Las Meninas – Composition

The Painting



Basic Compositional Lines and Division of the Visual Field

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Use of Compositional Lines and Area Division in Object Placement

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Symmetrical Placement and Balance

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Las Meninas by Diego Velazquez


Have a look at one of the most enigmatic paintings in art history, Las Meninas (1656-1659), painted by famous Baroque Era artist Diego Velazquez (1599-1660).



You may have noticed in the painting the Santiago Cross on the painter’s chest.

göğüsdeki haç

Santiago is the spanish name for Saint James, one of the earliest and important martyrs in Christian history. Saint James is believed to have preached in Spain, so he is not only seen as a martyr, but also as the founder of Catholic Spain. He has therefore been considered to be the protecting Saint of the Spainish lands and people. Interestingly enough, Diego Velazquez’s first name is a spanish equivalent of the name James.

Velazquez got accepted into the Santiago Order a few years after the impressive work he did with Las Meninas, and the Santiago Cross on the painter’s chest was added to the painting after his acceptance into the Order.

However, the cross was already in the painting, long before Velazquez was rewarded with it.



When one analyzes the composition carefully, one detects that the compositional lines do intersect at the heart of painting so as to create an invisible version of the Santiago Cross. The cross is positoned on the right shoulder of the Infanta, almost at the center of the painting. One arm of the cross stretches towards the King, whose reflection can be seen in the mirror; the other arm stretches towards Nieto Velazquez, brother of Diego, who stands at the stairway.

Ana Çizgiler sade

Ana Çizgiler küçük haç.jpg




To add more to this, let us extend the lines of this compositional grid to their natural limits.

Uzatılan kompozisyon çizgileri

Once expanded to the point where they meet outside of the boundaries of the painting, and then multiplied in symmetrical fashion, one may find it to look similar to a church plan.


But not only a church plan, also a façade.

Ana çizim

A closer inspection reveals that this plan is present in some  of the most significant churches in Christian history, especially those related to the infamous pilgrim route knows as Santiago’s Way.

One of these churches is the Santiago Cathedral in Compostela. Another one is the Saint Sernin Church in Toulouse. Finally, and most surprisingly, the plan also applies to the Armenian Apostelic Chapel of Saint James in Jerusalem, where Saint James died by the sword.


When the extended compositional lines of the painting are applied to the church plans in Jerusalem and in Compostela, one makes a stunning discovery: The Santiago Cross hidden within the compositional lines fits in both churches exactly on the chambers that hold St. James relics: In Compostela, the relics of his body; in Jerusalem, the relics of his head.

It can be said that by referring to both church plans via the use of their architectural signatures as the compositional lines in Las Meninas, Diego Velazquez manages to bring together and unite St. James relics, and makes him whole again.


Someone who looks for more evidence will recognize in the extented compositional lines the eastern façades of both buildings, especially when one looks at the apex.

Ana çizim


One of the greater surprises here is that the angle of the apex is an exact match of the apex-like head of the Santiago cross. They are identical, and apply to both churches.


A third important connection is a shift of approximately 2.5 degrees on the main axes of both churches. This is reflected in the painting through the canvas with its back turned towards us. The depicted canvas meets the lower edge of the painting with the same angle, like if the painting imitates the common signatures of both buildings.


In total, it can be said that the painting has the same structural rhythm with the carrier structures of both churches: a rhythm of 6/7. The painting itself, as well as the extented version therefore fits both churches from all angles.


A final reference to St. James can be found in the depicted content of the painting: Both the mirror, and the man standing at the door are references to St. James speech in the New Testament:

Anyone who listens to the word but does not do what it says is like a man who looks at his face in a mirror and, after looking at himself goes away and immediately forgets what he looks like. (James 1, Listening and Doing)

The Judge is standing at the door! (James 5, Patience in Suffering)


Velazquez was finally honored with the Santiago Cross. Thinking about how he skillfully mastered to unite St. James, it looks like he fully deserved it.

Great job, Senor!

My Game (In One Long Sentence)

Do you find it difficult to summarize your game proposal? Well, here is a, uhm, thing that may help you. It’s some sort of an elevator pitch, or how I prefer to call it, My Game (In One Long Sentence).

Hope it helps you to get your idea on its feet, and to express your proposal in a quick and accurate way!

Elevator Pitch


And this is how you fill in the details:


Elevator Pitch Details


Good luck!

Italo Calvino’s Invisible Cities


Are you a fan of Italo Calvino, in particular his novel Invisible Cities?

Then I have something  here for you – a blog devoted to this fine piece of literature: Third Manifestation.

Third Manifestation muses about the literary and philosophical roots of this novel, addressing prominent writers and thinkers such as Jorge Luis Borges, Walter Benjamin and Jacques Lacan. You will find discussions on the book’s chapters, all supported with “city maps”, keywords and references.


New Job

Today I completed a shift from my former employer, the İzmir University, to my new employer, the İzmir University of Economics.

I will teach simultaneously at two departments/faculties: The Art and Design faculty enrolled me to teach introductory art and design lessons, whereas the Software Engineering department invited me to teach game design lessons.

I’m very excited and I am looking forward to meet my new colleagues and students!

Paper Presentation at the ICIDS 2013

I’m back from Istanbul where I gave a talk in this year’s ICIDS. It was a great organization with very interesting keynote speakers such as Ernest Adams, Adam Russell and Toni Dove.

I presented a paper on the visual construction of narrative spaces in video games, which you can find here!

Next year’s ICIDS will take place in Singapore, and I’m looking forward to it!


The underground literature movement Kült Neşriyat published a special issue on the Gezi Protests in Turkey. I contributed to this special issue with a short article on the relation between play and freedom, and gambling and oppression. You can download the issue here! The articles are all in turkish.

The Sparkling Line of Time – Zamanın Kıvılcım Saçan Çizgisi

Berbard Suits says that the only reason why we obey to the rules of a game is that it makes possible such game. We stick with the rules for the game’s sake, and a game has no other purpose than itself. A human being  doesn’t need anyone else in order to play with the world, it doesn’t need to “communicate” with anyone; it can let itself go into transitions from modality to modality, from game to game, without ever feeling the need to signal that such transition takes place. More than that, as a game, the world doesn’t need any player, not even “me” who feels so special when playing with it. The moment in which we realize this, is the moment in which we seem to grasp the world’s being-for-itself, seem to grasp the simultaneous presence and absence of our “relation” to it, and find ourself enchanted by this discovery. We might therefore say that play starts with the presence of presence, the being there of the “being there”; it is a way to sense presence – sense as both feeling and meaning. The playing human, in all its solitude, experiences something that I would like to call the “sparkling line of time”: This is the interfacing of two surfaces -that of ourselves and that of the world- through which we experience the vessel as time. Just like putting a finger on a dusty surface to let it glide over it, and looking at the emerging line on the dusty plane, and at the dust that builds up at the tip of our finger, simultaneously revealing and burying a secret. Or like the pen I stare at, and the many traces I left, as I put my final mark on this paper – in sheer wonder of how it’s possible at all, yet happening.

“Bir oyunun” diyor Bernard Suits, “getirdiği kısıtlara uymamızın, oyunu mümkün kılmak dışında bir amacı yoktur”. Oyuna oyun uğruna uyarız ve bu nedenle de oyunun oyundan başka amacı yoktur. İnsan, dünyayla böyle bir oyuna dalmak için kendinden başka kimseye ihtiyaç duymaz, kendinden başka kimseyle alışverişte bulunmak zorunda değildir, varlığının kipindeki değişiklikleri kimseye duyurmadan temas halinde olduğu dünyayla bir kipten diğerine, bir oyundan diğerine geçebilir. Dahası, kendi oluş haliyle oyun-olarak-dünya, hiç bir insana, şu an oynamakta olan ben’e dahi gereksinim duymaz. Bunu anlar gibi olduğumuz an, onun mutlak kendi-için-oluşunun sınırına dayandığımız, onun ve kendi oluşumuzun, onunla, eşzamanlı olarak var olan ve var olmayan “ilişki”mizin kendini ele vermezliğinin büyüsüne kapıldığımız andır. Öyleyse oynamak için belki de şunu demeliyiz: Varlıkla, varoluşla, “burada oluş” denen boşlukla başa çıkmanın, eşzamanlı olarak onu duyumsamanın ve ona anlam biçmeyi denemenin bir yoludur oynamak. İnsanın tek başına, kendi kendine dünyayla oynaması, benim “zamanın kıvılcım saçan çizgisi” olarak adlandırmak istediğim bir şeye denk düşer: Bu, iki yüzeyin -varlığımızın yüzeyiyle, dünyanın yüzeyinin- kesişme noktasında, varlığı, varlığın mekanını, zaman olarak, temastan başka bir şey olmayan bir zaman çizgisi olarak deneyimlememizdir: Tıpkı parmağımızı tozlu bir yüzeyin bir noktasına bastırıp onu o yüzey boyunca kaydırmamız, bunu yaparken tozlu yüzeyde oluşan çizgiyle parmak ucumuzda biriken toza bakıp, onda bir sırrın aydınlanışını -ve yitişini- görmek gibi. Ya da, bu çalışmanın son noktasını kağıda yerleştirirken, elimde tuttuğum kalemle onun bırakmış olduğu onca ize hayret içinde bakmam gibi.

Digging deep into research!

Where is the border between researcher and object of research? We faced this classical paradox during our participatory observation in Minecraft! ;)

Mini Game Jam

We’ve decided to hold a mini game jam this weekend with a close circle of friends. Here are some pics!

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We’re hoping to have a digital prototype of our game in a few hours…