DIgital Sculpting

This study focuses on the artworks of artist-academic İlker Yardımcı. The perspective put forward in the study is built on the aesthetic status of the scientific and technological aspects of İlker Yardımcı's artwork. Based on this context, a research has been done on the relationships between art and science. Various examples have been given from the times when art and science were seen as a whole and did not dissociate, and the development and separation process of these two separate phenomena were approached from various angles. In this way, in the light of the information obtained from the research, an aesthetic understanding that is open to the effects of science and technology, combining technological possibilities with traditional structures has been tried to be determined. Through this way, the possibility of an aesthetic narration was opened on the situation in the sculptures of İlker Yardımcı. Thus, the traces of the aesthetics in these sculptures, including science, were deciphered.

[Eng]
Adam Martinakis, of Greek origin, was born in 1972 in Luban, Poland. Studying Interior Architecture, Decorative Arts and Design in Athens, the artist, after completing his education, worked on Graphic Design, Ceramic and 3D digital sculpture modeling and worked as an instructor in these areas in the same city. Since 2000, he has been producing artistic (3D digital image / processing-animation, digital sculpture, digital video, new media) and experiments over computer-generated digital art. Using technological possibilities in his original artistic production at an instrumental level, the artist reinterprets the sculpture forum within the field of digital art. Because the computer-aided technologies of digitalized art, which are used today, offer production opportunities in many art fields and can be used in the discipline of sculpture. While the traditional sculpture production method describes the process of creating a volume and mass from a formable material, digital sculpture involves the use of technological tools to manipulate virtual objects as if they were rendered. Although other art disciplines and methods such as painting, drawing, cinema and photography used digital technology in their fields in much earlier dates, the technology required to produce a digital sculpture is much more complex, as an artistic practice used in the digital world, unlike other examples. This research article focuses on the life and artistic examples of digital sculpture production of Adam Martinakis, one of the important artists of digital sculpture production. In addition, it is aimed to research and present the effectiveness of today's art, which is digitalized, in the discipline of sculpture, based on the examples discussed.
[Tr]
Yunan asıllı olan Adam Martinakis 1972 yılında Polonya'nın Luban şehrinde dünyaya gelmiştir. Atina'da İç Mimarlık, Dekoratif Sanatlar ve Tasarım okuyan sanatçı, eğitimini tamamladıktan sonra Grafik Tasarım, Seramik ve 3 Boyutlu dijital heykel modelleme üzerine çalışmalar yapmış ve bu alanlar üzerine de aynı şehirde eğitmen olarak görevler almıştır. 2000 yılından bu yana, bilgisayar tarafından üretilen dijital sanat alanı üzerinden sanatsal (3 boyutlu dijital görüntü / işleme-animasyon, dijital heykel, dijital video, yeni medya) üretimleri ve deneyler yapmaktadır. Teknolojik imkânları özgün sanatsal üretiminde araçsal düzeyde kullanan sanatçı dijital sanat alanı içerisinde heykel forumunu tekrardan yorumlamaktadır. Çünkü dijitalleşen sanatın günümüzde kullanılan bilgisayar destekli teknolojileri pek çok sanat alanında üretim imkânı sunduğu gibi heykel disiplini özelinde de kullanılabilmektedir. Geleneksel heykel üretim metodu, şekillendirilebilir bir malzemeden bir hacim ve kütle yaratma sürecini tanımlarken, dijital heykel sanal nesneleri sanki kilmiş gibi manipüle etmek için teknolojik araçların kullanılmasını içermektedir. Resim, çizim, sinema ve fotoğrafçılık gibi diğer sanat disiplin ve metotları dijital teknolojiyi çok daha eski tarihlerde alanlarında kullanmasına karşın, dijital bir heykel üretmek için gerekli teknoloji çok daha karmaşık olduğundan dijital dünyada içerisinde kullanılan sanatsal bir pratik olarak diğer örneklerin aksine görece daha yenidir. Bu araştırma makalesi de, dijital heykel üretiminin önemli sanatçılarından biri olan Adam Martinakis'in hayatı ve sanatsal dijital heykel üretim örneklerine odaklanmaktadır. Ek olarak, ele alınan örnekler üzerinden dijitalleşen günümüz sanatının heykel disiplini özelindeki etkinliğinin araştırılması ve sunulması hedeflenmektedir.

[Tr]
Serginin ismini ve kavramsal kurgusunu oluşturduğu RGB terimi, dijital sistemlerdeki görüntülerin oluşturulması ve gösterilmesini amaçlayan bir renk uzayı olarak tanımlanabilir. RGB uzayındaki tüm renkler, bu renklerin farklı oranlarda birleştirilmeleriyle oluşur. RGB renk modeli kendi başına kolorimetrik olarak kırmızı, yeşil ve mavi rengi tanımlamamaktadır.  Bu renklerin karışımından ortaya çıkacak sonuç ise mutlak olarak tanımlanamaz. Yani RGB’deki bu mutlak olmayanın varlığı bizi yeni bir gerçeklik potansiyeli (somut olmayan) sunma iddiasına götürebilir. Bilginin kaynağı sorunu üzerine yapılan geçmişteki felsefi tartışmaları tekrar ele almamızı sağlayan bu fenomen sanatta yeni sorgulama alanları oluşturmamızı sağlamıştır. Bu sorgulama alanı üzerine kurgulanan sanal heykel sergisi de, somut olanın bile gerçekliğini tartıştığımız bir zaman içerisinde, yeni gerçeklik potansiyelinin varlığını gene mutlak olmayan bir yapı üzerinden bizlere gösterme çabası içerisindedir.
“RGB” dijital heykeller sergisi bahsedilen bilgiler ışığında, bilginin sorunsallığı, yeni gerçekliğin temsili, dijitalleşen formların grotesk bir eğilim gösterdiği gibi birçok başlık üzerine gerçekleştirilmiştir. Ek olarak; uzam, hacim, külte, renk, biçim gibi kavramları gittikçe bulanıklaştırmakta ve geleneksel fikirlerimizi, anlayışlarımızı hatta dünya hakkındaki algılarımızı sanal bir uzama doğru genişletmekle birlikte, özellikle heykel sanatında, bizleri, yeni bir inşa sürecinin başladığı düşüncesine götürmesi hedeflenmiştir.

[Eng]
The term RGB, which constitutes the name and conceptual setup of the exhibition, is the term RGB, which means that images in digital systems  It can be defined as a color space aimed at creating and displaying. All colors in RGB space are It is formed by combining them in different proportions. The RGB color model itself does not define red, green, and blue colorimetrically. The result that will emerge from the mixture of these colors cannot be defined as absolute. So the presence of this non-absolute in RGB It can lead to the claim to offer a new potential (intangible) reality. Past philosophical studies on the problem of the source of knowledge this phenomenon, which enables us to reconsider the discussions, has enabled us to create new areas of inquiry in art. On this inquiry area The virtual sculpture exhibition fictionalized, in a time when we discuss the reality of even the concrete, the new reality potential is in an effort to show its existence to us through a structure that is not absolute. 
In the light of the aforementioned information, the exhibition of “RGB” digital sculptures, the problematic of information, the representation of the new reality, It has been carried out on many titles as it shows a trend. In addition; the concepts such as space, volume, culture, color, and form are increasingly used by blurring and expanding our traditional ideas, understandings and even perceptions of the world into a virtual space. In addition, it is aimed to lead us to the idea that a new construction process has begun, especially in the art of sculpture.

" Body As Echoes: Cyber Archiving of Dazu Rock Carvings (BAE project in short) " strives to explore the tangible/intangible aspects of digital heritage conservation. Aiming at Dazu Rock Carvings-World Heritage Site of Sichuan Province, BAE project utilizes photogrammetry and digital sculpting technique to investigate digital narrative of cultural heritage conservation. It further provides collaborative opportunities to conduct the high-resolution site survey for scholars and institutions at local authorities. For preserving and making sustainable of the tangible cultural heritage at Dazu Rock Carvings, BAE project cyber-archives the selected niches and the caves at Dazu, and transform them into high-resolution, three-dimensional models. For extending the established results and making the digital resources available to broader audiences, BAE project will further develop interactive info-motion interface and apply the knowledge of digital heritage from BAE project to STEM education. BAE project expects to bridge the platform for archeology, computer graphics, and interactive info-motion design. Digital sculpting, projection mapping, interactive info-motion and VR will be the core techniques to explore the narrative of digital heritage conservation. For further protecting, educating and consolidating " building dwelling thinking " through digital heritage preservation, BAE project helps to preserve the digital humanity, and reach out to museum staffs and academia. By the joint effort of global institutions and local authorities, BAE project will also help to foster and enhance the mutual understanding through intercultural collaborations.

The paper explores the tangible and intangible aspects of digital heritage in conservation, and the utilization of computer graphics technology to broaden the format of narrative and messaging of cultural heritage preservation. Digital sculpting and projection mapping are the main technical aspects to explore the story of digital heritage for further protecting, educating and consolidating "building dwelling thinking" through digital heritage preservation.

The paper explores the tangible and intangible aspects of digital heritage in conservation, and the utilization of computer graphics technology to broaden the format of narrative and messaging of cultural heritage preservation. Digital sculpting and projection mapping are the main technical aspects to explore the story of digital heritage for further protecting, educating and consolidating "building dwelling thinking" through digital heritage preservation.

The " Digital Heritage and Innovative Collaborations " workshop strives to explore the tangible/intangible aspects of digital heritage conservation. It further discusses collaborative opportunities to conduct the high-resolution site survey for scholars and institutions at local authorities. For preserving and making sustainable of the tangible cultural heritage, three-dimensional models and other innovative perspectives are discussed. For extending the established results and making the digital resources available to broader audiences , the workshop will further explore interactive info-motion interface and apply the knowledge of digital heritage to STEM education. The workshop expects to bridge the platform for archeology , computer graphics, and interactive info-motion design. Digital sculpting, interactive info-motion and VR will be the core techniques to explore the narrative of digital heritage conservation. For further protecting, educating and consolidating " ...

The " Digital Heritage and Innovative Collaborations " workshop strives to explore the tangible/intangible aspects of digital heritage conservation. It further discusses collaborative opportunities to conduct the high-resolution site survey for scholars and institutions at local authorities. For preserving and making sustainable of the tangible cultural heritage, three-dimensional models and other innovative perspectives are discussed. For extending the established results and making the digital resources available to broader audiences , the workshop will further explore interactive info-motion interface and apply the knowledge of digital heritage to STEM education. The workshop expects to bridge the platform for archeology , computer graphics, and interactive info-motion design. Digital sculpting, interactive info-motion and VR will be the core techniques to explore the narrative of digital heritage conservation. For further protecting, educating and consolidating " building dwelling thinking " through digital heritage preservation, the workshop helps to preserve the digital humanity, and reach out to museum staï¿¿s and academia. By the joint eï¿¿ort of global institutions and local authorities, the project will also help to foster and enhance the mutual understanding through intercultural collaborations.