| dc.creator |
ÇAKMAKÇI, Mavi |
|
| dc.date |
2016-12-31T21:00:00Z |
|
| dc.date.accessioned |
2020-10-06T11:26:04Z |
|
| dc.date.available |
2020-10-06T11:26:04Z |
|
| dc.identifier |
ddad9995-2c36-4dd5-9c14-8f2764785edc |
|
| dc.identifier |
https://avesis.sdu.edu.tr/publication/details/ddad9995-2c36-4dd5-9c14-8f2764785edc/oai |
|
| dc.identifier.uri |
http://acikerisim.sdu.edu.tr/xmlui/handle/123456789/73914 |
|
| dc.description |
Intellectual structure created by World Wars has been reflected into art as the questionings of material world and has manifested itself in authentic and free responses. Art, moving toward stylistic tryouts for the sake of depicting that it got out of pressure of some certain hegemonies and moved away from traditional process, has included the datum of technology into art. Creation process which gives place to this datum in art through a political posture and propagative manner has paved the way for internalizing special datum of different fields in general view that it exhibits while entering into the twenty-first century and removing the borders between many disciplines and itself. Crises becoming semiotic, wars and wording of communication instruments reorganized on fear merge into wordings of art. Transformation of media marks into a source for art so as to present by reproducing the topics involving society on behalf of sovereign secures the position of propaganda in art. In this sense, art that includes sovereignty relations in its historical process shows one more time that it has become instrumentalized in its changing plastic process. |
|
| dc.language |
eng |
|
| dc.rights |
info:eu-repo/semantics/closedAccess |
|
| dc.title |
The Change of Propaganda in Art Dependent on Communication Instruments |
|
| dc.type |
info:eu-repo/semantics/conferenceObject |
|