Talat Balca Arda Güney

Güney, Talat Balca Arda

Name Variants

T. Güney
GÜNEY, Talat Balca Arda
Talat Balca Arda GÜNEY
Güney, Talat Balca Arda
Guney,Talat Balca Arda
Talat Balca Arda Güney
Güney, TALAT BALCA ARDA
GÜNEY, TALAT BALCA ARDA
G., Talat Balca Arda
Guney, Talat Balca Arda
Guney,T.B.A.
Güney,T.B.A.
Güney, T.
Güney, T. B.
Talat Balca Arda, Guney
T. B. Güney
TALAT BALCA ARDA GÜNEY
G.,Talat Balca Arda
Arda Güney, Talat Balca
Arda, Balca

Job Title

Dr. Öğr. Üyesi

Email Address

balca.arda@khas.edu.tr

ORCID ID

0000-0002-3793-2472

Scopus Author ID

24824605000

Full item page

Scholarly Output

15

Articles

12

Citation Count

0

Supervised Theses

3 Scholarly Output Search Results

Now showing 1 - 10 of 15

Cinematic Visual Representation of Refugee Journeys in Turkey in the Context of Precarious Class Dynamics
(MIGRATION LETTERS, 2019-09-29) Arda Güney, Talat Balca; Güney, Talat Balca Arda
In this article, I comparatively analyse the imagery of precarious class through the narration of refugee journeys in Turkey for two different films, with an emphasis on the visuality of cinematic narration. Whilst The Guest Aleppo to Istanbul (2017) by Andaç Haznedaroğlu and More by Onur Saylak certainly offer different portrayals of refugees in Turkey, both reflect on the precarious class dynamics in the context of migration and reveal the complex interplay of citizenship, meritocracy and suffering. By focusing on precarious status, these fictional representations illustrate that the incoming non-citizens provide the opportunity of self-reflexibility for the host community members and expose the fragility of the border between the citizen-self and the refugee. I contend that such distinct comparative portrayals encompassing precarity instead of humanity, as common ground between host and new arrival populations, necessarily requires drawing upon a broader literature on the human conditions for politics of justice rather than pity.
Görsellik ve Hakikat: Türkiye’deki Suriyelilere Dair Sosyal Medya Görsel Paylaşımlarında Hakikat Üretim Pratikleri
(2021) Arda, Balca; Güney, Talat Balca Arda
Sosyal medyada paylaşılan görseller, bugün katılımcı pratiklerin hakikat üretimindeki etkisinin artmasıyla kamuoyu oluşturmakta önemli bir yere sahiptir. Bilgi kaynaklarının geleneksel kitlesel medya kurumlarının tekelinden çıkarak sade vatandaşın çevrimiçi haber oluşturma ve bilgi yayma imkânı elde etmesi, görselin dikkat çekme ve gündem oluşturma amacıyla kullanımını daha da belirginleştirmiştir. Bu makale, Türkiye’deki Suriyeli algısını çevrimiçi kamusal alanda görsel kullanım pratikleri üzerinden incelemektedir. Bu araştırmanın amacı; sosyal medyadaki görüntü tabanlı haberler, görsel-işitsel mesajlar, söylem destekleyici veya oluşturucu argümanlar olan klipler, çok fazla paylaşılan ve hızlı yayılan imaj veya videolarda Suriyelilerin nasıl temsil edildiğini analiz etmektir. Bunun için, Suriyeliler hakkında paylaşılan görseller incelenmiştir. Türkiye’deki Suriyeli imgesinin Twitter sosyal medya platformunda paylaşımını incelemek için #ülkemdesuriyeliistemiyorum ve #suriyelilerkardeşimizdir hashtag’leri (#) altındaki görseller nitel yaklaşımla kategorize edilmiştir. Araştırma sonucunda ortaya çıkarılan veri setleri çok düzlemli söylem çözümlemesi yapılarak analiz edilmiştir. Makale, hakikat üretiminde çevrimiçi katılımcıların yatay bilgi yayma pratiklerini sorgulayarak günümüzdeki bilgi kirliği sorunsalı tartışmasına görsel iletişim yönünden katkı sunmayı amaçlamaktadır. Sosyal medya platformlarında meydana gelen Türkiye’deki Suriyelilere ilişkin tartışmalarda, görüntüleri paylaşan kullanıcıların objektiflik ve tarafsızlık kaygısı taşıdıkları anlaşılmaktadır. Bu analiz, Suriyelilerin Türkiye’deki koruma statüsünün meşruiyetinin çeşitli parametrelere bağlı olduğunun ve Suriyelilere ilişkin söylemin sosyal medyada görsel kanıtlara başvurularak üretildiğini göstermiştir. The images become the vehicle for online mass participation of ordinary users to influence media and set the agenda on specific topics among the public. The monopoly of traditional mass media institutions of information sources has been shattered through the horizontal social media practices of knowledge production and dissemination. In this age of truth skepticism, the article examines visual communication methods that activate knowledge production by taking a case study of the host communities’ social media interaction on the Syrian immigrant population living under temporary protection in Turkey. The goal of this article is to identify the role of the information mediators such as clips, memes, GIFs, and videos as image-based news, audiovisual message, to construct arguments in social media. To study contrasting approaches to Syrian refugees in Turkey, I further collect images shared under two antagonistic online groupings under the hashtags #ülkemdesuriyeliistemiyorum (I don’t want Syrians in my country) and #suriyelilerkardeşimizdir (Syrians are our siblings). I conducted the multimodal discourse analysis on this visual inventory. By this, this research-based article contributes to the studies on online participatory practices of knowledge production through visual communication. As such users who share images of Syrians in Turkey have concerns about the objectivity and impartiality of their claims. This analysis demonstrates that the legitimacy of Syrians’ status in Turkey depends on various parameters that users in social media refer to through the display of visual evidence.
Aesthetic Approach for Critical Sociology of Contemporary Communication Technology
(Sage Publications inc, 2024) Güney, Talat Balca Arda
Critical theory has already marked that technology often threatens civil liberties, personal autonomy, and rights. Heidegger, later Marcuse, emphasized how technology is not value-free in its own revealing power of the surrounding environment, external and inner nature. Throughout this paper, I explore how the aesthetic approach engages with critical theory and contributes to the sociology of media and communication. For this, I will theoretically survey the terms of sociality under the forces of immediate communication, ubiquitous surveillance, and the compression of time and space that Baudrillard and Virilio once problematized through the lens of critical technology theory to adapt it to media and communication studies. I contend that techno-aesthetics that converge with Ranciere's dissensus can provide practical suggestions on an updated vocation of critical sociology. This article discusses the potential of aesthetic and social criticism of media for democratizing technology that Feenberg inserted. It is urgent to acknowledge the changing spatio-temporal aesthetic regimes that affect the societal imagination and limits of sociality and action to determine the next steps for achieving a commons-based society.
Contemporary Art on the Current Refugee Crisis: the Problematic of Aesthetics Versus Ethics
(British Journal of Middle Eastern Studies, 2019) Arda Güney, Talat Balca; Güney, Talat Balca Arda
This article focuses on contemporary artworks outlining the current refugee flow from the Middle East to the West namely to European countries together with the US and Canada. Drawing primarily on Jacques Ranciere's conceptualization of ethical art versus aesthetics I explore how various journeys of refugees in its many forms have been represented in the contemporary art scene. My aim is to concretize the theoretical debate surrounding the 'political' engagement of critical art on the issue of refugee representation through various prominent artworks and art practices starting with the well-known image of Alan Kurdi's and Ai Weiwei's replication of this image in his artwork. I will analyse when and in which configurations aesthetics and ethics can be found in contemporary art on the issue of the 'refugee crisis'. I argue that art on refugees can be grouped into two primary categories that I define as 'human condition assessment' and 'agency empowerment'. As such I demonstrate in practice how contemporary art on the current refugee crisis both employs and moves beyond the ethical subject matters by challenging abject victimhood as well as the ideal of egalitarian art for the underrepresented and thus assumingly voiceless depoliticized refugees.
Cinematic Visual Representation of Refugee Journeys in Turkey in the Context of Precarious Class Dynamics
(Transnational Press London, 2020) Arda, Balca; Güney, Talat Balca Arda
In this article, I comparatively analyse the imagery of precarious class through the narration of refugee journeys in Turkey for two different films, with an emphasis on the visuality of cinematic narration. Whilst The Guest Aleppo to Istanbul (2017) by Andac Haznedaroglu and More by Onur Saylak certainly offer different portrayals of refugees in Turkey, both reflect on the precarious class dynamics in the context of migration and reveal the complex interplay of citizenship, meritocracy and suffering. By focusing on precarious status, these fictional representations illustrate that the incoming non-citizens provide the opportunity of self-reflexibility for the host community members and expose the fragility of the border between the citizen-self and the refugee. I contend that such distinct comparative portrayals encompassing precarity instead of humanity, as common ground between host and new arrival populations, necessarily requires drawing upon a broader literature on the human conditions for politics of justice rather than pity.
Görsellik ve Hakikat: Türkiye’deki Suriyelilere Dair Sosyalmedya Görsel Paylaşımlarında Hakikat Üretim Pratikleri
(2021) Arda, Balca; Güney, Talat Balca Arda
Sosyal medyada paylaşılan görseller, bugün katılımcı pratiklerin hakikat üretimindeki etkisinin artmasıyla kamuoyu oluşturmakta önemli bir yere sahiptir. Bilgi kaynaklarının geleneksel kitlesel medya kurumlarının tekelinden çıkarak sade vatandaşın çevrimiçi haber oluşturma ve bilgi yayma imkânı elde etmesi, görselin dikkat çekme ve gündem oluşturma amacıyla kullanımını daha da belirginleştirmiştir. Bu makale, Türkiye’deki Suriyeli algısını çevrimiçi kamusal alanda görsel kullanım pratikleri üzerinden incelemektedir. Bu araştırmanın amacı; sosyal medyadaki görüntü tabanlı haberler, görsel-işitsel mesajlar, söylem destekleyici veya oluşturucu argümanlar olanklipler, çok fazla paylaşılan ve hızlı yayılan imaj veya videolarda Suriyelilerin nasıl temsil edildiğinianaliz etmektir. Bunun için, Suriyeliler hakkında paylaşılan görseller incelenmiştir. Türkiye’deki Suriyeli imgesinin Twitter sosyal medya platformunda paylaşımını incelemek için #ülkemdesuriyeliistemiyorum ve #suriyelilerkardeşimizdir hashtag’leri (#) altındaki görseller nitel yaklaşımla kategorize edilmiştir. Araştırma sonucunda ortaya çıkarılan veri setleri çok düzlemli söylem çözümlemesi yapılarak analiz edilmiştir. Makale, hakikat üretiminde çevrimiçi katılımcıların yatay bilgi yayma pratiklerini sorgulayarak günümüzdeki bilgi kirliği sorunsalı tartışmasına görsel iletişim yönünden katkı sunmayı amaçlamaktadır. Sosyal medya platformlarında meydana gelen Türkiye’deki Suriyelilere ilişkin tartışmalarda, görüntüleri paylaşan kullanıcıların objektiflik ve tarafsızlık kaygısı taşıdıkları anlaşılmaktadır. Bu analiz, Suriyelilerin Türkiye’deki koruma statüsünün meşruiyetinin çeşitli parametrelere bağlı olduğunun ve Suriyelilere ilişkin söylemin sosyal medyada görsel kanıtlara başvurularak üretildiğini göstermiştir.
Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media
(2022) Güney, Talat Balca Arda
This article explores the online display of artistic ability and cultural practice to express support for the resistance in Ukraine and Ukrainian refugees while blaming the Russian attack on the country starting in February 2022. Social media engagement is essential in constructing discursive traits of belonging through bottom-up articulations of ‘us’ and ‘them’ dichotomies. Here, I question the distinguished characteristics of representation related to art, artistic practices, and abilities under solidarity social media posts in the case of Ukrainians fleeing their homes. Social media users who include art and culture concerning solidarity use a discourse of inclusion to depict refugees as parts of civilization and hence not reducible them to the bare life position. This study is guided by critical multimodal discourse analysis to understand better how social power is enacted, replicated, and resisted by social media content. I contend that these social media posts that convey specific art and culture-related representations serve to distinguish characteristics of war-torn Ukraine, people displacement, and Ukrainian refugees from the generic tendencies of otherization reflected on the ‘Southern’ refugee figure deprived of capability or motivation for logos.
Ephemeral Social Media Visuals and Their Picturesque Design: Interaction and User Experience in Instagram Stories
(Sciendo, 2021) Arda, Balca; Güney, Talat Balca Arda
This article examines the temporality of ephemeral visual posts to social media with an emphasis on Instagram stories. Drawing on theories of the spectacle, it is my contention that interaction and user-experience design, as it pertains to social media platforms, highlights the contemporary conditions and motivations in our society of abundant visual consumption. This article investigates what it means for a social media user to attend to such time-related visual experience. Throughout this piece, I critically survey the relationship between ephemeral Instagram stories' popularity and the high speed temporality of the social media sphere with emphasis on the digital picturesque. Perishable daily sharing on social media reflects a contemplative glimpse into a personal lifespan presented as an object of mass appreciation. I examine how ephemerality as a component of design impacts online sociality through the picturesque visual mode. Contemporary boredom and competitive engagement in high-technological communication networks inform how we might direct digital publics to find alternative pathways to sociality.
Activist Communication Design on Social Media: the Case of Online Solidarity Against Forced Islamic Lifestyle
(Sage Publications, 2021) Arda Güney, Talat Balca; Güney, Talat Balca Arda; Akdemir, Ayşegül
This article explores the relationship between connective and collective group identity through the example of “You Won’t Walk Alone,” a social media platform of solidarity for women suffering from the pressures of Islamic dress code in Turkey. While Turkey has a long history of conservative women’s initiatives against secular institutional code and of secular women against Islamic and misogynist social reactions, the social media platform You Won’t Walk Alone (Yalnız Yürümeyeceksin) illustrates a striking self-reflexivity of women mobilizing against their very own conservative communities. The research is based on multimodal content analysis of the posts including both images and texts in order to grasp to what extent social media offers a genuine public space for anonymous participants of the online platform as opposed to digitally networked movements which primarily reflect personalized agency. We analyze how connective and collective group identity can be correlated in this case in which online participants build solidarity by sharing content anonymously. Hence, this article questions the ways in which activist design of communication affects and shapes activism through this case study.
Mediative Performance of Creative Precariat in the Age of Digitalization
(Kadir Has Üniversitesi, 2022) Özmen, Ceylin; Güney, Talat Balca Arda; Arda, Balca
In this thesis, I define the artists who perform physical performances as the artist precariat. Starting from the concept of precariat, I am researching how the life of the precariat artist was affected socially and economically in the transition from physical performance to meditated performance in the age of digitalization. Since this research coincided with the COVID-19 pandemic, I will have better analyzed the companies that were positively and negatively affected by the lockdown and the dimension of precariousness experienced by the artists. In this thesis, the formation of mediatized performance (distributing the video and audio recordings of the produced performance to different media channels) will be explained, to understand what the concept of contemplation is, and to understand the possible losses in art when contemplation becomes cool (artificial) in physical stage art. In addition, I expressed what the concept of precariat means in different studies and why I need to use this concept in this study. Data obtained by semi-structured interviews, which were held with stage company owners and physical performance artists (snowball sampling) and participant observation in field, were analyzed by discourse analysis techniques. Based on the collected data, the relationship between transforming art and artist insecurity will be examined. My analysis is composed of three sections: (1) to examine the measures and difficulties faced by art center owners, audiences, and artists regarding digitalization with the concepts of Baudrillard's “immortality” and Barthes’s “the author is death”. (2) Investigating the social precariousness created by the financial precariousness of flexible working in the arts sector (in the context of age and gender). Examining the concept of “precariat class” used by Guy Standing in his work on precarious working and flexible employment by focusing on the artist group and adding dimension (depth) to the concept in this direction. (3) To explore the adaptation process of precariat art to mediation shifting in the light of Byung-Chul Han’s concept of the “Banopticon” and Durkheim’s study of suicide. As a result of the interviews and fieldwork outputs, the death of art, which was defined metaphorically in the first place, eventually turned into the actual end of the artist. I contend that creative stage artists have difficulties in the transition process because their digital media knowledge and skills are insufficient, rendering them financially and socially precarious. Unemployment and insecurity experienced by the precariat artist in the culture and art sector affect not only the artist himself, but also the family members of the artist, art-loving individuals and the society. For this reason, the artist's insecurity becomes a collective problem rather than an individual one.