Özet:

Video art was born at the beginning of the 1960s, when a group of artists (New Realists and Fluxus collections) began to use the "video image" against television, which is the image and voice of the dominant power, as an instrument of opposition-opposition-insurrection. It is possible to describe the video as an art object as the 'male boy' of photography, cinema and television. In video art, the artist invites the audience (experienced) as a leading actor into the art process. He often realizes that he plays an active role in the experimental work. Video art is completed only with the fail position of the experienced. Experiential in video art, he leaves the viewing (a passive and foolish X-ray experience) action and becomes the creative partner of his thought, interpretation and body and the art process. The thought cinema also takes a position against the mainstream (commercial) cinema (muhalif) which offers a magical-hulial travel experience and is a passive consumer that lowers the audience.  The films defined in the thought cinema assembly also demand from the audience a similar education as in the video art. It is intended for the audience to actively think and question during (and after) film experience. In this article, we will discuss the impact of video art transforming the audience into an experienced (today) on the relationship that the thought cinema establishes with the audience. Television becomes the image and voice of power, the dominant power, the central propaganda tool. Television comes to the power which holds it in its hands as a power, or makes it permanent. This relationship is a relationship with commercial, political and aesthetic curves (Bozkurt, 2005: 80).

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