{"id":4621,"date":"2010-06-16T09:55:24","date_gmt":"2010-06-16T06:55:24","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/06\/16\/cagimizin-anti-estetigi-hic-kuskusuz-bu-sanati-kendine-getirme-cabasinin-ucuncu-dalgasidir-j-ranciere\/"},"modified":"2010-06-16T09:55:24","modified_gmt":"2010-06-16T06:55:24","slug":"cagimizin-anti-estetigi-hic-kuskusuz-bu-sanati-kendine-getirme-cabasinin-ucuncu-dalgasidir-j-ranciere","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/06\/16\/cagimizin-anti-estetigi-hic-kuskusuz-bu-sanati-kendine-getirme-cabasinin-ucuncu-dalgasidir-j-ranciere\/","title":{"rendered":"\u00c7a\u011f\u0131m\u0131z\u0131n anti-esteti\u011fi, hi\u00e7 ku\u015fkusuz bu sanat\u0131 kendine getirme \u00e7abas\u0131n\u0131n \u00fc\u00e7\u00fcnc\u00fc dalgas\u0131d\u0131r | J. Ranciere"},"content":{"rendered":"

Estetik i\u00e7ler ac\u0131s\u0131 durumda. Yirmi y\u0131l \u00f6nce, estetikte\u00a0 keskin zevkin, \u00f6zerk sanat\u0131n ve y\u00fcce yap\u0131t\u0131n temiz kriterleri alt\u0131nda \u00e7e\u015fitli toplumsal ayr\u0131mlar\u0131n kat\u0131 ger\u00e7ekli\u011fini saklayan bir yads\u0131ma s\u00f6ylemi g\u00f6r\u00fcl\u00fcyordu. Bourdieu ‘n\u00fcn sosyolojisi ya da Anglosakson sanat\u0131n k\u00fclt\u00fcrel ve sosyal tarihi \u00fczerine \u00e7al\u0131\u015fmalar, sanat uygulamalar\u0131n\u0131n, sanat\u0131 temsil eden nesnelerin, sanat alan\u0131ndaki siyasi ve ticari isleyi\u015f ko\u015fullar\u0131n\u0131n toplumsal ger\u00e7ekli\u011fini tan\u0131mayarak, esteti\u011fi naif olan\u0131n s\u00f6ylemi haline getiriyordu.<\/p>\n

Bu arada “68 d\u00fc\u015f\u00fcncesi”nin \u00e7e\u015fitli formlar\u0131na yap\u0131lan sald\u0131r\u0131 da i\u015flerini yoluna koymad\u0131. Estetik bir zamanlar, \u00f6zerkli\u011finin onanmas\u0131 alt\u0131nda sanat\u0131n toplumsal ger\u00e7ekli\u011fini saklamakla su\u00e7lan\u0131yordu. G\u00fcn\u00fcm\u00fczde ise, sanat uygulamalar\u0131n\u0131 felsef\u0131 s\u00f6ylemin spek\u00fclasyonlar\u0131na ve yeni toplumun d\u00fc\u015flerine boyun e\u011fdirmekle su\u00e7lan\u0131yor. Eskiden, g\u00fczel hakk\u0131ndaki yarg\u0131n\u0131n evrenselli\u011fi ile Kanarya Adalar\u0131’n\u0131n \u015farab\u0131yla k\u0131\u015fk\u0131rt\u0131lm\u0131\u015f ampirik zevki kar\u015f\u0131 kar\u015f\u0131ya getiren Dr. Kant ‘\u0131n melekli\u011fiyle e\u011fleniliyordu. Simdi ise sanat\u0131n gelece\u011fini yeni kolektif ya\u015fam bi\u00e7imlerinin yarat\u0131lmas\u0131na ba\u011flayan felsefenin ya da romantik \u015fairlerin ve avangard ressamlar\u0131n yarar\u0131na, sanat\u0131 m\u00fcsadere alt\u0131na alm\u0131\u015f olan Dr. Schelling ya da Hegel ‘in satanizmine \u00fcz\u00fcl\u00fcn\u00fcyor.<\/p>\n

Birileri estetik \u00fctopyay\u0131, totalizmlere yatak haz\u0131rlamakla su\u00e7luyor. Di\u011ferleri ise ona bunal\u0131m\u0131, ya da estetik s\u00f6ylemin asalakl\u0131\u011f\u0131yla kendi kavram\u0131n\u0131n onanmas\u0131 i\u00e7inde yok olacak derecede kemirilen bir sanat\u0131n sonunu atfediyor. Bu medyatik polemikleri k\u0131nayanlar bile sanat uygulamalar\u0131n\u0131 estetik ideolojinin aylakl\u0131klar\u0131yla kar\u015f\u0131 kar\u015f\u0131ya getirmek i\u00e7in a\u011f\u0131z birli\u011fi yap\u0131yor. Jean-Fran\u00e7ois Lyotard , Insand\u0131\u015f\u0131 (L’Inhumain) ya da Postmodern Akt\u00f6reler’de (Moralites postmodernes) , estetik s\u00f6yleme kar\u015f\u0131 resim bi\u00e7eminin ya da m\u00fczik t\u0131n\u0131s\u0131n\u0131n y\u00fcce kal\u0131b\u0131n\u0131 \u00f6ne s\u00fcr\u00fcyordu. Jean-Marie Schaeffer , bir Esteti\u011fe Veda (Adieu \u00e2 L’esthetique) bildirisinde bulunarak, romantik mutlak\u00e7\u0131l\u0131\u011fa kar\u015f\u0131 sanat uygulamalar\u0131 ve zevk yarg\u0131lar\u0131 \u00fczerine ara\u015ft\u0131rmay\u0131 yeniden ba\u015flatmay\u0131 ama\u00e7l\u0131yor. Alain Badiou \u015fiir, dans ya da sinema \u00fczerine metinlerini, Esteti\u011fe Ayk\u0131r\u0131 Olan\u0131n EL Kitap\u00e7\u0131\u011f\u0131 (Petit manuel d’inesthetique) ba\u015fl\u0131\u011f\u0131 alt\u0131nda yay\u0131ml\u0131yor.<\/p>\n

Bu yarg\u0131lar bize, sonu\u00e7ta tamamen do\u011fru olarak, \u015funu s\u00f6yl\u00fcyor: estetik, iki y\u00fcz y\u0131ld\u0131r kendini ortaya koydu\u011fu \u015fekliyle, nesnesi sanat uygulamalar\u0131n\u0131n \u00f6zellikleri ya da zevk yarg\u0131s\u0131 olan bir disiplin de\u011fildir. Estetik t\u00fcm\u00fcyle bir sanat\u0131 \u00f6zde\u015fle\u015ftirme d\u00fczenidir ve t\u00fcm\u00fcyle bir d\u00fc\u015f\u00fcnce d\u00fczenini gerektirir. Sanat hi\u00e7bir zaman tek ba\u015f\u0131na de\u011fildir: Sanat\u0131n varl\u0131\u011f\u0131 i\u00e7in ressam ya da m\u00fczisyenlerin, oyuncular\u0131n ya da dans\u00e7\u0131lar\u0131n ve onlar\u0131 seyretmekten ya da dinlemekten zevk duyan insanlar\u0131n varl\u0131\u011f\u0131 yeterli de\u011fildir. Performanslar\u0131n\u0131n ayr\u0131ca, orada \u00f6zg\u00fcl bir etkinlik d\u00fcnyas\u0131n\u0131, bu \u00f6zg\u00fcll\u00fc\u011f\u00fc kan\u0131tlayan yarg\u0131lar\u0131, bu g\u00f6r\u00fclebilirli\u011fe beden veren kurumlan ay\u0131rt eden bak\u0131\u015flara da maruz kalmas\u0131 gerekir.<\/p>\n

Kimileri bu gereklilikte yaln\u0131zca bir gasp\u0131n sonucunu g\u00f6rmek isteyeceklerdir: Estetik ad\u0131 alt\u0131nda, felsefe -yani elbette ki k\u00f6t\u00fc felsefe, \u00f6tekilerin felsefesi- sanat uygulamalar\u0131n\u0131 kendi kural\u0131na tabi tutmu\u015f, \u00f6zelliklerini bozacak d\u00fc\u015f\u00fcnce g\u00fc\u00e7lerini, toplumsal pratik i\u00e7inde yer alma bi\u00e7imlerini ya da bir siyasi y\u00f6nelimi emanet ederek sanat\u0131 mutlakla\u015ft\u0131rm\u0131\u015ft\u0131r. Ama estetik, felsefenin yoldan \u00e7\u0131kard\u0131\u011f\u0131 birka\u00e7 felsefi siman\u0131n (Kant, Schelling, Hegel) ya da birka\u00e7 \u015fiirsel siman\u0131n (Schiller, Schlegel) icad\u0131 de\u011fildir. 18. y\u00fczy\u0131lda, eski \u015fiirleri art\u0131k bir sanat\u0131n \u00fcr\u00fcnleri olarak de\u011fil de, bir ya\u015fam bi\u00e7iminin bilin\u00e7siz d\u0131\u015favurumu olarak okumaya koyulanlar felsefeciler de\u011fil, f\u0131lologlard\u0131r. Eski kudret an\u0131tlar\u0131n\u0131 ya da amblemlerini yerlerinden ya da i\u015flevlerinden edip m\u00fcze eserleri haline getiren, felsef\u0131 diktalar de\u011fil, devrimci karga\u015falar ve Napolyonvari fetihlerdir. Bu yer de\u011fi\u015ftirme ve bu mahvetmenin, eski \u00f6zneler ve t\u00fcrler hiyerar\u015fisini k\u0131r\u0131p \u00f6znenin yok olu\u015funa nas\u0131l katk\u0131da bulundu\u011fu, bilinen bir \u015feydir. Tarihlerin eski Aristotelesvari rasyonalitesinin yerine, romanesk yaz\u0131ya ve onun duyarl\u0131l\u0131\u011f\u0131na utku kazand\u0131rarak sinema ve foto\u011fraf\u0131n \u00f6n\u00fcn\u00fc a\u00e7acak yeni kadrolar ve selefler prati\u011fini getiren felsefeciler de\u011fildir; \u015fu s\u0131radan olan\u0131 betimleme bi\u00e7imlerini, \u015fiir ve tablonun g\u00f6rkemini kent ya\u015fam\u0131n\u0131n e\u011flencelerine ya da sosyal bilimin g\u00f6sterilerine yakla\u015ft\u0131ran ge\u00e7ici ve anlaml\u0131 olan\u0131 alg\u0131lama tarzlar\u0131n\u0131; ya da \u015fu mallan sunma, sanat d\u00fcnyas\u0131yla ticaret d\u00fcnyas\u0131 ve sanat giri\u015fimleriyle yeni ya\u015fam bi\u00e7imlerinin yarat\u0131lmas\u0131 aras\u0131ndaki s\u0131n\u0131r\u0131 buland\u0131rm\u0131\u015f olan yap\u0131tlar\u0131 ya da s\u0131radan nesne desenlerini \u00e7o\u011faltma bi\u00e7imlerini icat eden de onlar de\u011fildir.<\/p>\n

Sanat\u0131n estetik d\u00fczeni, i\u015fte bu hassas dokudur; hem sanatsal bulu\u015flara hem de alg\u0131lardaki ve ola\u011fan duyarl\u0131l\u0131klardaki mutasyonlara ortam olu\u015fturan “sanat” ile ya\u015fam aras\u0131ndaki bu yeni ili\u015fkiler a\u011f\u0131d\u0131r. Yine de bu rejim, d\u0131\u015f d\u00f6n\u00fc\u015f\u00fcmlerin basit bir sonucu de\u011fildir. Kendi rasyonalitesine sahiptir, ama bu rasyonalitenin . karma\u015f\u0131kl\u0131\u011f\u0131, felsef\u0131 buyruklardan do\u011facaklara oranla kesinlikle farkl\u0131d\u0131r. Estetik rejim, yap\u0131tlar\u0131 temsiliyet kurallar\u0131ndan kopar\u0131p sanat\u00e7\u0131n\u0131n serbest g\u00fcc\u00fcne ve \u00fcretimin i\u00e7kin kriterlerine teslim etmi\u015f, ama b\u00f6ylece onlar\u0131 ayn\u0131 zamanda, \u00fcstlerine \u00f6tekinin damgas\u0131n\u0131 vuran t\u00fcm g\u00fc\u00e7lere ba\u011flam\u0131\u015ft\u0131r: bir toplumun soluk almas\u0131, dilin kendine \u00f6zg\u00fc ya\u015fam\u0131, malzemenin tortula\u015fmas\u0131, bilin\u00e7siz d\u00fc\u015f\u00fcncenin etkisi. Bu rejim, sanat\u0131n g\u00fcc\u00fcn\u00fc alg\u0131lanabilir bir varl\u0131\u011f\u0131n yak\u0131nl\u0131\u011f\u0131yla \u00f6zde\u015fle\u015ftirmi\u015f ve yap\u0131tlar\u0131n kendi ya\u015fam\u0131na, onlar\u0131 de\u011fi\u015ftiren ele\u015ftirinin sonsuz u\u011fra\u015f\u0131n\u0131 sokmu\u015ftur. Yap\u0131tlar\u0131n m\u00fczelik \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn\u00fc feda etmi\u015f ve sahneleme, yeniden yazma ve farkl\u0131 metamorfoz \u00e7al\u0131\u015fmalar\u0131nda yeniden harekete ge\u00e7melerine olanak tan\u0131m\u0131\u015ft\u0131r. Sanat\u0131n \u00f6zerkli\u011fini onaylam\u0131\u015f ve g\u00fcnl\u00fck ya\u015famdaki nesnelerde yepyeni g\u00fczelliklerin ke\u015ffini \u00e7o\u011faltm\u0131\u015f, ya da sanat formlar\u0131 ile ticaret ya da kolektif ya\u015fam bi\u00e7imleri aras\u0131ndaki ayr\u0131m\u0131 silip atm\u0131\u015ft\u0131r.<\/p>\n

Bu kar\u015f\u0131tlar gerilimi \u00f6ylesine ba\u015fd\u00f6nd\u00fcr\u00fcc\u00fcd\u00fcr ki, baz\u0131 meslekten ya da alayl\u0131 felsefeciler onu yerine oturtmaya \u00e7al\u0131\u015fm\u0131\u015flard\u0131r. 19. y\u00fczy\u0131l sonunun estetizmi bunun ilk \u015fekliydi. Amac\u0131 ise, sanattan al\u0131nan hazlar\u0131, baya\u011f\u0131 e\u011flencelerden t\u00fcm\u00fcyle ay\u0131rmakt\u0131. Huysmans’\u0131n Des Esseintes’inin \u00f6rnek olu\u015fturdu\u011fu \u00e7eli\u015fki, bu ama\u00e7 u\u011fruna sanat\u0131 bir ya\u015fam bi\u00e7imine indirgeyip, parf\u00fcmc\u00fclerle bah\u00e7\u0131vanlar\u0131 \u00fcst\u00fcn sanat\u00e7\u0131lar olarak kutsaman\u0131n gerekli olmas\u0131yd\u0131. Clement Greenberg ‘in \u00f6rnek olu\u015fturdu\u011fu 1940’l\u0131 y\u0131llar\u0131n modernizmi ise, bunun ikinci tipik formuydu. Greenberg, sanat\u0131n estetik d\u00fczeninin karma\u015f\u0131kl\u0131\u011f\u0131n\u0131, temsili ve heteronom olan eski sanat ile, yazarlar, plastik sanat\u00e7\u0131lar, m\u00fczisyenler ya da di\u011ferlerinin salt kendi malzemelerinin olanaklar\u0131n\u0131 kullanacaklar\u0131 yeni bir sanat aras\u0131ndaki basit bir kopu\u015fa indirgemek istedi. Ama bu sanata \u00f6zg\u00fc olan\u0131n kutsanmas\u0131nda da siyasi bir art d\u00fc\u015f\u00fcnce vard\u0131. Bu, en az\u0131ndan sanatsal devrimlerin radikalli\u011fini -ve varsay\u0131lan yay\u0131lma potansiyelini- m\u00fcsadere alt\u0131ndaki toplumsal devrimin felaketlerinden koruma kayg\u0131s\u0131n\u0131 g\u00fcden, hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015f devrimcilerden kaynaklan\u0131yordu. 0 model, sanatlar ya da sanat formlar\u0131 ile sanatsal olmayan ya\u015fam bi\u00e7imleri aras\u0131ndaki t\u00fcm ge\u00e7i\u015fler kar\u015f\u0131s\u0131nda dayanaks\u0131z kald\u0131\u011f\u0131nda, bu temel zay\u0131fl\u0131k alelacele, sanat\u0131n sonu ya da modernitenin \u00e7\u00f6k\u00fc\u015f\u00fc ile bir tutuldu. Bu durumda estetik -iste\u011fe g\u00f6re, ya sanat\u0131 modernist radikalli\u011fin yan\u0131lg\u0131lar\u0131na d\u00fc\u011f\u00fcmlemekle, ya da tam tersine kavramsal sanatta, pop-art’ta ya da \u00e7a\u011fda\u015f yerle\u015fimlere \u00f6zg\u00fc t\u00fcm kar\u0131\u015f\u0131mlardaki “geli\u015fig\u00fczel” d\u00f6n\u00fc\u015f\u00fcmlere yol a\u00e7arak bu radikalli\u011fi bat\u0131rmakla su\u00e7lanabilecek- parmakla g\u00f6sterilen sorumlu oldu.<\/p>\n

\u00c7a\u011f\u0131m\u0131z\u0131n anti-esteti\u011fi, hi\u00e7 ku\u015fkusuz bu sanat\u0131 kendine getirme \u00e7abas\u0131n\u0131n \u00fc\u00e7\u00fcnc\u00fc dalgas\u0131d\u0131r. Ama “kendi” diye bir \u015fey yoktur. Asl\u0131nda, sanat\u0131n estetik m\u00fcsaderesini ilan edenler, estetik yarg\u0131y\u0131 bili\u015fsel kuram\u0131n \u00f6zel bir olgusu (Schaeffer) , \u015fiiri bir olgu kuram\u0131n\u0131n do\u011frulanmas\u0131 (Badiou) , ya da tabloyu Temsil Edilemeyen’in bir tan\u0131kl\u0131\u011f\u0131 (Lyotard) haline getirmek i\u00e7in, sanat\u0131 tela\u015f i\u00e7inde kendi felsefi hedeflerine hizmet ettirmeye \u00e7al\u0131\u015fmakla sanat\u0131 kurtarm\u0131\u015f olmad\u0131lar. Sanat pratikleri ayn\u0131 zamanda hep ba\u015fka \u015fey oldu: t\u00f6renler, e\u011flenceler, \u00e7\u0131rakl\u0131klar, ticaretler, \u00fctopyalar. Ozde\u015fle\u015ftirilmeleri, her zaman i\u00e7in onlar\u0131 ba\u015fka deneyim alanlar\u0131na ba\u011flam\u0131\u015f olan kavran\u0131rl\u0131k bi\u00e7imlerine dayal\u0131yd\u0131. Estetik ad\u0131, bu her zaman payla\u015ft\u0131r\u0131lm\u0131\u015f \u00f6zelli\u011fe i\u015faret eder. Bu nedenle de her zaman, sanat ile felsefenin, felsefe ile siyasetin birbirinden tama- men ayr\u0131 olmas\u0131n\u0131 isteyenlerde \u00f6fke uyand\u0131racakt\u0131r. Estetik, herhangi bir mahkemede yarg\u0131lanabilecek bir doktrin ya da bir bilim de\u011fildir. Alg\u0131lanabiliri olu\u015fturan bir \u00f6\u011feler b\u00fct\u00fcn\u00fcd\u00fcr ve ancak, her birini yerine oturtan disiplin \u00e7er\u00e7eveleri k\u0131r\u0131larak d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n

\u00a0<\/p>\n

Jacques Ranciere<\/p>\n","protected":false},"excerpt":{"rendered":"

Estetik i\u00e7ler ac\u0131s\u0131 durumda. Yirmi y\u0131l \u00f6nce, estetikte\u00a0 keskin zevkin, \u00f6zerk sanat\u0131n ve y\u00fcce yap\u0131t\u0131n temiz kriterleri alt\u0131nda \u00e7e\u015fitli toplumsal ayr\u0131mlar\u0131n kat\u0131 ger\u00e7ekli\u011fini saklayan bir yads\u0131ma s\u00f6ylemi g\u00f6r\u00fcl\u00fcyordu. Bourdieu ‘n\u00fcn sosyolojisi ya da Anglosakson sanat\u0131n k\u00fclt\u00fcrel ve sosyal tarihi \u00fczerine \u00e7al\u0131\u015fmalar, sanat uygulamalar\u0131n\u0131n, sanat\u0131 temsil eden nesnelerin, sanat alan\u0131ndaki siyasi ve ticari isleyi\u015f ko\u015fullar\u0131n\u0131n toplumsal […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":["post-4621","post","type-post","status-publish","format-standard","category-estetik"],"yoast_head":"\n\u00c7a\u011f\u0131m\u0131z\u0131n anti-esteti\u011fi, hi\u00e7 ku\u015fkusuz bu sanat\u0131 kendine getirme \u00e7abas\u0131n\u0131n \u00fc\u00e7\u00fcnc\u00fc dalgas\u0131d\u0131r | J. 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