive art installations. The fully functioning circularity in these works breaks down the linear narrative structure while regenerating a non-linear narrative together with the flow of information, utilization of the systems and the user interaction. In these works narrative functions as a tool for interaction, which is cybernetically generated by the user (human) and the systems (machine). Originality/value - New media artworks at least suggest a possibility of observing contemporary art and its history in the making if not generating it altogether through cybernetic modes of "circularity," "feedback" and "perception." The experience of these artworks for each user differs depending on their choice to either reject or become immersed in the work. The possible sensoria, however, may still be betrayed by the mind's willingness to cooperate or at times by the ability to perceive.
Citation Count: 1
‘I am here’: women workers’ experiences at the former Cibali Tekel Tobacco and Cigarette Factory in Istanbul
(Routledge, 2017) Selen, Eser; O'Neil, Mary Lou
This study presents oral history research which investigated the experiences of surviving women workers from the former Cibali Tekel Tobacco and Cigarette Factory in Istanbul Turkey. For most of its history the factory was home to thousands of workers many of who were women and at times outnumbered men two to one. While the site is now known for the university that it houses photographs and archival records from the early twentieth century reveal the centrality of women in the process and production of tobacco and cigarettes until the factory completely shut down in 1995. Using oral history methods we recorded the memories of 17 women who worked in the factory. A multi-faceted analysis reveals the gendered nature of the space at the time as well as the importance of the factory as a place in the lives of these women. © 2017 Informa UK Limited trading as Taylor & Francis Group.
Citation Count: 0
Occupied Experiences: Displays of Alternative Resistance in Works By Palestinian and Jewish Israeli Artists
(Taylor & Francis, 2016) Selen, Eser
[Abstract Not Available]
Citation Count: 1
Perception, petroleum, and power: Mythmaking in oil-scarce Turkey and Jordan
(Elsevier, 2020) Selen, Eser; Selen, Eser; Bowlus, John V.
Oil has been a cardinal driver of economic growth and national development in the twentieth and twenty-first centuries. States that produce oil in globally exportable quantities tend to be more powerful than those that do not. Oil-scarce states in the Middle East that neighbor oil-rich states and rely on them for imports create myths to explain their relatively unfortunate geology. This study illustrates and analyzes the myths that people in Turkey and Jordan have created to explain why they lack oil. In the process, it also explains the attitudes, beliefs, and social norms within these countries regarding oil. In both Turkey and Jordan, public understanding of why the country lacks oil forms a tautology about the relationship between oil and the nation's wealth and development, as well as its political, economic, and military power.
Citation Count: 3
“The Public Immoralist”: Discourses of Queer Subjectification in Contemporary Turkey
(University of Southern California, 2020) Selen, Eser
This study examines the forms of queer subjectification that have been molded through regular acts of gender- and sexuality-based violence against LGBTQ+ citizens as encouraged by the dominant religious and secular discourses in Turkey. Within that context, this article explicates the discursive mechanisms at work in the statements that were made by politicians and journalists between 2002 and 2018. In those discourses, the qualities attributed to nonheteronormative sexualities, such as perversion and disease, are perhaps the most widespread means of negating the existence of LGBTQ+ citizens and claiming that their lifestyles are “immoral.” Based on a case study that incorporates the existing historical and sociopolitical background, which props up a heteronormative patriarchal culture, this study critically analyzes the discourses that have emerged in a state of moral panic regarding queer in/visibilities, dis/appearances, and aversions/subversions in the Turkish sociopolitical sphere.
Citation Count: 1
Rethinking nationalist ethno-racist and gendered myths: An art historical take on minoritarian variations from Turkey
(Taylor & Francis, 2017) Selen, Eser
[Abstract Not Available]
Citation Count: 15
The stage: a space for queer subjectification in contemporary Turkey
(Routledge Journals Taylor & Francis Ltd, 2012) Selen, Eser
This article focuses on the role of the stage in complex modes of gender performativity in the work of three Turkish performers: Zeki Muren (1931-1996) Bulent Ersoy (b. 1952) and Seyfi Dursunoglu (b. 1932) a.k.a. Huysuz Virjin [Cranky Virgin]. These three I suggest are the pioneers of contemporary Turkish queer performance. Their performances - both on-and off-stage - are validated through a reiterative absence of queerness in their everyday lives and stand in the midst of various negotiations between queers and the secular Islamic nation-state in Turkey. In the works of Muren Ersoy and Huysuz the stage is suggestive of a space where queerness can be managed. It is a contested space that does at least allow for the communication of queer ideas to a wider audience. I discuss the works of these three performers as three variations of queerness in Turkey in relation to different eras and different political climates that are directly related to the nation-state's desire to perform modernity. While explicating complicated modes of gender performativity I consider the stage as the primary space for a queer body to exist. Through this discussion I aim to activate debates both within and against the context of secular Islam on gendered political space and on those overlooked sexualized spaces in which the nation-state produces powerful yet unstable values to manage queer subjectivity in contemporary Turkey.

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