Asl\u0131na bak\u0131l\u0131rsa, kurmaca, ya\u015fam\u0131 sanal bir harita \u00fcst\u00fcnde izleyerek ba\u015f\u0131m\u0131za gelecek olan her \u015feye kar\u015f\u0131 bir sava\u015f oyunu i\u00e7indeymi\u015f\u00e7esine alabilece\u011fimiz \u00f6nlemleri kararla\u015ft\u0131rmak de\u011fil midir? Ya da olabilecekleri bir ser\u00fcven bi\u00e7iminde anlat\u0131ma d\u00f6kerek bamba\u015fka evrenler yaratmaya y\u00f6nelmek, bir ba\u015fka anlam boyutuna ad\u0131m atmak i\u00e7in g\u00f6ze al\u0131nacakt\u0131r.<\/p>\n
Din kitaplar\u0131, masallar, meseller, efsaneler, k\u0131ssa \u00e7\u0131kar\u0131mlar\u0131na yol a\u00e7an \u00f6yk\u00fcler, insanl\u0131\u011fa yol g\u00f6sterici olmay\u0131 ama\u00e7layan anlat\u0131mlard\u0131r. B\u00fct\u00fcn bu birikimin d\u0131\u015f\u0131nda, toplum bilimi ara\u015ft\u0131rmalarla yepyeni a\u00e7\u0131l\u0131mlara y\u00f6nlendiren, ekonomik, siyasal, antropolojik verilerle beslenen tezler, hipotezler, yani kuramlar vard\u0131r. \u0130nsanl\u0131\u011f\u0131n kabile ya\u015fant\u0131s\u0131ndan kurtularak toplum bi\u00e7iminde ya\u015fay\u0131\u015f\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fcne eri\u015fmesinin ge\u00e7mi\u015ften gelece\u011fe uzanan ser\u00fcveni, bu \u00e7al\u0131\u015fmalar\u0131n \u00f6nerdi\u011fi \u00e7e\u015fitli payla\u015f\u0131m ilkeleriyle bir\u00e7ok ideolojinin boy g\u00f6sterdi\u011fi b\u00fcy\u00fck bir d\u00fc\u015f\u00fcnsel vars\u0131ll\u0131k ortaya koymaktad\u0131r.<\/p>\n
Ne var ki, 21. Y\u00fczy\u0131la ayak bast\u0131\u011f\u0131m\u0131zda, inan\u00e7lar; \u0131rksal, k\u00fclt\u00fcrel aidiyetler, k\u00fcresel egemenli\u011fi ele ge\u00e7irmeyi ama\u00e7layan \u00e7\u0131kar \u00e7evrelerince birer b\u00f6l\u00fcc\u00fc silah olarak kullan\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r. Yery\u00fcz\u00fc kaynaklar\u0131na kar\u015f\u0131 b\u00fcy\u00fck bir i\u015ftah besleyen bu g\u00fc\u00e7ler, herhangi bir ideolojik gelecek kurgusu g\u00fctmeden yaln\u0131zca ele ge\u00e7irme, yay\u0131lma pe\u015finde bir\u00e7ok co\u011frafyada arada bir yay\u0131lan, ama genellikle sonu hi\u00e7 gelmeyen b\u00f6lgesel sava\u015flar \u00e7\u0131karmaktad\u0131rlar. B\u00f6ylelikle do\u011fal canl\u0131l\u0131\u011f\u0131n yok olmas\u0131 tehdidi, insanl\u0131k bilincinin bir umutsuzluk burgac\u0131 i\u00e7inde boyun e\u011fme duygusuna, y\u0131lg\u0131nl\u0131\u011fa kap\u0131lmas\u0131, bu yeni iktidar sahiplerinin bir ba\u015fka etkili silah\u0131 olarak belirmektedir. Ayn\u0131 \u00e7\u0131kar odaklar\u0131n\u0131n uluslararas\u0131, sanat fuarlar\u0131n\u0131, bienalleri, \u00e7evre ve mek\u00e2n d\u00fczenlemelerini kullanarak sanat\u0131 da bir tan\u0131t\u0131m arac\u0131 edinerek umutsuzlu\u011fu yayg\u0131nla\u015ft\u0131rmaya giri\u015fti\u011fini izlemekteyiz. Belki de ideoloji yoksunlu\u011fuyla i\u00e7ine gittik\u00e7e g\u00f6m\u00fcld\u00fc\u011f\u00fcm\u00fcz yaln\u0131zl\u0131\u011f\u0131, umutsuzlu\u011fu bir ideolojiye d\u00f6n\u00fc\u015ft\u00fcrmek bu kumpas\u0131n ba\u015fl\u0131ca s\u00fcrd\u00fcr\u00fclebilir hedefi yap\u0131lmak isteniyor. G\u00fcce tapan; dahas\u0131 kaba g\u00fcce tutkunluk \u00f6l\u00e7\u00fcs\u00fcnde biat edenlerin say\u0131s\u0131 durmadan art\u0131yor. Kaba g\u00fc\u00e7 tutkunlar\u0131n\u0131n kurgulama yetilerini yitirdikleri apa\u00e7\u0131k bir ger\u00e7ektir. \u00c7\u00fcnk\u00fc onlar geleceklerinin g\u00fc\u00e7l\u00fc birilerince d\u00fczenlendi\u011fine inan\u0131rlar.<\/p>\n
Sanat\u0131n bir ideolojisi vard\u0131r. Hi\u00e7bir gelecek kurgusu i\u00e7ermeyen sunumlar sanat \u00e7al\u0131\u015fmas\u0131 say\u0131lamaz. \u0130\u015fte bu nedenle, \u201cger\u00e7ek \u00f6tesi\u201d diye tan\u0131mlanan ya\u015fanmakta olan \u015fu zaman boyutunda bize sanat etkinli\u011fi olarak sunulan kurgular\u0131 ihtiyatla kar\u015f\u0131lamak zorunday\u0131z. \u00c7\u00fcnk\u00fc yap\u0131t da, sanat\u00e7\u0131 da s\u00fcre gideni olumlamaz. Ya\u015fam, dedi\u011fimiz s\u00fcr\u00fckleni\u015fi, \u201cBu b\u00f6yle gitmez!\u201d, diye kar\u015f\u0131lar. Sanat\u0131n ak\u0131p giden ya\u015fam i\u00e7in \u2018de\u011fillemelerle\u2019 kar\u015f\u0131 \u00e7\u0131k\u0131\u015flar\u0131 sanatsal yarat\u0131m\u0131n ideolojisini olu\u015fturur. \u00c7\u00fcnk\u00fc sanatsal yarat\u0131m giri\u015fimleri, t\u00fcm do\u011fal canl\u0131l\u0131k i\u00e7in ya\u015fanmaya de\u011fer bir yery\u00fcz\u00fcn\u00fc sonsuz bir gelecek i\u00e7in bi\u00e7imlemektir.<\/p>\n
Sanat bi\u00e7imlendirmelerinin bu kavray\u0131\u015f\u0131, onu birer yap\u0131t olarak ya\u015fama ge\u00e7iren sanat\u00e7\u0131n\u0131n bir\u00e7ok tepkiyi, cezaland\u0131rmay\u0131, yoksunlu\u011fu, kar\u015f\u0131la\u015faca\u011f\u0131 haks\u0131zl\u0131klar\u0131 g\u00f6ze almas\u0131n\u0131 zorunlu k\u0131lar. Bu y\u00fcreklilik sanat\u00e7\u0131n\u0131n ya\u015fam bi\u00e7imidir.<\/p>\n
Romantik bilim-kurgu filmlerin y\u00f6netmeni Tarkovsky<\/strong>, tam bu nedenle, \u201cYa\u015fam kusursuz olsayd\u0131 sanat olmazd\u0131\u201d, <\/strong>demi\u015fti.<\/p>\n Yap\u0131tta, yaz\u0131nda olsun, resimde olsun ya da ezgilerde olsun bo\u015fluklar vard\u0131r. Bu bo\u015fluklar sanat\u00e7\u0131n\u0131n i\u00e7inden ge\u00e7irip de izleyiciye, okuyucusuna, dinleyicisine iletmedi\u011fi; sanatseverin yap\u0131tla b\u00fct\u00fcnle\u015ferek tamamlamas\u0131n\u0131 bekledi\u011fi anlat\u0131m unsurlar\u0131n\u0131n yerleridir. S\u00f6z\u00fcn tamam\u0131 s\u00f6ylenmemi\u015fse, bu b\u0131rak\u0131lan bo\u015fluklar sanatseverin d\u00fc\u015f g\u00fcc\u00fcne duyulan sayg\u0131n\u0131n, g\u00fcvenin belgesidirler. Ayr\u0131nt\u0131lar elbette \u00f6nemlidir ama yap\u0131t sanatseverin katk\u0131lar\u0131yla kanatlan\u0131rcas\u0131na yeni d\u00fc\u015flere dokunmaya uzanacakt\u0131r. Britanyal\u0131 yazar David Constantine, yaz\u0131 dilinin kimi hik\u00e2ye ya da kurgudan da \u00f6nemli olabilece\u011fini s\u00f6yler. Kurgu, asl\u0131nda tam c\u00fcmleyi kurarken yap\u0131lmaya ba\u015flan\u0131r. (\u2026.) Bir \u00f6yk\u00fcn\u00fcn ba\u015f\u0131, ortas\u0131, sonu olmas\u0131 bug\u00fcn\u00fcn anlat\u0131m\u0131nda pek ge\u00e7erli olmad\u0131\u011f\u0131n\u0131 (*)<\/strong>; hele sonu\u00e7 b\u00f6l\u00fcm\u00fcn\u00fcn tamamen okuyucuya b\u0131rak\u0131lmas\u0131n\u0131n en do\u011frusu olaca\u011f\u0131n\u0131 belirten Constantine, iyi bir k\u0131sa \u00f6yk\u00fcn\u00fcn s\u00f6ylenmemi\u015f \u00e7ok \u015fey b\u0131rakt\u0131\u011f\u0131n\u0131 belirtir.(**)<\/strong><\/p>\n \u00a0 \u00a0 <\/strong>Sevgili arkada\u015f\u0131m Kaya \u00d6zsezgin aram\u0131zdan ayr\u0131lmadan epey \u00f6nce bana Francois Cheng\u2019ten \u00e7evirdi\u011fi, \u201cUzakdo\u011fu Estetik D\u00fc\u015f\u00fcncesinde Bo\u015fluk-Doluluk Duyumsamas\u0131\u201d adl\u0131 kitab\u0131n\u0131 g\u00f6ndermi\u015fti. Bu \u00e7eviri konusunda yazd\u0131\u011f\u0131m denemenin b\u00fct\u00fcn\u00fcn\u00fc sizlere ilk f\u0131rsatta sunmak istiyorum. B\u00f6ylelikle, kay\u0131plar\u0131m\u0131z durmadan artarken, M\u00fcnir \u00d6zkul<\/strong>, Ayd\u0131n Boysan\u2019\u0131n<\/strong> ard\u0131ndan, onlar\u0131n yarat\u0131c\u0131l\u0131klar\u0131 an\u0131s\u0131na sayg\u0131 ve ibretle e\u011filirken, Sevgili \u00d6zsezgin\u2019i de anm\u0131\u015f olaca\u011f\u0131m. \u00a0\u015eimdi \u00d6zsezgin\u2019in \u00e7evirisiyle, resim sanat\u0131nda bo\u015fluk duygusunu tart\u0131\u015fmaya a\u00e7an bu Cheng kitab\u0131ndan k\u0131sa bir al\u0131nt\u0131 yaparak bu g\u00f6revi yerine getiriyorum:<\/p>\n ‘\u2019Donald Kuspit, Fran\u00e7ois Cheng\u2019le sanki bir zihinsel ileti\u015fim kuruyor. Do\u011fuyla Bat\u0131n\u0131n estetik anlay\u0131\u015fta bulu\u015fmalar\u0131na tan\u0131k oluyoruz. Kuspit, kitab\u0131n\u0131n \u201cBilin\u00e7d\u0131\u015f\u0131 K\u00fclt\u00fcr\u00fcn \u00c7\u00f6k\u00fc\u015f\u00fc\u2019\u2019 ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcm\u00fcnde, modern sanat\u0131n Romantizm d\u00f6neminde bilin\u00e7d\u0131\u015f\u0131n\u0131n ay\u0131rt\u0131na var\u0131lmas\u0131yla ba\u015flad\u0131\u011f\u0131n\u0131 anlat\u0131yor. Bunu yaparken de Baudelaire\u2019in \u201c1846 Salonu\u201d adl\u0131 denemesinden al\u0131nt\u0131lar yapm\u0131\u015f: \u201cRomantizm ne konu se\u00e7imi ne de tam do\u011fruluk \u00fcst\u00fcne kurulmu\u015ftur; Romantizmi tan\u0131mlayan \u015fey, duygu bi\u00e7imidir. Romantikler bu duyguyu kendilerinin d\u0131\u015f\u0131nda aram\u0131\u015f, ama i\u00e7lerinde bulmu\u015flard\u0131r.\u201d <\/em>diyen Baudelaire, yazar\u0131n belirtti\u011fi gibi,<\/em> ileri g\u00f6r\u00fc\u015fl\u00fcl\u00fc\u011f\u00fc ile modern sanat y\u00fczy\u0131l\u0131na damgas\u0131n\u0131 vurmu\u015ftur. Duchamp\u2019\u0131n yok etmek istedi\u011fi, i\u015fte bu ge\u00e7mi\u015ften gelen; Romantizmin Moderniteye aktard\u0131\u011f\u0131 insanl\u0131k birikimidir. Kuspit bu tasfiyecili\u011fin d\u00fczeysizli\u011fini saptad\u0131\u011f\u0131 i\u00e7in; imgelemi yok etmeye kalk\u0131\u015fan bu s\u0131radanl\u0131\u011f\u0131, \u2018postmodern sanat\u2019 olarak adland\u0131rmak yerine \u201cpostsanat\u201d diye nitelemektedir.<\/p>\n Cheng de, resimde \u2018bo\u015fluk\u2019 imgesini a\u00e7\u0131klarken, ya\u015fam\u0131n i\u00e7inde geli\u015fen iki esin oda\u011f\u0131ndan s\u00f6z ediyor. Yang<\/strong>, etken bir g\u00fc\u00e7le doludur; Yin<\/strong> ise, ola\u011fan\u00fcst\u00fc yumu\u015fak bir al\u0131m g\u00fcc\u00fc ta\u015f\u0131r. Bu iki dirimsel esinin kar\u015f\u0131l\u0131kl\u0131 etkile\u015fimi; kad\u0131nla erkek ya da g\u00f6ky\u00fcz\u00fcyle toprak \u00f6rneklerinde oldu\u011fu gibidir. Ya\u015fan\u0131lan an, evrensel bo\u015fluktan edinilen imgeleri yepyeni ve olgun birer alg\u0131lamayla, bi\u00e7imlendirme tutkusuna d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Bu bilin\u00e7d\u0131\u015f\u0131<\/em><\/strong> tutku, dopdolu kavray\u0131\u015f\u0131yla i\u00e7imizin derinliklerinde gizledi\u011fimiz \u00f6znel bo\u015flu\u011fumuza y\u00f6nelecek, anlam\u0131 yakalayacakt\u0131r.\u201d(***)<\/p>\n \u201cLaf\u0131n tamam\u0131 d\u0131\u015f \u00e7evreyi, olgular\u0131, olaylar\u0131 anlamland\u0131ramayanlara s\u00f6ylenir!\u201d derler ya\u2026 D\u00fc\u015f g\u00fcc\u00fcn\u00fc yitirmi\u015f, yaln\u0131zca g\u00f6rd\u00fc\u011f\u00fcn\u00fc izlemekle yetinen, yaln\u0131zca g\u00f6rebildi\u011fine inanan; g\u00f6rselli\u011fin b\u00fcy\u00fcs\u00fcne kap\u0131larak d\u00fc\u015f kurmaktan vazge\u00e7en ku\u015faklar yer k\u00fcreyi ku\u015fatmadan sanat yarat\u0131m\u0131n\u0131n ne oldu\u011funu gen\u00e7lerimize yeniden anlatmal\u0131y\u0131z.\u2019\u2019<\/p>\n <\/p>\n (*)-<\/strong> Bizim yaz\u0131n derslerimizde, anlat\u0131m d\u00fczenlemesi, giri\u015f, geli\u015fme, sonu\u00e7 b\u00f6l\u00fcmleri,<\/p>\n diye anlat\u0131l\u0131rd\u0131. \u00d6nce Felsefe \u00f6\u011fretmenim Belk\u0131s Han\u0131m, Edebiyat \u00f6\u011fretmenim \u00dclk\u00fc<\/p>\n Han\u0131m b\u00f6yle bir yazma plan\u0131n\u0131n ge\u00e7ersizli\u011fini bize anlatm\u0131\u015flar, okumam\u0131z i\u00e7in<\/p>\n Kitaplar \u00f6nermi\u015flerdi. Bu \u00f6\u011fretmenlerimi sayg\u0131yla, sevgiyle an\u0131yorum.<\/p>\n Ard\u0131ndan, okudu\u011fum \u00f6rnekler \u00e7o\u011fal\u0131nca, intihalcileri, bilgi sahibi olmadan fikir sahibi<\/p>\n olanlar\u0131, kopyala-yap\u0131\u015ft\u0131r\u0131c\u0131lar\u0131 tan\u0131maya ba\u015flad\u0131m. Yar\u0131\u015fmalar\u0131n ve \u00f6d\u00fcllerin birer<\/p>\n de\u011fer \u00f6l\u00e7\u00fct\u00fc olmad\u0131\u011f\u0131n\u0131 anlad\u0131m. \u201cNobel\u201d in de fa\u00e7as\u0131 uluslararas\u0131 siyasetle sonra-<\/p>\n dan kirlendi.<\/p>\n (**)-\u00a0 <\/strong>\u00d6zkan Ali Bozdemir, \u201cMidland Otelinde \u00c7ay\u201d D. Constantine, \u00c7ev. Aylin\u00a0 \u00dcl\u00e7er<\/p>\n Notos Kitap-344 Sayfa- Cum-Kitap- 04\/Ocak\/ 2018 \u2013 Say\u0131 1455<\/p>\n (***) (1)-Fran\u00e7ois Cheng,\u201dBo\u015fluk ve Doluluk-<\/strong>\u00c7in Resim Sanat\u0131n\u0131n Anlat\u0131m Bi\u00e7imi\u201d<\/strong><\/p>\n \u201d\u00c7eviri:Kaya \u00d6zsezgin, \u0130mge Yay\u0131nlar\u0131. 2006.<\/strong><\/p>\n (2)- \u201cSanat\u0131n Sonu, Donald Kuspit,<\/strong><\/p>\n Yasemin Tezgiden. Metis Yay\u0131nlar\u0131-2006<\/strong><\/p>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Asl\u0131na bak\u0131l\u0131rsa, kurmaca, ya\u015fam\u0131 sanal bir harita \u00fcst\u00fcnde izleyerek ba\u015f\u0131m\u0131za gelecek olan her \u015feye kar\u015f\u0131 bir sava\u015f oyunu i\u00e7indeymi\u015f\u00e7esine alabilece\u011fimiz \u00f6nlemleri kararla\u015ft\u0131rmak de\u011fil midir? Ya da olabilecekleri bir ser\u00fcven bi\u00e7iminde anlat\u0131ma d\u00f6kerek bamba\u015fka evrenler yaratmaya y\u00f6nelmek, bir ba\u015fka anlam boyutuna ad\u0131m atmak i\u00e7in g\u00f6ze al\u0131nacakt\u0131r. Din kitaplar\u0131, masallar, meseller, efsaneler, k\u0131ssa \u00e7\u0131kar\u0131mlar\u0131na yol a\u00e7an \u00f6yk\u00fcler, insanl\u0131\u011fa yol g\u00f6sterici olmay\u0131 ama\u00e7layan anlat\u0131mlard\u0131r. B\u00fct\u00fcn bu birikimin d\u0131\u015f\u0131nda, toplum bilimi ara\u015ft\u0131rmalarla yepyeni a\u00e7\u0131l\u0131mlara y\u00f6nlendiren, ekonomik, siyasal, antropolojik verilerle beslenen tezler, hipotezler, yani kuramlar vard\u0131r. \u0130nsanl\u0131\u011f\u0131n kabile ya\u015fant\u0131s\u0131ndan kurtularak toplum bi\u00e7iminde ya\u015fay\u0131\u015f\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fcne eri\u015fmesinin ge\u00e7mi\u015ften gelece\u011fe uzanan ser\u00fcveni, bu \u00e7al\u0131\u015fmalar\u0131n \u00f6nerdi\u011fi \u00e7e\u015fitli payla\u015f\u0131m ilkeleriyle … <\/p>\n","protected":false},"author":1,"featured_media":747,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yazilari"],"_links":{"self":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/946","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/comments?post=946"}],"version-history":[{"count":4,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/946\/revisions"}],"predecessor-version":[{"id":1191,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/946\/revisions\/1191"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/media\/747"}],"wp:attachment":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/media?parent=946"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/categories?post=946"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/tags?post=946"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}