SANAT VE İZLEYİCİ DENEYİMİ ÜZERİNE BİR ARAŞTIRMA: “MAKİNE HATIRALARI: UZAY” SERGİSİ ÖRNEĞİ
A STUDY ON ART AND VIEWER EXPERIENCE: CASE OF THE “MACHINE MEMOIRS: SPACE” EXHIBITION

Summary/Abstract: The first examples of the audience's participation in art refer to the second half of the 20th century. In this innovative process, which is classified within the period of modern art, art begins to change its structure and direction. The audience, which is the complementary element of art, evolves over time as a whole with art. In a way, the art/artistic object, which multiplies by dividing, goes beyond belonging to the artist and makes its visitor a partner in its existence, on the other hand, it liberates its protected existence by destroying the concrete object definition. Art is no longer just an object that can be seen and watched, but gains an intersensory and experience-oriented structure that is perceived as a concept, a movement, a sound or light-like elements. Technology, which is the strongest trigger of this process, further clarifies the collective aspect of art as both artistic expression and medium, and transforms art into an interactive, collaborative, multidimensional and even customizable form. These developments, along with the increase in experience, also affect the rise of audience satisfaction. The research carried out on the axis of this information was based on the purpose of evaluating the relationship between digital art and the audience, and was carried out on the exhibition sample of Refik Anadol's "Machine Memoirs: Space", which opened a strong field in digital art literature. In this context, it was aimed to evaluate the experience of the visitor during the exhibition through the dimensions of "Contemplative Experience, Enthuasing Experience and Social Experience" by using the survey method in the research.

• Details
• Contents