Tragedy, in visual arts, has existed since ancient times, as seen by Pharaonic paintings depicting grave ceremonies. However, sad expressiveness took on a new dimension in contemporary art, particularly during the First and Second World Wars. The major setbacks experienced by the world turned visual art into a means of expressing various clashes and crises, whether political, social, or even psychological. This is evident in artistic icons that reflected political conflict and its consequences, such as the painting "Guernica" by the Spanish artist Pablo Picasso, or inner conflict as seen in "The Scream" by Edvard Munch. Accordingly, this paper aims to introduce the concept of the visual art painting and its formal and implicit elements, thereby highlighting the tragic character in the artwork. Throughout its history, visual art has included many masterpieces whose contents vary some artworks reflect the prosperity of society, while others provide us with a representation of the political situation. The artistic painting, composed of a collection of lines and symbols, is a visual message that contains many concepts presented by the artist to the viewer. The visual artwork serves as the artist’s notebook, requiring us to analyze and interpret it. The tragic images presented by the artist are nothing but a simulation of the human wound, confronting us with a visual tragedy that speaks to the viewer in a visual language, in which the emotional state is intertwined with the artist’s philosophical vision. Thus, the artwork becomes a space for contemplation, allowing us to discern the artist's intention and purpose behind their artistic creation.

Traditional screen-based interfaces are evolving into a new era due to rapid technological advancements and shifting user needs. At the core of this evolution lies Anderson's 1989 vision of computer technology becoming transparent and invisible to the user. Similarly, in the mid-1990s, Weiser laid the foundation for this transformation by arguing that the fundamentals of human-computer interaction should be reconsidered. He proposed that a “disappearing” or “invisible” form of computing offers a more natural and manageable mode of interaction between humans and machines. In the 2000s, Rosalind W. Picard contributed to this discourse by asserting that, if computers are to engage in natural interactions with humans, they must be equipped with the ability to recognize, understand, and even express emotions. She advocated for computers that not only respond to user commands but also proactively act based on the user’s emotional and physiological states. These perspectives collectively form the foundation of the concept of Screenless Interfaces. With the proliferation of the Internet of Things (IoT) and the advancement of human-machine interaction, user experiences that do not require screens are gaining prominence. Screenless Interfaces engage users through alternative sensory inputs such as voice, touch, motion, and other perceptual modes. These interactions provide users with natural, responsive, and personalized experiences, opening new possibilities in the field of User Experience (UX) Design and fostering direct relationships between users and systems. The aim of this study is to define the concept of Screenless Interfaces, which has become increasingly integrated into contemporary life, and to examine their impact on User Experience Design. To this end, a literature review is conducted to analyze the recent history of Screenless Interfaces and to explore their relationship with UX. Additionally, through the analysis of films and television series, the study discusses the innovative contributions and potential interface designs that Screenless Interfaces may offer to future interaction products. By presenting its findings, the study seeks to shed light on the concept and future of Screenless Interfaces, and to articulate their connection with User Experience Design.

Arthur Schopenhauer’ın Okumak, Yazmak ve Yaşamak Üzerine adlı eseri, bilgi edinimi, paylaşımı ve bireysel düşünce süreçleri üzerine derinlemesine bir felsefi analiz sunar. Yazar, insan mutluluğunun iki temel düşmanı olan ıstırap ve can sıkıntısını ele alır ve bu iki durumun sınıfsal bağlamda farklı şekillerde ortaya çıktığını ifade eder. Alt sınıflar temel ihtiyaçlarını karşılamak için sürekli bir mücadele içindeyken, üst sınıflar can sıkıntısıyla başa çıkmaya çalışır. Bu salınım, bireylerin mutluluk arayışındaki evrensel bir gerçeği yansıtır. Kitap, okuma alışkanlıklarına yönelik güçlü eleştiriler içerir. Schopenhauer, sürekli ve dikkatsizce yapılan okumanın bireyin düşünme kapasitesini zayıflatabileceğini ve zihinsel bağımsızlığı köreltebileceğini savunur. Ona göre, birey sadece okuma eylemiyle yetinmemeli, aynı zamanda bu bilgiyi düşünce süzgecinden geçirerek kendi fikirlerini oluşturmalıdır. Ancak, dikkatlice seçilmiş eserlerin bireysel ve entelektüel gelişime önemli katkılar sağlayabileceğini de vurgular. Schopenhauer, edebiyatı kalıcı ve geçici olarak ikiye ayırır. Kalıcı edebiyat, derin anlamlar taşıyan, zamana meydan okuyan ve bireyin düşünce dünyasını şekillendiren eserlerden oluşurken, geçici edebiyat genellikle ticari kaygılarla üretilen ve kısa sürede unutulan eserleri ifade eder. Yazarın yazarlık ve üslup üzerine yaptığı değerlendirmeler de dikkat çekicidir. Schopenhauer, netlik ve sadeliğin yazının temel ilkeleri olması gerektiğini belirtir. Karmaşık anlatımlardan ve gereksiz süslemelerden kaçınılması gerektiğini savunur, çünkü bu unsurlar okuyucunun ilgisini dağıtarak metnin etkisini azaltır. Bununla birlikte, yazarın sert eleştirel dili ve zaman zaman genellemeler içeren ifadeleri okuyucuyu eleştirel bir mesafede durmaya sevk edebilir. Tüm eleştirilerine rağmen, Schopenhauer’ın bilgi ve düşünce süreçlerine dair zamansız fikirleri, bu eseri yalnızca bir eleştiri kitabı değil, aynı zamanda entelektüel bir rehber haline getirir. Okumak, Yazmak ve Yaşamak Üzerine, bireysel düşünceyi teşvik eden, okuma ve yazmanın bireysel ve toplumsal etkilerini irdeleyen, derinlemesine bir çalışmadır. Bilgiye ve onun bireysel/toplumsal bağlamdaki etkilerine ilgi duyan herkes için vazgeçilmez bir kaynaktır.

This article explores the relationship between social and political movements and art, tracing the ways in which art has been used to participate in the struggles of the day. The article examines the role of art in ancient civilizations, where art was used to express religious and cultural beliefs. It then examines the impact of Renaissance, Protestant Reformation, French Revolution, and the Romantic Movement on art, highlighting how artists used their work to comment on the political and social issues of their time. Moving into the 20th century, the article explores the rise of modernism and its relationship with social and political movements. The article also examines how contemporary social and political movements such as Black Lives Matter are shaping art today, with artists using their work to explore issues of gender inequality, sexual harassment, police brutality, and environmental sustainability. Data was sourced from books, journal articles as well as online sources. Data was qualitatively analyzed using art historian method to descriptively present the data. The article concluded by providing a comprehensive overview of the relationship between social and political movements and art and emphasizing the enduring power of art to shape and reflect the world in which we live.

Islamic calligraphy, an important part of the rich artistic and cultural heritage of Islamic civilization, has not only conveyed the content of the text but also served to convey messages with deep meaning to its addressee through an aesthetic language. Islamic calligraphy, which is used in a wide range of areas such as Mushafs, plates and architectural works, has also gained a unique place in Turkish-Islamic architecture. More than just being a decorative element, calligraphy has strengthened the spiritual dimension of the architectural structure by giving meaning and identity to the space where it is written. Especially in mosques, calligraphy, which decorates the walls and domes, has created a visual place of worship that invites to worship, as well as contributing to the creation of a peaceful and profound atmosphere that appeals to the inner worlds of the worshippers. This function of calligraphy shows that in Islamic art, writing and architecture are intertwined and complement each other. In this way, religious and cultural values are expressed in an aesthetic way. Erzurum Caferiye Mosque, an Ottoman work dating back to the 17th century, is one of the mosques that houses remarkable examples of calligraphy art. Caferiye Mosque, built by Cafer Efendi in 1648, is a typical example of Ottoman architecture. The main dome of the mosque is supported by four half domes and its minaret has one balcony. Although there are studies on the mosque’s architecture and restoration, no comprehensive research has been done on the mosque’s calligraphies. In this study, the construction inscription in the mosque, the minbar-mihrab calligraphies, the calligraphies on the dome and window pediments were examined in detail in terms of Islamic calligraphy art.

Blender is a 3D modeling and animation software widely used especially in the field of character and space design. This program, which helps users realize their creative ideas thanks to the harmonious combination of art and technology, allows the creation of virtual reality models, simulation, visual effects, stage lighting, game design and many other digital works. Using the features provided by the Blender software, individuals have the ability to craft unique designs and efficiently employ character animation techniques. In this conrtext, artists can nurture their imaginative and unique concepts, merging them with technical prowess through the utilization of the Blender software. Moreover, they can organize their production methods within the framework of embracing the contemporary artistic landscape in the digital era. This article aims to emphasize that the Blender program creates a space that combines art and technology in the same environment by addressing its relationship with art. While reviewing the art created in the digital environment, the research emphasizes the positive or negative aspects and the dimension of temporal gain, especially on the plastic arts and many other industries. In this research, which is carried out as a case study, it is aimed to experience the potential and competence of the Blender program in the production process of digital drawing applications made by various undergraduate design department students in many industrial fields and artistic disciplines.

Propaganda posters were extremely influential in maintaining national pride and solidarity during World War I and World War II while also establishing cultural norms for wartime practices. This article explores the visual impact of propaganda posters during World War I and World War II, with a focus on those that included racist elements. Design elements and principles are key components of graphic design that are used to support conveying a message to the viewer, such as color, typography, composition, and hierarchy. By analyzing the visual and textual components of these posters, the article argues that they had a significant impact on shaping society's perception of the enemy and fuelling xenophobic attitudes. The posters served as a powerful tool for governments to convey their messages to the masses, using emotionally charged language and images to elicit strong reactions from viewers. The research also highlights the ways in which these posters perpetuated harmful stereotypes and contributed to the dehumanization of entire groups of people. By examining the historical and cultural contexts in which these posters were created and disseminated, the article underscores the need to be mindful of the power of visual propaganda and its lasting impact on social attitudes and beliefs. In the research process, primary and secondary sources were utilized, and historical method and text analysis method were used.