Sempozyum: Yeniden Üretim Etiği, (Son Başvuru: 29 Ocak 2016)

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Yeniden Üretimin Etiği

Tarih ve Tasarım Derneği tarafından 12 – 13 Mayıs 2016 tarihleri arasında “Yeniden Üretimin Etiği” başlıklı bir sempozyum düzenleniyor. Sunumların da İngilizce yapılacağı sempozyum için katılımcıların İngilizce yazılmış özet metinlerini adresine üye olarak 29 Ocak 2016 tarihine kadar göndermeleri gerekiyor.


DATE: May 12-13, 2016

VENUE: İzmir Center of Architecture


“Our era prefers the images to the things, the copy to the original the representation to the reality, appearance to being.” (Feuerbach, The Essence of Christianity, 1857)

Feuerbach’s pronouncements marks the symptomatic loss at the heart of modern experience: loss of tradition, loss of the Creator, loss of a connection one formed with what one produced, and loss of a solid ground. These losses were mediated through the hopeful belief on human rationality, science and progress.

It was ironic that, despite the radical changes, this new era did not challenge the traditional belief in the singularity of Truth and reality, but simply replaced its referent from metaphysical to scientific. New developments, however, initiated questions on this singularity, starting with the invention of photography, blurring the boundaries between the original and its duplicates, the real and the appearance of the real, scientific documentation and artistic representation. In this framework, Feuerbach’s statements in the “Essence of Christianity,” were more than a discussion on religion, but an embodiment of the frustrations and alienation an individual felt in the modern era with all its novelties. Not surprisingly, this quote was used extensively in visual studies in the twentieth century.

A century after Feuerbach, as the belief on the Truth is abandoned, and the discourse on multiple realities began, philosophers like Baudrillard and Deleuze re-addressed these questions in different ways. Their discourse was no longer based on a singular, mechanical, and modern world but one that became multiple, digital and postmodern. In one century, as our experience of the world turned more fleeting, so did the production systems, transforming from manual to mechanical and to digital, challenging materiality, authorship and permanence. While the beginning of the twentieth century witnessed discussions on whether mass production systems were impoverishing art or were they finally presenting opportunities for the realization of “total work of art,” the twenty-first century seemed to have left its high aspirations behind and fully immersed itself in the aestheticization of the capitalist experience.

So what happens to the question of ethics all through these transformations? Do we still need to demarcate the line between an original and the copy when reality itself is suspect? Or is it even relevant to talk about the original? Where do we locate the producer, the product, the process and the client/spectator in this discussion? What are the emancipatory design practices that our new era allows that were not a possibility before?

This year’s symposium focuses on the ethics of [re-]production in design and throughout design history. Papers are invited to focus on one of the following thematic categories or their intersections in the context of different fields including but not limited to design and cultural studies.


How can the relationship between original and copy be re-interpreted in the digital age? What are the cultural implications of the cult of the original in modern societies? What is the impact of design in the construction and production of identities? How can mimicry be used as an ethical design strategy? How does the fluidity of digital age mobilize fluidity of identities?


“What is an author” in the digital age? How can hacking be ethically located in the field of design? What is the role of open source initiatives in design? What are emancipatory potentials of co-creation today? How design can be organized as a cooperative process?


How do representations produce social and cultural realities? To what extent does design contribute to the management of perception? What are the potentials of simulacrum as a denial of the original / copy model? How are virtual and simulated environments consumed in contemporary societies? What are the ethical issues that are mobilized in new understandings of reality?


Those who are interested in contributing papers to the eleventh 4T Symposium are invited to submit a title and an abstract of 250-300 words through Easy Chair by January 29th 2016. Registration to Easy Chair is essential in order to submit abstracts. The symposium language is English, therefore all abstracts, presentations and papers should be in English. For any further questions please contact Bahar Emgin ( Selected proposals will be announced on February 29th, 2016.


Tevfik Balcıoğlu, Gülsüm Baydar

Şebnem Yücel, Ahenk Yılmaz

Ömer Durmaz, Ö. Osman Demirbaş

Gökhan Mura, A. Can Özcan

Dilek Himam, Gökçeçiçek Savaşır

Özlem Taşkın Erten


Bahar Emgin


Yasemin Oksel Ferraris, Gizem Özmen


Umut Altıntaş


Orkun Destici





Scientific Committee


Ahenk Yımaz, Yaşar University

Ahmet Zeki Turan, Mimar Sinan Fine Arts University

Ali İlhan, Özyeğin University

Alison J. Clarke, University of Applied Arts Vienna

Anna Calvera, University of Barcelona

Aren Emre Kurtgözü, MEF University

Artemis Yagou, MHMK Macromedia University for Media and Communication

Arzu Vuruşkan, İzmir University of Economics

Ayşe Coşkun Orlandi, Kadir Has University

Burkay Pasin, İzmir University of Economics

Çiğdem Kaya, İstanbul Technical University

Deniz Hasırcı, İzmir University of Economics

Didem Kılıçkıran, Kadir Has University

Dilek Himam, İzmir University of Economics

Dilek Kaya, Yaşar University

Duygun Erim, Yaşar University

Eduardo Corte-Real, IADE

Elçin Tezel, Bahçeşehir University

Erdem Erten, İzmir Institute of Technology

Fedja Fukic, University of Zagreb

Fehmi Doğan, İzmir Institute of Technology

Figen Işık, Middle East Technical University

Gökhan Mura, İzmir University of Economics

Grace Lees-Maffei, University of Hertfordshire

Gülay Hasdoğan, Middle East Technical University

Gülname Turan, İstanbul Technical University

Gülnur Ballice, Yaşar University

Gülsüm Baydar, Yaşar University

Hakan Ertep, Yaşar University

Haruhiko Fujita, Osaka University

Harun Kaygan, Middle East Technical University

Héctor Flores Magón y Jiménez, University of Guadalajara

Helena Barbosa, Universidade de Aveiro

Hilde Heynen, KU Leuven

Işıl Oygür, Bahçeşehir University

J.C. Gimeno Martinez, Vrije Universiteit Amsterdam

Jeremy Aynsley, University of Brighton

Jonathan Woodham, University of Brighton

Kıvanç Kılınç, Yaşar University

Kjetil Fallan, University of Oslo

Lucila Fernández, ISDI, Instituto Superior de Diseño Industrial

Marinella Ferrara, Politecnico di Milano

Neslihan Dostoğlu, İstanbul Kültür Üniversitesi

Ö. Osman Demirbaş, İzmir University of Economics

Oscar Salinas Flores, Universidad Nacional Autónoma de México

Özlem Savaş, Bilkent University

Özlem Taşkın Erten, İzmir Metropolitan Municipality

Paola Ardizzola, International Antalya University

Paul Atkinson, Sheffield Hallam University

Pekka Korvenmaa, Aalto University

Pınar Kaygan, Middle East Technical University

Pınar Yalçın, İstanbul Technical University

Priscila Farias, Universidade de São Paulo

Robert Lzicar, Bern University of the Arts

Şebnem Timur Öğüt, İstanbul Technical University

Şebnem Yücel, Yaşar University

Serkan Şavk, İzmir University of Economics

Tevfik Balcıoğlu, Yaşar University

Vanni Pasca, University of Politecnico

Viviana Narotzky, ADI-FAD

Wendy Wong, York University

Wolfgang Jonas, Braunschweig University of Art

Yuko Kikuchi, University of the Arts London

Zuhal Ulusoy, Kadir Has University

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