! "! Uluslararası Görsel Kültür Kongresi !leti"imde, Sanatta ve Tasarımda Yeni Yakla"ımlar “Dijitalle!me” International Congress on Visual Culture New Approaches in Communication, Art and Design “Digitalization” 07 Mart – 09 Mart 2012 March 07 – March 09 2012 Bildiriler / Papers Cilt I / Volume I ! ""! !stanbul Kültür Üniversitesi Yayınları Yayın No: *** ISBN: ***-***-****-**-* © Her türlü yayın hakkı "stanbul Kültür Üniversitesi’ne aittir. Mart 2012 Baskı: *************** Editörler Doç.Dr. I!ıl Zeybek Yrd.Doç.Dr. Deniz Yengin Yayına Hazırlayanlar Yrd.Doç.Dr. Volkan Ekin Yrd.Doç.Dr. Arzu Eceo#lu Ar!.Gör. Tu#çe Çedikçi Ar!.Gör. Ceyda Deneçli Kapak Tasarım Ar!.Gör. Dide Akda# "stanbul Kültür Üniversitesi Sanat ve Tasarım Fakültesi Ataköy Yerle!kesi Bakırköy, "stanbul Tel: (+90 212) 498 41 00 Faks: (+90 212) 465 83 07 Web: www.iku.edu.tr ! """! KOM!TELER / COMMITTEES Kongre Düzenleme Kurulu Ba"kanı / Chairman of The Congress Organization Committee Prof.Dr. Zafer Ertürk, Sanat ve Tasarım Fakültesi Dekanı, "stanbul Kültür Üniversitesi, Türkiye Kongre Düzenleme Kurulu Genel Koordinatörleri / General Coordinators of The Congress Organization Committee Prof.Dr. Rengin Küçükerdo#an, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. I!ıl Zeybek, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Deniz Yengin, "stanbul Kültür Üniversitesi, Türkiye Bilimsel Kurul / Scientific Committee Prof.Dr. Bülent Küçükerdo#an, "stanbul Kültür Üniversitesi, Türkiye Prof.Dr. Christine I. Ogan, Indiana Üniversitesi, A.B.D. Prof.Dr. Donald L. Shaw, North Carolina Üniversitesi, A.B.D. Prof.Dr. Douglas Kellner, UCLA Üniversitesi, A.B.D. Prof.Dr. Farouk Y. Seif, Antioch Üniversitesi, A.B.D. Prof.Dr. Ferhat Özgür, "stanbul Kültür Üniversitesi, Türkiye Prof.Dr. Filiz Balta Pelteko#lu, Marmara Üniversitesi, Türkiye Prof.Dr. H.Hale Künüçen, Ba!kent Üniversitesi, Türkiye Prof.Dr. Haluk Gürgen, Bahçe!ehir Üniversitesi, Türkiye Prof.Dr. Hülya Yengin, "stanbul Aydın Üniversitesi, Türkiye Prof.Dr. Jean-Marie Klinkenberg, Liege Universitesi, Belçika Prof.Dr. Judith K. Litterst, St. Cloud State Universitesi, A.B.D. Prof. Lucie Bader Egloff, Zürih Universitesi, "sviçre Prof.Dr. Maxwell E. McCombs, Texas Universitesi, A.B.D. Prof.Dr. Mesut "ktu, "stanbul Kültür Üniversitesi, Türkiye Prof.Dr. Murat Özgen, "stanbul Üniversitesi, Türkiye Prof.Dr. Mutlu Binark, Ba!kent Üniversitesi, Türkiye Prof.Dr. Rengin Küçükerdo#an, "stanbul Kültür Üniversitesi, Türkiye Prof.Dr. Selçuk Hünerli, "stanbul Kültür Universitesi, Türkiye Prof.Dr. Stanislav Semerdjiev, NATFA, Bulgaristan Prof.Dr. Turan Sa#er, "nönü Üniversitesi, Türkiye Prof.Dr. U#ur Demiray, Anadolu Üniversitesi, Türkiye Prof.Dr. Ümit Atabek, Ya!ar Üniversitesi, Türkiye Prof.Dr. Yasemin Giritli "nceo#lu, Galatasaray Üniversitesi, Türkiye Prof.Dr. Zafer Ertürk, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. Cem Sütçü, Marmara Üniversitesi, Türkiye ! "#! Düzenleme Kurulu / Local Organization Committee Doç.Dr. I!ıl Zeybek, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. Mehmet Üstünipek, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. Banu Manav, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Deniz Yengin, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Volkan Ekin, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Ezgi Öykü Yıldız, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Arzu Eceo#lu, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Ruken Kılanç, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. "brahim Zengin, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Dide Akda#, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. $irin Erensoy, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Tu#çe Çedikçi, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Ceyda Deneçli, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Duygu Dumanlı, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Batu Duru, "stanbul Kültür Üniversitesi, Türkiye Ar!.Gör. Berna Ekim, Maltepe Üniversitesi, Türkiye Ar!.Gör. Orhan Göztepe, "stanbul Kültür Üniversitesi, Türkiye Olcay Yıldız, "stanbul Kültür Üniversitesi, Türkiye Barı! Dereli, "stanbul Kültür Üniversitesi, Türkiye Berna Küçük, "stanbul Kültür Üniversitesi, Türkiye Bildiri Kitapçı#ı Yayın Kurulu / Editorial Board Prof.Dr. Bülent Küçükerdo#an, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. I!ıl Zeybek, "stanbul Kültür Üniversitesi, Türkiye Doç.Dr. Banu Manav, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Deniz Yengin, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Volkan Ekin, "stanbul Kültür Üniversitesi, Türkiye Yrd.Doç.Dr. Öykü Ezgi Yıldız, "stanbul Kültür Üniversitesi, Türkiye ! #! !Ç!NDEK!LER / CONTENTS ÖNSÖZ / PREFACE Prof.Dr. Dursun Koçer XI Prof.Dr. Zafer Ertürk XII Prof.Dr. Jean-Marie Klinkenberg XIV Prof.Dr. Maxwell McCombs XVII Prof.Dr. Rengin Küçükerdo#an XVIII Dijital Toplum / Digital Society 2 Ece Baban, Fazlı Yıldırım 2 Lost Identity Syndrome With The Affect Of Social Network And Digital Media Raffaella Carchio, A. Ambra Zaghetto 8 Social Network Influence On Deaf Communication: An Italian Perspective Jeferson De Carvalho 11 The New Emergent Multimedia Content and The Digital Rights Management Cengiz Erdal 17 Visual Culture In The New Communication Environment: E-Government As A Case Study $irin Erensoy 22 Together But Alone: Human Isolation In The Digital Era Görsel Göstergebilim / Visual Semiotics 27 Mine Demirta", Radife Akyıldız Ongar 27 The Examination Of Publicity Films In The Institutional Web Pages Of Foundational Universities As A Public Relation Studies Supporting Audio – Visual Media Tool Antonio Roberto Chiachiri Filho, Edson Do Prado Pfutzenreuter 36 Signs Of The Digital In Advertising Fahanditis Nikos, Vamvakidou Ifigeneia, Traoudas Antonis, Michailidis Illias, 43 Papoutzis Lazaros Powerful Weblogs: Design and Semiotic Description Hasanah Amin 50 Visual Aesthetic Expression On User-Generated Content By The Net Generation (Existence, Roles, And Opportunities In Cyberspace) Wegig Murwonugroho, Yasraf Amir Piliang 59 Interactive Reading Visual Rhetoric Elements On Digital Ambient Media (Case Study: Samsung Mobile Phone and ESPN Football Advertısements) Görsel Kültür / Visual Culture 70 Salma Kamel 70 Cultural Codes In The Printed Media In Egypt In The Digital Era Cengiz Erdal 82 Techno Culture And Visual Culture Interaction Rana Kutlu, Banu Manav, Sevinç Ormancı 87 An Analysis On The Emotional Interactions Of Light And Colour: The Visual Culture Of Istanbul Alkyoni Tsegou 92 Retouching (On) Cinematic Past: Film Restoration As Collective Heritage and Shared Memory Konrad Chmielecki 96 The Anthropology Of New Visuality As A Reflection On “Digital” Visual Culture Dijital Sanatlar / Digital Arts 107 Patricia Margarida Farias Coelho 107 Advertising Employs Games And Advergames As New Communication Strategies Gulnaz Haleem, Ahmed Mujtaba, Ayesha Ashfaq 110 Projection Of Frustration and Aggression Among Youth Through Television Crime Shows In Pakistan ! #"! Marcelo De Mattos Salgado 116 Social Digital Spaces, Spheres And Foams In Mmorpgs Görsel Kültür / Visual Culture 127 Orçun Çadırcı 127 Dijitalle!en Görsel Kültür Ça#ında “Yeni Yapıt” Hülya Bozbıyık 132 Görsel Kültür Olarak Yazı Sanatı Burcu Günay 137 Ça#da! Sanatta Ölü Do#anın Sorgulanı!ı. Sinema, Foto#raf, Resim, Heykel A#ında Dola!an Bir Sanatçı: Sam Taylor-Wood Metin Eker, Sena Sengir, Hülya Demir 143 Görsel Kültür "çin Bir Epistemoloji: Metinsel Dönü!ümden "mgesel Kaosa Terfi !leti"im Sanatları / Communication Arts 148 Yusuf Yurdigül, !. Ethem Zinderen 148 Yeni Medyada Haber Dili (Ay!e Pa!alı Olayı Üzerinden Geleneksel Medya ve "nternet Habercili#i Kar!ıla!tırması) Volkan Yakın, Canan Ay 159 Markaların Ki!ilik Arketiplerinin Algılanması Üzerine Bir Ara!tırma I"ıl Zeybek, Volkan Ekin 169 Lüks Markaların Dijital Ortamdaki Stratejileri Ruken Özgül Kılanç 176 Marka Öykülemelerinin "nternette Kültürel De#erler Çerçevesinde Yansımaları Dijital Sanatlar / Digital Arts 185 Gizem $im"ek 185 Sinemada Dijitalle!me ve 3D Teknolojisi Rana !#neci Süzen 192 Dijital Evrende Mimesisi Yeniden Dü!ünmek; Avatar Filmi Aygün $en Telci 202 Walter Benjamin'in Kavramlarıyla "Hikaye Anlatıcısı”nın Görsel Temsilcisi : Hayao Miyazaki Perihan Ta" Öz 212 Pelikülden Dijitale Sinemada Seyir Kültürü ve Seyircinin De#i!en Konumu Yeni Medya / New Media 221 Övünç Meriç 221 Yeni Medya, Görsel Metinler ve Aktivizm Mehmet Gökhan Genel 230 Siyasal "leti!im Kampanyalarında Sosyal Medyanın Kullanımı (12 Haziran 2011 Seçimleri “Twitter” Örne#i) Sinem Siklon 239 "nternet Gazetecili#inde Gündem Olu!turmada Yeni Bir Yöntem: Oyun-Haber Gazetecili#i Tu#çe Çedikçi, Tu#ba Çedikçi Fener 245 Yeni "leti!im Araçlarının Seçim Kampanyalarındaki Rolü: Haziran 2011 Türkiye Genel Seçimleri Yeni Medya / New Media 253 Sabina Misoch 253 Visualization Of The Hidden: The Visual Communication Of Self-Disclosure Behaviour In Youtube Videos Gülüm $ener Ulagay, Yelda Özkoçak 261 Networked Photography: Self-Disclosure In Facebook Photos Roberta Cesarino Iahn, Rodney Nascimento 268 Intertextual Relation For The Creation Of Fashion Contents ! #""! Berna Ekim 273 The Museum Of Me: A Visual Presentation Of Your Online Social Life On Facebook Dijital Sanatlar / Digital Arts 282 Zulkifli Muslim, Norsidah Ujang, Megat Muzhafar Megat Nizar 282 The Design Transformation Process Of Plant Image To The Development Of Graphic Symbol Miroslava Petrova 290 New Forms Of Communication Between People, Design Objects and Environment Asmaa Abd Elgawad Elsebaey 301 Computer Technology and Its Reflection On The Architecture and Internal Space Barı" Atiker 314 Understanding The “Hybrid” Media In Design Education Mohammed Ahmad Hafez Salama, Mohammed Hafez Al-Khouli 321 Structure Of Morphogenetic Design As A Source Of Decorative and Digital Designs Görsel Göstergebilim / Visual Semiotics 327 Esmeralda Itzel Alvarez Contreras 327 Metaphorical Construction. Image and Ideas In Science A. Ambra Zaghetto 334 Italian Deaf Literature: New Perspectives Isabelle Klock-Fontanille, Jonathan Maslag 341 New Forms Of Communication: The Case Of The Digitalization Of Writings Peteer Linnap 351 Photography and Semiosphere Görsel Kültür / Visual Culture 364 Vamvakidou Ifigenia, Georgio Stavrianos, Pipini Eleftheriou, Kostas Tsioumis, 364 Lazaros Papoutzis Digital History and Communication, Arts Craftsmen Of Wood Carved Works: The Case Of Pomaks In Greek Thrace Taher Bahrani 371 Exposure To Authentic Audiovisual Programs In Informal Setting and Language Learning Eriel De Araujo Santos 379 Unstable Geography: The Doubt About The Image and Its Photographical Process Dragan Milinkovic Fimon 388 Media Literacy and Education In A Digital World Dijital Toplum / Digital Society 398 Alkım Özaygen, Gülden Gürsoy Ataman, Mutlu Binark, Selma Arslanta" Tokta", 398 Ergin $afak Dikmen Türkiye’de Dijital Gözetim: TC Kimlik Numarasından E-Kimlik Kartlarına Yurtta!ın Sayısal Bedenleni!i Metin Eker, Do#an Çelebi, Esen Karada# 404 Dijital Hedonizm: Tekno-Kültürün Yeni Öznesi ve Kamu Erhan Akyazı, Cem S. Sütçü, Adnan Ortaköy 409 Gözetim Toplumu Ba#lamında Kent Güvenli#i Yönetim Bili!im Sistemi Uygulaması Olarak Mobese Elif Ertürk, Kenan Kaplan 417 Dijital Ça# ve Bireyin "deolojik Aygıtları !leti"im Sanatları / Communication Arts 423 Özge U#urlu 423 Tüketim Söylemlerinin Seslenme Biçimi Olarak E#lence: “Konu!an Yemeklerle Yemek Sepeti ” Didem Ataman Yengin, Yakup Sa#ıro#lu 431 Dijital Ortamda Marka "leti!imi: Tekstil Sektöründe Moda Bloglarının Tüketici Üzerindeki Etkisi ! #"""! Öykü Ezgi Yıldız 440 Etkile!imli ("nteraktif) Reklamın Tüketicinin Marka Ki!ilik Algısı Üzerindeki Rolü ve Bir Uygulama Örne#i: “12 Dev Adam- Rüya” Reklamı Ceyda Deneçli 449 Tüketici Kaynaklı Reklamların Satın Alma E#ilimi Üzerindeki Rolü Görsel Göstergebilim / Visual Semiotics 456 Suat Sungur 456 Türkiye’de En Çok Tercih Edilen Vakıf Üniversitelerinin Görsel Kimlik Tasarımlarının Analizi C. Arzu Aytekin 466 Dijital Görüntü ve Resim Prati#i Etkile!imi- Kültürel Sembol "çeren Ça#da! Resim Örne#i’nde Sibel Uçkaç Altun 473 Dijital "leti!im Teknolojileri ve Toplumsal Cinsiyet: Bili!im ve Teknoloji Reklamlarında Kadınlık Sunumu Ruken Özgül Kılanç, Ru"en Nurhayat Özgül Tanrıbilir 483 Kültürel Alanda Reklam ve "leti!im Stratejisi Yeni Medya / New Media 492 Arma#an Seçil Meliko#lu Eke 492 Bir "leti!im Aracı Olarak Vitrin Tasarımının Tüketicide Olu!turdu#u Tutumlar Deniz Kan 501 Yeni Medya Aracı Bilgisayar Oyunlarında Toplumsal Cinsiyetin "n!ası Zeynep Güngör 510 Dijital "maj: “Kendi”nin Simülasyonu mu Olmayana Ergi mi? Yeni Medya / New Media 516 Sung-do Kim 516 Metapolis Urbanization and Digital Media: Augmented City and Archaeology Of Inscription Raffaella Conversano, Gaetano Manzulli, Maurizio Binacchi 522 "The Enchanted Maze” –Instructions- Research and Technological Innovation For Integration Jennifer Heeg 530 Digitalization In New Media: Dating In Doha Solomon Marcus 536 The Visual, Under The Challenges Of Contemporary Science !leti"im Sanatları / Communication Arts 544 Kyridis Argiris, Fahantidis Nikos, Batistakis Dimitrios, Michailidis Illias 544 Evaluation Of The Websites Of All Political Parties Of The Greek Parliament Seval Dülgero#lu Yavuz 551 Viral Advertising: Products Of Visual Culture At The Crossroads Fatima Al Salem 561 When Opinion Leaders Tweet: A Framing Analysis Of Kuwaiti Parliament Members’ Tweets $. Güzin Ilıcak Aydınalp 573 Research On Websites Of 43 Public Relations Agency Members Of Public Relations Society Of Turkey (Tühid) In Aspect Of Public Relations Gresi Sanje Dahan, I"ıl $enol 583 From Opinion Leaders To Networking Agents Dijital Sanatlar / Digital Arts 592 Hakan Erkılıç, Ay"e Gül Toprak 592 Belgesel Sinemanın Alternatif Da#ıtım ve Gösterim Olana#ı Olarak "nternet Gül Ya"artürk 599 Zamansız Bir Görsel Kültür Ürünü Olarak Kaybedenler Kulübü !brahim Zengin, Melis Oktu# 607 Yeni Teknolojilerin Film Biçimi ve Görsel Biçeme Yansımaları : Yo#unla!tırılmı! Devamlılık Kurgusu Ba#lamında Psycho Örne#i ! "$! Okan Ormanlı 616 Dijitalle!me ve Türk Sineması Poster Sunumları / Poster Presentation 623 Lydia Elizalde, Alberto Carrillo 623 Semiotics In The Context Of Postmodern Aesthetics Olcay Uçak 630 Yazılı Basında ve "nternet Gazetecili#inde Kullanılan Haber Foto#raflarının Kar!ıla!tırılması Duygu Dumanlı 638 Do#rudan Pazarlama Çerçevesinde Mobil Pazarlamanın Artan Öneminin Markalara Sa#ladı#ı Yararlar Açısından De#erlendirilmesi: Türkiye’den Bir Örnek Uygulama !rem Çalı"ıcı Pala 645 Geleneksel Türk Serami#inin Belgelenmesinde, Dijital Ortamların Kullanılması ve Etkileri Ay"egül Acar 655 Seramik Sanatının Dijitalle!me Serüveni Dijital Sanatlar / Digital Arts 663 Christina Ene, Argyris Kyridis, Ifigeneia Vamvakidou 663 Digital History and Communication: The Case Of Romanians In Greece Adel Mohamed M. Khodeir 671 Rules Of Color Management Process Required For Graphic Designer In Litho-Offset Printing Dijital Sanatlar / Digital Arts 680 H. Hale Künüçen, Ka#an Olguntürk 680 A New Film Language: “Amateur Video” Iona Mischie 689 New Cultural Horizons: 3D Nawal Mohamed Salah Eldin 699 Visual Effects Cinematography: The Cinematographer’s Filmic Technique From Traditional To Digital Era Ines Gil 708 Construction Of The Sacred In The Moving Image Dijital Sanatlar / Digital Arts 713 Ay"e Binay Kurultay 713 The Dynamics Of Viral Advertising Rana Kutlu, Banu Manav, Sevinç Ormancı 720 Reinterpretation Of Istanbuls Image Through Light Mapping Maria Celeste de Almeida Wanner, Valter Luis Dantas Ornellas 725 Visual Culture: Antenna and Roots Yeni Medya / New Media 733 Selva Ersöz Karakulako#lu 733 Sosyal Medyanın Karanlık Yüzü Sevgi Kesim Güven, Altan Kar 742 Uysal Bedenlerin Tekinsizli#i: Mahremiyetin "f!ası Volkan Ekin 754 Spor Pazarlaması ve Dijitalle!me: Türkiye’deki Amatör Spor Kulüplerinin Web Sayfası ve Sosyal Medya Uygulamalarının Analizi Bülent Küçükerdo#an, Deniz Yengin 763 Yeni "leti!im Ortamında Etik: Böbiler.org Örne#i Dijital Sanatlar / Digital Arts 769 Hakan Erkılıç 769 Türkiye’de Sinema Salonlarının Dijital Dönü!ümü ! $! U#ur Günay Yavuz 775 Sava! Foto#rafı Tarihinde Dijitalle!me Süreci ve Fotografik Etkisi Dide Akda# Satır 785 Kurumsal Kimlik Tasarımı Ba#lamında Web Tasarımının Dijitalle!me Sürecinde Kimlik Sorunsalı ve Sürdürülebilirlilik Arzu Eceo#lu 794 Teknolojik Geli!melerin Mimarlık Mesle#ine Yansımaları ve Simülasyon Programlar'ın Mekanlar Tasarımına Etkisi ! $"! Saygıde#er katılımcılar, Bilgi ve ileti!im teknolojilerinde ya!anan hızlı de#i!imin hepimiz için !a!ırtıcı boyutlara ula!tı#ı bir dönemdeyiz. Gündelik alı!kanlıklarımızdan mesleki uygulamalarımıza kadar neredeyse her ayrıntı artık dijital dünyanın sınırları içinde belirleniyor. 2000’li yıllarla birlikte yaygınla!an cep telefonlarını; bizlere bilgileri saklama, aktarma hatta yeniden !ekillendirme olana#ı sunan bilgisayarları ve en önemlisi de bireylere yeni bir dünyanın kapısını açan interneti bugün artık yalnızca birer teknolojik geli!me olarak de#erlendirmek mümkün de#il. Çünkü farklı ülkeleri ve toplumları birle!tiren bir güce dönü!en bilgi ve ileti!im teknolojileri beraberinde yeni bir kültür de yarattı. Sınırları a!an bu kültürde, ileti!im için kullandı#ımız dilden duygu dü!üncelerimizi anlatmak için seçti#imiz ifadelere kadar her !ey farklıla!tı. "nternet kullanımının yaygınla!masıyla eskiden yalnızca televizyonun simgesi olan ‘ekran’ın hayatımızdaki kapsama alanı arttı. "leti!im, ticaret, e#itim gibi toplum ya!amında belirleyici tüm eylemleri cep telefonları ve bilgisayarların ‘ekran’ları aracılı#ıyla yürütebilecek olana#a sahibiz. Peki ekranlar aracılı#ıyla açıldı#ımız bu dünya hakkında ne kadar bilgi sahibiyiz? Yeni teknolojilerle birlikte ya!amımıza giren ve dünyanın yeni kimli#ini tanımlayan dijital, sanal gibi kavramlar gerçekten ne anlama geliyor? Ba!langıçta kendimizi zaman-mekan sınırlamasından ba#ımsız ifade etmemizi sa#lamak amacıyla olu!turulan ve kısa sürede etki alanını artıran sosyal medya gelecek dönemde nasıl bir yapıya bürünecek? Ya!amımızı böylesine derinden etkileyen, ileti!im biçimlerimizde ve alı!kanlıklarımızda hatta dünyaya dair algımızda önemli de#i!imler yaratan bu geli!meler günümüzde nasıl bir boyuta ula!tı? Gelinebilecek son noktada mıyız yoksa yeni dünya düzeni için bu de#i!imler henüz bir ba!langıç mı? Dünyaya damgasını vuran tüm büyük bulu!lar ve geli!meler; ya!adı#ı dünyayı anlamaya çalı!an, merak eden ve ke!fetmek isteyenler sayesinde gerçekle!ti. Bu yönüyle baktı#ımızda farklı çevrelerde kimi zaman övgüyle söz edilen kimi zaman da ele!tirilen dijital dünyayı ve onun kültürünü tanımak, anlamaya çalı!mak ve ke!fetmek bir sorumluluk. Bunu yapabilmek için de her !eyden önce objektif bakı!açısının ürünü olan kaynaklara ve uzmanlara ihtiyacımız var. "stanbul Kültür Üniversitesi Sanat ve Tasarım Fakültesi’nin evsahipli#inde gerçekle!ecek olan dijitalle!me ve görsel kültür kavramlarının farklı açılardan ele alındı#ı VISUALIST 2012 Kongresi’nin son derece yararlı bir kaynak olu!turaca#ını dü!ünüyorum. 18 ülkeden çok de#erli akademisyenlerin katılımıyla, Sanatta ve Tasarımda Yeni Yakla!ımlar: Dijitalle!me teması ile gerçekle!tirilecek Uluslararası Görsel Kültür Kongresi: VISUALIST 2012’nin hazırladı#ı bilimsel zeminle gerek ileti!im biliminin farklı disiplinlerinde çalı!an akademisyenler gerekse bu alana ilgi duyanlar için yararlı olmasını ümit ediyor, ba!ta Sanat ve Tasarım Fakültesi akademik kadrosu olmak üzere Kongrenin gerçekle!mesinde eme#i geçen herkese te!ekkür ediyorum. Prof.Dr. Dursun Koçer !stanbul Kültür Üniversitesi Rektörü ! $""! Saygıde#er katılımcılar, "stanbul’da gerçekle!tirdi#imiz VISUALIST 2012, Uluslararası Görsel Kültür Kongresi; "leti!imde, Sanatta ve Tasarımda Yeni Yakla!ımlar: Dijitalle!me Kongresi’nde sizleri aramızda görmekten onur duymaktayım. Kültürlerin birle!me noktası olan "stanbul, sadece do#al güzellikleri ile de#il, aynı zamanda kültürel zenginlikleriyle de insanı büyüler. "stanbul’da altmı! yıldan fazla bir süredir ya!ayan bir ki!i olarak size bu tarihi, kültürel ve do#al zenginlikleri deneyimlemenizi tavsiye ederim. Sanat ve Tasarım Fakültesi olarak, size farklı ba!lıklarda tartı!ma olana#ı sa#layan bilimsel bir platform sunmaktayız. Kongrenin ana ba!lıkları, yeni medya, dijital sanatlar, dijital toplum, ileti!im sanatları, sahne sanatları, görsel kültür, görsel sanatlar, görsel göstergebilim ve uygulamalardır. Kongre aynı zamanda sizlere zengin bir sosyal ve kültürel program sunmaktadır. Sanat ve Tasarım Fakültesi’nin adına, kongreye katılım sa#layan herkese te!ekkür eder, bu kongrenin gerçekle!tirilmesinde son birkaç aydır özveriyle çalı!an Organizasyon Komitesi’nin tüm üyelerine, Üniversitemizin Yönetimi’ne, özellikle Üniversitemizin Kurucu Onursal Ba!kanı’na, Üniversitemizin Mütevelli Heyeti Ba!kanı’na, Rektörümüz Prof.Dr. Dursun Koçer’e !ükranlarımı sunarım. De#erli katılımcılar, "stanbul’da ho! vakit geçirmeniz, Kongrenin ba!arılı ve yararlı geçmesi dile#iyle..... Saygılarımla Dr Zafer Ertürk, Profesör Kongre Düzenleme Kurulu Ba"kanı Sanat ve Tasarım Fakültesi Dekanı ! $"""! Dear Distinguish Participants, It is a great pleasure and indeed an honour to welcome all of the participants at the Visualist 2012, International Congress on Visual Culture: New Approaches in Communication, Arts and Design: Digitalization, in Istanbul. Istanbul is a cultural melting pot in which almost all brief systems and of course different cultures took part. Istanbul attracts people who are interested not only in natural beauties, but also in cultural richness of the long heritage. As a person who lived more than sixty years in Istanbul, I do recommend you to test these beauties and richness. As the Faculty of Art and Design, we offer you a scientific platform to discuss research works on various topics. The main topics of the conference are; new media, digital arts, digital society, communication arts, performing arts, visual culture, visual arts, visual semiotics and applications. Meanwhile, a rich social and cultural program will complement this distinct event. On behalf of the Faculty of Art and Design, I repeat my sincere thanks for all of the participants for visiting Istanbul and for sharing their brilliant ideas with us. I should state that the Organizing Committee spent almost last several months to realize this meeting and I also express my gratitudes to the University Administration, especially to the Honorary President of the University Foundation, President of the Foundation, and of course to the President of the University, Prof.Dr. Dursun Koçer. Without their help and encouragement, we could not manage to realize one of the most important meetings of the field. I hope you will enjoy your stay in Istanbul and we will have productive discussion and proposals. Sincerely, yours Dr Zafer Ertürk, Professor Chairman, Visualist 2012 Dean, Faculty of Art and Design ! $"#! D!J!TALDEN ANALO%A G!D!P GELMEK "nsan ile evren arasındaki ili!kinin tarihi dijital (sürekli olmayan) ile süreklilik (kesintisizlik) arasındaki diyalektikle ilgilidir. Varolan dü!üncenin aksine, fiziksel dünyanın kendisi dijitaldir: soyut parçacıklardan olu!mu!tur (hücrecikler, moleküller, fotonlar, vb.). Aynı !ekilde, bu dünyayı algılama biçimimiz de soyuttur. Örne#in, görsel algılama, birbirinden son derece ayrı duyarlı hücreler tarafından kaydedilen uyarıcılarla olu!ur: Retina, algılanan uyaranların ortalama de#erini içeren bilgiyi ta!ıyan alıcılardan olu!mu! bir grid’dir. Aynı biçimde, bir foto#raf da, yo#unluk ve son derece ince girinti çıktılarıyla bir parçacıktır; çünkü göz tarafından algılanması birbirinden son derece ayrı!mı!, aynı biçimde belli belirsiz partiküller aracılı#ıyla gerçekle!ir. Sesin algılanı!ına gelirsek, o da aynı kurallara uyar: sürekliymi! gibi algıladı#ımız bir ses aslında, birbirini izleyen duru!lar (kesinti) ve hızlı yükselmelerden olu!mu!tur. Bir ba!ka deyi!le, söz konusu kesintililik (sürekli olmama durumu), merkezi sinir sistemine tüm veriler ula!ıncaya ve orada i!lemden geçinceye kadar sürer ; uyaranlar di#erleri gibi ayrık biçimdeki sinirlerin tepkileriyle dönü!üme u#rarlar. Ancak biz, birbiriyle ilgisi olmayan noktalardan olu!mu! bir dünyayı reddederiz. Biz, görsel anlamda algıladı#ımız bu ayrık noktaları çizgiler, yüzeyler ve figürler olu!turmak için birle!tiririz ve bunlardan, birbiriyle uyumsuz ö#elerin uyumlu bir sentezi olan homojen ve süreklili#i olan bir görsel alan yaratırız. Aynı biçimde, birbirini izleyen i!itsel uyaranları tek bir duyusal noktada birle!tiririz: duydu#umuz notada. Süreklilik (analogique) yalnızca olgularda bulunmaz: Ele aldı#ımız/inceledi#imiz her tür süreklilik, duyu organlarımızın algılamalarıyla ortaya çıkmaktadır. Neden hep gruplayarak bir !eyler ortaya çıkar? Yanıt son derece açıktır: bu evrendeki etkimizi arttırmak. Ba!döndürücü deneyimlerin çe!itlili#ini yakalayabilmek ve inceleyebilmek için, onu homojen biçimde ele almak gerekir. Ölümlü olmamız, bizi, dünyanın sonsuzlu#unu, onu daha iyi i!leyebilmek için, sonlu kılmaya iter. Söz konusu olan her defasında yenilenen bilgi akı!ını yönetebilmektir. Çünkü algılanan her özellik, her varlık tektir, bir benzeri yoktur. Sonuçta olgularda ya!anabilecek da#ılmanın engellenmesi ve düzene sokulması gereklidir. Olgularla ilgili bir tür yalınla!tımaya gitmek için onları grup ya da sınıflara ayırır, kar!ıla!tırılabilir ö#eleri bir araya getiririz. Bu, felsefecilerin « kategorile!tirme » dedi#i !eydir. Bu, Dünyayı daha basitle!tirmek adına, ya!anan deneyimlerin bir tür kalıpla!tırılmasıdır. Göstergebilimin nesnesi olan anlam, görülüyor ki, süreklilikten do#ar. Dünyayı anlamlandırmak, ona bir süreklilik kazandırmaktır. Bu ba#lamda göstergebilimin görevlerinden biri de, sözü edilen anlamların yaratılmasıdır. Ancak !imdiye kadar sürekli olan ile dijital olan (sürekli olmayan, ayrık olan) arasındaki kar!ıtlı#a de#indim. Ancak, sürekli olanın (analog) daha sonrasında, ileti!im kurmak ve iletebilmek için süreksizli#e (dijitale) dönü!mesi dikkat çekicidir. Sonuçta, dikkatle bakarsak, dijital ve analog arasında kar!ıtlıktan çok, bir tür birbirini tamamlama özelli#i vardır. Bu do#rultuda, olguları yeniden gruplamak ve e!lemek - süreklili#i sa#layan !ey- onları algılamamızda farklı bir yere koymak ve onları birbirinden ayırarak kar!ıt bölgelerde konumlandırmaktır. Kategorile!tirmek, gruplandırmaktır. Ayrıca kar!ıt konuma da getirmektir. Bilgileri (kavramları, sözcükleri, anlamları%) homojenmi! gibi birbiri içinde eritmek, onlar arasındaki ba#ıntıyı tanımlama gereklili#ini de beraberinde getirmektedir. ! $#! Böylece görüyoruz ki, dü!ünce, varlıklardan ve bu varlıkların i!leyi! kurallarını ele alan kümelerden olu!an bir dizinin anlık i!lenmesidir. Dil ise, tüm sözcük da#arcı#ı, sözdizimsel kuralları ile bu yapıyı ortaya çıkarmaktadır. Böylelikle, bugünün bilgi teknolojilerini ve ileti!imini niteleyen dijitalle!me süreci, bugüne kadar bilgi ve ileti!im olarak adlandırdı#ımızdan çok farklı bir niteleme ya da de#i!iklik ortaya koymamaktadır. Ayrıca, içinde bulundu#umuz « yeni bin yıl » ın ola#anüstü ve !a!ırtıcı bir dünya sundu#u da do#ru de#ildir : bilgileri a#lar aracılı#ıyla aktardı#ımız bilgisayarlarımızın ve dokunmatik tabletlerimizin ya da akıllı telefonlarımızın ekranlarını canlandıran güçler, algımızın temelindeki dürtüleri kopyalamaktadır. Bu dürtüler sosyal ili!kilerimizi geli!tirmeyi ve bilgileri i!lemeyi sa#layan dürtülerin aynısıdır. Burada hem süreklili#in hem de sürekli olmamanın (dijital) diyalekti#ini yine bulabiliyoruz. Televizyon ekranımın bana noktalar ve çizgiler sundu#unu biliyorum ; bilgisayar ekranımdaki foto#rafların piksellerden olu!tu#unun da farkındayım : bu ekranlarda neler oldu#unu anlayabilmek için, burada olgusal bir süreklilik oldu#unu tanımlamalıyım. Ekranda karakterlerden olu!an bir bütünün belirmesinin ve bu karakterlerin sabit bir diskin aynı sektöründeki noktalardan olu!mu! bir dizininin manyetik özellik ta!ıyan bir yazıcı tarafından sayfaya basılmasının ya da tam aksine, aynı disk üzerinde ba#lantısız, serpilmi! noktalara uymasının pek bir önemi yok. Aynı biçimde, bu da#ıtım için bir sekizli#in (sekizli bayt) seçilmesinin de bir önemi yok. Göstergesel i!levi olan sesin dijital ya da analog bir kaynaktan gelmesinin de bir önemi yoktur. Tüm bu olgular bilinçaltındadır. Bu veriler görsele dönü!tü#ünde, kullanıcı tarafından algılanmaktadır : bu bir ka#ıt olabilir ya da ekranda bir görüntü. Bu süreklilikten (analog yapı) söz etmek gerekliydi. Bunun nedeni ise, yarım asırdır ilgi çeken göstergebilimle ilgili olguları yadsımak ya da küçümsemek de#il, yalnızca özgünlü#ünün altını çizmek ve toplumumuz üzerindeki etkilerini de#erlendirmektir. Bunun ilk etkisi, bilgi kuramı ile ilgilidir. Bu, anlam dolu dünyada süreklilik ve dijital arasındaki diyalekti#in önemini ara!tırmacıların ortaya çıkarmasını sa#layan ça#da! dijitalle!me tekniklerine odaklanmaktır. Böylelikle göstergebilim için yeni bir dönem açılmı!tır ve bu dönemde anlamlandırma bilimi olan göstergebilim, yine anlamı konu alan bili!sel alandaki ilerlemelerden yararlanabilecektir. "kinci etki, hiç ku!kusuz, Visualist 2012 « "leti!im, Sanat ve Tasarımda Yeni Yakla!ımlar : Dijitalle!me » Kongresi katılımcılarının en çok çalı!mak istedikleri konularla ilgili olacaktır. Bu etki « teknik » özelliklidir. Dijitalle!me, görüntünün ve yazının kalbindeki bazı özellikleri inanılmaz bir !ekilde radikalle!tirmi!tir. Örne#in, dili kodlayan yazılı metin, dilden tamamen ayrı bir olaydır, çünkü dilin çizgisel yapısı ile onun uzamsal ve tablosal verilerden olu!an yapısı üst üste binmi!tir. Hipermetin ise, bu uzamı ve verimlili#i maksimuma çıkarır. Tablosal verilerden olu!an bu ürünler göstergeler ve yeni araçlar ile anında eri!ime açıktır. Böylece bir yapıtın düz okunmasında bütün ö#elerin i!aretlenmesi gerekmez. Hiper ortamın destekleyicilerinin yarattı#ı yeni gösterenler yeni kullanımları i!aret etmektedir. Bu dönü!ümlerin bazıları niteliksel olmaktan çok nicelikseldir. Ancak biliyoruz ki, nitel de#i!imlerin birikimi, nitel bir devrim yaratabilir. Ve biz, i!te böyle bir devrime yarım asırdır tanık oluyoruz. Üçüncü etki ise, antropoloji (insanbilim) ve pragmatik düzlemde görülmektedir. Bilgilerimizin dijital niteli#i eskiden herkes tarafından bilinmekteydi: göstergesel nitelikli bilgilerin parçasal özelli#i aktarıldı#ında, birey bu verileri özgür biçimde kullanmaya ba!ladı. Hiper ortamın yeni sözdizimsel göstergelerinin çok yönlü oldu#u ve ö#eler ! $#"! arasındaki hiyerar!inin ise zayıf ya da, en azından, esnek oldu#u görülmektedir. Özgürlük, esneklik, uzamsallık: Kullanıcı ve ileti!im araçları arasındaki yeni ili!kinin anahtar sözcükleri. Ve bu, etkile!imlili#in ve sanallı#ın olu!turdu#u yeni bir sosyal ortamın geli!mesidir. Son derece kısa bir sürede ortaya çıkan yenilikler ve eskiden gizemli sayılan tekniklerin geni! kitleler tarafından genelle!tirilmesi göstergebilim alanındaki çalı!maları ve toplumsal söylemleri kökten de#i!tirmi!tir. Bu çalı!maları ve toplumsal söylemlerin ele alınmasında, hiç ku!kusuz, « Visualist 2012 », özellikle dijitalle!me aracılı#ıyla kendini gösteren görsel kültürümüz ile ilgili dü!üncelerimizi geli!tiren, iz bırakıcı ve kaliteli bir sosyal bir etkinlik olacaktır. Prof.Dr. Jean-Marie Klinkenberg Groupe &, Liège Üniversitesi Uluslararası Görsel Göstergebilim Derne#i (AISV) Ba"kanı ! $#""! INTRODUCTION FOR VISUALIST 2012 PROCEEDINGS The continuing expansion of the communication landscape has introduced a vast range of new communication channels. Individuals, formal groups, and entire societies are now more connected than ever before. The traditional channels of mass communication – newspapers, television, radio and film – have been augmented by a plethora of new media channels ranging from new versions of the older channels, such as online news and a variety of websites, to totally new individualized channels, such as email, Facebook and Twitter. We now reside in a networked society where interactivity is the norm. These new media channels redefine mass communication and enlarge its role in society. Mass communication once meant the large-scale distribution of identical messages. The new communication channels also are mass in that large proportions of society are exposed to them and use them, but the messages flowing through these channels are far more individualized. The scope of the content flowing through these new media channels also is vastly greater than what was available in the past. Now everyone with access to a computer, mobile phone or a variety of other technologies can create their personal equivalent of the Library of Alexandria, a vast repository of news, history, literature, statistics, and whatever else is of interest. And it can be a dynamic library that is constantly updated. Most importantly, the shift from analog to digital technologies has created a visual culture by increasing exponentially the amount of visual material readily available for these personal libraries. More channels and a far greater flow of messages, especially visual messages, have created rich opportunities of those of us who explore the content and process of communication. VISUALIST 2012 presents an exciting display of the research that has mined these opportunities and provides the occasion for scholars and professionals to discuss this intriguing new landscape. Prof.Dr. Maxwell McCombs University of Texas at Austin ! $#"""! D!J!TAL DÜNYA, D!J!TAL YA$AMLAR VE... 1900’lerin sonu ile hız kazanan dijital teknolojinin dünya genelinde; ekonomiden, sanata, siyasetten bilime kadar toplumsal ya!amın her alanında önemli bir yer kapsadı#ı kaçınılmaz bir gerçektir. Bu geli!meye ba#lı olarak dijitalle!menin günümüzde gerek i! ya!amında gerek ki!ilerarası ili!kilerde oldukça etkili oldu#unu görmekteyiz. Dijitalle!me ve dijitalle!meye ba#lı olarak geli!en yeni teknolojilerin getirdi#i çok çe!itli avantajların ba!ında, bu geli!melerin bilgi yayılımına ivme kazandırması gelmektedir. Özellikle küreselle!en dünyamızda sınırların giderek ortadan kalkması, bilgiye hızlı ula!ım gereksinimini de beraberinde getirmi!tir. Bu ba#lamda dijitalle!me, bireylere bilgiye en kısa sürede ve az maliyetle ula!malarına olanak sa#lamaktadır. Yine dijitalle!me sürecinde bireyler, duygu ve dü!üncelerini aktaracakları ve payla!acakları “özgür” ve “ki!isel” ortamlar bularak, ileti!im sürecinde aktif bir rol oynama olana#ı bulmaktadır. Dolayısıyla bireyler bir taraftan duygu ve dü!üncelerini açıklarken di#er taraftan gündemin belirleyicisi ve olu!turucusu konumuna gelmektedir. Bu nedenle dijitalle!me, bireyleri bir araya getirerek aralarındaki etkile!imi arttırması bakımından da önem ta!ımaktadır. Ancak, dijitalle!menin etkin oldu#u alanların çok geni! olması, bu alanlarda gerçekle!tirilen tüm uygulamaların yeni ya da geli!mekte olan teknolojik uygulamalara uyum sa#laması, büyük bir çaba ve deneyim gerektirmektedir. Ayrıca, dijitalle!menin sonucu olarak birey, teknik ve teknolojik anlamda kendini ifade etme açısından “özgür” ve “aktif” hissetse de, aynı biçimde “yalnız” ve “yapay bir ortamda” da kalmaktadır; “içten” ve “sıcak” bir ileti!im ortamından uzak olması ise sosyalle!mesini engellemektedir. Bir ba!ka tanımla, dijitalle!me bireye yalnızca avantajlar de#il, özellikle toplumsal ve psikolojik temelli olumsuzluklar da ya!atmaktadır. Bir yandan teknik, inovasyon, yeni medya, ilerleme, etkile!im konu!ulurken, di#er taraftan ve tüm bunların kar!ıtı olarak toplumsallık, içtenlik, sıcaklık ve yüzyüze ileti!im ile ilgili sorunlara çözüm aranmaktadır. Kısaca yeni medya eski medyaya kar!ıdır; ya!amlar “online” ve “sanal” biçimde ya!anmaktadır; de#erler de#i!ime u#ramaktadır. "stanbul Kültür Üniversitesi Sanat ve Tasarım Fakültesi olarak Visualist 2012 Kongresi’nde, dijitalle!menin günümüz ya!amının her anında ve her alanında ta!ıdı#ı önemden yola çıkarak; dijitalle!me konusunun ve bu konuya ili!kin çalı!maların gerek akademik, gerek sektörel deneyimler çerçevesinde de#i!ik bakı! açıları ile payla!ılmasını ve tartı!ılmasını hedefledik. Bu do#rultuda, dünyanın de#i!ik bölgelerinden gelen, Türkiye de dahil 19 ülkeden katılımcılarla ve alanlarında kanaat önderi, lider, öncü konumdaki de#erli Kongre Bilim Kurulu üyelerinin deste#iyle, hedefimizi gerçekle!tirmi! ve hazırlanan Visualist 2012 Kongre Bildiri Kitapçı#ı ile yerli ve yabancı literatüre katkıda bulunarak, Kongre kapsamında ele alınan konularla ilgili akademik ve sektörel çalı!malara kaynak sa#lamı! olmaktan mutluluk duyuyoruz. Prof.Dr. Rengin Küçükerdo#an !KU Sanat ve Tasarım Fakültesi Kongre Düzenleme Kurulu Genel Koordinatörü 08 Mart 2012 Önder Öztunalı Konferans Salonu Önder Öztunalı Conference Hall Konferans / Conference Prof.Dr. Dragan Milinkovic Fimon 1. Oturum: Dijital Toplum / 1. Session: Digital Society Oturum Ba!kanı / Moderator: Prof.Dr. Mutlu Binark *Ece Baban, Fazlı Yıldırım *Raffaella Carchio, A. Ambra Zaghetto *Jeferson De Carvalho *Cengiz Erdal *"irin Erensoy 2. Oturum: Görsel Göstergebilim / 2. Session: Visual Semiotics Oturum Ba!kanı / Moderator: Prof.Dr. Jean-Marie Klinkenberg *Mine Demirta!, Radife Akyıldız Ongar *Antonio Roberto Chiachiri Filho, Edson Do Prado Pfutzenreuter *Fahanditis Nikos, Vamvakidou Ifigeneia, Traoudas Antonis, Michailidis Illias, Papoutzis Lazaros *Hasanah Amin *Wegig Murwonugroho, Yasraf Amir Piliang 3. Oturum: Görsel Kültür / 3. Session: Visual Culture Oturum Ba!kanı / Moderator: Prof. Lucie Bader Egglof *Salma Kamel *Cengiz Erdal *Rana Kutlu, Banu Manav, Sevinç Ormancı *Alkyoni Tsegou *Konrad Chmielecki 4. Oturum: Dijital Sanatlar / 4. Session: Digital Arts Oturum Ba!kanı / Moderator: Doç.Dr. Cem S. Sütçü *Patricia Margarida Farias Coelho *Gulnaz Haleem, Ahmed Mujtaba, Ayesha Ashfaq *Marcelo De Mattos Salgado ! ! 2 LOST IDENTITY SYNDROME WITH THE AFFECT OF SOCIAL NETWORK AND DIGITAL MEDIA Ece Baban*, Fazli Yildirim** *Okan University, Public Relations and Advertising Department, Istanbul,Turkey ece.baban@okan.edu.tr **Okan University, Information Systems and Technology Department, Istanbul,Turkey fazli.yildirim@okan.edu.tr ABSTRACT While examining the researches and theories about mass communication tools we face the effects of media’s role on public and influences for shaping the publics’ thoughts. The first debates on media have started at late 19th century regarding to concern of sociology and political science. Besides, capitalism tries to isolate individuals for the aim of easy managing and impressing. And, media can easily transform isolated persons and the pacified persons are forgetting their personalities. Parallel thoughts expresses that the developing countries are economically dependent because of this fact. When we deal with media, commerce and politics trilogy, we can guess that media can produce guided or one sided news. Also, this idea is supported by Frankfurt School “media is the tool of reproducing the current inequalities". Furthermore, technology supports individual isolation and also technology prevents expressing their opinion by investigating the communications, especially the web based and digital ones. The content of the paper is lost identity syndrome with the effect of media and its’ social effects covering the digital and social media which are popular in today’s’ world. As the reason of selecting the topic of the paper is affected by the communication way of community which is mainly used by the public. The paper covers media and media effects, identity with lost identity syndrome and social media concepts. Keywords: Media, Social media, Lost identity syndrome, Digital media. 1. MEDIA While examining the mass communication tools development from past to present, we face the formation of social structures is mainly affected by communication phenomenon and mass communication tools. Throughout that formation period, there are debates on media and published news such as “media do not reflect the social reality and related news like a mirror and affected by dominant forces”. The main criticized point is related with the news. For instances, the dominant forces such as government or a powerful cooperation can affect the news or reproduce the news under the control of these forces. These dominant forces’ media affections are called Gramsci’s hegemony. Gramsci’s hegemony concept defines “the dominant forces’ dominating efforts”. In detail, “hegemony is an ideology which provides to reproduce the existing system under the control of the dominant and powerful forces against the weak side of the public” (Ü!ür, 1997). In other words, Hegemony can survive if dominant and powerful forces can manage the weak side of the public or lead them with gaining their acceptance. Consequently, hegemony concept is the mixture of power and acceptance (Hall). According to Gramsci, capitals governments can govern by invisible forces instead of brute force among their citizens and this can be provided by ideological power (Ü!ür, 1997). Also, effective areas of the hegemony are church, church based education system, cultural institutions and media (Hall). So, we can define the media as “a tool that provides a hegemony which publishes the dominant forces’ will and weak sides’ acceptance to these wills “. Altusser’s ideological theory is based on examining the information of invisible forces that deals with politic power. Althuser defines these forces as government’s ideological tools. Society is the mixture of three levels as economic, politic and ideology. These levels are ! ! 3 independent but ideology level can reproduce the society system (Ü!ür, 1997). According to him, ideology is not just defined by the economy it is also affected by the dominant forces (Althusser, 2008). Dominant forces use governmental forces for impressing public such as government, police, military and courts to reproduce the system in the public spaces and use ideological tools in private spaces. Briefly there are to forces to affect the society first one is brute force second one is ideological. And, these ideological tools are; Relegion, Family, Law, unions, political, communication (media, radio, television), cultural (fine arts, literature, sports) (Althusser, 2008). Under the light of Gramsci an Althusser’s theories we can criticize media as an ideological tool and is used by hegemony for sustaining existent system and reproducing the system by these dominant forces. While using interpreted languages to guide the society for hiding ideological aim media adopted a new language type. And, that language type or pronunciation types should be analyzed to understand the hided realities of ideological aims (Usur, 1997). Examining the ideological concept pronunciations works are firstly started by Foucault then continued by Laclau and Mouffe. According to Foucault’s pronunciation does not just present the societies practices, relationships and also reproduce the society (Foucault, 1999) According to Cheviron, event cannot express or write about itself. So, someone should reflect the event by using a pronunciation type. Briefly, reporting or publishing news is a language practice (Cheviron, 2009). News pronunciation can be defined as; production of society realities over language and news pronunciation can use written, oral and non-oral every material which helps to define the events (Sozen, 1999). For instance, television based news can cover visualized scripts, presentations, images, conversations, links to sources of news, written and oral resources. Briefly, meaning of the news is a mixture of visualized and audio (Dijk) In the other hand, news pronunciation is an important for expressing the reality. For expressing the reality, news should cover the all the societies voices which can be a threat to dominant powers or hegemony of the society (Dursun, 1987). Van Dijk examined how different the society groups are expressed and summarized them as: a) All the groups cannot express themselves through the prime media b) Trusted news resources are poorly used c) These groups are reflected as a problem like a threat to the public d) Giving the expression to these groups that they are weak, need help. These subtractions show that the groups which can access the publish sources are “politic, military and economic elites” and they are no separated from the groups who dominate the politics, military and economy. Elite’s voices are frequently the voice of anonymous and institutional masters (Dijk). Consequently, media and news are affected by the dominant powers or groups and their environments. According to Naom, Chomosky and Edward S. Herman mass media is an effective and powerful ideological institution which produces news by dominant forces under automatic censor for the aim of propagating and supporting the existent system (Chomsky et al, 2004) Moreover, Chomsky and Herman mentions that there are five filters and these filters support this propagating model. These are: a) Power of dominant media, profit based media; for owning a mass media publishing company you have to invest huge amount of capital in that company. Plus, the company size should be big and that kind of company also is in other business sectors. So, that company should integrate with existent market and could not publish news against the political power of the country. Also, media companies need support in political manner because finance, telecommunication, energy regulations are controlled by the government. b) Advertising is the most important income of the media; companies who pay money to publish their brands are the customers of media companies and they can influence the news. ! ! 4 If a media companies do not want to lose their customers they cannot publish news against that company. c) Media information sources are collected by government and dominant power’s related business environments; Because of labor and shortages media companies requires regular and accurate news from official resources so there should be relation with media and government. And media could not risk their news resources by producing news against the government. d) Local religion and anti-communism which is audition tool. e) Reaction production against media; if there is a news against a big company with huge number of employees than this company can affects that media channel with decrease in watching number ratios that negatively affects the advertising incomes. (Chomsky et al, 2004) 2. IDENTITY Identity concept generates the basics and most important root of society’s social system. Identity is a multidimensional concept that covers the individuals’ culture or social locations and their status in their living environments with symbolizing their belief, attitudes, and value judgments. Identity term is an answer of the question asked to individual as “who are you?” Primarily, the answer for that question is linked with the social context. The factors which define the identity are produced by the relationships and their affections. And, these specialties are based on cultural. Identity cover different questions its inside. The main question answer the identity is focusing on “how the individuals define and locate his/her self?” or “which differentiation factors he/she has?” The answer is the belonging needs of the individuals. Belonging is an important need to upgrade individuals self esteem. A group consisting of belonging on the basis of collective identities can bring connecting, and integration with it. In this sense, identity holds people together and acts like cement between individuals and their social relationships. In other words, identity is a tool for connecting the society. In this manner, individuals or society groups do not have one identity. We can be recognized and introduce our selves with various identities. In the past identities are affected by location, government, living society and the boundaries but, in the today’s world technology and internet breaks these boundaries with giving opportunity to build your own identities. For instance, you can hide your identity such as your sex during the cyber world communications or you can attend a group which is far away from your location. In the other hand, undeveloped countries you cannot talk against the government or dominant powers because the democracy level prevents these efforts and always you act like you are monitoring by these forces such as Foucoult’s Panapticon dungeon theory. It seems that the technology can give you space more freely and you can create your identity more free. Also, there are hidden writers who talks against the government. But in the reality, government can track your technological communication channels because they have the communication framework and can react against you which can affect your identity. 3. SOCIAL MEDIA Technological developments in the communication field are transforming the communication methods rapidly. Especially, after beginning of the nineties, the computer network framework and internet structure changed the communication nature which mainly affects the media. After two decades, the social media concept was appeared which covers all the individuals ! ! 5 and the media with lots of communication channels and applications such as blogs, micro blogs, Facebook, Twitter and etc. Before that change, media is publishing the local news and new agents are providing the news more detailed because of too much space in the media channels. For instance, in the beginning part of the news, lots of details were given with the event then the header comes after these details of the event. In the today’s world, there are lots local and global news and information are being published through the new form of media. Generally, these news and information are categorized according to their fields and the header comes with brief information about the news. If you want to detailed information about your selected news than you click the button which forwards you to the detailed information about these news. At the same time, individuals are now acting like news agents with new communication channels and there are publishing their own news while trying to lead the public. Throughout the media transformation in the world there are still emerging countries which use traditional media channels to publish the news. For instance, there is a news paper which is working by a person who writes on a board about the daily local news and people are reading this news on that board in Africa. If communication channel framework of the country also covers the internet was not emerged than public is dependent to local based news which are controlled and regulated by the governments. Then, we can assume that these media channels are publishing the news as a subjective way or taking the governments’ side. But, individuals of emerged countries with developed internet framework and communication channels can access the objective and fast news which can supports the real democracy. And, the social media underlines these efforts. Social media concept can be perceived as in many forms such as a channel for marketing efforts, new communication method, or a power swap between media and individuals by supporting individuals with publishing their news, events and their ideas through the public. The most expressive of this swap can be examined in China by Boxu about the social media which described the change in 3 angles. The first one focus on providing virtual spaces such as grassroots in nature by publishing individuals voices and helping to change citizens as a sheep under States command. Secondly, almost 40 percent of Chinese users use online forums for publishing their voices through internet by acting like news agents. The third one mentions that social network changes the social structure because in China, country consist of family and state but the new media covers more than this. Shortly, Sheep is becoming as an agents and networked individualism is coming (Boxu, 2010). Besides, there are lots of papers about the social media which describes social media as a new communication channel for the companies especially companies’ public relation efforts and marketing mix. Marketing related are focusing on two tools. First one is enabling companies to talk their customers through platforms such as Facebook, Twitter, MySpace, Blogs and etc. The second one is enables customers to communicate with one another (Mangold & Faulds, 2009), the problem in this tool also known as “word-of-mouth” cannot be controlled by the marketing managers or the same situation occurs in the media. As well, this situation known as that individuals demand more control over their media consumption (Rashtchy, et al., 2007). With web 2.0 platform companies and individuals can act more creative while producing and distributing while collaborative writing, content sharing, social networking and syndication (Malita, 2011). While examining the social media we face the new channel differences in six titles, which are participation, collective, transparency, independence, persistence, and emergence. Participation; users can publish their ideas and share them. Collective; users can add new applications from different sources and access information. Transparency; while sharing information and collaborating sharing person can follow the dialogs. Independence; user can access the information in everyplace and in any time. Persistence; ! ! 6 digital content persistent any time. Emergence; Social media is emerging stage now; we do not know the future form (Bradley, A., 2010). Social media is a new channel but the important step is to decide what kind of information (duration and information depth) should be shared in which platform (Blogs; Word Press, Communities, Micro-blogs; twitter, Social Networks; Facebook). For instances, companies prefer to publish messages in virtual game platforms, such as Half-life, for messages’ longevity efforts. Simultaneously, micro blogs are used for establishing awareness and brand recall or Twitter is used for stay top-of-mind of companies’ consumers. Another platform of Blogs is commonly used for increasing product knowledge and building brand knowledge. Social networks and communities provide deeper information rather than blogs and micro- blogs. Besides, blogs and communities provide longer information rather than micro-blogs and social networks (Weinberg & Pehlivan, 2011). Today, one of popular social network is named Facebook (MySpace, Friendster, Livejournal, and Bebo are also member based internet communities) which is mainly used for social interaction and expressing individuals identities. Usually, communication is based on posted information through the persons’ profiles. Persons’ described information and interest provides their identities and also by using various applications such as boards or online message tools they can communicate with each other. Especially for the adolescent development stage Facebook provide venue for young adults to express themselves and provide platform to interact with one another. Social networking sites help young to build their profiles and reflect their identities (Vasalou, Joinson, Banziger, Goldie, & Pitt, 2008). In the other hand, avatars are the important objects in social media. “An Avatar is a graphical representation of the user in a particular online environment” (Nowak & Rauh, 2006). According to a research on avatars by Vasalu, people choose avatars to present themselves on social media by three different reasons. A first reason is to provide accurate self presentation or emphasizing attributes aligned to imagined social roles. A second reason is to playful self presentation to entertain the other members and collect attention. Third reasons is using avatar as a proxy which delivers messages to the other users for example placing birthday cake for celebrating your friend’s birthday (Vasalou, Joinson, Banziger, Goldie, & Pitt, 2008). Individuals, companies and institutions are using social media with growing ratios in these days with different channels, marketing strategies, applications, message, aims and etc. But, the main problem is; are citizens are totally free to talk in every field? In the daily life, there are lots of examples or social media accidents which take place which affect the individuals. For instance, sharing a nude picture by a teacher in his private space or talking against his/her boss can be resulted as loosing the job (Clark, May-June 2010). Frequently, people are trying to use the technological tricks for overcoming “social media accidents or risks”. Most commonly, people are using fake e-mails, avatars, names, social media accounts or identities for this reason. But, technologically, they are remaining ip information while connecting the social media or clues to identify their identities. If they will perceived as a threat for government or a company than the judgment or threat from these forces will affect the individuals to be real free to work as an agent in the virtual spaces that can be examined in the Wiki-leaks example. 4. CONCLUSION As a result, we have to think that how amount of people can direct the community on events or how long he or she can continue to increase their voices against the traditional media, company or government. While using digital and social media as new communication tool, ! ! 7 people can express themselves with losing their identities by using fake identities. New communication tools can be used by media, but the identities are faked ones and this situation causes lost identity syndrome. So, we have to think about the social and digital media’s reliability and the effect on the community. Are really can social media can shape the community? REFERENCES Boxu, Y. (2010). Social Spaces and New Media: Some Reflections on the Modernization Process in China. Procedia Social and Behavioral Sciences 2 , 6941-6947. Bradley, A. (2010). A new definition of social media. Retrieved from blogs.gartner.com/anthony_bradley/2010/01/07/a-new-definition-of-social-media/ ,2010. Clark, J. R. (May-June 2010). Social Media and Privacy. Air Medical Journal , 104-107. Cheviron Nilgun Tutal. (2009). Haber-Yorumdan Seyir ve Gosteriye, Metin Cozumlemeleri, 1.Basim, haz. Yasemin G.Inceo!lu ve Nebahat A. Comak, Istanbul: Ayrinti Yayinlari, pg. 209-210. Chomsky, N., Edward S.H., David P. and Justin P. (2004). Medyanin Kamuoyu imalati, Medyanin Tekellesmesi Kitlelerin Yonlendirilisi ve Zorunlu itaat. A.Koymen, E. Kalak, H.Alpmen, O. Inciler ve I. Esendir (translate). Istanbul: Chiviyazilari, pg.41-61. Dijk Van, (1999). Soylemin Yapilari ve Iktidarin Yapilari, pg.321, 326. Dursun. (1987). TV Haberlerinde Ideoloji, s.140"dan John Fiske, Television Culture, Londra ve New York: Routledge. Foucault M. (1999). Bilginin Arkeolojisi, translate by Veli Urhan.Istanbul: Birey Yayincilik. Hall, S. Kultur, Medya ve Ideolojik Etki, Medya Iktidar Ideoloji, p.214. Louis A., (1978). Ideoloji ve Devletin Ideolojik Aygitlari, translate. Yusuf Alp and Mahmut Ozisik, Istanbul: Birikim Yayinlari, p.9. Malita, L. (2011). Social media time management tools and tips. Procedia Computer Science 3, pp. 747-753. Mangold, W. G., & Faulds, D. J. (2009). Social Media: The new hybrid element of the promotion mix. Kelly School of Business . Nowak, K. L., & Rauh, C. (2006). The influence of the avatar on online perceptions of anthropomorphism, androgyny, credibility, homophiliy, and attraction. 11J. Com.-med.comm, 151-153. Rashtchy, F., Kessler, A.M., Bieber, J., P., Shindler, et al. (2007, Februrary). The user revolution: The new advertising ecosystem and the rise of the internet as a mass medium. MN:Piper Jaffray Investment Research . Sozen Edibe. (1999). Soylem, 1.Basim, Istanbul: Paradigma Yayinlari, pg.20. Usur, S. S. (1997). Ideolojinin Seruveni Yanlis Bilinc ve Hegemanyodan Soyleme 1. Basim. Istanbul: Imge Kitabevi. Vasalou, A., Joinson, A., Banziger, T., Goldie, P., & Pitt, J. (2008). Avatars in social media: Balancing accuracy, playfulness and embodied messages. Human-Computer Studies 66 , 801- 811. Weinberg, B. D., & Pehlivan, e. (2011). Social spending: Managing the social media mix. Kelley School of Business, Indiana University . ! ! 8 SOCIAL NETWORK INFLUENCE ON DEAF COMMUNICATION: AN ITALIAN PERSPECTIVE Raffaella Carchio*, A. Ambra Zaghetto** *University of Milano Bicocca raffaella.carchio@gmail.com **University of Milano Bicocca ambra.zaghetto@gmail.com ABSTRACT Increasingly new media influences our communicative processes that were modified by the diffusion of new technologies. Internet is the network that allows the quick connection between people via Social Network (SN). Deaf people are usually organized in Communities charcterized by a specific culture (Deaf Culture, oral culture) and Language (Sign Language, visual-gestual channel). The use of SN by deaf people imposes writing in another language system (writing form of spoken languages), an alternative modality of communication. The aim of this research is to describe: 1) which SN deaf people know and usually use; 2) in which way SN is included in Deaf Culture; 3) how deaf people construct a virtual identity; 4) psychological consequences of using SN by deaf people. Data derived from direct interviews to italian deaf boys and girls 13-21 years old. Keywords: Deafness, Deaf culture, Sign language, Social network 1. INTRODUCTION Deafness is a condition wherein the ability to detect certain frequencies of sound is completely or partially impaired [1]. Hearing impairments are categorized by their type (conductive, sensorineural, or both), by their severity, and by the age of onset. Furthermore, a hearing impairment may exist in only one ear (unilateral) or in both ears (bilateral). However, deafness represents a social construction in which the community identity and the cultural phenomena are related to the language [2]. In fact, every deaf community in the world is carachterized by a specific cultural system (deaf culture) and a specific language system (sign language). Deaf culture (oral) describes the social beliefs, behaviors, art, literary traditions, history, values and shared institutions of communities that are affected by deafness and use sign languages to communicate [2]. Since the time of Stokoe’s (1980) and Washabaugh’s (1981) papers, sign languages have become accepted as genuine languages (natural languages) based on the use of the visual-gestual channel [3]. A sign language has not a written form (like in spoken languages). In Italy a Deaf Community is present (Italian Deaf Community, IDC), and it can be considered an ethnic group [2] with a peculiar cultura (Italian Deaf Culture). LIS is the name for Lingua Italiana dei Segni (Italian Sign Language) and indicates the language used by Italian deaf people and Swiss deaf people living in the Ticino canton [4]. LIS, as other sign languages, shows all the fundamental linguistic properties of natural/human languages [5]: it can convey the same range of meanings, it has a natural history, as spoken languages; moreover, LIS phonology, morphology and syntax are complex like spoken languages like Italian. Still, LIS has not yet received formal recognition by Italian authorities, although various bills are sitting in the Italian parliament for the recognition of this language system [4]. Today deaf people from all over the world are gathering on the internet and forming communities to share frustrations and concerns, provide helpful information, pursue social or institutional change, or simply to cultivate friendships. Like hearing people, deaf people create virutal communities on the web space through the use of the Social Network (SN). A social network (SN) is a social structure made up of individuals (or organizations) called "nodes", which are tied (connected) by one or more specific types of interdependency, such as friendship, kinship, common interest, financial exchange, dislike, sexual relationships, or relationships of beliefs, knowledge or prestige [6]. In this article, we discuss some ! ! 9 consequences for Italian Sign Language (LIS) of the introduction of technologically enhanced communication in the IDC. New tools mediate and influence human behavior and we are interested specifically in language and the organization of interactions. We are interested in the symbolic properties of language as it is used together with new potential means of communication afforded by the computer, particularly computer-mediated signed language (visual language), as well as the re-creation of “face-to-face” communication in virtual space, or the invention of “face-to-computer” communication [6]. Moreover, most deaf people are bilingual, using a signed language and a written form of some spoken language; however, usually deaf people consider sign language to be a crucial aspect of their identity as members of a Deaf community. Here, we are interested to understand in which way a deaf subject creates his virtual identity using the written form of the spoken language on the virtual space of SN. In this paper we propose preliminary results about the italian situation of the use o fSN by the members of the IDC. 1.1. Procedure To study the interaction between deaf people and the SN we had involved in the project hearing and deaf italian girls and boys 13-21 years old (70 subjects for each group). Direct interviews were addressed directly to deaf boys and girls, and passive observations on the web were done. Data was collected in Padova and Torino during the year 2011. All deaf people involved in the project were native signers (LIS) and members of the Italian Deaf Community (IDC). All of them had expressed formal approval to takepart in this research and to use part of data for pubblications. 1.2. How Italian deaf girls and boys use SN The web is the medium that brings together most of the latest technical opportunities for communicating and fosters most if not all social movements towards difference, social change and social justice. A community built on the web, will enable deaf and hearing people come together, get to know one another, communicate with Sign or Written language, give and take support, co-operate. The community should serve as a medium for the exchange of ideas and everyday small talk about everything among haering people or deaf people. All Italian deaf girls and boys involved in the research project everyday use the computer and are connected to a SN. The best known SN among Italian deaf girls and boys are: Facebook, Skype, Youtube and OOVOO (Figure 1); instead, the most used SN are: Facebook, Youtube and OOVOO. Young Italian deaf assert that they usually use the SN to communicate with their parents and their friends, but also to find new friends or to organize meetings/events. The most part of the deaf guys interviewed assert to have much more then 100 contacts on the favourite SN: only few contacts are really known and considered “true firends”. To use a SN it is necessary to create an avatar, i.e. a corresponding virtual identity. The virtual identity of Italian deaf guys usually gives true informations oabout the physical person, and the most part of the deaf subjects assert to create only one avatar. It is interesting to underline that the young deaf guys involved in the project assert that on a SN they are not able to express really what they think (about everything), and the most part of the deaf subjects only observe what happen on the SN and do not write anything on the SN wall (Figure 2). On a SN it is possible to contact people in three different ways: by chat (writing virtual space), by a calling, or by a video. Italian deaf guys usually contact people using chat and video (webcam or pre-recorded videos). Through a chat the deaf subject is forced to use the written form of the spoken language used in is Country (in this case italian); instead, using a video support the deaf subject can record a communication in sign language (in this case LIS). Many of the italian deaf guys today usually speak with thier friends by a video-chat: in ! ! 10 this case they are able to use sign language (LIS) directly and immediately. 1.3. Figures Figure 1. The Social Network (SN) known among the young members of the Italian Deaf Community. Figure 2. The Social Network (SN) use among the young members of the Italian Deaf Community. First category, “I observe”: deaf girls and boys that only read what other members of the virtual community write on SN. Second category, “I write something”: deaf girls and boys that read what other members of the virtual community write, and write theirself something on SN. REFERENCES [1] Senghas, R. J., Monaghan L.. (2002). “Signs of their time: Deaf communities and the culture of language”. Annu. Rev. Anthropol. 31:69-97. [2] Lane, H.(2005). “Ethnicity, Ethics and the Deaf-World”. J. Deaf Stud. Deaf Educ. 10(3):291-310. [3] Bellugi, E. S., Klima U.(1979). The Signs of Language. Cambridge: Harvard University Press. [4] Geraci, C., Battaglia K., Cardinaletti A., Cecchetto C., Donati C., Giudice S., Mereghetti E.(2011). ‘The LIS Corpus Project: A discussion of sociolinguistic variation in the lexicon’. Sign Language Studies. 11(4): 528-571. [5] Volterra, V.(1987/2004). La lingua dei segni italiana: La comunicazione visivo-gestuale dei sordi. Bologna: Il Mulino. [6] Riva, G. (2010). I Social Network. Bologna: Il Mulino. !"#$%&'()*+",-' -("+(' !"#$$% &"'(!$ $)% .!$(/'!"#$%&' ()*+",-' *% +,-./0.% ! ! 11 THE NEW EMERGENT MULTIMEDIA CONTENT AND DIGITAL RIGHTS MANAGEMENT Jeferson de Carvalho* *Faculdade Casper Libero, Master in Mediatics Process, Sao Paulo, Brazil jefersondecarvalho@gmail.com ABSTRACT Culture in the digital environment, after a drastic reduction in the cost of storage and editing, allowed remixing and faster sharing than in the analog age. The result of this new content is no longer published or presented through traditional forms known in the analog era. The old gatekeepers are no longer gatekeepers. Thus, copyright, once valid, conflicts with the dynamics of the digital culture. Digital Rights Management, used by a company as a tool, is an option to control and to guarantee economic interests. How can it become sustainable in order to create, to consume, to publish and to share multimedia content in this landscape? Keywords: Technology, Communication, Multimedia, Social Network. 1. INTRODUCTION The goal of this paper, from an Information Economy perspective, is to start defining the Information Network as a product of Technology Network (Internet). The Information Network is a body of content that flows through the Technology Network carrying its inherited characteristics. The topology of this network allows a more democratic practice of speech and access to information. Regulated process during the analog age is not long valid under a digital contemporaneity, where copyright laws have been replaced by digital copyright laws. And this scenario, with a combination in a digital environment, - where social relationships are improving connections, banning hierarchy, - the digital copyright could set a limit to the Information Network. Adding a perspective about Information Economy, in the digital era, where Information can be transformed into a marketable and marketed commodity with little invasion of privacy, technology makes it possible to monitor, record and restrict what people are looking at, listening to, reading, and hearing. This is the context where the development of hermetical packages of software and hardware appears, and thus the Digital Rights Management (DRM). There is no point in delving into issues of surveillance, or expanding the scope of the context of copyrights laws – analog copyright or digital copyright. This paper limits copyright to a form of protection provided by laws including literary, dramatic, musical, artistic and certain other intellectual works. It is a flexible instrument and it has often had to make adaptations to accommodate the effects of changing times, places and technologies. Digital copyright increased the penalties for copyright infringement on the internet and online service providers. Finally, this article, supported by contemporary authors who explore Network issues, such as Barabási, Newman, Kleinberg and Wasserman, authors with a view about the power of user generated content such as Benkler, Castells, Jenkins and a commercial and regulator perspective such as Lessig, Wu, Anderson and Galloway, will embrace the culture in the digital environment and its disruptive behavior deriving to a new type of content creators that avoid gatekeepers, create their own forms of dissemination, and share it through Connected Social Networks Sites. All these predicates conflict with the dichotomous decision to adopt DRM by news companies, publishers, broadcasters and retailers. ! ! 12 1.1. From The Technology Network To The Information Network The Internet is a prime example of a Technology Network that is technically a global network connected via cable, satellite and fiber that connects computers and systems. Through the Technology Network, information packets are sent and received, complying the Internet protocols1. Interaction on the Internet is not bureaucratic and not hierarchical, quite often packages have been lost owing to the failure of hardware or software, which contributes to the misconception that the Internet is chaotic rather than highly controlled 2. The characteristics of "nodes" and "edges" of computers and physical connections between them exemplify how the Internet is a Technology Network. Although most computers have a single connection to the Internet, they are connecting with Internet service providers (ISPs) that are hubs, which in turn connect to regional distributors (usually telecommunications companies) that are interconnected globally through major backbones (NBPs). The web - acronym for World Wide Web or www – is browser layer, which Tim Berners-Lee was largely responsible for its creation and triggering a variety of software and applications. The web is an Information Network. The nodes are the web pages of each site, and the edges are the hyperlinks that are underlined texts that pull or carry the navigation between content rendered in other web pages. A hyperlink is a type of software. “Software, of course, is what organizes the Internet, routing email messages, delivering web pages from a server, switching network traffic, assigning IP addresses, and rendering Web pages in a browser." (Manovich,2008:7) Since users begin to add hyperlinks between their content pages to the web structure it revels patterns of this system. The more hyperlinks associated with content, the higher this page’s relevance. This is a basic concept used for semantic engineering searches on the internet3. “As the RFC on Transmission Control Protocol simply defines it, hosts are “computers attached to a network.” If the host is a receiver of information, it is called a client. If it is a sender of information, it is called a server.” (Galloway,2004:66) The topology of the Technology Network consists of connections without hierarchy, allowing a stream of information to flow, creating an Information Network, which in turn inherits its flexible features and no complications. The software, within the Information Network on the web, allows the creation of applications, which accumulates information repositories that become content. Users, in turn, posting and consuming this content, create a flow, a mainstreaming. However, some of those hubs of content flow accumulate more than others and do not follow an equilateral proportion, and thus the figure of the gatekeeper appeared. “Social actors may establish their power position by constituting a network that accumulates valuable resources and then by exercising their gatekeeping strategies to bar access to those who do not add value to the network or jeopardize the interests that are dominant in the network's programs.” (Castells,2011:43) Information, as structural data, itself becomes Content4. The Information Economy is based on the cost or on the creation of its added value, and determines its value from the effort of psychological mechanisms and mechanics as imposed for its acquisition in such relevant situations. The flows are created in the Information Network between the nodes, circulating through various communication channels between these nodes. The content in this context is structured data, moving from one network technology-laden information, constituting a data network, forming informational flows. “In the networked information environment, everyone is free to observe, report, question, and debate, not only in principle, but in actual capability.” (Benkler,2006:272) An Information Network based on the Technology Network triggered a new model of Information Economy, the Information Network Economy, based on intangibles, ! ! 13 where cheap processors with high computational capabilities interconnected transformed the economy to an immaterial environment and highlighted the communication. Therefore, the potential of Networks is essential for the formation of society. 1.2. The Information Network Economy The advent of new technologies was an important factor in the change in the economic model for the twenty-first century from the atom to bits. This changed the economic relationship from analog to digital. New market opportunities began to emerge, breaking down the barriers of distance and logistics, enhancing ignored markets, reanalyzing the relationship between cost and outreach ability, application analytical filters, and reducing the distortion of breadth and depth equation for all nodes in the chain, characterized by suppliers, intermediaries and consumers5. This new economy model is about the interpretation of data structures. The Internet had its taxonomy from the organized event called Black Hub Project when Google made a copy of all files on the network to order them 3. This reinforces the triggering event, approached by Floridi. In his definition, the "data" (structured) becomes - or can be interpreted as - "content", and it then becomes "information" 4. The software added features as commercial transactions within a harmonic architecture, reflecting in the digital environment the supply law breaking the constraints of physical shelf space and of other distributions bottlenecks, goods and services could economically attractive to all those general public. 5. It is a scenario where physical distances and time zone were replaced by clicks, the concept of uninterruptibility moved the work to another dimension, but the bureaucracy, inflexibility and lack of scalability are factors that affect the efficiency of collective participation as proves the rule on participation6. There is no distance or limited production and distribution in the Information Network Economy. The reduction of costs was, without doubt, the key to a large-scale change. The digital age provides accessibility to Informational Network, which, filled with content embedded in web applications, highlights Connected Social Networks Sites7. Due to more affordable mass technology, and decentralized individual action, the content publication and the its consume do not follow the mainstream standard. The gatekeepers no longer play the role of gatekeepers. The old hierarchies give way to a decentralized topology. 1.3. The Connected Social Network Sites And The Remix Culture The networks are under development, and may or may not evolve; changing the environment within a network directly affects its participants, who may or may not adapt to it. The web as a medium is so flexible that it makes choices for us8. The Connected Social Networking Sites have being changing over time and not always what we originally were born to, any Connected Social Network Site has this characteristics. They represents intrinsic theirs owners mind set. It is essential to analyzing the new society configuration characterized by the presence of the web, because this same society, during the analog ages, it was not conducive for sharing. The analog content was read only, (RO). A copy made from the analog content was inferior to the original, and the technologies available to allow these copies were scarce. Antagonistically, digital content has become read and write (RW), taking advantage of the reduced cost of digitization, as well as technological change, new facilities for communication and content sharing. However, the RW culture is not limited to easy digitization and sharing, since the remix is the feature that stands out, driving and being driven by the creativity of new customers. That is, Remix is an essential act of RW creativity. It is the expression of a freedom to take the songs of the day or the old songs and create with them9. ! ! 14 Lessig highlights the existence of the Remix behavior in both cultures. However, the code, (patterned relationships to identify, authenticate and accredit), is closed and limited in the RO culture and flexible and very available in the RW culture. People have not more remix culture in the digital era, indeed, the RW code, and in the digital age, allows to remix it more. RW culture brought about disruptions in economic models practiced by content providers, lack of control over the origin and distribution. The Code of RW culture does not respect the conduct of the real space. It is not a disentangled situation between the software application and the tactical control. 1.4. Digital Right Management And Multimedia Content Issue Encapsulating digital content through a software code and systems was the solution to rewrite the business models and guarantee the capability to control and specify the rights associated with this content. This solution is called Digital Rights Management, (DRM), which complements all conditions of any digital content only associated with a particular application. Building upon this paradigm, the DRM can associate the content, and application equipment (hardware) with the technology that protects against unauthorized access and usage and which enforces the restrictions on what users can do with it. “Multiple Access-Control technologies appeared under the name of “electronic rights management systems” in 1995, and commercial systems appeared early in 1996. Yet, in the spring of 2000, several generations later in Internet time, record companies had failed to secure their recording, or to make them available for digital download.” (Litman,2001) From an Information Economy perspective, the imprisonment of content, application and equipment may maximize economics results in the consumer electronic market, specially to pure hardware company. Therefore, setting a hermetic possibility to the RW culture, it is to approaching, paradoxically, to the RO culture. “DRM is predominantly an economic mechanism, which owes its very existence to the fact that content businesses rely on their ability to generate revenue from the replication and distribution of content, and that any enabler of these abilities is also a potential conduit for content leakage and a consequent loss of revenue.” (Umeh,2007) Since DRM is a tool and its main objective is to improve content monetizing it has the ambition to control usage and access in the digital environment and also outside it. So it handles a complete package of features to different types of media such as copy protection, access control, embedded algorithms to cryptography and rights managements; deriving into a complex ecosystem basically made up of a triad of Content, User and DRM Features. It does not work in isolation. Some DRM characteristics could be interpreted as issues, for example, manufacturers can embed different cryptographic codes into their devices making the content interoperable when switched into devices, once DRM works with a three piece interconnected the portability concept cannot be always applied, there is no way to prevent anyone from capturing digital output and re-encoding this into a unprotected digital format, perceived by some users of an anti-piracy tool than an new content business model, and the DRM implementation is not invisible to the user. An additional limitation to DRM is software that can copy DRM-protected files, such as Tunebit 6, Noteburner 2, SoundTaxi 3, MuvAudio2 and AppleMacSoftware DRM Converter 210. Besides, a manufacturer can choose to replace its own DRM making its own content incompatible as Microsoft did after launching its iPod killer Zune11, leaving behind the PlayForSure DRM. Apple runs FairPlay DRM, both are interoperable. On 6 January 2009 Apple announced at the 2009 Macworld Conference & Expo that they had reached an agreement with major record labels to sell all music on the iTunes Store free of DRM ! ! 15 restrictions12. However, movies, books and television shows purchased from the iTunes Store still contain FairPlay restrictions. “Ur-free and free software beloved of tech geeks. By giving away a version adapted for telephony, Google was distributing a free set of tools for programmers of any affiliation to write applications”. (Wu,2010:294) An example about respect digital copyright and be profitable playing DRM free is a couple of musicians called Pomplamoose13. They bought secure rights to cover other artists’ songs and got money selling their own DRM free songs through over Amazon MP3 and Apple’s iTunes14. Contradictorily, new DRM initiatives are still on, as so over the video and the e-books industry. Amazon, the first music DRM-free gatekeeper, announces its iPad-killer Kindle Fire running under a customized platform. And Associated Press and another 28 publishers announce a new start-up company called Newsright that will measure the unpaid online use of their original reporting and seek to convert unauthorized websites, blogs and other newsgathering services into paying customers15. 2. CONCLUSION Digital media flowing through a network connection is the most democratic of media, promoting free expression and access to information wherever a computer can be hooked up. The revolution from analog to digital is, in fact, a confrontation of the contemporary economic model. The RW culture delivers everything so simply, the user has control, no rules, remixed, creative and non-linear. However, digital copyright owners are in a position to claim exclusive “reading”, “listening” and “viewing” rights. It is a controversial scenario; the web facilitates interaction between users, but some technology companies simultaneously seek to limit access to information and imprison the consumer - especially for economic reasons- particularly by DRM use, as a digital copyright tool. From the user’s perspective, paradoxically, it must surrender to the tightness even under the flexibility of digital networks, arranged by the rules of commercial gatekeepers. However, users want to play their content anywhere, any time on any device and DRM owns its defects, besides it already has been jailbreaked. The old gatekeepers are no longer gatekeepers, they have kept them out in the past because users of the Information Network, - with great capacity to acquire structured information -, escape the snares applied with the commercial purpose, from the DRM tools and seek alternative ways. Although DRM was designed to be a commercial application to increase digital copyright revenue, it has been abandoned by the main gatekeepers, at least in the music industry, not because a new economic model emerged but because the attempt to be complete left it static and incompatible with the dynamic and decentralized architecture of the digital age. Pure DRM, with its weakness, is not the only alternative anymore, and the real opportunity for the old gatekeepers is in the platforms. Gatekeepers do not control the Network, do not control users, and cannot apply a hermetic content. However, they can create their own environment in a customized digital platform combining software and hardware, where the content itself is DRM free. DRM is not a solution to avoid conflict with economic interests nor is it a barrier to create, remix and share multimedia content, but digital copyright is still an issue and news companies, publishers, broadcasters and retailers are looking forward to new perspectives. REFERENCES [1] Newman, M.(2010).“The empirical study of networks’ Networks, an Introduction, New York: Oxford University Press. [2]Galloway, Alexander R.(2004). Protocol: How Control Exists after Decentralization. Cambridge: MIT Press. ! ! 16 [3]Easley, D.; Klenberg J.(2010). Networks, Crowds, and Markets: Reasoning About a Highly Connected World, Cambridge University Press. [4]Floridi, L.(2010). Information – A Very Short Introduction. New York: Oxford University Press. [5]Anderson, C.(2006). A Cauda Longa. Do Mercado De Massa Para O Mercado De Nicho. Rio de Janeiro: Elsevier. [6]Nielsen, J.(2006).”Participation Inequality: Encouraging More Users to Contribute”. http://www.useit.com/alertbox/participation_inequality.html [10/11/2011]. [7]Lima, JR.(2009).“Mídia social conectada: produção colaborativa de informação de relevância social em ambiente tecnológico digital”. Líbero, (24): 95-106. [8]Berners-Lee, T; FischettiI, M.(2000) Weaving the web: the original design and ultimate destiny of the World Wide Web, by its inventor. New York: HarperCollins Publishers. [9]Lessig, L.(2008). Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: The Penguin Press. [10]Harris, M.(2008).“Top 5 DRM Removal Programs.The best software for removing DRM protection from your media files.” http://mp3.about.com/od/essentialsoftware/tp/best_drm_removal_software.htm [10/12/2011]. [11] Wired.(2006). “Screwed for Sure.” http://www.wired.com/entertainment/music/commentary/listeningpost/2006/08/71621 [10/12/2011]. [12]BBC NEWS (2009). “Apple to end music restrictions” http://news.bbc.co.uk/2/hi/technology/7813527.stm [10/12/2011]. [13] Simple Music Contracts.(2011). “Pomplamoose Music License.” http://www.simplemusiccontracts.com/pomplamoose-music-license [10/12/2011]. [14] Always More To Hear.(2009). “A case study of Pomplamoose: 10 tips to be a successful internet musician”. http://www.alwaysmoretohear.com/2009/12/pomplemoose-case-study-in-being.html [10/12/2011]. [15] The Washington Post.(2012). “NY Times and others launch Newsright on line clearinghouse”. http://www.washingtonpost.com/business/ap-nytimes-mcclatchy-others-launch-newsright-online-rights- clearinghouse [10/1/2012]. [16] Barabasi. A-L.(2010). Bursts: the hidden pattern behind everything we do, Dutton. [17] Benkler, Y.(2006).The wealth of networks: how social production transforms markets and freedom. New Haven and London: Yale University Press. [18] Jenkins, H.(2009). Cultura da convergência. São Paulo: Aleph. 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Knopf. ! ! 17 VISUAL CULTURE IN THE NEW COMMUNICATION ENVIRONMENT: E-GOVERNMENT AS A CASE STUDY Cengiz Erdal* *Yeditepe University, Visual Communication Design Department, !stanbul, Turkey cengiz.erdal@gmail.com ABSTRACT Emerging of internet and broadband connection enabling large amount of information to be transferred from one point to another have caused many services to be transferred to virtual environment causing face to face communication is being replaced by screen to screen communication. Consequently, individuals encounter more and more visuals than ever before, which develops and forms the visual culture through new ICT tools. One of the conspicuous applications that shapes visual culture is e- government system requiring effective HCI applications to be put into practice in adapting users to get used to visual interactions changing their deeply rooted transaction habits. This study aims to reveal evolving nature of visual culture in virtual environment as a result of new information communication technology devices serving us as intermediaries between traditional services that we are used to get through face to face communication and their virtual applications in cyberspace. E-government system is examined as a case study as it is an outstanding example of visual culture forming tool. Keywords: ICT, Culture, e-Government, Visual. 1. INTRODUCTION New communication tools have been changing our lives significantly. As Marshal McLuhan states, more we develop communication tools more they change our lives. Cyberspace, in which internet operates, has been facilitating the life for human beings causing to change the ways many things are done. Almost twenty years ago no one ever imagined that there would be an environment where interactive communication takes place through wireless devices enabling users being in touch with friends at all times, letting all friends know where we are through media tools, managing business without going to an office, doing almost all banking transactions from home, sending substantial amount of information within seconds from even one continent to another, reading all the newspapers without touching the papers, commending on the news while reading the news, seeing other readers’ commends in the same place and being able to answer them, participating life programs on TVs from home letting them know about our opinions and using the same device, taking a photograph, adding a text message and then sending it to another person in seconds. They have realized as a result of the developments in communication. Cyberspace, in which the internet operates requires us to coincide visuals more than ever before in the history. Therefore, using, interpreting and constructing meaning out of visuals have become an important part of our lives. As a new visual communication environment encountering many visual images, e-government system is one of the most conspicuous venues where we need visual literacy the most, through which visual culture is shaped. 2. CULTURE, DIGITALIZATION AND VISUAL CULTURE As individuals we are living in a world where culture plays a crucial role. Culture emerges and forms itself over the years among human beings. Even we do not realize it and not being able to see it physically around us, as it is everywhere we are surrounded by the culture. There is a kind of interaction between the tools that humans create to facilitate their lives and the culture itself. More the tools are used by individuals, more they change and/or evolve the human beings’ lives and their culture accordingly. Being such an important fact of life, over the years meaning of culture has changed dramatically. Williams states that, after the ! ! 18 nineteenth century culture as a word has earned certain meanings: First, the general condition of the mind, having distinguished relations of human perfection as an idea. Second, it came to mean, intellectual development in a society in general. Third, it meant general body of the arts. Finally, as fourth, it came to mean, general way of life, intellectual and material. Emergence of culture compounds two main responses: First, respecting the practical differences between certain intellectual as well as moral activities and the domination power of a new sort of society. Second, the importance of these activities, as a mean of human desire setting over the phases of social and practical judgment offering itself as a diminishing and rallying choices. In the historical development, above mentioned compounded two main responses have integrated in themselves and changed by the growing assertion of a general way of life as a mode inferring all our common experience and through which transforming it. Emergence of culture is also involved in new sort of social and personal relationship and also a response to