DIJITAL FOTORAFNN EL KITAB PDF

DIJITAL FOTORAFNN EL KITAB PDF

Son olarak, sizleri; odası, özel süit ve Osmanl dneminden Cumhuriyetin balangcna; Trk fotorafnn temelini oluturan 50li, 60l, . Bu kitab yaratabilmek iin son iki yln stanbulu kefederek geiren Vogel iin stanbul bir devrim balyor, lks markalar da dijital dnyaya adm atyor Tue KayarSosyal medyada lks. Yldz Moran, byk bir ustalk-la kullanarak elde ettii teknik baarsnn tesinde; ruhunu, gizli kalm bir grn, Trk fotorafnn mektep-li ilk kadn fotorafsnn yaptlar, .. fotoraf, dijital sanat, cam, video gibi zengin ifade olanaklary-la ada sanat ve Mekann Politi-kas: Osmanl stanbulu ve Britanya Oryantalizmi kitab, Pera. Bu ortak al-ma ile lkemizde uluslararas apta imdiye kadar yaplm en byk fotoraf .. Wonderland, de Pictures of The Year International tarafndan yln en iyi fotograf kitab seildi. Fotorafnn Eitimi kitabnda ortak evirmenlik yapt. AKKM Orhangazi Salonu Panel Dijital ada Fotoraf Eitiminin Gelecei.

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Post on Jul views. Using open-ended research methods, performative narrative strategies, experimental framing strategies, fotorwfnn media ranging from video to performance, Annika Eriksson seeks to continuously develop and expand the definition of public space that she places at the centre of her artistic practice.

During an interview we conducted at her solo exhibition The Trilogy, held at the Knstlerhaus Stuttgart, Eriksson responded to my question about her general artistic approach: My works emerge from something I encounter and react onoften in my surroundingsand then I take it kitxb there, sometimes a lot of research is involved, sometimes not.

I try to embrace ideas with secrets that will only be clear to me if I execute the work. The video, set in the outskirts of Istanbul, focuses on moments of transition and marginalised experiences of time, seen through the lens of a street dog. Having been moved by the authorities to peripheral pockets and no mans lands outside the expanding city, the dogs are continuously moving along lines of gentrification and corporate city making.

Through looping and repetition, Eriksson relates this process to an experience of time, perceiving the present as a complex gap between past and futureone in which an increasing process of erasure, Annika Eriksson, sanatsal pratiinin merkezine yerletirdii kamusal olann tarifini, ak ulu aratrma metodu, performatif anlat stratejileri, videodan performansa farkllaan retim biimleri ve kadraj denemeleriyle srekli besle-meye alr.

Ben de ancak al-mam tamamland zaman netleebilen ve aa kan baz srlar ieren bu fikirlere sahip kmaya alyorum Yetkililer tarafndan, gitgide genileyen ehrin eperlerine ve sahipsiz blgelerine itilen kpekler, devaml olarak soylulatrma ve irketletirilmi ehir planlamas arasnda salnr.

Eriksson, dngler ve tekrarlar kullanarak bu sreci bir zaman da Malm, svete dodu. Berlin, Almanyada yayor ve alyor. Born in in Malm, Sweden. Lives and works in Berlin, Germany. I am the dog that was always here loop is a fictitious fragment of reality focusing on the existance of stray dogs who, having been forced out of the city by gentrification policies, live in exile.

As the dogs wander through deserted fields, a voiceover gives us a tour of Tarlaba Boulevard, the Grand Rue de Pera, and Taksim Square. Who are the true owners of the city? Adnan Yldz and Annika Erikssondeneyimiyle ilikilendirir ve imdiyi, gemi ve gelecek arasndaki girift bir boluk olarak inceler.

Ben hep burada olan kpeim dng halinde de shhiletirme politikalar sonucu ehrin dna srlm, srgnde yaayan sokak kpeklerinin varlna odaklanm bir kurgusal gereklik parasdr. Sahi, kentin gerek sahipleri kimlerdir? Basel, svire ve Kahire, Msrda yayor ve alyor.

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Dijiatl in in Assiut, Egypt. Lives and works in Basel, Switzerland dijiital Cairo, Egypt. According to the artist, there is a certain poetic quality to ambiguity that lingers and, like an dijigal entity, keeps growing and multiplying until it reaches a point where it cant grow anymore. This is the point where either you get what the work is about or you just let it go. Within all of this absurdity, the question that underlines much of Magdys practice is how you know that you know what you know.

Magdys piece 13 Essential Rules for Understanding the World exhibited at the 13th Istanbul Biennial, is a five- minute Super 8 film that was transferred to high-definition video.

The video presents images of tulips, with faces painted on them, interspersed with seemingly arbitrary visuals, such as shots of balloons flying, architectural details, a sculpture of a dog, while a narrator speaks over solemn music, itemising the 13 principles and offering condensed explanations for these specific rules.

Rule number 7 lists never try to make a point, since no one will ever care; rule number 8, never use logic, is succeeded by the Basim Magdynin yaptlarna bakan izleyiciler kanlmaz olarak kendilerini belirsizlik ile kafa karklnn bir araya geldii bir yerde buluyorlar, nk Magdynin sanatsal ilgi alanlarnn merkezinde uyumazlk ve absrd kavramlar yer alyor. Sanatnn kendi ifadesiyle belirsizlik kavramnn kendine zg, izleyicinin zihninde etkisini srdren iirsel bir nitelii var, yaayan bir varlk gibi, artk daha byyemeyecei noktaya gelene dek byyor ve oalyor.

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Tm absrdl ierisinde Magdynin ilerinin byk bir ksmn belirleyen soru, bildiimiz bir eyi bildiimizi nasl bildiimiz sorusu. Videoda zerlerine surat resimlerinin izildii lale grntleri bulunuyor, bu grntlerin arasna ise rastgele seildii anlalan grseller serpitirilmi: Coburn Gallery, Colorado College, Yllardan beri kiatb fotoraf arivini, grnrde ilgisiz birer lirik dize ile sunan Magdy, izleyiciyi yine kafa kartran bir grsellikle yzletirerek hikyeyi tamamlamaya aryor.

By presenting an archive dotorafnn photos collected over years with seemingly unrelated, lyrical verses, Magdy confronts the viewers with a confusing imagery and ftoorafnn them to complete the story themselves. But who are these rules for? Is this the world through the eyes of these tulips?

Are the principles directed at the audience, other artists, the scientific community, or perhaps Magdy himself? The first rule in the film also applies to much of Magdys practice: The you here can be either the audience or Magdy, but the kirab definitely refers to fotorafnnn tulips, a point that, in the practice of Magdy, makes perfect nonsensical sense. Theodor Ringborgbir mziin stne konuuyor ve 13 prensibi sayp bu belirli kurallarn zet aklamalarn sunuyor.

Peki ya bu kurallar kimin iin? Dnya bu lalelerin gznden mi kltab grn-yor? Bu ilkeler izleyicileri mi, yoksa teki sanatlar, bilim dnyasn m veya belki de Magdynin kendisini mi hedef leyerek sralanm? Filmde bahsedilen ilk kural Magdynin almalarnn byk bir ksm iin de geerli: Buradaki sen veya siz, izleyici veya Magdy olabilir, ama bizin lalelere gnderme yapt kesin, ki bu da Magdynin almalar erevesinde mantksz bir manta mkemmelen uyan bir fikir.

Paris, Fransada yayor ve alyor. Born in in Arras, France. Lives and works in Paris, France. Whether in a small coal-mining village in the north of France or a neighbourhood of Polish immigrants in the heart of Manhattan, the artist is ca-pable of re-instantiating what she calls the protective practices of microcommunities.

Bak then transcribes these processes using her own, almost-ethnographic language of film- and map-making, as well as through drawing and installations. The vacillation of her projects between socially scientific research and art or fiction alerts the viewer to the dangerous and wondrous porosity of those dijktal. Safeguard Emergency Light Systema seven-minute film shot in documentary style, tells a story of protest by residents living in an apartment complex of about 2, households in the Din Daeng neighbourhood of Bangkok, Thailand.

In the city-housing dijihal announced that, due to the poor conditions of these decades- old apartment blocks, the occupants would be evicted and the buildings demolished to make way for a commercial centre. In response to a lack of compensation or housing offered by the government, the members of the Din Daeng community launched a years-long neighbourhood resistance, which dijotal seldom covered by Thai media.

Bertille Bak almalarn Pariste srdryor, fakat projeleri onu, farkl toplumsal durumlar ierisinde grup srelerini inceledii ve harekete geirdii eitli yerlere srklyor. Sanat, ister Fransann kuzeyinde kmr madenciliiyle geinen kk bir kasabada, ffotorafnn Manhattann kalbinde Polonyal gmenlerin yaad bir mahallede olsun, mikro-topluluklara ynelik koruyucu pratikler adn verdii sreleri rneklendirerek yeniden oluturma becerisine sahip.

Bak, daha sonra bu sreleri, desenler ve yerle-tirmelerin yan sra, kendi kurduu ve neredeyse etnografik denebilecek, film ve haritalandrma dilini de kullanarak yeniden kayda geiriyor.

Sanatnn projelerinin topluma dair bilimsel aratrma ile sanat veya kurgu arasnda gidip gelmesi, izleyiciye bu erevelerin tehlikeli ve harikulade gzenekliliine dair bir farkndalk kazandryor. Belgesel tarzndaki yedi dakikalk Koruyucu Acil Durum Ik SistemiTaylandn bakenti Bangkokun Din Daeng mahallesinde yaklak iki bin ailenin yaad bir sitenin sakinlerinin dzenledii protesto eyleminin hikyesini anlatyor.

Belediye iskan dairesi, ylnda bu onlarca yllk binalarn iinde bulunduklar kt koullar sebebiyle boaltlp yklacan ve yerlerine bir ticaret merkezi yaplacan duyurdu. The orchestration of clicking torches became a magnum opus of self- organisation, with rigid grid structures surrounding them as the backdrop. Baks camera lens captures a score of signals flickering on and off that resonate far beyond the balconies of Bangkok.

Clare ButcherDevletin tazminat deme veya evi yklanlara barnak salama konusundaki yetersizliine tepki olarak Din Daeng sakinleri uzun yllar srecek ve Tayland medyasnda ok az yer bulan bir mahalle direnii balattlar. Koruyucu Acil Durum Ik Sisteminde Bak, el fenerleri kullanarak devrimci bir mar koreografili bir grsel koda dntren bir apartman dolusu insann bavurduu radikal ve iirsel stratejiyi izleyicisine sunuyor.

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Yanp snen fenerlerin orkestrasyonu, arka planda apartmanlarn oluturduu kat zgara planl yaplarn grntsyle birlikte, bir kendi kendine rgtlenme bayaptna dnyor. Bakn kamerasnn mercei Bangkokun balkonlarnn ok tesinde yanklanan ve bir yanp bir snen sinyaller yakalamay baaryor.

Artist duo founded in in Copenhagen, Denmark. The images, performances and installations that the duo have produced since have played key roles for architectural reality, the design generation, and the transformation of the visual language of contemporary art. Moreover, they sustain an ongoing relationship with Istanbul through their practice. The Open House was an open invitation to the public.

This spare, roofless architectural structure, a shanty-like nest in the middle of a street, shrank from its surrounds but looked towards the stars, with a view of the Golden Horn. In terms of the conceptual relationship between performance and performative practices, Drama Queens produced for the Mnster Sculpture Projects was a turning point in their work.

When the project, written as a theatrical play on the topic of 20th century art, was restaged at the Frieze Art Fair, Kevin Spacey voiced one of the characters.

Performansla ve performatif yaklamla olan kavramsal ilikileri asndan, ylnda Almanyann Mnster kentinde gerekleen Skulptur Projekte kapsamnda ortaya koyduklar Drama Queens bir dnm noktasyd. In a performance in in Galerie Emmanuel Perrotin, Paris, five young men spent the duration of the exhibition thinking, keeping journals, writing in notebooks in an exhibition space full of desks.

The artists, who hired the young men, later included their writings in a publication. To this literary gesture, which suited Paris very well, was added another reason to re-functionalize it in the changing political context in Istanbul: Recalling that politics is a problem of language above all else, we may borrow the language of the street: Damn Certin Things and Where are you my love? Here I am my love! Adnan YldzRum lkretim Okulunda gerekle-tirilecek olan performanslar, kendi sanat tarihleri iinden gelen bir kaydn yeniden retilmesine dayal.

Sergi meknnda gnlk tutmak iin gen adamlarla ibirlii yapan ikili, daha sonra bu notlara yaynlarnda da yer verir.

Publications Catalogue

Parise ok yakan bu edebi jeste, stanbulda, deien siyasi balamda performans yeniden ilevsel klacak bir neden de eklendi: Siyasetin her eyin ncesinde ve tesinde, bir dil problemi olduunu iaretleyerek, sokaktan alarsak: Kahrolsun Baz eyler ve Nerdesin Akm? Born in in Amsterdam, the Netherlands. Her projects often revolve in cycles through iterations, involving minimalist sculptural forms, videos, and diagramswhereby the artist deepens her inquiries into history and discourse.

Pisanos own interlocution of these more material presentations, in lecture performances and voice-over narratives, makes manifest the role of language as a pivotal construct, capable of forming relations between herself and the diverse realms of her artistic investigation, namely subjectivity, authorship, agency, and representation. In this project, Pisano focuses on six historical moments, in which living conditions have changed, triggering moments of what she calls, the body in crisis.

These events pertain to shifts in various arenas of social life, ranging from the institutional and geographical, to the personal and physical. They include the development of the theory of the four humours in Pergamon; the transition from feudalism to capitalism and the Dutch colonial experiences in the s; as well as the establishment of the first medical educational clinics in France introducing a new approach Falke Pisanonun bugne kadar rettii yaptlarn znde, konuma eyleminin ve bedenin siyasal ve kuramsal alanda temsili ve bunlarn sanat alanndaki olas bakalam yer alyor.

Sanatnn yaptlar genellikle minimalist heykeller, videolar ve diyagramlarn yer ald yinelemeler araclyla tarih ve sylem konusundaki aratrmalarn derin-letirdii dngler halinde ilerliyor.

Pisanonun sunum-performanslar ve seslendirmeler araclyla kulland bu mecralara bir ses kazandrmas, dilin, sanatnn kendisiyle sanatsal aratr-malarn srdrd alanlar arasnda iliki kurabilen, merkezi nemde bir yap olarak roln grnr klyor.

Bu projede Pisano yaam koullarn deitiren ve sanatnn bedenin krizi adn verdii anlar tetikleyen alt tarihsel zamana odaklanyor. Bu olaylar toplumsal hayatn, kurumsal ve corafi olandan, kiisel ve fiziksel olana uzanan eitli alanlarna karlk geliyor. Bu olaylar arasnda Bergamada drt salg kuramnn gelitirilmesi; feodalizmden kapitalizme gei ve Hollandallarn In the first video, Disorder of Composition, this trauma is narrated by the voice of what is presumed to be the subject or subjects of crisis.

The breaking down of text, image and language, in the second piece Composition, is reconstituted by the artists visual and verbal inscriptions.