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Popüler kültür geniş kitlelerin içerisinde yaşadıkları toplumu anlamlandırmaları noktasında yer aldığı konumu nedeniyle sosyolojik bir olgu olarak öne çıkmaktadır. Bu önemli sosyolojik olgu, kitle iletişim araçlarının yükselişi ile birlikte kapsamını ve ağırlığını arttırmış, bu yönüyle iletişim teknolojileri ile zorunlu ilişkisi bağlamında ele alınması gerekmektedir. Bir iletişim teknolojisi devrimi olarak sunulan dijitalleşme bu bağlamda önem kazanmaktadır. Dijitalleşme yaşantımızın gerçekleştiği yeni bir kültürel uzam olması yönüyle de başlı başına toplumsal bir süreçtir. Bu görüşlerden hareketle çalışma, popüler kültür olgusunun dijitalleşme bağlamında dönüşmekte olduğu ön kabulüyle bu dönüşümü teorik bir tartışmaya açmak ve kavramsal analizini gerçekleştirmek amacındadır. Popüler kültür, birden çok aktörün sürece dahil olduğu karmaşık, ilişkisel bir alan görünümündedir. Gerçekleştirilen kavramsal analizde bu alana ilişkin yapısal özellikler ve alanda gerçekleşen faillik öncelikli odak noktalarını oluşturmaktadır. Yapısal özellikler alanın endüstriyel boyutunun bir uzantısı olarak sunduğu medya ekosistemi ile, gerçekleşen faillik ise bu alan içerisindeki failliğin iki boyutu olarak kitlenin konumu ve algoritma teknolojilerinin analizi ile temellendirilmiştir. Dijitalleşen medya platformları ile geleneksel medyanın ortadan kaybolduğu yönündeki görüşlerin aksine dijital medya ve geleneksel medya giderek birbirine yakınsanan yeni, hızlı ve devasa boyutta bir medya ekosistemi oluşturmaktadır. Bu yeni ekosistem demokratik bir ortam sunma vaadiyle öne çıkıyormuş gibi görünse de ancak hızla ve sıklıkla üretilebilen ve kitle tarafından paylaşılabilecek türde içerikler popüler kültüre mal olmaktadırlar. Buradan hareketle “popüler olmanın” dijitalleşme diskurunun üst ideolojisi olarak konumlandığı düşünülmektedir. Faillik bağlamında ise bu devasa ekosistemde artık pasif, yalnızca alıcı konumundaki bir kitle kavrayışından söz etmek mümkün görünmemektedir. Katılımcı kültür etrafında gerçekleşen ilişkiler popüler kültürün şekillenmesinde büyük önem taşımakla birlikte, sürece dahil bir diğer aktör olarak algoritmalar kitle davranışının şekillenmesinde en az özgür tercihler kadar rol sahibidir. Günümüz popüler kültürü, tek bir aktörün diğer aktörler üzerinde belirleyici olduğu doğrusal modelde değil, aktörler arası ilişkisel bir sürecin sonucu olarak şekillenmekte, gerçekleştirilecek çalışmalarda bu ilişkiselliğin göz önünde tutulması gerekliliği önerilmektedir.
Popular culture stands out as a sociological phenomenon because of its position at the point of understanding the society in which they live within the wide masses. This important sociological phenomenon has increased its scope and weight along with the rise of mass communications means, and in this regard it is necessary to be addressed in the context of its compulsory relationship with communication technologies. Digitalization, presented as a communication technology revolution, has gained importance in this context. Digitalization is a social process in itself to be a new cultural extension in which our life occurs. The study of these views is aimed at opening this transformation to a theoretical debate and realizing the conceptual analysis, with the preliminary acceptance that the popular cultural phenomenon is transforming into the context of digitalization. Popular culture is in the appearance of a complex, relational field in which multiple actors are involved during the process. In the realised conceptual analysis, the structural characteristics of this area and the activity that occurs in the area are the priority focus points. Structural characteristics are based on the media ecosystem that the area provides as an extension of the industrial dimension, while the occurring activity is based on the position of the audience as the two dimensions of the activity within the area and the analysis of algorithmic technologies. Unlike the views of the disappearance of digitalized media platforms and traditional media, digital media and traditional media form a new, fast and enormous media ecosystem that is increasingly closer to each other. Although this new ecosystem appears to stand out with the promise of providing a democratic environment, the kind of content that can be produced and shared quickly and frequently is the cost of popular culture. From here it is believed that the "popular" movement is positioned as the top ideology of the digitalization discourse. In the context of activity, in this enormous ecosystem it seems no longer possible to speak of a passive, merely receiver-position mass perception. While the relationships that occur around the participating culture are of great importance in the formation of the popular culture, algorithms as an other actor involved in the process play the role of at least free preferences in the formation of mass behavior. Today’s popular culture is not formed as a result of the linear model in which a single actor is determinant over the other actors, but as a result of an interacting process, it is recommended that this relativeity be taken into account in the studies to be carried out.
Popular culture becomes prominent as a sociological phenomenon due to its position in making sense of the society in which large masses live in. This important sociological phenomenon has increased its extent and importance with the rise of mass media, and from this aspect, it should be discussed in the context of its compulsory relationship with communication technologies. Digitalization, which is presented as a revolution in communication technology, gains importance in this context. Digitalization is a social process in itself, as it is a new cultural space in which our social life takes place. From this point of view and with the hypothesis that the phenomenon of popular culture is transforming in the context of digitalization, the study aims to open this transformation up for a theoretical discussion and to perform a conceptual analysis. Popular culture appears as a complex, relational field in which multiple actors are involved in the process. The structural characteristics of this field and the agency which takes place in the field constitute the primary focus of the conceptual analysis. The structural analysis conducted through the media ecosystem as an extension of the industrial dimension of the field, and the analysis on agency conducted through the two dimensions of agency in the field; the positioning of the mass and algorithm technologies. Traditional media has not disappeared with the rise of digital media platforms. Contrary to these views digital media and traditional media are constitute a new, fast, and massive media ecosystem that is increasingly converging. This new ecosystem may seem as a promise of offering a democratic environment but only the type of content which can be produced at a fast pace and frequently and also the type which is spreadable by the mass cost popular culture. From this point of view, it is thought that "being popular" is positioned as the supra-ideology of the discourse on digitalization. In the context of agency, it is no longer possible to talk about a passive receiver mass in this massive ecosystem. The relations occur within the scope of participatory culture are of great importance in shaping popular culture but also algorithms, as another actor involved in the process, have a role at least as much as free choices in shaping mass behavior. Popular culture today is shaped as a result of a relational process between actors, not in a linear model in which a single actor is decisive on others, and it is suggested that this relationality should be taken into account in future studies.
Field : Eğitim Bilimleri; Güzel Sanatlar; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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