{"id":8244,"date":"2026-07-13T09:59:38","date_gmt":"2026-07-13T09:59:38","guid":{"rendered":"https:\/\/kenansubasi.com\/?p=8244"},"modified":"2026-07-31T12:08:23","modified_gmt":"2026-07-31T09:08:23","slug":"imgenin-maruz-kaldigi-siddet-sentetik-imgeler-ve-dijital-dezenformasyon","status":"publish","type":"post","link":"https:\/\/kenansubasi.com\/en\/imgenin-maruz-kaldigi-siddet-sentetik-imgeler-ve-dijital-dezenformasyon\/","title":{"rendered":"The Violence Faced by the Image: Synthetic Images and Digital Disinformation"},"content":{"rendered":"
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Summary<\/p>\n

Dijitalle\u015fme kavram\u0131, foto\u011fraf ve sinema sanat\u0131n\u0131n imge ile olan ili\u015fkisinde evrimsel bir de\u011fi\u015fimden ziyade devimsel bir tahribat olan sentetik imge krizini temsil etmektedir. G\u00f6rselin yolculu\u011fu, tarih \u00f6ncesi \u00e7a\u011flarda ma\u011fara duvarlar\u0131na \u00e7izilen figu\u0308rlerle ba\u015flay\u0131p zaman i\u00e7erisinde tuval arac\u0131l\u0131\u011f\u0131yla resimde, peliku\u0308l arac\u0131l\u0131\u011f\u0131yla foto\u011fraf ve sinema sanat\u0131nda fiziki bir materyal vas\u0131tas\u0131yla devam etmi\u015fse de gu\u0308nu\u0308mu\u0308zde malzemenin ontolojisi de\u011fi\u015ferek say\u0131larla temsil edilmektedir. S\u00f6zu\u0308 edilen bu say\u0131sal temsil, sineman\u0131n ana malzemesi olan foto\u011fraf\u0131n ger\u00e7ekle olan ili\u015fkisini zedeleyip geri d\u00f6nu\u0308\u015fu\u0308 mu\u0308mku\u0308n olmayacak bir d\u00f6nu\u0308\u015fu\u0308me u\u011fratarak sineman\u0131n kimli\u011finin sorgulanmas\u0131na neden olmu\u015ftur. Bu sorgulama, g\u00f6rsel yap\u0131 birimini olu\u015fturan \u2018\u2018imge\u2019\u2019nin say\u0131sal olarak var edilmesine neden olmu\u015f ve ard\u0131ndan s\u00f6z konusu bu kavram\u0131n temsil etti\u011fi \u2018\u2018\u015fey\u2019\u2019 ile aras\u0131ndaki \u2018\u2018ger\u00e7ekli\u011fi\u2019\u2019 de yok etmi\u015ftir.<\/p>\n

Bu \u00e7al\u0131\u015fma \u2018\u2018foto\u011fraf \u00e7ekmek, yapmak ve yazmak\u2019\u2019 aras\u0131ndaki fark nedir? sorusundan yola \u00e7\u0131karak baz\u0131 kuramc\u0131lar\u0131n sineman\u0131n \u00f6lu\u0308mu\u0308, baz\u0131 kuramc\u0131lar\u0131n ise sineman\u0131n r\u00f6nesans\u0131 olarak nitelendirdi\u011fi dijital devrimi merkezine alarak imgenin peliku\u0308lden say\u0131sala olan seru\u0308veninde sentetik imgelerin ger\u00e7eklik kavram\u0131 ile olan ili\u015fkisini ve imgenin say\u0131lar kar\u015f\u0131s\u0131nda maruz kald\u0131\u011f\u0131 \u015fiddetin izini su\u0308rmektedir.<\/p>\n

\u00c7al\u0131\u015fmada, dijitalle\u015fme ile s\u0131n\u0131rlar\u0131 son derece mu\u011flak hale gelen ve gu\u0308nu\u0308mu\u0308zde tan\u0131mlanmas\u0131 olduk\u00e7a gu\u0308\u00e7 olan ger\u00e7ek kavram\u0131n\u0131 sinema perspektifinde bilgisayar u\u0308retimli imgeleme tart\u0131\u015fmalar\u0131 u\u0308zerine temellendirerek imge ve ger\u00e7ek ili\u015fkisini irdeleyip sentetik imge ve dijital dezenformasyon kavramlar\u0131n\u0131 tart\u0131\u015fmaktad\u0131r.<\/p>\n

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Anahtar Kelimeler: \u0130mge, Sentetik \u0130mge, Dijital dezenformasyon, Say\u0131sal temsil<\/p>\n

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Abstract<\/p>\n

The concept of digitalization represents the crisis of the synthetic image, which is a dybamic destruction rather than an evolutionary change in the relationship of photography and cinema art with the image. Although the journey of the image began with figures drawn on cave walls in prehistoric times and continued over time through a physical material in painting on canvas, photography and cinema through pellicle, today the ontology of the material has changed and is represented by numbers. This numerical representation has caused to the questioning of the identity of cinema by damaging the relationship of photography, the main material of cinema, with reality and causing an irreversible transformation. This questioning has led to the digitalization of the \u201cimage\u201d, which constitutes the visual structural unit, and then destroyed the \u201creality\u201d between this concept and the \u201cthing\u201d it represents.<\/p>\n

Based on the question \u201cwhat is the difference between taking, making and writing photographs?\u201d, this study traces the relationship of synthetic images with the concept of reality and the violence that the image is subjected to in the face of numbers in the adventure of the image from the digital to the digital, centering on the digital revolution, which some theorists describe as the death of cinema and some theorists as the renaissance of cinema.<\/p>\n

The study examines the relationship between image and reality by basing the concept of reality, whose boundaries have become extremely blurred with digitalization and which is very difficult to define today, on the discussions of computer-generated imagery in the perspective of cinema, and discusses the concepts of synthetic image and digital disinformation.<\/p>\n

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Key Words: Image, Synthetic Image, Digital disinformation, Digital representation<\/p>\n

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Yazarlar: Kenan SUBA\u015eI, Alev Fato\u015f PARSA<\/p>\n

Sempozyum: IV International Symposium on Communication: Disinformation in the Digital Age, Bishkek, K\u0131rg\u0131zistan, 15 – 17 May\u0131s 2024, ss.31-32,<\/p>\n

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Detail<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\r\n \r\n \"Kenan_Subasi_Makale_8\"\r\n <\/a>\r\n <\/div>\r\n <\/div> \r\n <\/div>\r\n\r\n \t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

\u00d6zet Dijitalle\u015fme kavram\u0131, foto\u011fraf ve sinema sanat\u0131n\u0131n imge ile olan ili\u015fkisinde evrimsel bir de\u011fi\u015fimden ziyade devimsel bir tahribat olan sentetik imge krizini temsil etmektedir. […]<\/p>\n","protected":false},"author":1,"featured_media":8246,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[21],"tags":[71,72,73,74,75,76,78,54,77],"class_list":["post-8244","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bildiri","tag-dijital-medya","tag-dijital-sinema","tag-gorsel-imge","tag-gundem-belirleme","tag-gundem-belirleme-kurami","tag-sanal-gerceklik","tag-sinema","tag-vr-film","tag-vr-sinema"],"acf":{"choi\u0441e_menu_page":"global_settings","full_width":false,"header_transparent":false,"header_white":false,"menu_align_page":"default","menu_style":""},"_links":{"self":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/comments?post=8244"}],"version-history":[{"count":4,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244\/revisions"}],"predecessor-version":[{"id":8249,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244\/revisions\/8249"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media\/8246"}],"wp:attachment":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media?parent=8244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/categories?post=8244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/tags?post=8244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}