{"id":2436,"date":"2020-02-12T21:42:02","date_gmt":"2020-02-12T18:42:02","guid":{"rendered":"http:\/\/www.gokhanyorgancigil.com\/?p=2436"},"modified":"2020-05-05T19:39:11","modified_gmt":"2020-05-05T16:39:11","slug":"manipulasyon-ve-kargasa-caginda-sanat","status":"publish","type":"post","link":"https:\/\/www.gokhanyorgancigil.com\/?p=2436","title":{"rendered":"Manip\u00fclasyon ve Karga\u015fa \u00c7a\u011f\u0131nda Sanat"},"content":{"rendered":"\n

Sanat insana aynad\u0131r. \u0130nsana insan\u0131 g\u00f6sterir. Sanat sonsuzluk i\u00e7inde bir \u00e7er\u00e7eve \u00e7izmektir. Sonsuz tu\u015flar\u0131 olan bir piyanoda bir t\u0131n\u0131y\u0131 se\u00e7mek ve onu m\u0131r\u0131ldanmakt\u0131r. Var olabilmek i\u00e7in \u015fuur ve irade gibi insani fonksiyonlara ihtiya\u00e7 g\u00f6sterir. Anlat\u0131 da sonsuz evrende s\u00f6zlerle \u00e7izilen bir \u00e7er\u00e7evedir. Ressam\u0131n tuvali gibi yazar\u0131n da sayfalar\u0131 vard\u0131r.<\/p>\n\n\n\n

\u0130nsana ait her duygu, her fikir sanat eserine yans\u0131t\u0131labilir. Bu sanat\u00e7\u0131n\u0131n tercih yapma zorunlu\u011funu do\u011frurur. Hangi olaylar, hangi duygular, hangi fikirler, hangi insanlar anlat\u0131lmaya de\u011ferdir? Bu tercihleri yapabilene sanat\u00e7\u0131 denir.<\/p>\n\n\n\n

Tercih yapabilmek ise ya\u015famaya ba\u011f\u0131ml\u0131d\u0131r. Yani ya\u015fayan bilir, ya\u015fayan hisseder. Herkes her \u015feyi ya\u015fayamayaca\u011f\u0131na g\u00f6re, anlatabilenler nas\u0131l oluyor da anlatabiliyorlar? Henri Charriere ya\u015fad\u0131klar\u0131n\u0131 anlatm\u0131\u015ft\u0131r. Aleksandr Solzhenitsyn ya\u015fad\u0131klar\u0131n\u0131 anlatm\u0131\u015ft\u0131r. Peki nas\u0131l oluyor da Arthur C. Clarke yazabilmektedir? Edgar Allan Poe’yu \u00f6yk\u00fc ve \u015fiir yazar\u0131 yapan nedir? Ya\u015fanmam\u0131\u015f \u015feyleri anlatabilmek de neyin nesidir?<\/p>\n\n\n\n

Ya\u015fanmam\u0131\u015f \u015fey anlat\u0131lamaz. Ya\u015famak bedene has bir \u00f6zellik olmad\u0131\u011f\u0131 i\u00e7in gidilmeyen yerlere, hi\u00e7bir g\u00f6z\u00fcn g\u00f6rmedi\u011fi g\u00fczelliklere ait \u015feyler yaz\u0131labilmektedir. Bedenin hareketleri s\u0131n\u0131rl\u0131d\u0131r ama ruhun s\u0131n\u0131rlar\u0131 yoktur. Ruh, bir ba\u015fkas\u0131n\u0131n g\u00f6zlerinden de g\u00f6rebilir evreni. Beden bunu bir ba\u015fkas\u0131n\u0131n g\u00f6zlerini kendi g\u00f6zlerinin yerine tak\u0131p bakmak gibi anlarken ruh i\u00e7in durum ba\u015fkad\u0131r. Ruh ge\u00e7i\u015fkendir, latiftir, u\u00e7ucudur. Empati ruhun bir fonksiyonudur. Bu y\u00fczden Alman ayd\u0131nlanma filozoflar\u0131n\u0131n \u00f6nemli bir b\u00f6l\u00fcm\u00fc sanat\u0131, einf\u00fchlung dedikleri empati duygusuyla ili\u015fkilendirmi\u015ftir.<\/p>\n\n\n\n

Seyircinin de sanat\u00e7\u0131n\u0131n da pay\u0131na empati g\u00f6revi d\u00fc\u015fer. Sanat eserini takdir eden seyirci kendisini sanat\u00e7\u0131 yerine koyar, oysa sanat eserini yarat\u0131rken sanat\u00e7\u0131 da kendisini bir ba\u015fka \u00f6znenin yerine koymu\u015ftur. Alexandre Dumas’n\u0131n yazabilmesi i\u00e7in kanun ka\u00e7a\u011f\u0131 olmaya ihtiyac\u0131 yoktu. Yepyeni bir hayata ba\u015flayan bir karakteri yazabilmek i\u00e7in, bir ba\u015fkas\u0131n\u0131n
-yazd\u0131\u011f\u0131 roman\u0131n kahraman\u0131n\u0131n- yerine ge\u00e7mi\u015fti, hepsi bu. <\/p>\n\n\n\n

Sanat\u00e7\u0131 seyircisine, ruh s\u00fczgecinden ge\u00e7irdi\u011fi \u015feyi g\u00f6sterir. Klasik sanat\u00e7\u0131, g\u00fczel olan\u0131n etraf\u0131ndaki \u00e7al\u0131 \u00e7\u0131rp\u0131y\u0131 temizler, karma\u015f\u0131k olan\u0131 sadele\u015ftirerek sunar. Klasik sanat\u00e7\u0131n\u0131n g\u00f6revi karma\u015f\u0131k olan\u0131 sadele\u015ftirmektir. Seyirci g\u00f6rd\u00fc\u011f\u00fc basitlikten etkilenir. Basit ‘adi’ ya da ‘\u00e7irkin’ demek de\u011fildir. Tam tersine g\u00fczel basittir, yal\u0131nd\u0131r. Yal\u0131n bir duygu, yal\u0131n bir durum, yal\u0131n bir karakter, yal\u0131n bir fikir… Hayat\u0131m\u0131z boyunca yal\u0131nl\u0131\u011f\u0131n pe\u015finde ko\u015far\u0131z, fark\u0131nda olmasak da. \u00c7\u00fcnk\u00fc d\u00fcnya sonsuz tu\u015fu olan bir piyanodur ve bizden g\u00fczelce \u00e7almam\u0131z beklenir. Sanat\u00e7\u0131 bize bu piyanoyla \u00e7al\u0131nmas\u0131 m\u00fcmk\u00fcn olan t\u0131n\u0131lardan birini se\u00e7erek g\u00f6sterir. Hem kendi hayat\u0131n\u0131 hem de muhatab\u0131n\u0131n hayat\u0131n\u0131 \u00e7o\u011falt\u0131r.<\/p>\n\n\n\n

Ama karma\u015f\u0131k olan\u0131 basitle\u015ftirmek d\u00fcnyadaki en zor i\u015flerden biridir.<\/p>\n\n\n\n

\u00d6te yandan modern sanat, basit olan\u0131 karma\u015f\u0131kla\u015ft\u0131rmak gibi bir yol se\u00e7mi\u015ftir. Ends\u00fctri \u00e7a\u011f\u0131n\u0131n, buharl\u0131 makinelerin, \u015fimdilerde ise otomasyon ve dijital \u00e7a\u011f\u0131n sanat\u00e7\u0131lar\u0131n\u0131n yal\u0131ndan ka\u00e7\u0131\u015f\u0131 seyircisini sanat deneyimi \u00f6ncesi evrenlerinden daha karma\u015f\u0131k bir evrene ta\u015f\u0131r. Pollock’un tablolar\u0131nda kendini bulan bu karma\u015f\u0131kl\u0131k m\u00fczikte t\u0131n\u0131s\u0131zl\u0131\u011fa anlat\u0131 sanat\u0131nda \u00f6yk\u00fcs\u00fczl\u00fc\u011fe d\u00f6n\u00fc\u015f\u00fcr. Art\u0131k seyirci sadece bi\u00e7imle, formla muhatapt\u0131r. Paul Jackson Pollock ruhunun d\u00fcnyadan edindiklerini tuvaline yans\u0131tm\u0131\u015ft\u0131r. \u0130ki d\u00fcnya sava\u015f\u0131 ya\u015fam\u0131\u015f ve g\u00f6r\u00fclmedik bir y\u0131k\u0131m\u0131 tecr\u00fcbe etmi\u015f bir d\u00fcnyad\u0131r bu. Pink Floyd, bu y\u0131k\u0131m\u0131 tecr\u00fcbe eden neslin \u00e7ocuklar\u0131n\u0131n \u00e7\u0131\u011fl\u0131\u011f\u0131d\u0131r. Pink Floyd’un m\u00fczi\u011finde t\u0131n\u0131 vard\u0131r, karma\u015f\u0131k olan\u0131 sadele\u015ftirmi\u015ftir.<\/p>\n\n\n\n

\"\"\/
Jackson Pollock, No 5, 1948<\/figcaption><\/figure><\/div>\n\n\n\n

Barok \u00e7a\u011fda kusursuzluk bir saplant\u0131yken modern \u00e7a\u011fda i\u00e7eriksizlik bir saplant\u0131 olmu\u015ftur. Nerede durdu\u011fu, nereye bakt\u0131\u011f\u0131, neden bakt\u0131\u011f\u0131, ne g\u00f6rd\u00fc\u011f\u00fc ve ne g\u00f6sterdi\u011fi belirsiz \u00e7er\u00e7eveler bir de para getirmeye ba\u015flad\u0131\u011f\u0131nda, ruhun karma\u015fas\u0131 akl\u0131n kurnazl\u0131\u011f\u0131yla el ele vermi\u015ftir. Bu sayede d\u0131\u015fk\u0131 bile ‘para etti\u011fi i\u00e7in’ sanattan say\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r. Karma\u015f\u0131kl\u0131ktan ba\u015f\u0131 d\u00f6nen seyirciye, birileri ‘bu sanatt\u0131r’ dedi\u011fine kitlesel bir itaat d\u00fc\u015fer.<\/p>\n\n\n\n

S\u00fcrekli ayn\u0131 d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc tasdik etmek \u015fart\u0131yla her t\u00fcrl\u00fc sansasyon ve skandal sanat\u0131n yeni tan\u0131m\u0131d\u0131r. Be\u011feni, ba\u015far\u0131, hatta g\u00fczellik art\u0131k sadece parayla \u00f6l\u00e7\u00fcl\u00fcr. Anakronizm en b\u00fcy\u00fck erdemdir; eski olan k\u00f6t\u00fcd\u00fcr, ge\u00e7mi\u015fte ya\u015fayanlar aptald\u0131r. \u00c7\u00fcnk\u00fc ne neo-liberal ne de marksist karar vericilerin d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ‘klasik’ yoluyla peki\u015ftirilemez.<\/p>\n\n\n\n

Kast sistemi oturmu\u015ftur: ‘Cahil kalabal\u0131klar\u0131n’ kaba saba be\u011fenilerine hitap eden konulu, t\u0131n\u0131l\u0131, fig\u00fcrl\u00fc sanat eserleri para etti\u011fi s\u00fcrece kabul edilebilir. \u00d6te yanda ise mutlaka yeni bir skandal\u0131 omuzlay\u0131p ‘\u00e7\u0131k\u0131\u015f yapan’ ve \u00f6d\u00fcle bo\u011fulmas\u0131 gereken bir sanat\u00e7\u0131 vard\u0131r.<\/p>\n\n\n\n

Ak\u0131l ve end\u00fcstri \u00e7a\u011f\u0131n\u0131n egemenler i\u00e7in kazan\u0131m\u0131 g\u00f6r\u00fclmedik bir manip\u00fclasyon g\u00fcc\u00fc olduysa sanat\u0131n pay\u0131na da bu d\u00fc\u015ft\u00fc. Oysa sanat\u0131 neyse, insan odur. Ahlak krizi i\u00e7indeki anlat\u0131lar, her an daha k\u00f6t\u00fcye giden anti-kahramanlar; birilerini pop\u00fcler, ba\u015fka birilerini zengin ederken, seyirciye de ahlak krizinde bo\u011fulmak ve -t\u0131pk\u0131 anti kahramanlar gibi- her ge\u00e7en g\u00fcn k\u00f6t\u00fcye gitmek d\u00fc\u015f\u00fcyor. \u00c7\u00fcnk\u00fc sanat\u0131m\u0131z bizi, bize g\u00f6steriyor. Sanat\u0131m\u0131z neyse oyuz.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sanat insana aynad\u0131r. \u0130nsana insan\u0131 g\u00f6sterir. Sanat sonsuzluk i\u00e7inde bir \u00e7er\u00e7eve \u00e7izmektir. Sonsuz tu\u015flar\u0131 olan bir piyanoda bir t\u0131n\u0131y\u0131 se\u00e7mek ve onu m\u0131r\u0131ldanmakt\u0131r. Var olabilmek i\u00e7in \u015fuur ve irade gibi insani fonksiyonlara ihtiya\u00e7 g\u00f6sterir. Anlat\u0131 da sonsuz evrende s\u00f6zlerle \u00e7izilen bir \u00e7er\u00e7evedir. Ressam\u0131n tuvali gibi yazar\u0131n da sayfalar\u0131 vard\u0131r. \u0130nsana ait her duygu, her fikir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[248],"tags":[230,118,111,180,72,468,34],"class_list":["post-2436","post","type-post","status-publish","format-standard","hentry","category-cesitli","tag-anlati","tag-klasik","tag-modern","tag-sanat","tag-sanat-felsefesi","tag-seyirci","tag-sinema"],"_links":{"self":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/2436","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2436"}],"version-history":[{"count":9,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/2436\/revisions"}],"predecessor-version":[{"id":2451,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/2436\/revisions\/2451"}],"wp:attachment":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}