JOURNAL OF ARTS <p style="text-align: justify;"><strong><em>Journal of Arts</em></strong>&nbsp;<em>(E-ISSN&nbsp;2636-7718 &amp; Doi Prefix: 10.31566)<strong>&nbsp;</strong></em>is an<strong>&nbsp;</strong>international refereed journal&nbsp;which started to be published in April 2018. &nbsp;The journal aims to include original papers in different art fields. In this framework, high quality theoretical and applied articles are going to be published. The views and works of artists, academicians, researchers and professionals working in all fileds of arts are brought together. The articles in the journal is published&nbsp; <strong>4</strong> times a year;&nbsp;<em>WINTER (January), SPRING (April), Summer (July), AUTUMN (October).&nbsp;Journal of Arts&nbsp;is a&nbsp;<strong>&nbsp;</strong>free of charge, electronic and open access&nbsp;journal.&nbsp;</em>The<span class="apple-converted-space">&nbsp;</span><a href=""><strong>DOI number</strong></a><span class="apple-converted-space">&nbsp;(<em>Doi Prefix: </em>10.31566)&nbsp;</span>is assigned to all the articles published in the journal.</p> <p>&nbsp;</p> en-US <p> <em>When the article is accepted for publication in the </em><em>Journal of Arts</em><em>, authors transfer all copyright in the article to the </em><em>Rating Academy </em><em>Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti</em><em>.</em><em>The authors reserve all proprietary right other than copyright, such as patent rights. </em></p> <p><em>Everyone who is listed as an author in this article should have made a substantial, direct, intellectual contribution to the work and</em><em> should take public responsibility for it.</em></p> <p><em>Th</em><em>is paper contains works that have </em><em>not previously published or not under consideration for publication in other journals. </em></p> <p> </p> (LAURA AGOLLI) (Bilge Ozan PER) Thu, 12 Aug 2021 06:26:08 +0000 OJS 60 Big data based network mapping in the context of media art in Turkey <p><em>In addition to being a mirror that reflects the society in which it is produced, art is a practice that uses the technology of its age creatively. It is possible to trace the centuries-old relationship between technology and art, from a painter who produces mixtures and colors like a chemist to a video artist using television technology. Art productions using today's communication and data technologies and gathered under the titles such as Media Art, New Media Art, Digital Art, Post-Media or Post-Digital art are today's prominent art practices. This research aims to present a background that deals with the historical process of media art in the context of communication society, and then to analyze Network Mapping applications, which are derived from an art production centered on Big Data-based applications and have turned into an opec access application at this point.</em><em> </em></p> <p><em>Graph Commons, which is an example of creative approaches in the visualization of the complex systems that shape the technology and communication-oriented world we live in, and operates as an application platform made available to everyone, uses Big Data, which consists of data collected, compiled and processed from all internet users, with the creative perspective of art and social benefit. It inspires the fields of art, design and communication regarding its use.</em></p> Seyhan Boztepe Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000 Comparison of printed and digital posters in the context of “push” theory <p><em>While technological advances and digitalization have affected or transformed virtually every medium in the last two decades, visual communication is at the top of the list. An important communication media since the dawn of industrial society - especially in the first three quarters of the twentieth century, the poster is one of the mediums having undergone this transformation. This study compared traditional printed posters and novel digital posters using Harold Innis' "Push" theory. The findings of the comparison were analysed in the context of the role of the poster during the historical process as well as the attitudes and behaviours of the younger generation. The data obtained from the analysis indicate that the printed traditional posters help create a social structure and generation that adopt elitism, publicism, idealism, asceticism, authoritarianism, monism, and collectivism, whereas the digital poster contributes to a social structure and generation that embrace egalitarianism, privatism, realism, hedonism, deliberativism, pluralism, and individualism.</em></p> Bekir Kirişcan, Özlem Emine Doğan Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000 The medness and laughter narrative of disruptive humor in art <p><em>Madness and laughter in art’s destructive humorous expression encompass extraordinary, extreme, exorbitant, abnormal, satirical and alegorical representations, from Renaissance till today. In virtue of this purpose it’s seen that humor image lies outside the context of madness and the mad, sickness and the sick. The former is conveyed via allegorical and satirical forms that tells the truth. Laughter, on the other hand, is presented as pejorative properties that boasts over the faults and flaws of human rather than being a reaction against mere comedy. These two aformentioned elements have been contrarian satirical statements in artistic context, and communicated with debasing, critical descriptions revealing the vandal human mind. Therefore the resulting mockery both rejects and defames its subject. Such tokens of strong critique are observed to be in close relation with folklore and transform into impressive languages of allegory in the art sphere. The projection of madness and laughter images in art works, more clearly when the archive of the language they use is considered alongside satire, is both the harshest manifestation of human darkness in cosmic scale and the essence of the deeper roots of her inner journey, a historical perspective of civilization. The aforementioned factors that compose an insistent language from repetitive forms against the hierarchy of flaws endemic to human and her societies are statements strongly emphasizing the tragic aspect in persistent terms. In this vein the research will lean towards consciousness’ representations speaking of the essence, beyond the semantics of madness, the mad and her laughter. Together with the discussion detailed so far madness and laugther metaphors’ jagged comedic meanings and associated concepts will be explained. The scope of the methodology will be limited to the evaluation of madness’, the mad’s and (her) laugther’s destructive satirial perspectives and their evolution through time down from Renaissance, within the scope of related art and philosophy literature, including references to key art works when relevant. </em></p> Mehmet Sıddık Turan Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000 Women, the productions of female artists in the perspective of feminist movements and the story experiments on Frida Kahlo’s works <p><em>In this research, with the roles imposed on women, how women are expressed in art and art; The scope of identity, social role, social interaction, gender, socialization has been examined. At the same time, the positioning of women and women artists in society has been critically discussed by giving place to influential artists and their works on this subject. Storytelling, which has its roots in storytelling and is one of the oldest ways of transferring knowledge, also has an important place in the artist's self-expression. Mythology and history, the work of storytellers, is undoubtedly based on words. However, the painters, sculptors, and stage artists who visualize these stories enliven them with their works and turn them into artistic phenomena. In the research, a narrative essays was made on the works of Frida Kahlo, one of the essential feminist women artists.</em></p> Çiğdem Tölük Aferin Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000 An evaluation for online educational activities in museums during the covid-19 pandemic period: Istanbul and New York <p><em>In these days, where all work is interrupted in the field of education and art, as in all areas of life due to the Covid-19 pandemic, which has affected the world, it is seen that museums, which are non-school learning environments and non-formal education institutions, have also made some regulations. With these regulations, museums had to pause or reduce activities, accept a limited number of visitors or close their doors to visitors. However, museums trying to adapt to both the pandemic conditions and the digital world required by the age have quickly started to conduct online educational activities for their visitors, remotely. This study focuses on museums' online educational activities for children during the pandemic period. In the research, the current situation was tried to be revealed by making a comparison of the art museums with online educational activities for children in New York and Istanbul. The research was conducted through the case study design, one of the qualitative research methods. Six art museums located in New York and Istanbul, which are considered to be art centers, constitute the scope of the research. Research data were collected by document analysis method. In the research, the information accessed from the institutional web pages of the museums was analyzed descriptively. It has been concluded that the museums of New York offer a wide range of educational activities for children and the museums of Istanbul have very high quality educational activities, but the number of educational activities for children and families, as well as online files and video and audio recordings, should be increased. In addition, although online education activities do not replace the education carried out by visiting museums physically, it is believed to create an education model that supports face-to-face education in museums after the pandemic. </em></p> Başak Danacı Polat Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000 Ways to benefit from folk songs in classical kemenche training; example of Hisarli Ahmet’s folk songs <p><em>Choosing a repertory coherent with the register, technical properties and the timber of the instrument, along with applying a systematic methodology, is quite important in professional music education. </em></p> <p><em>Today, the Turkish Music instrument education, as well as the European Music instrument education, still lacks systematical methods and repertories designed specifically for different instruments. </em></p> <p><em>In classical kemenche education, not only there are not enough systematic methodology studies, but also the number of repertories systematized according to classical kemenche with special notation is insufficient. </em></p> <p><em>The traditional tunes are being used in many phases of music education. Concerning how classical music makes use of traditional music, we may argue that we can also make use of folk music in classical kemenche education.</em></p> <p><em>The general aim of this search is to provide academic level research of systematic and scientific methods of performing and playing of Hisarlı Ahmet’s folk songs with a classical kemenche which is a traditional instrument. Both for this purpose the data collecting used in the research, as well as accessing the resources that make up Hisarlı Ahmet’s folk songs a literature review conducted, Hisarlı Ahmet’s folk songs from the repertoire of the Turkish Radio and Television(TRT) institution were scrutinized and from these studied folk songs five of them considered suitable for classical kemenche training as handled as sample groups.</em></p> <p><em>In this context, this study will choose five works of Hisarlı Ahmet through a study of their modal and rhythmical structures and will provide a special notation for classical kemenche via identifying the bow and performance techniques of these works. These studies were shared with some experts in their field by making necessary corrections following their views. This study aims to bring these five works in classical kemenche education and concert repertory by providing a notation peculiar to kemenche. Folk songs have been uploaded to the youtube social media platform and made accessible to everyone.‘Mus 2’ was used to note and edit folk songs.</em></p> Filiz Kaya Işık Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti Thu, 12 Aug 2021 00:00:00 +0000