Research Article
BibTex RIS Cite

Creative Culture Industries, Artificial Intelligence and Society

Year 2025, Volume: 20 Issue: MX Yaratıcı Endüstriler Çalıştayı 2024: Yapay Zeka Çağında Yaratıcı Endüstriler Özel Sayısı, 189 - 218, 24.04.2025

Mehmet Fatih Aysan , Şevki Işıklı , M. Fuat Kına , Ezgi Şen Atiker , Merve Taşcıoğulları , Ayla Torun , Yunus Uğur

Abstract

This article provides a comprehensive analysis of the transformative impacts of artificial intelligence (AI) on creative cultural industries and society. Beginning with the historical development of the concept of cultural industries, this article examine the definitions and classifications of creative industries, specifically evaluating the role of AI in these industries within the context of digital transformation. It highlights AI’s potential to enhance inclusivity in creative processes and create new opportunities, while also discussing challenges such as data privacy, intellectual property rights, and algorithmic bias. The growing share of creative industries in the global economy, their employment potential, and the economic and social impacts of human-AI collaboration in creative processes are examined, with a particular focus on development strategies specific to Turkey. The study evaluates AI’s contributions to the creative economy and potential future developments, offering recommendations for the sustainable growth of creative cultural industries. While AI becomes more involved in creative research, the features of models that are sensitive to cultural differences are very important. Considering the relationship between creativity and AI is constantly evolving, the basic policy of AI should be revised on a daily basis. This challenging process is only possible with responsible AI.

Keywords

Creative cultural industries Artificial intelligence (AI) Digital transformation Economic and social development

References

  • ADBI. (2022). CREATIVE ECONOMY 2030: Imagining and Delivering a Robust, Creative, Inclusive, and Sustainable Recovery. Asian Development Bank Institute.
  • Adorno, T. W., & Horkheimer, M. (1944). The Culture Industry: Enlightenment as Mass Deception. Enlighment as Mass Deception. https://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm
  • Adorno, T. (1991). The Culture Industry: Selected Essays on Mass Culture. London: Routledge.
  • Amabile, T. M. (1988). A model of creativity and innovation in organizations. In B. S. Cummings (Ed.), Research in organizational behavior. Greenwich, CT: JAI Press.
  • Amato, G., & Behrmann, M., vd. (2019). AI in the media and creative industries. [Research Report]. New European Media (NEM), 1-35.
  • Arches, https://www.archesproject.org.
  • Binsted, K. (1996). Machine humour: an implemented model of puns (Published PhD thesis). Edinburgh University.
  • Boden, M. (1998). Creativity and Artificial Intelligence. Artificial Intelligence Magazine, 1(103), 347-356.
  • Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. Harvard University Press. Buchanan, B. G. (2005). A (very) brief history of artificial intelligence. Ai Magazine, 26(4), 53-53.
  • Cao, Y., Li, S., Liu, Y., Yan, Z., Dai, Y., Yu, P. S., & Sun, L. (2023). A comprehensive survey of ai-generated content (aigc): A history of generative ai from gan to chatgpt. arXiv preprint arXiv:2303.04226.
  • Caramioux, B., Lotte, F., Geurts, J., Amato, G., Behrmann, M., Bimbot, F., & Gravier, G. (2019). AI in the media and creative industries. HAL Open Science.
  • CreaPost. (2024). OpenAI’s Sora ushers in a new wave of AI-driven filmmaking with “Air Head” https://tbmag.co.uk/2024/03/openais-sora-ushers-in-a-new-wave-of-ai-driven-filmmaking-with-air-head/
  • Crevier, D. (1993). AI: The Tumultuous History of the Search for Artificial Intelligence. Basic Books.
  • Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins.
  • DCMS. (1998). Creative Industries Mapping Document 1998. https://www.gov.uk/government/publications/creative-industries-mapping-documents-1998
  • DCMS. (2001). Creative Industries Mapping Document 2001 (2nd ed.). London, UK: Department of Culture, Media and Sport.
  • DCMS. (2023). Creative Industries Sector Vision: A joint plan to drive growth, build talent and develop skills. Retrieved June 28, 2024, from https://www.gov.uk/government/publications/creative-industries-sector-vision/creative-industries-sector-vision-a-joint-plan-to-drive-growth-build-talent-and-develop-skills
  • Demir, E. (2022). On the Current Situation of Creative Industries in Turkey. Etkileşim.
  • Deng, L. (2018). Artificial intelligence in the rising wave of deep learning: The historical path and future outlook. IEEE Signal Processing Magazine, 35(1), 180-177.
  • Deloitte. (2021). The Future of the Creative Economy. Deloitte.
  • European Commission. (2021). European Commission Internal Market, Industry, Entrepreneurship and SMEs. Retrieved May 13, 2024, from https://single-market-economy.ec.europa.eu/sectors/cultural-and-creative-industries_en
  • Flew, T. (2017). Cultural and Creative Industries. In Oxford Bibliographies. Retrieved May 12, 2024, from https://www.oxfordbibliographies.com/display/document/obo-9780199756841/obo-9780199756841-0188.xml. DOI: 10.1093/OBO/9780199756841-0188
  • Foster, M. D., & Gilman, L. (Eds). (2015). UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage. Indiana: Indiana University Press.
  • Gondola, J. (2024, April 9). AI, ethics, and the preservation of cultural heritage. Retrieved May 25, 2024, from https://medium.com/@jamesgondola/ai-ethics-and-the-preservation-of-cultural-heritage-e872f5f34a6c
  • Guilford, J.P. (1950) Creativity. American Psychologist, 5, 444-454.
  • Gruber, H. E. & Wallace, D. (Ed.). (1999). The case study method and evolving systems approach for understanding unique creative people at work. Handbook of Creativity New York: Cambridge University Press.
  • Hall, S. (1980). Encoding and Decoding in the Television Discourse. In S. Hall, D. Hobson, A. Lowe, & P. Willis (Eds.), Culture, Media, Language (pp. 128-138). Hutchinson.
  • Heikkilä, M. (2023). These new tools let you see for yourself how biased AI image models are. Retrieved May 25, 2024, from https://www.technologyreview.com/2023/03/22/1070167/these-news-tool-let-you-see-for-yourself-how-biased-ai-image-models-are/
  • HMB. (2024). Proje Hakkında. 1Milyonİstihdam - T.C. Hazine ve Maliye Bakanlığı. Retrieved from https://1milyonistihdam.hmb.gov.tr/proje-hakkinda
  • Hoggart, R. (1957). The Uses of Literacy. Penguin Books.
  • Howkins, J. (2001). The Creative Economy: How People Make Money from Ideas. The Penguin Press: London.
  • Hubert, K. F., Awa, K. N., & Zabelina, D. L. (2024). The current state of artificial intelligence generative language models is more creative than humans on divergent thinking tasks. https://www.nature.com/articles/s41598-024-53303-w
  • Hürriyetoğlu, A., Mutlu, O., Yörük, E., Liza, F. F., Kumar, R., & Ratan, S. (2021a). Multilingual protest news detection-shared task 1, case 2021. In Proceedings of the 4th Workshop on Challenges and Applications of Automated Extraction of Socio-political Events from Text (CASE 2021) (pp. 79-91).
  • Hürriyetoğlu, A., Yörük, E., Mutlu, O., Duruşan, F., Yoltar, Ç., Yüret, D., & Gürel, B. (2021b). Cross-context news corpus for protest event-related knowledge base construction. Data Intelligence, 3(2), 308-335. IDB. (2017). Future Landscapes of the Orange Economy: Creative Pathways for Improving Lives in Latin America and the Caribbean. Inter-American Development Bank.
  • Karterouli, K., & Batsaki, Y. (2021). AI and cultural heritage image collections: Opportunities and challenges. EVA. https://doi.org/10.14236/ewic/EVA2021.33
  • Kerog, B. (2023). The Influence of Cultural Diversity on AI Ethics: A Global Comparative Analysis. International Journal of Open Publication and Exploration, 11(2), 25-30.
  • Kulesz, O. (2018). Culture, platforms and machines: The impact of artificial intelligence on the diversity of cultural expressions”. (UNESCO DCE/18/12.IGC/INF.4).
  • Küçük, Ö. (2016). Popüler kültür: Belirli bir toplumda geniş kitleler tarafından benimsenen ve tüketilen kültürel ürünlerin yansıması. Kültür ve Toplum Araştırmaları Dergisi, 5(2), 123-135.
  • Lazzeretti, L., Capone, F., & Seçilmiş, E. (2014). Türkiye’de Yaratıcı ve Kültürel Sektörlerin Yapısı. Maliye Dergisi, 196.
  • Lin, Y., Guo, J., Chen, Y., Yao, C., & Ying, F. (2020). It is your turn: Collaborative ideation with a co-creative robot through sketch. In Proceedings of the 2020 CHI conference on human factors in computing systems. https://doi.org/10.1145/3313831.3376258
  • Lubart, T. I. (2001). Models of the creative process: Past, present and future. Creativity Research Journal, 13, 295-308.
  • Marcinkowski, J. (2024, May 21). A Strategic Shift to Collaborative AI for Cultural Heritage. Retrieved May 25, 2024, from https://www.linkedin.com/pulse/strategic-shift-collaborative-ai-cultural-heritage-marcinkowski-mzlxf/
  • Mayer, V. (2018). Cultural and Creative Industries. Oxford Research Encyclopedia of Communication. https://doi.org/10.1093/acrefore/9780190228613.013.552
  • Moore, M., & Tambini, D. (2018). Digital dominance: the power of Google, Amazon, Facebook, and Apple. Oxford University Press.
  • O’Connor, J. (2010). Creativity, Culture and Education. Art Council England. ISBN 978-1-907264-05-4. https://www.creativitycultureeducation.org/wp-content/uploads/2018/10/CCE-lit-review-creative-cultural-industries-257.pdf
  • Oksasen, A., Cvetkovic, A., Akin, N., Latikka, R., Bergdahl, J., Chen, Y., & Savela, N. (2023). Artificial intelligence in fine arts: A systematic review of empirical research. Computers in Human Behavior: Artificial Humans. Our World in Data. (2023). Technological Change.
  • Pansoni, S. vd. (2023). Artificial Intelligence and Cultural Heritage: Design and Assestment of an Ethical Framework. Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLVIII-M-2-2023,1149–1155, https://doi.org/10.5194/isprs-archives-XLVIII-M-2-2023-1149-2023.
  • Pasikowska-Schnass, M., & Lim, Y. S. (2023). Artificial intelligence in the context of cultural heritage and museums: Complex challenges and new opportunities. EPRS | European Parliamentary Research Service, PE 747.120. https://www.europarl.europa.eu/thinktank/en/document/EPRS_BRI(2023)747120
  • Reinsel, D., Gantz, J., & Rydning, J. (2018). The digitization of the world from edge to core report. (IDC White Paper – #US44413318). https://www.seagate.com/files/www-content/our-story/trends/files/idc-seagate-dataage-whitepaper.pdf
  • Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305-311.
  • SBB. (2019). ON BİRİNCİ KALKINMA PLANI (2019-2023) . Ankara: Türkiye Cumhuriyeti Cumhurbaşkanlığı Strateji ve Bütçe Başkanlığı.
  • SBB. (2024). ON İKİNCİ KALKINMA PLANI (2024-2028). Ankara: Türkiye Cumhuriyeti Cumhurbaşkanlığı Strateji ve Bütçe Başkanlığı.
  • Storey, J. (2009). Cultural Theory and Popular Culture: An Introduction. Pearson.
  • Sundarababu, V. (2024). A solution to DALL·E 2’s AI bias problem. Retrieved May 25, 2024, from https://centific.com/solution-dalle-2s-ai-bias-problem
  • Şen, E. (2022). Yapay Zekâ Ve Yaratıcılık İlişkisinde Karakter Tasarımları (Published proficiency in art thesis). Anadolu University.
  • Şen Atiker, E. (2024). Güzel Sanatlar Ekseninde Sorumlu Yapay Zekâ: Potansiyel Riskler ve Etik Boyutlar. Reflektif Dergisi, 5(1), 129-137.
  • The Guardian. (2023). How Hollywood writers triumphed over AI – and why it matters. Retrieved October 1, 2023, from https://www.theguardian.com/culture/2023/oct/01/hollywood-writers-strike-artificial-intelligence
  • The London Industrial Strategy. (1985). Londra Sanayi Stratejisi-Kültür Endüstrileri Greater London Council. London: GLC.
  • Torun, A. (2015). Walter Benjamin Sanat Eserinin Aurası ve Yeni Medya Sanatı. International Multilingual Academic Journal, Vol. 2, No 1, May 2015.
  • Torun, A. (2021). Sinemada veya Netflix'te Dijital İzleme Ortamları ve Yeni Alışkanlıklar. Bir Sosyal Ortam Olarak Sinema ve Film İzleme Pratiklerindeki Dijital Dönüşüm. SineFilozofi, Özel Sayı(3) 2021, 370-387. https://doi.org/10.31122/sinefilozofi.871301
  • Todd, S., & Latham, W. (1992). Conventional Art and Computers. London: Academic Press.
  • Toosi, A., Bottino, A. G., Saboury, B., Siegel, E., & Rahmim, A. (2021). A brief history of AI: how to prevent another winter (a critical review). PET clinics, 16(4), 449-469.
  • Toumi, K., Girandola, F., & Bonnardel, N. (2021). Technologies for supporting creativity in design: A view of physical and virtual environments with regard to cognitive and social processes. Creativity: Theories Research Applications, 8, 189-212. https://doi.org/10.2478/ctra-2021-0012
  • UNCTAD. (2022a). Creative Economy Outlook 2022. New York: United Nations Publications.
  • UNCTAD. (2022b). Creative Industry 4.0: Towards a new globalized creative economy. Retrieved May 14, 2024, from https://unctad.org/webflyer/creative-industry-40-towards-new-globalized-creative-economy
  • UNESCO. (2015). Cultural Times: The First Global Map of Cultural and Creative Industries. Retrieved May 10, 2024, from https://unesdoc.unesco.org/ark:/48223/pf0000235710
  • UNESCO. (2021). Recommendation on the Ethics of Artificial Intelligence. https://unesdoc.unesco.org/ark:/48223/pf0000381137
  • Uğur, Y. (2023). Kültürel Miras Örneğinde Dijital Beşeri Bilimler ve Dijital Osmanlı Çalışmaları. In Uğur, Y. (Ed.), Dijital Beşeri Bilimler ve Osmanlı Çalışmaları (pp. 27-43). İstanbul: Vakıfbank Yayınları.
  • Wallas, G. (1926). The art of thought. New York: Harcourt, Brace, & World.
  • Williams, R. (1958). Culture and Society: 1780-1950. Columbia University Press.
  • WIPO. (2017). How to Make a Living in the Creative Industries. World Intellectual Property Organization. Retrieved May 10, 2024, from https://www.wipo.int/publications/en/details.jsp?id=4166
  • YEKON. (2023a). Yaratıcı Endüstriler İstanbul Strateji Raporu. İstanbul Yaratıcı Endüstriler Merkezi.
  • YEKON. (2023b). İstanbul Yaratıcı Endüstriler Araştırması Sonuç Raporu. İstanbul Yaratıcı Endüstriler Merkezi.
  • Yörük, E., Atsızelti, Ş., Kına, M. F., Duruşan, F., Gürerk, O., Yardı, M. C., Hürriyetoğlu, A., Mutlu, O., Etgü, T., Koyuncu, M., & Topçu, I. (2024). A Computational Analysis of Ideologies, Emotions, and Support for Presidential Candidates in Turkey. Developing Economies, 63(1), 97-125

Yaratıcı Kültür Endüstrileri, Yapay Zeka ve Toplum

Year 2025, Volume: 20 Issue: MX Yaratıcı Endüstriler Çalıştayı 2024: Yapay Zeka Çağında Yaratıcı Endüstriler Özel Sayısı, 189 - 218, 24.04.2025

Mehmet Fatih Aysan , Şevki Işıklı , M. Fuat Kına , Ezgi Şen Atiker , Merve Taşcıoğulları , Ayla Torun , Yunus Uğur

Abstract

Bu makale, yapay zekanın (YZ) yaratıcı kültür endüstrileri ve toplum üzerindeki dönüştürücü etkilerini analiz etmektedir. Kültür endüstrisi kavramının tarihsel gelişimi ile başlayan makalede, yaratıcı endüstri kavramına ilişkin tanımlamalar ve sınıflandırmalar ele alınmakta ve dijital dönüşüm sürecinde özellikle YZ’nin yaratıcı endüstrilerdeki rolü değerlendirilmektedir. YZ’nin yaratıcı süreçlerde kapsayıcılığı artırma ve yeni fırsatlar oluşturma potansiyeli vurgulanmakta; aynı zamanda veri gizliliği, fikri mülkiyet hakları ve algoritmik önyargı gibi zorluklar tartışılmaktadır. Yaratıcı endüstrilerin küresel ekonomi içinde büyüyen payı, istihdam potansiyeli, yaratıcı süreçlerde insan ve YZ işbirliğinin ekonomik ve sosyal kalkınmaya etkileri ve Türkiye özelinde gelişim stratejileri bu çalışmada ele alınmaktadır. Makale ayrıca YZ’nin yaratıcı ekonomiye katkılarını ve sektördeki muhtemel gelişmeleri değerlendirerek, yaratıcı kültür endüstrilerinin sürdürülebilir büyümesine dair öneriler sunmaktadır. YZ yaratıcı arayışlara daha fazla dahil edilirken kültürel farklılıklara duyarlı modeller üretilmesi oldukça önemlidir. Yaratıcılık ve YZ arasındaki ilişki sürekli gelişirken YZ’nin temel ilkeleri günün ihtiyaçlarına uygun olarak revize edilmelidir. Bu meydan okuyucu süreç ise ancak sorumlu YZ ile mümkündür.

Keywords

Yaratıcı kültür endüstrileri Yapay zeka Dijital dönüşüm Ekonomik ve sosyal kalkınma

References

  • ADBI. (2022). CREATIVE ECONOMY 2030: Imagining and Delivering a Robust, Creative, Inclusive, and Sustainable Recovery. Asian Development Bank Institute.
  • Adorno, T. W., & Horkheimer, M. (1944). The Culture Industry: Enlightenment as Mass Deception. Enlighment as Mass Deception. https://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm
  • Adorno, T. (1991). The Culture Industry: Selected Essays on Mass Culture. London: Routledge.
  • Amabile, T. M. (1988). A model of creativity and innovation in organizations. In B. S. Cummings (Ed.), Research in organizational behavior. Greenwich, CT: JAI Press.
  • Amato, G., & Behrmann, M., vd. (2019). AI in the media and creative industries. [Research Report]. New European Media (NEM), 1-35.
  • Arches, https://www.archesproject.org.
  • Binsted, K. (1996). Machine humour: an implemented model of puns (Published PhD thesis). Edinburgh University.
  • Boden, M. (1998). Creativity and Artificial Intelligence. Artificial Intelligence Magazine, 1(103), 347-356.
  • Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. Harvard University Press. Buchanan, B. G. (2005). A (very) brief history of artificial intelligence. Ai Magazine, 26(4), 53-53.
  • Cao, Y., Li, S., Liu, Y., Yan, Z., Dai, Y., Yu, P. S., & Sun, L. (2023). A comprehensive survey of ai-generated content (aigc): A history of generative ai from gan to chatgpt. arXiv preprint arXiv:2303.04226.
  • Caramioux, B., Lotte, F., Geurts, J., Amato, G., Behrmann, M., Bimbot, F., & Gravier, G. (2019). AI in the media and creative industries. HAL Open Science.
  • CreaPost. (2024). OpenAI’s Sora ushers in a new wave of AI-driven filmmaking with “Air Head” https://tbmag.co.uk/2024/03/openais-sora-ushers-in-a-new-wave-of-ai-driven-filmmaking-with-air-head/
  • Crevier, D. (1993). AI: The Tumultuous History of the Search for Artificial Intelligence. Basic Books.
  • Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins.
  • DCMS. (1998). Creative Industries Mapping Document 1998. https://www.gov.uk/government/publications/creative-industries-mapping-documents-1998
  • DCMS. (2001). Creative Industries Mapping Document 2001 (2nd ed.). London, UK: Department of Culture, Media and Sport.
  • DCMS. (2023). Creative Industries Sector Vision: A joint plan to drive growth, build talent and develop skills. Retrieved June 28, 2024, from https://www.gov.uk/government/publications/creative-industries-sector-vision/creative-industries-sector-vision-a-joint-plan-to-drive-growth-build-talent-and-develop-skills
  • Demir, E. (2022). On the Current Situation of Creative Industries in Turkey. Etkileşim.
  • Deng, L. (2018). Artificial intelligence in the rising wave of deep learning: The historical path and future outlook. IEEE Signal Processing Magazine, 35(1), 180-177.
  • Deloitte. (2021). The Future of the Creative Economy. Deloitte.
  • European Commission. (2021). European Commission Internal Market, Industry, Entrepreneurship and SMEs. Retrieved May 13, 2024, from https://single-market-economy.ec.europa.eu/sectors/cultural-and-creative-industries_en
  • Flew, T. (2017). Cultural and Creative Industries. In Oxford Bibliographies. Retrieved May 12, 2024, from https://www.oxfordbibliographies.com/display/document/obo-9780199756841/obo-9780199756841-0188.xml. DOI: 10.1093/OBO/9780199756841-0188
  • Foster, M. D., & Gilman, L. (Eds). (2015). UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage. Indiana: Indiana University Press.
  • Gondola, J. (2024, April 9). AI, ethics, and the preservation of cultural heritage. Retrieved May 25, 2024, from https://medium.com/@jamesgondola/ai-ethics-and-the-preservation-of-cultural-heritage-e872f5f34a6c
  • Guilford, J.P. (1950) Creativity. American Psychologist, 5, 444-454.
  • Gruber, H. E. & Wallace, D. (Ed.). (1999). The case study method and evolving systems approach for understanding unique creative people at work. Handbook of Creativity New York: Cambridge University Press.
  • Hall, S. (1980). Encoding and Decoding in the Television Discourse. In S. Hall, D. Hobson, A. Lowe, & P. Willis (Eds.), Culture, Media, Language (pp. 128-138). Hutchinson.
  • Heikkilä, M. (2023). These new tools let you see for yourself how biased AI image models are. Retrieved May 25, 2024, from https://www.technologyreview.com/2023/03/22/1070167/these-news-tool-let-you-see-for-yourself-how-biased-ai-image-models-are/
  • HMB. (2024). Proje Hakkında. 1Milyonİstihdam - T.C. Hazine ve Maliye Bakanlığı. Retrieved from https://1milyonistihdam.hmb.gov.tr/proje-hakkinda
  • Hoggart, R. (1957). The Uses of Literacy. Penguin Books.
  • Howkins, J. (2001). The Creative Economy: How People Make Money from Ideas. The Penguin Press: London.
  • Hubert, K. F., Awa, K. N., & Zabelina, D. L. (2024). The current state of artificial intelligence generative language models is more creative than humans on divergent thinking tasks. https://www.nature.com/articles/s41598-024-53303-w
  • Hürriyetoğlu, A., Mutlu, O., Yörük, E., Liza, F. F., Kumar, R., & Ratan, S. (2021a). Multilingual protest news detection-shared task 1, case 2021. In Proceedings of the 4th Workshop on Challenges and Applications of Automated Extraction of Socio-political Events from Text (CASE 2021) (pp. 79-91).
  • Hürriyetoğlu, A., Yörük, E., Mutlu, O., Duruşan, F., Yoltar, Ç., Yüret, D., & Gürel, B. (2021b). Cross-context news corpus for protest event-related knowledge base construction. Data Intelligence, 3(2), 308-335. IDB. (2017). Future Landscapes of the Orange Economy: Creative Pathways for Improving Lives in Latin America and the Caribbean. Inter-American Development Bank.
  • Karterouli, K., & Batsaki, Y. (2021). AI and cultural heritage image collections: Opportunities and challenges. EVA. https://doi.org/10.14236/ewic/EVA2021.33
  • Kerog, B. (2023). The Influence of Cultural Diversity on AI Ethics: A Global Comparative Analysis. International Journal of Open Publication and Exploration, 11(2), 25-30.
  • Kulesz, O. (2018). Culture, platforms and machines: The impact of artificial intelligence on the diversity of cultural expressions”. (UNESCO DCE/18/12.IGC/INF.4).
  • Küçük, Ö. (2016). Popüler kültür: Belirli bir toplumda geniş kitleler tarafından benimsenen ve tüketilen kültürel ürünlerin yansıması. Kültür ve Toplum Araştırmaları Dergisi, 5(2), 123-135.
  • Lazzeretti, L., Capone, F., & Seçilmiş, E. (2014). Türkiye’de Yaratıcı ve Kültürel Sektörlerin Yapısı. Maliye Dergisi, 196.
  • Lin, Y., Guo, J., Chen, Y., Yao, C., & Ying, F. (2020). It is your turn: Collaborative ideation with a co-creative robot through sketch. In Proceedings of the 2020 CHI conference on human factors in computing systems. https://doi.org/10.1145/3313831.3376258
  • Lubart, T. I. (2001). Models of the creative process: Past, present and future. Creativity Research Journal, 13, 295-308.
  • Marcinkowski, J. (2024, May 21). A Strategic Shift to Collaborative AI for Cultural Heritage. Retrieved May 25, 2024, from https://www.linkedin.com/pulse/strategic-shift-collaborative-ai-cultural-heritage-marcinkowski-mzlxf/
  • Mayer, V. (2018). Cultural and Creative Industries. Oxford Research Encyclopedia of Communication. https://doi.org/10.1093/acrefore/9780190228613.013.552
  • Moore, M., & Tambini, D. (2018). Digital dominance: the power of Google, Amazon, Facebook, and Apple. Oxford University Press.
  • O’Connor, J. (2010). Creativity, Culture and Education. Art Council England. ISBN 978-1-907264-05-4. https://www.creativitycultureeducation.org/wp-content/uploads/2018/10/CCE-lit-review-creative-cultural-industries-257.pdf
  • Oksasen, A., Cvetkovic, A., Akin, N., Latikka, R., Bergdahl, J., Chen, Y., & Savela, N. (2023). Artificial intelligence in fine arts: A systematic review of empirical research. Computers in Human Behavior: Artificial Humans. Our World in Data. (2023). Technological Change.
  • Pansoni, S. vd. (2023). Artificial Intelligence and Cultural Heritage: Design and Assestment of an Ethical Framework. Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLVIII-M-2-2023,1149–1155, https://doi.org/10.5194/isprs-archives-XLVIII-M-2-2023-1149-2023.
  • Pasikowska-Schnass, M., & Lim, Y. S. (2023). Artificial intelligence in the context of cultural heritage and museums: Complex challenges and new opportunities. EPRS | European Parliamentary Research Service, PE 747.120. https://www.europarl.europa.eu/thinktank/en/document/EPRS_BRI(2023)747120
  • Reinsel, D., Gantz, J., & Rydning, J. (2018). The digitization of the world from edge to core report. (IDC White Paper – #US44413318). https://www.seagate.com/files/www-content/our-story/trends/files/idc-seagate-dataage-whitepaper.pdf
  • Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305-311.
  • SBB. (2019). ON BİRİNCİ KALKINMA PLANI (2019-2023) . Ankara: Türkiye Cumhuriyeti Cumhurbaşkanlığı Strateji ve Bütçe Başkanlığı.
  • SBB. (2024). ON İKİNCİ KALKINMA PLANI (2024-2028). Ankara: Türkiye Cumhuriyeti Cumhurbaşkanlığı Strateji ve Bütçe Başkanlığı.
  • Storey, J. (2009). Cultural Theory and Popular Culture: An Introduction. Pearson.
  • Sundarababu, V. (2024). A solution to DALL·E 2’s AI bias problem. Retrieved May 25, 2024, from https://centific.com/solution-dalle-2s-ai-bias-problem
  • Şen, E. (2022). Yapay Zekâ Ve Yaratıcılık İlişkisinde Karakter Tasarımları (Published proficiency in art thesis). Anadolu University.
  • Şen Atiker, E. (2024). Güzel Sanatlar Ekseninde Sorumlu Yapay Zekâ: Potansiyel Riskler ve Etik Boyutlar. Reflektif Dergisi, 5(1), 129-137.
  • The Guardian. (2023). How Hollywood writers triumphed over AI – and why it matters. Retrieved October 1, 2023, from https://www.theguardian.com/culture/2023/oct/01/hollywood-writers-strike-artificial-intelligence
  • The London Industrial Strategy. (1985). Londra Sanayi Stratejisi-Kültür Endüstrileri Greater London Council. London: GLC.
  • Torun, A. (2015). Walter Benjamin Sanat Eserinin Aurası ve Yeni Medya Sanatı. International Multilingual Academic Journal, Vol. 2, No 1, May 2015.
  • Torun, A. (2021). Sinemada veya Netflix'te Dijital İzleme Ortamları ve Yeni Alışkanlıklar. Bir Sosyal Ortam Olarak Sinema ve Film İzleme Pratiklerindeki Dijital Dönüşüm. SineFilozofi, Özel Sayı(3) 2021, 370-387. https://doi.org/10.31122/sinefilozofi.871301
  • Todd, S., & Latham, W. (1992). Conventional Art and Computers. London: Academic Press.
  • Toosi, A., Bottino, A. G., Saboury, B., Siegel, E., & Rahmim, A. (2021). A brief history of AI: how to prevent another winter (a critical review). PET clinics, 16(4), 449-469.
  • Toumi, K., Girandola, F., & Bonnardel, N. (2021). Technologies for supporting creativity in design: A view of physical and virtual environments with regard to cognitive and social processes. Creativity: Theories Research Applications, 8, 189-212. https://doi.org/10.2478/ctra-2021-0012
  • UNCTAD. (2022a). Creative Economy Outlook 2022. New York: United Nations Publications.
  • UNCTAD. (2022b). Creative Industry 4.0: Towards a new globalized creative economy. Retrieved May 14, 2024, from https://unctad.org/webflyer/creative-industry-40-towards-new-globalized-creative-economy
  • UNESCO. (2015). Cultural Times: The First Global Map of Cultural and Creative Industries. Retrieved May 10, 2024, from https://unesdoc.unesco.org/ark:/48223/pf0000235710
  • UNESCO. (2021). Recommendation on the Ethics of Artificial Intelligence. https://unesdoc.unesco.org/ark:/48223/pf0000381137
  • Uğur, Y. (2023). Kültürel Miras Örneğinde Dijital Beşeri Bilimler ve Dijital Osmanlı Çalışmaları. In Uğur, Y. (Ed.), Dijital Beşeri Bilimler ve Osmanlı Çalışmaları (pp. 27-43). İstanbul: Vakıfbank Yayınları.
  • Wallas, G. (1926). The art of thought. New York: Harcourt, Brace, & World.
  • Williams, R. (1958). Culture and Society: 1780-1950. Columbia University Press.
  • WIPO. (2017). How to Make a Living in the Creative Industries. World Intellectual Property Organization. Retrieved May 10, 2024, from https://www.wipo.int/publications/en/details.jsp?id=4166
  • YEKON. (2023a). Yaratıcı Endüstriler İstanbul Strateji Raporu. İstanbul Yaratıcı Endüstriler Merkezi.
  • YEKON. (2023b). İstanbul Yaratıcı Endüstriler Araştırması Sonuç Raporu. İstanbul Yaratıcı Endüstriler Merkezi.
  • Yörük, E., Atsızelti, Ş., Kına, M. F., Duruşan, F., Gürerk, O., Yardı, M. C., Hürriyetoğlu, A., Mutlu, O., Etgü, T., Koyuncu, M., & Topçu, I. (2024). A Computational Analysis of Ideologies, Emotions, and Support for Presidential Candidates in Turkey. Developing Economies, 63(1), 97-125
There are 74 citations in total.

Details

Primary Language Turkish
Subjects Cultural and Creative Industries
Journal Section Makale Başvuru
Authors

Mehmet Fatih Aysan 0000-0002-8311-8551

Şevki Işıklı 0000-0002-8075-9177

M. Fuat Kına 0000-0002-1230-2511

Ezgi Şen Atiker 0000-0003-2886-7098

Merve Taşcıoğulları 0009-0008-3209-9515

Ayla Torun 0000-0003-1675-6366

Yunus Uğur 0000-0003-4478-3441

Early Pub Date April 24, 2025
Publication Date April 24, 2025
Submission Date September 3, 2024
Acceptance Date October 20, 2024
Published in Issue Year 2025 Volume: 20 Issue: MX Yaratıcı Endüstriler Çalıştayı 2024: Yapay Zeka Çağında Yaratıcı Endüstriler Özel Sayısı

Cite

APA Aysan, M. F., Işıklı, Ş., Kına, M. F., Şen Atiker, E., et al. (2025). Yaratıcı Kültür Endüstrileri, Yapay Zeka ve Toplum. Öneri Dergisi, 20(MX Yaratıcı Endüstriler Çalıştayı 2024: Yapay Zeka Çağında Yaratıcı Endüstriler Özel Sayısı), 189-218. https://doi.org/10.14783/maruoneri.1542956

15795

This web is licensed under a Creative Commons Attribution 4.0 International License.

Öneri

Marmara UniversityInstitute of Social Sciences

Göztepe Kampüsü Enstitüler Binası Kat:5 34722  Kadıköy/İstanbul

e-ISSN: 2147-5377