Özet:

Commencing a new life under the umbrella of modernism, starting from the 20th century thought, the human being was in a rush to create an error-free world in the light of technological advancements and, in a way, became the shareholder of a new century dependent on machines. With the new ways of communication and transportation, which continued to develop rapidly after the industrial revolution, human beings faced noise even more pressingly compared to before. Without doubt, 20th century contemporary art took its slice from this intricacy. In itself, noise, which started to be guided by the futurism art movement and sonic arts , showed its first forms under the title of post-digital aesthetics in the last phase of the 20th century The new sound universe, which is the result of post-digital aesthetics, has matured its metamorphosis in other practices of 20th century sound art. As a sonic practice, it is the reflection of the mistakes and imperfections that occur directly or indirectly in both the analog and digital world, as an artistic endeavor, by taking names such as glitch, microwave sinecore, etc (Cascone, 2000, p.12). Based on this idea, in this study, in the footsteps of the concept of "post-digital aesthetics", our faculty uses the principle of expressing a sonic world, the pioneering artists of the equipment that surrounds us all around us, the intrinsic sonic patterns , the sound materials of a new sonic universe, the techniques they use in their creative fields. will be in an effort to interactively share a new sonic universe that is not possible to hear but surrounds us.

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