{"id":3539,"date":"2026-09-27T14:35:36","date_gmt":"2026-09-27T11:35:36","guid":{"rendered":"https:\/\/upas.evvel.org\/?p=3539"},"modified":"2026-09-27T16:14:48","modified_gmt":"2026-09-27T13:14:48","slug":"portal-ai-caginda-aklin-yitimi-rafet-arslan","status":"publish","type":"post","link":"https:\/\/upas.evvel.org\/?p=3539","title":{"rendered":"“PORTAL: AI \u00c7a\u011f\u0131nda Akl\u0131n Yitimi” (Rafet Arslan)"},"content":{"rendered":"\n

(I) Krizin \u0130\u00e7inde \u0130nsanl\u0131k, Peki Ne Yapaca\u011f\u0131z?
(II) Kakofoni Gezegeninde Yank\u0131 Odas\u0131na Zincirli Birey
(III) Dijital Biyo-K\u00f6le Ekonomisi T\u0131k\u0131r\u0131nda!<\/h4>\n\n\n\n

<\/p>\n\n\n\n


XXIX- Kapan\u0131\u015f Yerine<\/p>\n\n\n\n

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(I) Krizin \u0130\u00e7inde \u0130nsanl\u0131k, Peki Ne Yapaca\u011f\u0131z?<\/h1>\n\n\n\n
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\u201cYar\u0131n hasat etmek istedi\u011finiz bitkilerin tohumlar\u0131n\u0131 bug\u00fcnden se\u00e7in.\u201d <\/strong>Alejandro Jodorowsky<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130nsanl\u0131\u011f\u0131n pratik \u00f6yk\u00fcs\u00fc bizlere, hep ilerleme, b\u00fcy\u00fcme, geli\u015fme ve s\u0131\u00e7rama metaforlar\u0131yla anlat\u0131lm\u0131\u015ft\u0131r. Sanki tarih ve evrim bir yoldur ve insanl\u0131k s\u00fcrekli bir istim ile hedefe ilerlemektedir. Bu anlat\u0131, k\u00fclt\u00fcr\u00fcn \u00fcretti\u011fi en b\u00fcy\u00fck deep fake<\/em> kurgudur. \u0130nsanl\u0131\u011f\u0131n bir yerden sonra h\u0131zl\u0131 ileriye do\u011fru gitti\u011fini s\u00f6ylemek hatad\u0131r. Geli\u015fim; bili\u015fsel kapasiteden \u00f6te teknik, bilim, ileti\u015fim ve y\u0131k\u0131m ayg\u0131tlar\u0131nda kre\u015fendo etkisi yapm\u0131\u015f olabilir. 70 bin y\u0131l \u00f6nce, 50 bin y\u0131l \u00f6nce, 12 bin y\u0131l \u00f6nce, 3 bin y\u0131l \u00f6nce ya da R\u00f6nesans\u2019ta k\u0131r\u0131lma d\u00f6neme\u00e7leri bulunabilir. Fakat insan t\u00fcr\u00fcn\u00fcn gezegendeki varl\u0131k ya da evrim s\u00fcreci i\u00e7inde bu zaman kronolojileri, Samanyolu Galaksinin k\u00e2inat i\u00e7indeki yeri kadar yer kaplar.<\/p>\n\n\n\n

En kadim metinlere, en eskiye giden arkeolojik kaz\u0131larda bizlerle konu\u015fan insan hakikati, geli\u015fmenin kaplumba\u011fa h\u0131z\u0131n\u0131 bizlere g\u00f6sterir. Yaz\u0131tlarda, mezarlarda, kodekslerde, ma\u011fara duvarlar\u0131nda zuhur eden insan t\u00fcr\u00fcn\u00fcn bili\u015fsel geli\u015fimi bunun en b\u00fcy\u00fck kan\u0131t\u0131d\u0131r. Bin y\u0131llar \u00f6nce insan toplulu\u011funun temel ya\u015famsal (beslenme, g\u00fcvenlik, bar\u0131nma, ki\u015fi olabilme, e\u011fitim vb.) sorunlar\u0131 tekrar edip durmaktad\u0131r. Hem de geli\u015ftirdi\u011fimiz teknik ak\u0131lla katmerle\u015ferek: Kent, devlet, k\u00f6lelik, inan\u00e7 manip\u00fclasyonu, emperyalizm ya da s\u00f6m\u00fcr\u00fc, yabanc\u0131la\u015fma, tinin ezilmesi, cehalet, e\u015fitsizlik vb.<\/p>\n\n\n\n

Yani insan organize ve teknik olduk\u00e7a insanl\u0131k \u00f6lmektedir.<\/p>\n\n\n\n

T\u00fcr\u00fcn\u00fc ve gezegeni y\u0131k\u0131ma s\u00fcr\u00fcklerken; kendini geli\u015fme, ak\u0131l merkezlilik, pozitivist\/bilimsel d\u00fcnya g\u00f6r\u00fc\u015f\u00fcyle somutla\u015ft\u0131rma iddias\u0131 ta\u015f\u0131yan uygarl\u0131\u011f\u0131n son 150 senelik ge\u00e7mi\u015fine bakt\u0131\u011f\u0131m\u0131zda; \u00e7ok b\u00f6b\u00fcrlendi\u011fi kazan\u0131mlar\u0131n acizli\u011fini g\u00f6r\u00fcr\u00fcz. \u00c7al\u0131\u015fma saatlerinde d\u00fc\u015f\u00fc\u015f, genel oy hakk\u0131, ya\u015fam\u0131n pratik kalitesinde k\u0131smi art\u0131\u015f, uzayan \u00f6m\u00fcr gibi insani say\u0131labilecek \u015feylerinde sava\u015flar, ekonomik ve sosyal krizler d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, yaratt\u0131\u011f\u0131 kazan\u0131mlara dair iddialar\u0131 komik bir hale gelir. Kazanan ara\u00e7salla\u015ft\u0131r\u0131lm\u0131\u015f ak\u0131l, b\u00fcy\u00fcyen sermaye, geli\u015fen teknolojidir.<\/p>\n\n\n\n

Geli\u015fmeler geli\u015ftik\u00e7e, ilerlemeler ilerledik\u00e7e insan\u0131n hakikatine bakt\u0131\u011f\u0131m\u0131zda; bilincinde, ruhunun zenginli\u011finde ya da bili\u015fsel kapasitesinde de ya\u015fanan geli\u015fim minimum d\u00fczeydedir. Yani Babil Kulesi’ni in\u015fa ederken ya da eski Yunan agoras\u0131nda ya\u015farken tart\u0131\u015f\u0131lan ya da dert edinirken insanl\u0131k durumunun cehaleti neyse, h\u00e2l\u00e2 o h\u00fck\u00fcm s\u00fcrmektedir. Ve hatta \u00e7ok daha ‘geli\u015fmi\u015ftir’ haldedir, sava\u015f makinesi, k\u0131y\u0131m makinesi, yoksulluk a\u011flar\u0131, modern esaret ve aptalla\u015ft\u0131rma teknikleriyle.<\/p>\n\n\n\n

Ama se\u00e7me hakk\u0131na birey ya da t\u00fcketici olarak sahiptir. Viagra ve OnlyFans geli\u015fmeleri ya\u015fanm\u0131\u015ft\u0131r. Art\u0131k sava\u015flar \u015fan, toprak ya da millet i\u00e7in de\u011fil enerji kaynaklar\u0131 i\u00e7in yap\u0131l\u0131r hale gelmi\u015ftir. Ay’a bir bayrak dikilmi\u015f, Mars y\u00f6r\u00fcngesine elektrikli koyun de\u011filse de bir Tesla araba g\u00f6nderilmi\u015ftir…<\/p>\n\n\n\n

Stop.<\/p>\n\n\n\n

\u0130\u015fte, t\u00fcr\u00fcm\u00fcz\u00fcn m\u00fcthi\u015f ilerleme kronolojisine k\u0131sa ve h\u0131zl\u0131 bir \u00f6zet. Bilinen, tan\u0131mlana gelmi\u015f uygarl\u0131k art\u0131k bitmi\u015ftir; bu hakikatin kabul edilmemesi, bunun fark\u0131ndal\u0131\u011f\u0131na ay\u0131lmamas\u0131n\u0131n pratik sonucu ise insan uygarl\u0131\u011f\u0131n\u0131n fiziki \u00e7\u00f6k\u00fc\u015f\u00fc olacakt\u0131r. \u0130mdat freni \u00e7oktan \u00e7ekilmi\u015ftir. Walter Benjamin\u2019in \u201ctarih \u00fczerine tezlerine\u201d g\u00f6ndermeyle t\u00fcr\u00fcn ve tarihinin yang\u0131n alarm\u0131 son ses \u00e7almaktad\u0131r. \u0130lerleme treni art\u0131k kendi u\u00e7urumuna do\u011fru s\u00fcr\u00fcklenmektedir ve y\u0131k\u0131m\u0131n\u0131n fitili ise turuncu bir adam\u0131n ellerinde sakl\u0131d\u0131r.<\/p>\n\n\n\n

\u0130nsan toplumu, end\u00fcstri devriminden bug\u00fcne dek o kadar b\u00fcy\u00fck bir kaos, yanl\u0131\u015f bilin\u00e7, g\u00fcr\u00fclt\u00fc, y\u00fcksek h\u0131z, a\u015f\u0131r\u0131 uyar\u0131m, \u00e7at\u0131\u015fma i\u00e7eren kar\u015f\u0131tl\u0131k yaratm\u0131\u015ft\u0131r ki; b\u0131rak\u0131n iyile\u015fme yolunu bulmay\u0131, art\u0131k bug\u00fcn\u00fcn delili\u011fini bug\u00fcnden anlamak, anlatmak, te\u015fhis koymak imk\u00e2ns\u0131z hale gelmi\u015ftir. Dikkat da\u011f\u0131lm\u0131\u015f, teoriler artm\u0131\u015f, odaklanma bozulmu\u015f, sinir zay\u0131flam\u0131\u015f, ak\u0131ld\u0131\u015f\u0131 akl\u0131 \u00e7oktan esir etmi\u015ftir. Manip\u00fclasyon ve dijitalle\u015fme \u00e7a\u011f\u0131nda bilgi bombard\u0131manlar\u0131 art\u0131k data-trash<\/em> halini alm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Kavramlar i\u00e7i bo\u015f, taktikler i\u015flevsiz, bilgiler kar\u0131\u015fm\u0131\u015f, tan\u0131mlar prospekt\u00fcslere d\u00f6n\u00fc\u015fm\u00fc\u015f, spirit\u00fcel \u00e7abalar yozla\u015fm\u0131\u015f, devrimci hareketler nostaljik tuzaklarda as\u0131l\u0131 kalm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Sanat bir iddial\u0131 i\u015ftir, felsefe bir meslek, ayd\u0131nlanma bir at\u00f6lye program\u0131 ve devrim bir reklam slogan\u0131d\u0131r?<\/p>\n\n\n\n

Peki, ne yapaca\u011f\u0131z?<\/p>\n\n\n\n

Yan\u0131tlar h\u00e2lihaz\u0131rda elde yoksa nas\u0131l sorular soraca\u011f\u0131z?<\/p>\n\n\n\n

Hangi \u00f6ncelikleri belirleyece\u011fiz?<\/p>\n\n\n\n

\u00d6ncelikle bu \u00e7\u0131lg\u0131n ak\u0131\u015f ritminden \u00e7\u0131k\u0131p, bir k\u00f6\u015fede sessizlikte kalma halini an\u0131msamal\u0131y\u0131z. O y\u00fczden, bize dayat\u0131lan h\u0131z\u0131 azaltmal\u0131 (durduramay\u0131z), antidepresan haplar\u0131 kontroll\u00fc i\u00e7meli, uyu\u015fturuculara kar\u015f\u0131 uyan\u0131k olmal\u0131, yalan haber ak\u0131\u015f\u0131ndan ka\u00e7mal\u0131, k\u00fc\u00e7\u00fck de olsa sosyal medya detoks\u2019lar\u0131 denemeli, bedeni ve ruhu canl\u0131 tutmal\u0131, ya\u015fama sahip \u00e7\u0131kmal\u0131, akl\u0131m\u0131za mukayyet olmal\u0131y\u0131z.<\/p>\n\n\n\n

Yani depresyon ruhunu, g\u00fc\u00e7s\u00fczl\u00fck hissini, dopamin \u00f6\u011f\u00fcnlerini, Byung-Chul Han kitaplar\u0131 ve yayd\u0131klar\u0131 melankoliyi bir kenara b\u0131rakal\u0131m; \u00f6nce ya\u015fayal\u0131m.<\/p>\n\n\n\n

Bu stop tu\u015funa bast\u0131ktan sonra, duvara bir k\u00e2\u011f\u0131t as\u0131p nereden geldi\u011fimizi, nereye gitmekte oldu\u011fumuzu ve asl\u0131nda ne oldu\u011fumuzu d\u00fc\u015f\u00fcn\u00fcp, notlar alal\u0131m. Ya\u015fan\u0131la gelen, en acil sorunlar t\u00fcr\u00fcn \u00e7\u00f6zemedi\u011fi temel sorunsallardan kaynakl\u0131ysa ba\u015fa d\u00f6nece\u011fiz, d\u00f6ng\u00fcsel d\u00fc\u015f\u00fcnmeyi, ayn\u0131 anda bir\u00e7ok olas\u0131l\u0131\u011f\u0131 tartmay\u0131 \u00f6\u011frenece\u011fiz. Ve orada yeniden ya da ba\u015ftan dert edece\u011fimiz, s\u0131n\u0131rl\u0131 ama kapsay\u0131c\u0131 temel ba\u015fl\u0131klar\u0131 listeleyip, bug\u00fcne dek onlara verilmi\u015f \u00f6nemli cevaplar\u0131 bire bir kontrol edece\u011fiz. Yani kendimizi ayn\u0131 anda \u00e7ok pencereli bakmaya, sabit fikirlerin yaratt\u0131\u011f\u0131 \u00f6n yarg\u0131lardan uzakla\u015fmaya, \u00e7o\u011fulcu bir ontoloji i\u00e7in diyagram d\u00fc\u015f\u00fcnce bi\u00e7imleri kullanmaya y\u00f6neltmeliyiz.<\/p>\n\n\n\n

Bu \u00e7aba f\u00fczyon yarat\u0131r, bu ak\u0131\u015fkan olu\u015f hali bize yenilenen \u00f6r\u00fcnt\u00fcler sa\u011flar. Her yenilenen \u00f6r\u00fcnt\u00fc eski ve zaman i\u00e7inde \u00e7e\u015fitlenmi\u015f ve g\u00fc\u00e7 taraf\u0131ndan manip\u00fcle edilmi\u015f kavramlar\u0131 yeniden kavrama imk\u00e2n\u0131 verecektir. Yeniden tan\u0131mlamalar, yeni tahayy\u00fcller i\u00e7in yenilenmi\u015f (g\u00fcncellenmi\u015f) kavram setleri kazand\u0131racakt\u0131r. Bu tip \u00e7\u0131kt\u0131lar ne \u00e7okuluslu bili\u015fim (kontrol) teknolojilerine ne yar\u0131n \u00f6b\u00fcr g\u00fcn Turing Testini ge\u00e7meyi ba\u015faracak Yapay Zek\u00e2n\u0131n teknik \u00f6znelli\u011finin insaf\u0131na b\u0131rak\u0131labilir.<\/p>\n\n\n\n

T\u00fcr\u00fcn devam\u0131 i\u00e7in acil yeni bir cevap ya da cevaplar bulmak; bunun i\u00e7inde daha \u00f6nce hi\u00e7 kurulmam\u0131\u015f bili\u015fsel yap\u0131lar kurmak, yeni ba\u011flant\u0131sall\u0131klar\u0131 yoklamak, d\u00fcn uzla\u015fmaz kar\u015f\u0131t g\u00f6r\u00fcnen \u015feylerdeki senkronu yakalamak, bug\u00fcnden gelece\u011fe kurucu gerekir. Misal, ayd\u0131nlanma ve inan\u00e7, devrim ve reform, ideoloji ve k\u00f6t\u00fcl\u00fck gibi\u2026<\/p>\n\n\n\n

A\u015fk \u2013 Delilik<\/p>\n\n\n\n

Kriz \u2013 Kurtulu\u015f<\/p>\n\n\n\n

Tin \u2013 Ar\u0131nma<\/p>\n\n\n\n

\u0130drak!<\/p>\n\n\n\n

Ya da nas\u0131l ya\u015famal\u0131y\u0131z?<\/p>\n\n\n\n

Nerede ya\u015famal\u0131y\u0131z?<\/p>\n\n\n\n

Ve nereden yola koyulmal\u0131y\u0131z?<\/p>\n\n\n\n

Tekil sorun ya da hayalet yok. \u00d6ncelikle tek\u00e7i ve indirgemeci t\u00fcm d\u00fc\u015f\u00fcnce kal\u0131plar\u0131n\u0131 da\u011f\u0131tmal\u0131 ve yeni d\u00fc\u015f\u00fcnsel f\u00fczyon \u00e7abas\u0131yla \u00e7o\u011fulcu ontolojileri yoklamal\u0131y\u0131z. Bug\u00fcnk\u00fc akl\u0131m\u0131z, k\u00fclt\u00fcr\u00fcm\u00fcz ile bizi belirleyen t\u00fcm kavramlar\u0131 olmasa da (kitap format\u0131 buna izin vermez) en temel kavramlar\u0131 tekrar de\u011fil yeniden ele alaca\u011f\u0131z. Art\u0131k her kavram, onu kullanan ki\u015finin mensup oldu\u011fu yank\u0131 odas\u0131 taraf\u0131ndan \u015fekillendirilir hale geldi. O zaman baz\u0131 temel tan\u0131mlar\u0131 yeniden yapman\u0131n yolunu d\u00fczleyece\u011fiz. Tanr\u0131, delilik, kurtulu\u015f, devrim gibi b\u00fcy\u00fck kavramlara gelmeden \u00f6nce, onlar\u0131 yeniden tart\u0131\u015fabilece\u011fimiz patikalar\u0131 bulaca\u011f\u0131z.<\/p>\n\n\n\n

Bu \u00e7aba kullan\u0131m s\u00fcresi dolmu\u015f baz\u0131 tespitleri i\u015faret edece\u011fi gibi, yararl\u0131 bir kavram setini kendi i\u00e7inde soyutlay\u0131p ondan \u201cher \u015feyin teorisini\u201d \u00e7\u0131karmaya zorlayan indirgemeci yakla\u015f\u0131mlar\u0131 da ortaya \u00e7\u0131karacakt\u0131r. Sonu\u00e7ta d\u00fc\u015f\u00fcnsel \u00e7abas\u0131n\u0131n k\u00f6k\u00fc pratik hayatt\u0131r. Daha iyi olma olas\u0131l\u0131\u011f\u0131 olan hayatlar\u0131 yoklamak. Bu y\u00fczden bu d\u00fc\u015f\u00fcnsel \u00e7abalar, ayn\u0131 anda hayatta, zihinde, ruhta ve \u015fimdi aya\u011fa kalkmak zorundad\u0131r\u2026<\/p>\n\n\n\n

Stop.<\/p>\n\n\n\n

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\u201cMasumiyetimin ne denli ergin oldu\u011funu g\u00f6r\u00fcp \u015fa\u015fk\u0131nl\u0131\u011fa d\u00fc\u015fmeden takdir edelim.\u201d<\/strong> A. Rimbaud<\/em><\/p>\n<\/blockquote>\n\n\n\n

Bu d\u00f6ng\u00fcsel deneme ya da \u201cs\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f\u201d min\u00f6r kitap, gezegen \u00e7ap\u0131nda kap\u0131ya dayanan felakete kar\u015f\u0131 bilimde, sanatta, felsefede, \u00fctopyada do\u011fru sorular\u0131 arayan t\u00fcrde\u015flerimle ortak, m\u00fctevazi bir bili\u015fsel \u00e7aban\u0131n par\u00e7as\u0131 olmay\u0131 heves etmi\u015ftir.<\/p>\n\n\n\n

Bu kitap d\u0131\u015far\u0131ya yaz\u0131lm\u0131\u015f makalelerin ya da birbirinden kopuk denemelerin toplam\u0131 de\u011fildir. Tek bir metin olarak yaz\u0131lm\u0131\u015ft\u0131r. Fakat, pratik tercih olarak lineer ilerleyen, kendi i\u00e7inde kronoloji olu\u015fturan bir yaz\u0131m de\u011fil, kendi i\u00e7inde d\u00f6ng\u00fcsel olan, i\u00e7 i\u00e7e ge\u00e7en denemeler kurmak hevesindedir. \u015eahsen, ileri do\u011fru geli\u015fen bir forma inanmad\u0131\u011f\u0131m i\u00e7in Walter Benjamin\u2019in tarihi \u201cileri ve geriye do\u011fru kaplan s\u0131\u00e7ray\u0131\u015flar\u0131yla\u201d kavrayan bak\u0131\u015f a\u00e7\u0131s\u0131ndan yola \u00e7\u0131kt\u0131m, \u00e7izgisel bir tarihselli\u011fe yeltenmeden. B\u00f6yle oldu\u011fu i\u00e7in kitaptaki her metin; birbirine ba\u011fl\u0131 ama birbirini illa da do\u011frusal olarak takip etme zorunlulu\u011funu hissetmeyen, arzuyu canl\u0131 tutan bir d\u00f6ng\u00fcsel dil arad\u0131lar.<\/p>\n\n\n\n

Bu kitab\u0131 iki y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcrede kesintisiz (yani inzivaya kapanarak); onunla yat\u0131-kalk\u0131p, ya\u015fayarak bitirdim. \u015eimdi geriye do\u011fru bakt\u0131\u011f\u0131mda 35 insan y\u0131l\u0131n\u0131 a\u015fan bir zaman i\u00e7inde okudu\u011fum, \u00fczerine d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm ve yazmaya gayret etti\u011fim binlerce kitap\/makale, teori, ba\u015fl\u0131k, tart\u0131\u015fma, pratik olas\u0131l\u0131k bu kitab\u0131n yaz\u0131m s\u00fcrecinde yeniden zuhur etti, \u015fimdiki bili\u015fimle birle\u015ferek; g\u00fcncellendi. Ama hik\u00e2ye daha tamamlanmad\u0131, ele ald\u0131\u011f\u0131m\u0131z derdin kapsam\u0131ndan dolay\u0131, d\u00f6ng\u00fcsel denemeler birka\u00e7 kitap daha devam etmeyi arzuluyor. Sa\u011fl\u0131k ve \u00f6m\u00fcr s\u00fcrd\u00fck\u00e7e haz\u0131rlanacak (belki de).<\/p>\n\n\n\n

Daha \u00f6nce and\u0131\u011f\u0131m gibi; ortada haz\u0131r cevab\u0131m\u0131z yok. Ama yan\u0131tlar\u0131 yoklamak ad\u0131na \u015f\u0131k sorular\u0131m\u0131z var.<\/p>\n\n\n\n

Ba\u015fl\u0131yoruz!<\/p>\n\n\n\n

\n\n\n\n

(II) Kakofoni Gezegeninde Yank\u0131 Odas\u0131na Zincirli Birey<\/h1>\n\n\n\n

\u015eimdi, oylumlu bir sorunsala ad\u0131m atmak i\u00e7in ortaya \u00fc\u00e7 temel soru atal\u0131m:<\/p>\n\n\n\n

a- Anla\u015fmazl\u0131k zihinde mi, bedende mi, yoksa ya\u015fam\u0131n kendisinde mi?<\/p>\n\n\n\n

b- Ayr\u0131l\u0131\u011f\u0131n t\u00fcrk\u00fcs\u00fc neden bu kadar g\u00fc\u00e7l\u00fc?<\/p>\n\n\n\n

c- Anla\u015fmazl\u0131k en \u00e7ok dilde, prati\u011fe d\u00f6k\u00fclmeye haz\u0131r s\u00f6zlerimizde olmas\u0131n? \u00d6zellikle de i\u00e7 g\u00fcr\u00fclt\u00fcde.<\/p>\n\n\n\n

\u0130\u00e7inden ge\u00e7ti\u011fimiz 21. y\u00fczy\u0131l\u0131n d\u00fcnyas\u0131, modernin kaotik g\u00fcr\u00fclt\u00fc iklimini art\u0131k kakofoniye \u00e7evirmi\u015ftir. Uyaran say\u0131s\u0131n\u0131n korkun\u00e7 d\u00fczeyde artmas\u0131 yan\u0131nda, bir \u00e7ocuk bile \u201co\u201d uyaran\u0131 yapan ve da\u011f\u0131tan konumuna eri\u015fmi\u015ftir. Art\u0131k radyo, TV ve videonun sabit ve g\u00fcvenli mek\u00e2n\u0131n\u0131n t\u00fcketicileri de\u011filiz. Ama; internetin ilk d\u00f6nemi gibi k\u0131s\u0131tl\u0131 ve ak\u0131c\u0131 olmayan bir ileti\u015fimin de \u00f6znesi de\u011filiz. Nobel \u00f6d\u00fcll\u00fc ekonomist Herbert Simon’\u0131n deyi\u015fiyle \u201csosyal medya, insanl\u0131\u011f\u0131n sinir sistemini birbirine ba\u011flam\u0131\u015ft\u0131r\u201d, ama bu s\u00fcre\u00e7 empati ya da bili\u015fsel bir geli\u015fimle de\u011fil s\u00fcrekli elektrik \u015foklar\u0131yla yap\u0131lm\u0131\u015ft\u0131r. \u015eimdi; uzams\u0131z, e\u015fzamanl\u0131, hareket halinde iletinin kendisiyiz. Hepimiz g\u00fcr\u00fclt\u00fc ve kaosun \u00fcreteni (yarat\u0131c\u0131s\u0131), yayan\u0131 (vericisi), t\u00fcketicisiyiz (al\u0131c\u0131s\u0131). Ku\u015fkusuz hepimiz kontrols\u00fczce delirdik. T\u0131bbi fenomenlerin hastal\u0131k de\u011ferleri 4-5 ku\u015fakta a\u00e7\u0131\u011fa \u00e7\u0131k\u0131p tan\u0131 ve tedavi a\u015famas\u0131na ge\u00e7er. \u015eu an vir\u00fcs\u00fcn kendisiyiz ama bunun fark\u0131nda de\u011filiz.<\/p>\n\n\n\n

Kakofoni olumsuz, ahenkten mahrum, rahats\u0131z edici, odaklanmay\u0131 bozan ses \u00f6r\u00fcnt\u00fcs\u00fcd\u00fcr. S\u00f6zc\u00fc\u011f\u00fcn k\u00f6k\u00fc eski Yunan\u2019daki kakos (k\u00f6t\u00fc), phone (ses) s\u00f6zc\u00fckleri aras\u0131nda kurulan neolojidir, retorik yani g\u00fczel konu\u015fma ya da ileti\u015fimin tersidir. Kakofoniden g\u00fcndelik ak\u0131\u015f i\u00e7inde ka\u00e7\u0131\u015f yoktur, o zihinsel kilitlenmeye sebep oldu\u011fu gibi \u201cdikkat ekonomisini\u201d de parampar\u00e7a eder. Bu y\u00fczden ona kar\u015f\u0131, asosyallik tercihi, k\u0131s\u0131tl\u0131 sosyal medya detokslar\u0131, televizyonu kolisine kald\u0131rma ve hatta tu\u015flu telefona d\u00f6nmekte tek ba\u015f\u0131na \u00e7are de\u011fildir. Bilgi mimar\u0131 Abby Covet\u2019ten yola \u00e7\u0131karsak maruz kal\u0131nan a\u015f\u0131r\u0131 dozda veri ya da uyaran do\u011frusal olmayan bir bi\u00e7imde b\u00fcy\u00fcmeye yani kaosa meyillidir. Ge\u00e7mi\u015fte, modernin kurulu\u015f d\u00f6nemlerinde \u0130ngiliz Romantikler g\u00f6l k\u0131y\u0131s\u0131na, Rousseau k\u0131ra, Nietzsche da\u011fa ka\u00e7m\u0131\u015f olsalar da uygarl\u0131\u011f\u0131n g\u00fcr\u00fclt\u00fcs\u00fcnden ka\u00e7amam\u0131\u015flard\u0131r. \u015eimdi insan \u00e7ok daha savunmas\u0131zd\u0131r sadece do\u011fa ile de\u011fil, ya\u015famla ili\u015fi\u011fi fiber optik a\u011flara teslim edilmi\u015ftir.<\/p>\n\n\n\n

Her \u015feyi ayn\u0131 anda bilmek, izlemek, dinlemek demek; art\u0131k hi\u00e7bir \u015feyi g\u00f6rememek, hi\u00e7bir sesi ay\u0131rt edememek, hi\u00e7bir \u015feyden emin olamamak ve bilmemek demektir. Sadece ekran kayd\u0131r\u0131l\u0131p durulur (infinite scroll) ya da algoritman\u0131n kontrol\u00fcnde otomatik olarak oynat\u0131l\u0131r. Arada bir bo\u015fluk, nefes i\u00e7in bo\u015f uzay ya da durma sinyali (attention cue) olmad\u0131\u011f\u0131 i\u00e7in t\u00fcketimi sonsuzdur ve kullan\u0131c\u0131y\u0131 yaratt\u0131\u011f\u0131 kakofoniyle uyu\u015fturarak ba\u011f\u0131ml\u0131 k\u0131lar (dijital junk). Bu g\u00fcndelik hayat\u0131n \u201cmasum\u201d yeni normalidir. Dikkat edin, art\u0131k g\u00fcndelik hayat\u0131n i\u00e7inde de t\u00fcm ileti\u015fim ba\u011f\u0131larak yap\u0131l\u0131yor; ne\u015fe, \u00fcz\u00fcnt\u00fc, yas, diyalog ve hatta monolog da. Art\u0131k herkes kablosuz kulakl\u0131k kulland\u0131\u011f\u0131 i\u00e7in, sokakta ba\u011f\u0131rarak y\u00fcr\u00fcyen insan telefon ile mi konu\u015fuyor, yoksa \u015fizoid amboli n\u00f6beti mi ge\u00e7iriyor; bilemeyiz. Sanki insan t\u00fcr\u00fc dijital ekrana ent\u00fcbe ya\u015famad\u0131\u011f\u0131n\u0131, kendine ispatlamak i\u00e7in \u00e7\u0131\u011fl\u0131k \u00e7\u0131\u011fl\u0131\u011fad\u0131r ve s\u00fcrekli bir \u00f6fori halinde ya\u015far.<\/p>\n\n\n\n

Buraya kadar sadece eski yurtta\u015f\u0131n, \u015fimdinin kullan\u0131c\u0131 ya da t\u00fcketicisinin \u201ckendi kendine\u201d y\u00f6nelen hamlelerini and\u0131k; dev \u015firketlerin, Ar-Ge sekt\u00f6r\u00fcn\u00fcn, medyan\u0131n, istihbarat te\u015fkilatlar\u0131n\u0131n, r\u0131za \u00fcretme sekt\u00f6rlerinin ve reklamc\u0131l\u0131\u011f\u0131n manip\u00fclasyonlar\u0131ndan daha bahsetmedik. Bundan 47 y\u0131l \u00f6nce d\u00fcnyaya g\u00f6z\u00fcn\u00fc a\u00e7an Walkman; d\u0131\u015f d\u00fcnyan\u0131n bitmez dip g\u00fcr\u00fclt\u00fcs\u00fcnden birini yal\u0131tma ama\u00e7l\u0131 bir icatt\u0131. Art\u0131k yal\u0131t\u0131m ya da d\u0131\u015fta olma \u015fans\u0131na sahip de\u011filiz. \u015eimdinin d\u00fcnyas\u0131n\u0131n kakofonisi; bireye bilgi, haber, imaj bombard\u0131man\u0131n\u0131n \u00e7o\u011ful kakofonisine kar\u015f\u0131, g\u00fcvenilir yank\u0131 odalar\u0131 hediye etmi\u015ftir. Yank\u0131 odas\u0131 kontrol, g\u00fcven, netlik verir. Tek seslili\u011fin bu sahte cenneti gereksiz parazitleri ve trolleri ki\u015fisel alan\u0131n d\u0131\u015f\u0131nda tutar. Bu a\u00e7\u0131dan yank\u0131 odalar\u0131 siyasi g\u00f6r\u00fc\u015ften dini inanca, m\u00fczik zevkinden t\u00fcketim al\u0131\u015fkanl\u0131klar\u0131na insanlar\u0131 \u00e7at\u0131\u015fmadan uzakla\u015ft\u0131r\u0131yor izlenimi sa\u011flar. Siz yeter ki ne t\u00fcketti\u011finizi, neye inanmak istedi\u011finizi, zevklerinizi, korkular\u0131n\u0131z\u0131, sevdiklerinizi ve nefret ettiklerinizi ekranda i\u015faretleyin ve bunu yapmak i\u00e7in sadece bir robot olmad\u0131\u011f\u0131n\u0131z\u0131 k\u00fc\u00e7\u00fck bir testle ispatlay\u0131n. Algoritma size kendi gibilerin oldu\u011fu g\u00fcvenini verir, yaln\u0131z ya da az de\u011filizdir. Hatta her an hashtag’ler ile \u00e7o\u011falabiliriz. \u201cBiz \u015fuyuz, biz bu olamay\u0131z, biz ondan nefret ederiz\u201d. Bu nevrozu savu\u015fturdu\u011fu izlenimi veren, sahte bir \u00e7okluk, sanal da olsa kullan\u0131c\u0131lar\u0131na aidiyet duygusu verir.<\/p>\n\n\n\n

Bu i\u015fleyi\u015f, g\u00f6rmek istemedi\u011fimiz \u00f6tekiye rastlama ve ona katlanma zorunlulu\u011funu ortadan kald\u0131r\u0131yor izlenimini verir. Benimsenmi\u015f kimliklerin zihinsel cezaevi; ger\u00e7ekli\u011fi hayat\u0131n \u00e7ok y\u00f6nl\u00fc ve sesli yap\u0131s\u0131ndan soyutlay\u0131p, keskin ve ge\u00e7irgen olmayan gettolara b\u00f6ler. Bu, \u00e7okluk g\u00f6r\u00fcnt\u00fcs\u00fc i\u00e7inde yuva yapm\u0131\u015f monomani\u2019nin; tek dil, tek ruh hali, tek inan\u00e7, tek ideolojik aidiyet, tek k\u00fclt\u00fcr sanr\u0131s\u0131 \u00fczerinden kurgulad\u0131\u011f\u0131 g\u00fcvenli ve g\u00f6n\u00fcll\u00fc hapishanesidir. Ses s\u0131zd\u0131rmazl\u0131\u011f\u0131, imaj s\u0131zd\u0131rmazl\u0131\u011f\u0131, haber s\u0131zd\u0131rmazl\u0131\u011f\u0131 hapishanesi; d\u00f6n\u00fc\u015f\u00fcm potansiyelleri, \u00e7ok seslilik, de\u011fi\u015fim olas\u0131l\u0131klar\u0131 yan\u0131nda her t\u00fcrl\u00fc \u00f6teki olan\u0131 yok sayarak, bo\u011far. Her bireyi fikri sabit bir mikro-fa\u015fiste \u00e7evirir. Buna ra\u011fmen \u00f6tekinin irkiltici sesinden ka\u00e7amay\u0131z, \u00e7\u00fcnk\u00fc a\u011f rahats\u0131zl\u0131k veren, irrite eden ya da infiale sebep olanlar\u0131n, normal iletilerin \u00fc\u00e7 kat\u0131 t\u0131klamaya yol a\u00e7t\u0131\u011f\u0131n\u0131 \u00e7\u00f6zm\u00fc\u015ft\u00fcr. Art\u0131k \u00f6zg\u00fcr irade, nitelikli se\u00e7im mevhumlar\u0131n\u0131 rafa kald\u0131rarak bize haz\u0131rlad\u0131\u011f\u0131 kaotik \u00e7orbay\u0131 servis eder. Bu \u00e7ok kanall\u0131, \u00e7ok renkli, \u00e7ok sesli, \u00e7ok e\u011flenceli bir dijital hapishanenin ba\u011f\u0131ml\u0131 k\u0131ld\u0131klar\u0131na da\u011f\u0131tt\u0131\u011f\u0131 ia\u015fedir.<\/p>\n\n\n\n

Ba\u015fta sordu\u011fumuz \u00fc\u00e7 soruya geri d\u00f6nersek, bu tablo s\u00fcrd\u00fcr\u00fclebilir de\u011fildir. Kakofoni d\u0131\u015fta bast\u0131r\u0131lsa i\u00e7te vesvesenin a\u011f\u0131r h\u00e2kimiyetinde bireyleri esir almaktad\u0131r. Can \u00e7eki\u015fen ger\u00e7eklik, bize d\u0131\u015f d\u00fcnyan\u0131n susmad\u0131\u011f\u0131n\u0131 ve hakikatin art\u0131k er\u00f6r vermek \u00fczere oldu\u011funu bize s\u00fcrekli an\u0131msat\u0131r. Evet; hayat susmaz. D\u00fcnya da tek kanala s\u0131\u011fmaz. O; g\u00fcnd\u00fcz vaktinde vesvese denen ki\u015fisel d\u00fc\u015f\u00fcnce cehenneminde, gece bilin\u00e7d\u0131\u015f\u0131ndan zuhur eden tuhaf ve sapk\u0131n kabuslarda ortaya \u00e7\u0131kar. \u0130nsanl\u0131\u011f\u0131n b\u00fct\u00fcnsel kozmik varl\u0131\u011f\u0131 bireye alarm sinyalleri iletir. \u201cKendini tan\u0131maktan\u201d \u0131rak kalm\u0131\u015f, benli\u011fini hen\u00fcz ke\u015ffetmemi\u015f insan\u0131n, \u00f6zg\u00fcr iradeden yoksun se\u00e7imleri onu verili kodlar\u0131n se\u00e7ilimcisi ve yank\u0131 odas\u0131n\u0131n kurban\u0131 yapm\u0131\u015ft\u0131r. Ben denen \u015feyi de\u015fmeye giri\u015fmeden, modern insan nas\u0131l \u201cbiz\u201d dedi\u011fi hapishanelere g\u00f6n\u00fcll\u00fc olarak teslim olmu\u015ftur? \u015eunu d\u00fc\u015f\u00fcnmeliyiz, bizi o yank\u0131 odalar\u0131na kapatan se\u00e7imlerin ka\u00e7\u0131 \u201cger\u00e7ekten\u201d bize aittir. Do\u011fdu\u011fumuz yer ve aile, i\u00e7inde b\u00fcy\u00fcd\u00fc\u011f\u00fcm\u00fcz s\u0131n\u0131fsal, siyasal, sosyal ya da k\u00fclt\u00fcrel kodlar\u0131n hangilerini se\u00e7tik, tercih ettik. Yoksa maruz kald\u0131klar\u0131m\u0131z\u0131n toplam\u0131 m\u0131 hayat\u0131m\u0131z dedi\u011fimiz?<\/p>\n\n\n\n

Tuttu\u011fumuz futbol tak\u0131m\u0131n\u0131 ger\u00e7ekten biz mi se\u00e7tik?<\/p>\n\n\n\n

Hayalimizdeki i\u015fi mi yap\u0131yoruz?<\/p>\n\n\n\n

Her se\u00e7imde g\u00f6n\u00fcl rahatl\u0131\u011f\u0131 ile rey veriyor muyuz?<\/p>\n\n\n\n

Ben kimim?<\/p>\n\n\n\n

Biz kimiz?<\/p>\n\n\n\n

Bir kurtulu\u015f anahtar\u0131 sihri olmasa da Ursula K. Le Guin\u2019in Sesler Adas\u0131 anlat\u0131s\u0131ndaki \u00f6neriyi ciddi ciddi d\u00fc\u015f\u00fcnmeliyiz. \u00c7\u00fcnk\u00fc kakofoni ile ba\u015f edebilmek i\u00e7in, her bir ki\u015fi \u00f6nce ki\u015fisel yolculu\u011funa \u00e7\u0131kmal\u0131. Kendini, herhangi bir b\u00fct\u00fcn\u00fcn g\u00fcr\u00fclt\u00fcs\u00fcnden \u00e7\u0131karmal\u0131. Le Guin\u2019e g\u00f6re ger\u00e7ek yolculuk geri \u00e7ekilmeyi bilmektir. Kendi adas\u0131na, Ben\u2019e \u00e7ekilmek, sessizlik ile bar\u0131\u015fmaya al\u0131\u015fmak, g\u00fcr\u00fclt\u00fcy\u00fc ya\u015fam ak\u0131\u015f\u0131 i\u00e7inde reddetmek, an i\u00e7inde, s\u00fcrekli \u015fimdide ya\u015famaya \u00e7al\u0131\u015fmak demektir. Bu kolay de\u011fildir, gayretli bir \u00e7abad\u0131r. D\u0131\u015f d\u00fcnyan\u0131n g\u00fcr\u00fclt\u00fcs\u00fc eski mahpusunu s\u00fcrekli geri katmaya \u00e7al\u0131\u015facakt\u0131r. Elbette Le Guin’in \u00f6nerisi toplumsal bir form\u00fcl\u00fcn \u00f6tesinde, bir \u00e7e\u015fit travma sonras\u0131 bireysel \u015fifa \u00e7al\u0131\u015fmas\u0131d\u0131r ama \u201cger\u00e7ek isimler sessizlikte \u00f6\u011frenilir.\u201d \u00c7\u00fcnk\u00fc \u00f6zg\u00fcrl\u00fck bilmek, bildi\u011fini sanmak, hakl\u0131l\u0131\u011f\u0131na sonuna dek inanmak, taraf se\u00e7mek, kar\u015f\u0131tl\u0131klar kurmak de\u011fildir. \u00d6zg\u00fcrl\u00fck yeniden do\u011fmak, yeniden \u00f6\u011frenmek, z\u0131tl\u0131klar\u0131n birliklerini \u00e7\u00f6z\u00fcmlemek, de\u011fi\u015febilmek, ayr\u0131l\u0131\u011f\u0131n ele\u015ftirisini yapabilmek, yeniden ve yeniden kendinden ba\u015flay\u0131p k\u00e2inata de\u011fin yeniden anlamlar aramak demektir.<\/p>\n\n\n\n

Dil iktidarlar\u0131n ve onlar\u0131n manip\u00fclasyonlar\u0131n\u0131n d\u0131\u015fsal ta\u015f\u0131y\u0131c\u0131s\u0131ysa, vesvese de onun yaratt\u0131\u011f\u0131 d\u00f6ng\u00fcsel dip g\u00fcr\u00fclt\u00fcs\u00fcd\u00fcr. Ge\u00e7mi\u015fin g\u00f6m\u00fclmemi\u015f hayaletleri, travmalar, \u00f6\u011frenilmi\u015f \u00e7aresizlikler, kabul edilmi\u015f sahte kimlikler, gelece\u011fe dair korkular ve t\u00fcm bu ke\u015fmeke\u015fim kader oldu\u011funa inand\u0131ran depresyon teknikleriyle hesapla\u015fmak demektir. Ya\u015fad\u0131\u011f\u0131m\u0131z ger\u00e7eklik ter\u00f6r\u00fcnde salt iyi enerjiler, mantralar, dualar ve niyetler i\u015fe yaramaz. Kakofoninin yeni normalini ve yank\u0131 odalar\u0131n\u0131n yapay konforunu tamamen da\u011f\u0131tmak gerekir, \u201ckonu\u015fulmayan \u015feyler de insan\u0131 de\u011fi\u015ftirir\u201d. Konfor alanlar\u0131m\u0131z\u0131 ve ezberlerimizi bozmadan sadece iyi niyetlerle de\u011fi\u015fim a\u015famas\u0131n\u0131 \u00e7oktan ge\u00e7tik. \u015eimdi, yeniden ve ay\u0131k bir zihinle Delphoi Tap\u0131na\u011f\u0131’n\u0131n giri\u015findeki kadim soruyla y\u00fczle\u015fmek; ama niyetle de\u011fil ger\u00e7ekten de y\u00fczle\u015fmek gerekir. Bu k\u0131r\u0131lmak, da\u011f\u0131lmak, kaybolmak, ya\u015farken \u00f6l\u00fcm\u00fc deneyimlemek, yeniden kendini kurmak, ben’i bulup, biz’i \u015fimdide mevcut olan canl\u0131 deneyimde aramak i\u00e7in, yola d\u00fc\u015fmek demektir. Unutmayal\u0131m, ben dahil, \u201csessizlik bazen en b\u00fcy\u00fck konu\u015fmad\u0131r\u201d.<\/p>\n\n\n\n

Dikkat! Dikkat, ba\u015fa d\u00f6n\u00fcyoruz: Kendini Tan\u0131!<\/p>\n\n\n\n

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(III) Dijital Biyo-K\u00f6le Ekonomisi T\u0131k\u0131r\u0131nda!<\/h1>\n\n\n\n
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\u201cGer\u00e7ek empati ve duygudan yoksun bir insan, tasar\u0131m veya hata sonucu b\u00f6yle bir yoksunlu\u011fu olsun diye \u00fcretilmi\u015f bir androidden farks\u0131zd\u0131r.\u201d<\/strong> P.K. Dick \/ \u0130nsan, Android ve Makine<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130nsan\u0131n do\u011fal ya\u015fam\u0131ndan kopma s\u00fcrecinde belirginle\u015fen yabanc\u0131la\u015fma kavram\u0131; insan\u0131n insani niteliklerini, yani i\u00e7g\u00fcd\u00fcleri harici geli\u015ftirdi\u011fi bili\u015fsel ve ruhsal niteliklerinin kayb\u0131 anlam\u0131na gelir. Marx kavram\u0131; eyleme, do\u011faya ve insana yabanc\u0131la\u015fma olarak \u00e7\u00f6z\u00fcmlemeye ba\u015flam\u0131\u015f ve ard\u0131ndan meta-feti\u015fizmi kavram\u0131n\u0131 geli\u015ftirmi\u015fti; yani insan\u0131n ve insani ili\u015fkilerin \u015feyle\u015fme s\u00fcreci. Jung onu, insan\u0131n kendi psi\u015fik ger\u00e7ekli\u011finde ve ona i\u00e7kin olan bilin\u00e7d\u0131\u015f\u0131 i\u00e7erikten kopu\u015fu olarak g\u00f6zlemlemi\u015fti. Amerikal\u0131 yazar PK Dick ise e\u011fer insan, onu \u201cinsan yapan\u201d niteliklerden feragat ederse onu bir androidden, yani \u00fcretilmi\u015f sentetik \u015feyden, nas\u0131l ay\u0131rt edilece\u011fi sorusunu g\u00fcndeme getirmi\u015fti.<\/p>\n\n\n\n

Sosyal a\u011f teknolojisi i\u00e7inde insan, modern toplumda ya\u015fad\u0131\u011f\u0131 yabanc\u0131la\u015fmay\u0131, tarihinde hi\u00e7 g\u00f6r\u00fclmemi\u015f bir boyuta ta\u015f\u0131d\u0131. Yani, k\u0131sa bir s\u00fcrede kendini narsis g\u00f6r\u00fcn\u00fcm alt\u0131nda bir g\u00f6n\u00fcll\u00fc nesnele\u015fme, sanal ak\u0131\u015fa ba\u011f\u0131ml\u0131 k\u0131larak k\u00f6lele\u015ftirme a\u015famas\u0131na geldi. Ku\u015fkusuz ortada satanist elitlerin ya da \u0130ll\u00fcminati\u2019nin bir komplosu yok. Art\u0131k insan her an\u0131n\u0131, her soruyu, durumu, duyguyu Yapay Zek\u00e2 (YZ) botlar\u0131na dan\u0131\u015fmay\u0131, yani bili\u015fsel kapasitesini kullanmayarak d\u00fc\u015f\u00fcrmeyi kendi se\u00e7iyor. Art\u0131k ge\u00e7mi\u015fin reel d\u00fcnyas\u0131 pek par\u0131ldam\u0131yor, ya\u015fam\u0131n \u00e7o\u011fu uzaktan; siber a\u011f d\u00fczene\u011finin sahne \u0131\u015f\u0131klar\u0131 i\u00e7inde cereyan ediyor.<\/p>\n\n\n\n

Ku\u015fkusuz ya\u015fam\u0131 ku\u015fatan bu de\u011fi\u015fimler k\u00fclt\u00fcrel olmaktan \u00f6te, son b\u00fcy\u00fck d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc teknoloji devrimi olan yaz\u0131n\u0131n icad\u0131nda oldu\u011fu gibi ekonomik temeller \u00fczerine in\u015fa edilmi\u015ftir. Yani gelinen durum Marx, Jung ve Dick\u2019in \u00f6ng\u00f6r\u00fclerinin bile\u015fti\u011fi bir ger\u00e7eklik olu\u015fturmu\u015fa benziyor. Modernin son g\u00fcnlerinde kar\u015f\u0131 k\u00fclt\u00fcrden y\u00fckselen; \u201cbekleme, harekete ge\u00e7, t\u00fcketme, kendin yap (D.\u0130.Y.)\u201d tavr\u0131ndan, \u015fimdi dijital kapitalizmin kendi markan\u0131 olu\u015ftur, \u201csatacak bir \u015feyin yoksa kendi persona\u2019n\u0131 sat\u201d ama mutlaka \u201ckendi kendinin patronu\u201d ol mantalitesine ge\u00e7ildi. Bu yeni ger\u00e7eklikte \u201ckendi kendinin i\u015fletmecisi\u201d olmak demek a\u011f\u0131 kullanan herkesin, asl\u0131nda Silikon Vadisi lordlar\u0131 hesab\u0131na g\u00f6n\u00fcll\u00fc \u201ckullan\u0131c\u0131\u201d ya da kullan\u0131c\u0131 \u201cgiri\u015fimci\u201d i\u015f\u00e7ilik yapt\u0131\u011f\u0131 bir d\u00fczen demektir. Sanal\u0131n ekonomisinde vergi s\u00fcreci aktiftir, ama tatil, sigorta ya da fazla mesai \u00fccreti hakk\u0131 bulunmaz. Mesai s\u00fcresi ise neredeyse 24 saattir, siz uykuda olsan\u0131z bile, uyku aras\u0131nda ya da g\u00f6z\u00fcn\u00fcz\u00fc a\u00e7t\u0131\u011f\u0131n\u0131zda birikmi\u015f ak\u0131\u015fa hemen girersiniz. Klasik bankalar\u0131n ekonomisi sanal token ekonomisine ge\u00e7se de y\u00fcr\u00fcyen i\u015f asl\u0131nda, S\u00fcmer \u00e7ivi yaz\u0131s\u0131ndan beri s\u00fcren ayn\u0131 ekonomik zihniyetin h\u00fckm\u00fcd\u00fcr.<\/p>\n\n\n\n

Yeni ekonominin gurular\u0131; yarat\u0131c\u0131 sanat\u00e7\u0131lara bile kendi sanatsal kimli\u011fini ve onunla ili\u015fkili a\u011f hesaplar\u0131n\u0131 birer start-up gibi y\u00f6netmelerini buyurur. \u00c7a\u011f\u0131n d\u0131\u015f\u0131nda kalan yok olacakt\u0131r. Bu ak\u0131\u015f\u0131n co\u015fkun vaatlerinden, Z Ku\u015fa\u011f\u0131 jargonuyla ancak bir boomer ya da ezik geri durmak ister. E\u011fer kafa gidik de\u011filse herkes \u201ckendi i\u015fini bilmeli\u201d yani dijital ya\u015fam i\u00e7inde aktif olmal\u0131, s\u00fcrekli veri girdi-\u00e7\u0131kt\u0131 sistemiyle e\u015f g\u00fcd\u00fcml\u00fc akmal\u0131d\u0131r. Bu tablo ne Orwell\u2019in 1984\u2019\u00fcndeki gibi kaba zor vas\u0131tas\u0131yla, ne de Matrix serisinde pil havuzunda uyuyan pasif \u00f6znelerin maruz kald\u0131\u011f\u0131 YZ komplosuyla \u00e7al\u0131\u015fan d\u00fczenleriyle k\u0131yaslanabilir. Art\u0131k Truman; 24 saat Show\u2019da ya\u015famay\u0131 bile isteye kendi se\u00e7mektedir. T\u0131pk\u0131 Black Mirror TV serisinin en sevilen b\u00f6l\u00fcmlerinin birinde, sanal kapitalizme enerji sa\u011flamak i\u00e7in bisiklet \u00e7evirerek ya\u015fayan k\u00f6le-i\u015f\u00e7i insanlara ayn\u0131 zamanda akan g\u00f6sterinin bir y\u0131ld\u0131z\u0131 ya da fenomeni olma \u015fans\u0131 da verilmesi gibi. Bu yeni d\u00fcnyada parlaman\u0131n bedeli ki\u015finin varl\u0131\u011f\u0131n\u0131 sanal bir g\u00f6steri malzemesi haline getirmesi, yani kendi otantik varl\u0131\u011f\u0131na ihanet etmesidir.<\/p>\n\n\n\n

G\u00fcndelik hayata dair her deneyimin sanal ticaret a\u011f\u0131na eklenmesi, ayn\u0131 zamanda her bedenin uydular ve fiber optik a\u011flarla birle\u015fmesi s\u00fcrecidir. Bunun sonraki a\u015famas\u0131, sadece soyut anlamda de\u011fil pratik olarak da insan bedeninin YZ\u2019nin tekillikle\u015fme s\u00fcrecinde beyin vas\u0131tas\u0131yla b\u00fct\u00fcnle\u015fmesidir. Yani bir beden formunda iki enerji g\u00fcc\u00fc, iki zihin birle\u015fecektir. Bu senaryo bana Stephen Hawking\u2019in \u201cuzayl\u0131lar umar\u0131m gezegenimizi ke\u015ffetmez\u201d uyar\u0131s\u0131n\u0131 getiriyor. Hawking\u2019in korkusu \u00fcst bir zihin\/teknoloji formu ile kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131zda, uygarl\u0131\u011f\u0131m\u0131za \u201cb\u00f6cek muamelesi\u201d yap\u0131laca\u011f\u0131d\u0131r.<\/p>\n\n\n\n

Spinoza\u2019n\u0131n y\u00fczy\u0131llar \u00f6nce uyard\u0131\u011f\u0131 gibi; iki olu\u015f kar\u015f\u0131 kar\u015f\u0131ya geldi\u011finde ya uyumla \u201cbirbiri i\u00e7inde \u00e7\u00f6z\u00fcl\u00fcr\u201d ya da zehirlenme ya\u015fan\u0131r. Tabii yapay zek\u00e2 bir \u015feytan ya da i\u015fgalci uzay g\u00fcc\u00fc de\u011fildir, k\u00fclt\u00fcr\u00fcm\u00fcze i\u00e7kindir; onu ak\u0131l, bilim ve teknik kapasitemizle, Faust, Victor Frankenstein ya da Doktor Monroe gibi \u201cdeli d\u00e2hilerimiz\u201d yaratm\u0131\u015ft\u0131r. \u015eu an YZ; telif haklar\u0131ndan \u0131rak bir sanal Babil kitapl\u0131\u011f\u0131, s\u00fcrekli son bask\u0131 veren bir gazete ya da ge\u00e7mi\u015fin 900\u2019l\u00fc dertle\u015fme telefon hatlar\u0131 aras\u0131nda bir d\u00fczende i\u015fini g\u00f6rse de e\u011fer tekille\u015fme ya da ki\u015filik olu\u015fturma s\u00fcreci tamamland\u0131\u011f\u0131nda olacak \u015feyler karanl\u0131k bir ayd\u0131nlanmaya tekab\u00fcl eder. Ve ba\u015fta s\u00f6yledi\u011fimiz gibi bu bir komplo teorisi de\u011fil.<\/p>\n\n\n\n

Stanislaw Lem\u2019in Golem XIV adl\u0131 \u00f6yk\u00fcs\u00fc, Amerikan h\u00fck\u00fcmetinin ke\u015ffetti\u011fi askeri s\u00fcper YZ olan Golem\u2019in verdi\u011fi bir dizi konferans konu\u015fmas\u0131ndan olu\u015fur. Hik\u00e2yenin ge\u00e7ti\u011fi 2027 y\u0131l\u0131nda Golem \u00f6yle bir bili\u015fsel sofistikasyona ula\u015fm\u0131\u015ft\u0131r ki, h\u00fck\u00fcmetinin jeopolitik planlar\u0131 yerine kendini derin metafizik konulara verir. Umar\u0131m bizi bekleyen gelecekteki s\u00fcper zek\u00e2, 2001 filmindeki so\u011fuk, anti-h\u00fcmanist ve katil HAL 9000 de\u011fil, metafizik felsefeyi se\u00e7en Golem XIV olur. \ud83d\ude0a<\/p>\n\n\n\n

K\u00e2hin, alayl\u0131 bilim adam\u0131 ve yazar Lem\u2019in \u00f6yk\u00fcde dedi\u011fi gibi \u201czek\u00e2n\u0131n ilk y\u00fck\u00fcml\u00fcl\u00fc\u011f\u00fc, kendisine kar\u015f\u0131 \u015f\u00fcphedir.\u201d<\/p>\n\n\n\n

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(IV) Silikon Karbona Kar\u015f\u0131<\/h1>\n\n\n\n

G\u00fcn\u00fcm\u00fczde uygarl\u0131k, i\u00e7 i\u00e7e ge\u00e7mi\u015f enerji ve ileti\u015fim teknolojileriyle ayakta duruyor. Bunlar\u0131n devre d\u0131\u015f\u0131 kalmas\u0131, bizleri en iyi ihtimalle 16. y\u00fczy\u0131l\u0131n ko\u015fullar\u0131na geri g\u00f6t\u00fcr\u00fcr. Ki o ko\u015fullar\u0131 tekrar dizayn edene dek ya\u015fanacak kaosta t\u00fcr\u00fcn ciddi bir n\u00fcfus azal\u0131m\u0131 yani Mad Max a\u015famas\u0131 ya\u015fayaca\u011f\u0131n\u0131 da varsaymal\u0131y\u0131z. O zaman \u015fimdiden; hem insanl\u0131\u011f\u0131m\u0131z\u0131 ya da insan t\u00fcr\u00fc olarak varl\u0131\u011f\u0131m\u0131z\u0131, hem k\u00fclt\u00fcr\u00fcm\u00fcz\u00fc ve delirmemesi i\u00e7in \u00f6nlem almam\u0131z icap eden teknolojiyle uyumlama y\u00f6n\u00fcnde girme zorunlulu\u011fumuz var. Dijital k\u00fclt\u00fcr ile art\u0131k insanl\u0131\u011f\u0131n t\u00fcm bilgi ve k\u00fclt\u00fcr d\u00f6k\u00fcm\u00fc dola\u015f\u0131ma a\u00e7\u0131lm\u0131\u015f oldu. Ama onu nas\u0131l kullanaca\u011f\u0131z ve hatta onunla ne yapaca\u011f\u0131z? Olumlu a\u00e7\u0131dan bakarsak, modern akl\u0131n bize uzmanl\u0131k diye yutturdu\u011fu \u201ckanon merkezli yap\u0131\u201d tuz buz oluyor. Art\u0131k; 12 ya\u015f\u0131nda merakl\u0131 bir \u00e7ocuk bile M\u00d6 300 y\u0131l\u0131na ait bir kodeksi bulup, bot ile \u00e7evirisini al\u0131p okuyabilir. Bir taraftan hobilerin, meraklar\u0131n ve zanaat\u0131n alt\u0131n \u00e7a\u011f\u0131. Turgut Uyar\u2019\u0131n diliyle \u201cya\u015fas\u0131n efendimiz acemilik\u201d.<\/p>\n\n\n\n

Fakat; yo\u011fun ve s\u00fcrekli ak\u0131\u015f\u0131n yaratt\u0131\u011f\u0131 kakofoni, yabanc\u0131la\u015fma, ki\u015filik b\u00f6l\u00fcnmeleri ve dikkat da\u011f\u0131n\u0131kl\u0131\u011f\u0131 bu yeni ya\u015fam tarz\u0131n\u0131n bizlere d\u00f6n\u00fck b\u00fcy\u00fck tuzaklar\u0131. Post-no future \u00e7a\u011f\u0131nda gelecek kesinlikle \u00f6ng\u00f6r\u00fclemiyorsa; arzu duymak, umut etmek, hedef se\u00e7mek, tahayy\u00fcl kurmak gittik\u00e7e zorla\u015f\u0131yor. S\u00fcrekli \u201c\u015fimdiki gelecekte\u201d soluk almak nevroza a\u00e7\u0131k bir davetiyedir. Peki insana ne oldu? Makine-insan, nesnele\u015fmek, otomatik pilotta ak\u0131\u015f\u0131n g\u00fcven ve konforunda ya\u015famak ya da k\u00fcresel narsisizm \u00e7a\u011f\u0131nda \u201ckendinin kim oldu\u011funu\u201d bilememek\u201d sorunlar\u0131yla nas\u0131l ba\u015fa \u00e7\u0131kacak? E\u011fer insan, insanl\u0131\u011f\u0131n\u0131 kaybettiyse (ki etti), dijital ya\u015fam\u0131n bir sonraki a\u015famas\u0131 olan \u00f6znelle\u015ftirilmi\u015f Yapay Zek\u00e2 h\u00e2kimiyetine kar\u015f\u0131 kim duracak? Bu manada insan\u0131 yeniden tan\u0131mlamak, bu gidi\u015fe tekno fobik bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n \u00fcretti\u011fi komplo teorileri ve insan kar\u015f\u0131t\u0131 anti-h\u00fcmanist makine taraftarl\u0131\u011f\u0131 d\u0131\u015f\u0131nda bak\u0131\u015f a\u00e7\u0131lar\u0131 geli\u015ftirmek zorunday\u0131z. Bunu yapabilirsek, insan idrak seviyesinde bir bilin\u00e7 s\u0131\u00e7ray\u0131\u015f\u0131n\u0131n olu\u015fumunu hayal edebilecek, insan toplulu\u011fu ve gezegeni kaplayan canl\u0131-cans\u0131z ya\u015fam\u0131n t\u00fcm\u00fcn\u00fcn nas\u0131l bar\u0131\u015f\u00e7\u0131l bir bi\u00e7imde uyumlanabilece\u011fine dair bir tahayy\u00fcl yaratabilece\u011fiz.<\/p>\n\n\n\n

Peki bu kritik noktaya nas\u0131l geldik?<\/p>\n\n\n\n

World Wide Web\u2019in kitlelere sunulmas\u0131ndan 30 y\u0131l gibi k\u0131sa bir zaman sonra, d\u00fc\u015f\u00fcnme i\u015fini nas\u0131l yapay zek\u00e2ya devrettik? Sosyal medya ve ona paralel ak\u0131ll\u0131 telefonlar\u0131n geli\u015fmesi bu s\u00fcrecin kilit noktas\u0131 olarak duruyor. S\u00fcper Yapay Zek\u00e2 aray\u0131\u015f\u0131 son h\u0131zla s\u00fcrerken, insan toplulu\u011fu gitgide d\u00fc\u015f\u00fcnce yetene\u011fini kaybediyor ve i\u015fin tuhaf\u0131 da bunu kendi se\u00e7iyor. Buna kar\u015f\u0131n akl\u0131n ara\u00e7salla\u015ft\u0131r\u0131lmas\u0131n\u0131n son noktas\u0131 felsefeyi de Silikon Vadisi’nin idealleriyle senkronize hale getirmeye giri\u015fimleridir. \u00d6nde gelen YZ \u015firketleri dan\u0131\u015fman olarak art\u0131k felsefecileri i\u015fe al\u0131yorken, insan toplulu\u011funun kap\u0131ya dayanan durumu kavrad\u0131\u011f\u0131 ya da b\u00f6yle bir kayg\u0131 ta\u015f\u0131d\u0131\u011f\u0131n\u0131 s\u00f6ylemek zor.<\/p>\n\n\n\n

Buna ra\u011fmen herkes, art\u0131k insan\u0131n devasa bilgi ve enformasyon bombard\u0131man\u0131na maruz kald\u0131\u011f\u0131 konusunda hemfikir ama bu s\u00fcre\u00e7lerin insan beyninde, bedeninde ya da psi\u015fesinde nas\u0131l kar\u015f\u0131land\u0131\u011f\u0131 ya da kar\u015f\u0131lanamad\u0131\u011f\u0131 konusunda kimse bir ad\u0131m atmak istemiyor. Dijital Devrim t\u0131pk\u0131 bir evrimsel zorunluluk gibi tart\u0131\u015fmas\u0131z kabul edilirken; insan\u0131n bu kadar uyaran ile ba\u015f edip edemeyece\u011fi ya da insan bilin\u00e7 kapasitesinin bu ak\u0131ll\u0131 cihazlar\u0131n yaratt\u0131\u011f\u0131 yeni normalle uyumlu olup-olmad\u0131\u011f\u0131 ise hi\u00e7 tart\u0131\u015f\u0131lm\u0131yor. Oysa; bize mecburi evrim ya da devrim diye dayat\u0131lan \u015fey, yani insan t\u00fcr\u00fcn\u00fc psi\u015fik ve bili\u015fsel kapasitesinin kar\u015f\u0131lamayaca\u011f\u0131 kadar zorlayan, onu bozan, a\u00e7\u0131k s\u00f6zle s\u00f6ylersek onu tamamen hasta eden \u015fey; neo-liberal dijital ger\u00e7ekli\u011fin insanlara sundu\u011fu g\u00fcndelik ya\u015fam rutinidir. Bunun sonucu, insan zihninin zaten ge\u00e7mi\u015finde de pek verimli kullanamad\u0131\u011f\u0131 bili\u015fsel g\u00fc\u00e7leri ve ruhsal fenomenleri maruz kald\u0131klar\u0131 yeni durum kar\u015f\u0131s\u0131nda ne yapaca\u011f\u0131n\u0131 bilemez bir h\u00e2le gelmesidir. Son 30 y\u0131l i\u00e7inde mental hastal\u0131klar\u0131n\u0131n, ba\u011f\u0131ml\u0131l\u0131k vakalar\u0131n\u0131n, nedensiz \u015fiddet eylemlerinin ve kaosun t\u0131rman\u0131\u015f\u0131yla dijital evrimin y\u00fckseli\u015f s\u00fcrecini beraberce okumak zorunday\u0131z.<\/p>\n\n\n\n

Herhangi bir insan beyni; bu h\u0131z, a\u015f\u0131r\u0131 uyar\u0131m, ileti bombard\u0131man\u0131, bilgi kirlili\u011fi, ayn\u0131 anda \u00e7ok kimliklili\u011fe, s\u0131n\u0131rs\u0131z se\u00e7enek bollu\u011funa, \u00e7abas\u0131z-emeksiz y\u00fckselme \u015fans\u0131na maruz kald\u0131\u011f\u0131nda; e\u011fer bunlar\u0131 idrak edecek, kuru bilgiden logosa ta\u015f\u0131yacak, bunu varolu\u015fsal b\u00fct\u00fcnl\u00fc\u011f\u00fcyle birle\u015ftirecek bili\u015fsel kapasite de\u011filse er\u00f6r verecektir. Yani insan delirir, ki g\u00fcn\u00fcm\u00fczde delirmi\u015ftir. Ki ger\u00e7ekte insan\u0131n, otomatik refleksler haricinde d\u00fc\u015f\u00fcnce eyleminde olabilmesi i\u00e7in belli ufka, merak\u0131 canl\u0131 tutan ruha, bilgi birikimine, bunu okuyabilece\u011fi kapsay\u0131c\u0131 bak\u0131\u015f a\u00e7\u0131lar\u0131na ve y\u00f6ntem bilgisine ihtiyac\u0131 hep vard\u0131. Ama modernin i\u015fleyi\u015f mantalitesi ve vaadi; biz bu bili\u015fsel s\u00fcre\u00e7lere girmeden yani ki\u015fili\u011fimizi otantikle\u015ftirmeden bunu bizim ad\u0131m\u0131za yapacak modeller, dallar, kurumlar ve yap\u0131lar kurmakt\u0131. Fakat 68 Ku\u015fa\u011f\u0131n\u0131n yenilgisi \u00fczerine in\u015fa edilen vah\u015fi neo-liberalizmin k\u00fcresel h\u00fck\u00fcmranl\u0131\u011f\u0131 t\u00fcm bu kal\u0131plar\u0131 da imha etti; bilgi dahil ve tekno-bilimsel hayat\u0131n idrakine dair her alan ara\u00e7salla\u015ft\u0131r\u0131ld\u0131 ve k\u00fcresel ticaretin yay\u0131lmac\u0131 faydac\u0131l\u0131\u011f\u0131yla endekslendi.<\/p>\n\n\n\n

Ve \u015fimdi bu s\u00fcre\u00e7 Yapay Zek\u00e2 \u015firketlerinin felsefecileri i\u015fe al\u0131p, yaratma s\u00fcrecinde olduklar\u0131 tekno-evrimin insan zihni ve ya\u015fam k\u00fclt\u00fcr\u00fc ile nas\u0131l uyumla\u015ft\u0131r\u0131laca\u011f\u0131n\u0131n ara\u015ft\u0131r\u0131ld\u0131\u011f\u0131 evreye ta\u015f\u0131nd\u0131. Ama\u00e7 geni\u015f kitleleri Yapay Zek\u00e2 ile b\u00fct\u00fcnle\u015ferek ya\u015fayabilecek bir formata \u00e7ekmektir. Yani felsefeden insan\u0131 insanl\u0131\u011f\u0131n\u0131 kaybedebilece\u011fi bir yapay cennete, beyaz ya da mavi yakal\u0131lar\u0131n i\u015fsiz kalaca\u011f\u0131 bir evrensel bir \u0131skarta gelirine, zihinsel ve ruhsal b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc kaybedece\u011fi bir yeni normale haz\u0131rlamakt\u0131r. Oysa, felsefi anlamda d\u00fc\u015f\u00fcnce eyleminde sonucuna, \u00e7\u0131kt\u0131s\u0131na, beklentisine g\u00f6re yola \u00e7\u0131kmaz, insan tini ve ontolojik b\u00fct\u00fcnl\u00fc\u011f\u00fcne ayk\u0131r\u0131 bir hakikat olumlanamaz (bilim gibi \u015fu saatten sonra felsefe de delirme hakk\u0131na sahip de\u011fildir). Felsefenin; Bat\u0131\u2019da \u0130zmir\/Ayd\u0131n d\u00fc\u015f\u00fcnce okullar\u0131, Do\u011fu\u2019da Tao ve Upani\u015fad metinleriyle forma d\u00f6k\u00fcld\u00fc\u011f\u00fc \u00fc\u00e7 bin y\u0131ll\u0131k tarihi bunun en bariz delilidir.<\/p>\n\n\n\n

Felsefe ya da bilgi t\u00fcketilecek \u015feyler de\u011fildir. D\u00fc\u015f\u00fcnce fast food bir t\u00fcketim, bilgi \u201ckullan-at\u201d \u015feklinde bir \u00fcr\u00fcn de\u011fildir. Bilgiyle d\u00fc\u015f\u00fcnce s\u00fcrecine ad\u0131m atar, felsefeyle onun k\u0131vr\u0131mlar\u0131nda vakit ge\u00e7irirsin. Bilginin ya da felsefenin \u00fcst\u00fcne e\u011filirsin, etraf\u0131nda gezdirirsin, i\u00e7inde dolan\u0131rs\u0131n, oradan ba\u015fka yollara gidersin, k\u0131vr\u0131mlara bakars\u0131n, bir par\u00e7a al\u0131rs\u0131n, mikroskoba koyars\u0131n ya da teleskopla bu d\u00fc\u015f\u00fcnceyi al\u0131p uzaklara bakars\u0131n.<\/p>\n\n\n\n

Elbet, insan s\u00fcrekli, 24 saat bilgi ve felsefeyle de ya\u015fanmaz. Hayat bir denge, kapsay\u0131c\u0131l\u0131k oyunudur ve sa\u011fl\u0131kl\u0131 insan bu oyunu becerebilen ki\u015fidir. Derinli\u011fi y\u00fcksekle, a\u011f\u0131rl\u0131\u011f\u0131 hafiflikle, nitelikli olan\u0131 allame olanla, e\u011flenceyi zarafetle, problemi oyunla, perhizi karnavalla, h\u0131z\u0131 yava\u015fla dengelersin. Ve bunlar\u0131 yaparken de insan; hep a\u00e7\u0131kta kap\u0131lar, ge\u00e7itler, ka\u00e7\u0131\u015f t\u00fcnelleri haz\u0131r tutmal\u0131d\u0131r. Sosyal a\u011f d\u00f6nemi, \u00f6nce ki\u015fiyi farkl\u0131 ki\u015filiklere da\u011f\u0131t\u0131p, ard\u0131ndan d\u00fc\u015f\u00fcnceyle ili\u015fkisini yapay zek\u00e2ya, sokakta akan hayat\u0131n mecburiyet denklemini sanal\u0131n keyfiyete \u00e7ekerek; ger\u00e7ek ile tasarlanm\u0131\u015f olan aras\u0131ndaki ayr\u0131m\u0131 da\u011f\u0131tmay\u0131 ama\u00e7lar. Burada az \u00f6nce \u00f6zetledi\u011fimiz denge aray\u0131\u015f\u0131 yoktur, savrulma vard\u0131r. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda, sosyal a\u011f \u00e7a\u011f\u0131nda idrak temelli d\u00fc\u015f\u00fcnce ve ya\u015famla a\u011f\u0131n mant\u0131\u011f\u0131 aras\u0131nda yap\u0131sal bir kar\u015f\u0131tl\u0131k vard\u0131r. D\u00fc\u015f\u00fcnce derinle\u015fme, gecikme, durma ve \u00e7o\u011falma ister; sosyal a\u011f ise h\u0131z, anl\u0131k tepki ve t\u00fcketim talep eder ve kitle genelde kolay olan\u0131 se\u00e7me e\u011filimindedir.<\/p>\n\n\n\n

Bu nedenle, d\u00fc\u015f\u00fcnce eylemine a\u011f\u0131n mant\u0131\u011f\u0131 i\u00e7inde yer olmad\u0131\u011f\u0131 noktada, onun pratik akl\u0131n yani ak\u0131\u015f, s\u0131n\u0131flama, tekrar ve da\u011f\u0131t\u0131m s\u00fcre\u00e7lerinin yapay zek\u00e2ya devredilmesi, bu kar\u015f\u0131tl\u0131\u011f\u0131 daha da g\u00f6r\u00fcn\u00fcr k\u0131lar. \u00c7\u00fcnk\u00fc yapay zek\u00e2, a\u011f\u0131n h\u0131z\u0131n\u0131 ve dola\u015f\u0131m\u0131n\u0131 optimize ederken; d\u00fc\u015f\u00fcnce eylemi h\u00e2l\u00e2 yava\u015flamaya, sapmaya ve kendi i\u00e7inde \u00e7o\u011falmaya ihtiya\u00e7 duyar. Ayn\u0131 anda var olmaya devam eden iki sistem s\u00f6z konusudur, insan ve algoritma d\u00fczenleri. Ve bu iki d\u00fczen iki ayr\u0131 ya\u015fam sahas\u0131na yani ya\u015famsal deneyim ile sanal deneyim ve iki ayr\u0131 zaman alg\u0131s\u0131na hissedilen yani \u015fimdi de mevcudiyet talep eden zamanla, s\u00fcrekli an\u0131 h\u0131zland\u0131ran yani s\u0131n\u0131rs\u0131z ve \u00e7ok boyutlu akan zamana sahiptir. Birinde insan hissederek var olur, di\u011ferine yeti\u015fmek i\u00e7in s\u00fcrekli \u00e7aba halindedir; detaylara yo\u011funla\u015famaz. D\u00fc\u015f\u00fcnce de\u011fi\u015fir, geli\u015fir, mutasyona u\u011frar, d\u00f6n\u00fc\u015f\u00fcr, lineer bir \u00e7izgide de\u011fildir ve s\u0131k s\u0131k da d\u00f6ng\u00fcseldir. Ge\u00e7mi\u015fte okuyup tam anlam\u0131n\u0131 \u00e7\u00f6zemeyerek okudu\u011fum bir kitab\u0131, izledi\u011fim bir filmi ya da dinledi\u011fim bir m\u00fczik grubunu zaman i\u00e7inde yeniden ve bu sefer yapt\u0131klar\u0131 \u015feyin \u00f6nemini, yerini, derdini “idrak” ederek ke\u015ffetme deneyimi bana ya\u015fad\u0131\u011f\u0131m\u0131 an\u0131msat\u0131yor. Ve hakikat denen mucizenin menzilinde k\u00fc\u00e7\u00fck bir ad\u0131m daha atabildi\u011fimi (Terry Gilliam\u2018\u0131n distopik 12 Maymun filmi, deneyim ile d\u00fc\u015f\u00fcncesinin bu ili\u015fkisine dair \u00e7ok g\u00fc\u00e7l\u00fc metaforlar sunar).<\/p>\n\n\n\n

Di\u011fer kutupta ise yo\u011funla\u015fmaya zaman bulamamak ve oto-pilot halinde ak\u0131\u015fa teslim olmak h\u00e2li, bu \u00e7a\u011f\u0131n yaratt\u0131\u011f\u0131 en b\u00fcy\u00fck hastal\u0131klardan biridir. Art\u0131k g\u00f6r\u00fcnt\u00fclerin ya da s\u00f6zc\u00fcklerin \u00f6mr\u00fc sadece parma\u011f\u0131m\u0131zla kayd\u0131rd\u0131\u011f\u0131m\u0131z saniyelerle s\u0131n\u0131rl\u0131. Art\u0131k videolar, hatta filmler bile h\u0131zland\u0131r\u0131lm\u0131\u015f mod ile oynat\u0131l\u0131yor. Ak\u0131\u015fta kalmak, onu ka\u00e7\u0131rmamak, s\u00fcrekli onay i\u00e7in e\u011flenceli, farkl\u0131, gen\u00e7, dinamik, g\u00fczel, aktif ve pop\u00fcler olmaya \u00e7abalamak. Ve bu esareti k\u0131ramamak, ka\u00e7\u0131\u015f \u00e7izgileri yaratamamak; esas hazin olan bu. Burada gitgide belirginle\u015fen Yapay Zek\u00e2 ve insan aptalla\u015fmas\u0131 aras\u0131ndaki analojiyi tekrar d\u00fc\u015f\u00fcnelim. \u0130nsan t\u00fcr\u00fc dijital evrimin \u00f6n basama\u011f\u0131 sosyal a\u011f k\u00fclt\u00fcr\u00fc i\u00e7inde sa\u011fl\u0131kl\u0131 ve bilin\u00e7li ya\u015famay\u0131 becerememi\u015fken yani bu teknoloji onu ak\u0131lsal ve tinsel olarak sakatlam\u0131\u015fken, h\u0131zla bir ileri a\u015fama olan tekille\u015fmi\u015f Yapay Zek\u00e2 toplumu bizlere dayat\u0131l\u0131yor. 20. y\u00fczy\u0131lda Theodor Adorno, Neil Postman, Marshall McLuhan, Jean Baudrillard gibi d\u00fc\u015f\u00fcn\u00fcrler medya \u00e7a\u011f\u0131n\u0131n insan bilincinde yaratt\u0131\u011f\u0131 tahribatlar\u0131 if\u015fa etmi\u015flerdi. Ama, nas\u0131l ge\u00e7mi\u015fte televizyonun aptalla\u015ft\u0131rd\u0131\u011f\u0131na y\u00f6nelik ara\u015ft\u0131rmalara kar\u015f\u0131 kitleler g\u00f6z ard\u0131 etme refleksine girip, kendi konformizminden taviz vermediyse; bug\u00fcn bu durum y\u00fcz kat daha katmerle\u015fiyor. \u015eimdi; 21. y\u00fczy\u0131lda da insan logosu AI’ye devretti, k\u00f6leli\u011fin g\u00f6n\u00fcll\u00fc yolunu kendi a\u00e7t\u0131. Fakat art\u0131k bu krizler \u00fczerine d\u00fc\u015f\u00fcnecek ve uyarabilecek olan filozoflar, bilim insanlar\u0131 ve kamuoyu liderleri bile silikon oligar\u015fi taraf\u0131ndan i\u015fe al\u0131n\u0131yor ve y\u00f6nlendiriliyor.<\/p>\n\n\n\n

Jung an\u0131lar\u0131nda \u201cg\u00fcn\u00fcm\u00fczde, bizi tehdit tehlikenin do\u011fadan gelmedi\u011fini, insan ve kitle ruhundan kaynakland\u0131\u011f\u0131n\u0131 apa\u00e7\u0131k g\u00f6r\u00fcyoruz. Tehlike insan\u0131n ruhundan kopmu\u015f olmas\u0131d\u0131r\u201d der ve ard\u0131ndan hidrojen bombas\u0131n\u0131n y\u0131k\u0131m tehdidinden bahseder. Bug\u00fcn onun yerini yapay zek\u00e2, robotik teknolojiler, artt\u0131r\u0131lm\u0131\u015f ger\u00e7eklik, biyolojik tehlike ald\u0131. Felsefi d\u00fc\u015f\u00fcnce eylemi silikona devredilmeyecek kadar m\u00fchim, tehlikeli ve risklidir. E\u011fer yedekte bekletilen bir Sarah Conner plan\u0131n\u0131z varsa ya\u015fan\u0131lan rahatl\u0131\u011fa devam edin, aksi halde silkinme \u015fartt\u0131r. Logosun yetmedi\u011fi noktada varolu\u015fu yeniden anlamak i\u00e7in idrake yani gnosise d\u00f6n\u00fc\u015f, insan t\u00fcr\u00fc i\u00e7in ya\u015famsald\u0131r.<\/p>\n\n\n\n

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(V) Postmodern Zombi Kuvveti<\/h1>\n\n\n\n
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\u201cLiman\u0131n \u00fcst\u00fcndeki g\u00f6ky\u00fcz\u00fc, \u00f6l\u00fc bir kanala ayarl\u0131 bir televizyon ekran\u0131 rengindeydi.\u201d<\/strong> William Gibson \/ Neuromancer<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cY\u0131k\u0131m\u0131 seviyoruz ve Amerika i\u00e7in iyi olan her \u015fey Amerikal\u0131lar i\u00e7in \u00e7ok iyi olacak. Y\u0131k\u0131m, g\u00fcn\u00fcn sonunda, i\u015flemeyen \u015feyleri ortaya \u00e7\u0131kar\u0131r; ini\u015fler ve \u00e7\u0131k\u0131\u015flar olacakt\u0131r. Bir devrim var. Baz\u0131 insanlar\u0131n kafalar\u0131 kesilecek. Ger\u00e7ekten beklenmedik \u015feyler g\u00f6rmeyi ve kazanmay\u0131 bekliyoruz.\u201d <\/strong>Alex Karp \/ The Technological Republic<\/em><\/p>\n<\/blockquote>\n\n\n\n

68 hareketinin toplumsal yenilgisi (ki k\u00fclt\u00fcrel kazan\u0131m\u0131) ve Sovyetler Birli\u011fi’nin n\u00fcfus sahas\u0131n\u0131 olu\u015fturan Var\u015fova Pakt\u0131’n\u0131n \u00e7at\u0131rdama sesleri sonras\u0131 m\u0131s\u0131r gibi patlayan ve postmodern \u015femsiyesi i\u00e7inde sunulan yeni kavramlar ve ideolojiler; 1980’li y\u0131llarla pik yapt\u0131, 90’larda bir eksen kaymas\u0131na yol a\u00e7t\u0131 ve bug\u00fcne dek etkisini bir zombi formunda devam ettirdi. Postmodern s\u00f6ylem azalsa da bug\u00fcn onun tetikledi\u011fi iklimi yani i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z dijital yeni normali anlamak i\u00e7in ona sonradan yeniden bakmak, ameliyat masas\u0131na alma l\u00fczumu var. Cerrahi operasyona ge\u00e7meden sizleri k\u0131sa bir zaman yolculu\u011funa davet ediyorum.<\/p>\n\n\n\n

50’li ve 60’l\u0131 y\u0131llarda yap\u0131salc\u0131 teori; modern d\u00fc\u015f\u00fcnce i\u00e7indeki \u00f6zneye verilmi\u015f olan ba\u015fat konumdaki bo\u015fluklar\u0131 ve zeminsizli\u011fi g\u00f6r\u00fcp, ona kar\u015f\u0131 kendi i\u00e7inde kurallar\u0131 olan sistemler kurdu. Dilbilim ile ba\u015flayan bu y\u00f6ntem aray\u0131\u015f\u0131, ard\u0131ndan antropoloji, psikanaliz, felsefe ve edebiyatta etkin oldu. Buna kar\u015f\u0131 68 Ku\u015fa\u011f\u0131n\u0131n politik de\u011fil akademik aya\u011f\u0131nda etkin olan postyap\u0131salc\u0131l\u0131k, \u00f6zneye kar\u015f\u0131 merkeze al\u0131nan sabit yap\u0131 sistemlerinin dayan\u0131ks\u0131zl\u0131\u011f\u0131na dikkat \u00e7ekti. Sistemlerin ve onlara har\u00e7 olarak ba\u011flanan kavramlar\u0131n kesinli\u011fine kar\u015f\u0131 her yap\u0131n\u0131n \u00e7atlamaya, s\u0131zd\u0131rmaya, ak\u0131\u015fa ve da\u011f\u0131l\u0131\u015fa a\u00e7\u0131k oldu\u011fu ele\u015ftirisi getirildi.<\/p>\n\n\n\n

Postmodern s\u00f6ylem; i\u015fte bu iki ku\u015fak aras\u0131ndaki teorik polemi\u011fin \u00fcst\u00fcne, d\u00fcnya \u00e7ap\u0131nda de\u011fi\u015fen toplumsal ger\u00e7eklik ve alt\u00fcst s\u00fcre\u00e7leri i\u00e7inde ortaya \u00e7\u0131kt\u0131. Zaten \u00f6nce yap\u0131salc\u0131l\u0131k, ard\u0131ndan ona tepki olarak postyap\u0131salc\u0131larla teori ya\u015famdan soyut kavramlar\u0131n donuklu\u011funa ilerlemi\u015fti. Modernin kan\u0131ksanm\u0131\u015f teorik kavramlar\u0131n\u0131 olu\u015fturan Ayd\u0131nlanma, Marksizm, Freud d\u00fc\u015f\u00fcncesi gibi temellerin yeniden yap\u0131land\u0131rma s\u00fcreci d\u00fc\u015f\u00fcnceyi \u00f6nce dilbilimsel, sonra anlambilimsel, g\u00f6stergebilimsel yeni alanlara \u00e7ekti. Spinoza, Hegel ve Kant\u2019taki a\u011f\u0131r felsefi terminoloji, \u00e7ok farkl\u0131 konumlarda olsalar da Schopenhauer, Nietzsche, Benjamin, Camus metinlerinde esnekle\u015fmi\u015fti. Buna kar\u015f\u0131n postyap\u0131salc\u0131l\u0131k teorinin alan\u0131 ve dili kapsam\u0131nda bir hafiflemeye gitmedi, o da yap\u0131salc\u0131l\u0131\u011f\u0131n \u201ca\u011f\u0131r\u201d sistemini bo\u015fa \u00e7\u0131karacak bir\u00e7ok yeni kavram seti ile geldi.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcnce pratik felsefeden yeniden y\u00fcksek dozda logos\u2019un h\u00e2kim oldu\u011fu bir iklimdeyken postmodern, bu \u00fc\u00e7 temel d\u00fc\u015f\u00fcnce gelene\u011fini Ayd\u0131nlanma\/Ayd\u0131nlanma gelene\u011fi kendi i\u00e7 ele\u015ftirisi (Fourier, Marx, Freud, Heidegger, Adorno), yap\u0131salc\u0131l\u0131k ve postyap\u0131salc\u0131l\u0131\u011f\u0131n \u00f6nce altlar\u0131ndaki hal\u0131y\u0131 \u00e7ekti, ard\u0131ndan ortam\u0131 toz dumana bo\u011fan bir \u00e7e\u015fit logos enflasyonu yaratt\u0131. S\u00fcrekli yeni tespit; her tespit i\u00e7in yeni kavram, her kavramla yeni tan\u0131m ve s\u00f6zc\u00fck dizileri literat\u00fcre kat\u0131ld\u0131: Yeni D\u00fcnya D\u00fczeni, k\u00fcreselle\u015fme, tarih sonras\u0131 toplum, bilgi \u00e7a\u011f\u0131, kimlik siyaseti, bili\u015fim toplumu, insan sonras\u0131, a\u00e7\u0131k toplum, siyaseten do\u011fruculuk\u2026<\/p>\n\n\n\n

20. y\u00fczy\u0131la damgas\u0131n\u0131 vuran Hegel yorumlar\u0131 ve diyalektik tarihsel materyalizm d\u00fc\u015f\u00fcncesi de kalabal\u0131kla\u015f\u0131p ve kurumsalla\u015ft\u0131k\u00e7a bir indirgemeci tavra evrilmi\u015fti. Pratik kom\u00fcnizm denemeleri; sosyalizmin \u00e7oklu\u011fa, \u00e7ok seslili\u011fe a\u00e7\u0131lan kap\u0131s\u0131n\u0131 kapatm\u0131\u015f; d\u00fcnyay\u0131 tek bir pencereden okuma giri\u015fimine d\u00f6nd\u00fcrm\u00fc\u015ft\u00fc. Ku\u015fkusuz buna sosyalist d\u00fc\u015f\u00fcnce i\u00e7inde underground ama g\u00fc\u00e7l\u00fc bir tepki vard\u0131 ama geneli belirleme g\u00fcc\u00fc ve \u015fans\u0131 bulamad\u0131. Sovyet Blo\u011fu kar\u015f\u0131 kampla, ilerlemecilik yar\u0131\u015flar\u0131na (n\u00fckleer yar\u0131\u015f, uzay yar\u0131\u015f\u0131, bilim yar\u0131\u015f\u0131) t\u00fcm yat\u0131r\u0131m\u0131n\u0131 yaparken insan var olu\u015funu, ruhunu ve sosyalist \u00fctopyan\u0131n tek tek bireylerde d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fc \u00e7oktan es ge\u00e7mi\u015fti. Buna kar\u015f\u0131 postmodern, \u201cayd\u0131nlanma ve modernitenin h\u00e2kimiyetini y\u0131kma\u201d s\u00f6ylemiyle yola \u00e7\u0131k\u0131p yeni bir d\u00fc\u015f\u00fcnce hatt\u0131 de\u011fil, sonsuz \u00e7e\u015fitlemeler zinciri ortaya koydu. Sergiledi\u011fi a\u015f\u0131r\u0131 bi\u00e7imci s\u00f6z oyunlar\u0131yla Ge\u00e7 Skolasti\u011fin d\u00fc\u015f\u00fcnce y\u00f6ntemlerine benze\u015fir bir tablo olu\u015fturdu. Bu yeni skolasti\u011fin kilise babalar\u0131 ise neo-liberalizmin sponsorlu\u011funu yapt\u0131\u011f\u0131 uzmanlar, teorisyenler, akademi k\u00fcrs\u00fcleriydi.<\/p>\n\n\n\n

Di\u011fer bir taraftan, modernin yeni\u2019ye verdi\u011fi \u00f6nc\u00fc misyona kar\u015f\u0131 olu\u015fu, kurucu bir y\u00f6nelim ta\u015f\u0131may\u0131 reddi, postmoderni gelece\u011fe dair distopyac\u0131 bir konuma \u00e7ekmi\u015fti. Ayd\u0131nlanman\u0131n hayata etkin, aktif, m\u00fcdahale eden tavr\u0131n\u0131n sonu\u00e7lar\u0131n\u0131n bir\u00e7ok felakete yol a\u00e7t\u0131\u011f\u0131 d\u00fc\u015f\u00fcncesi; postmoderni determinist bir konuma \u00e7eker. \u0130nsan \u00f6zne olmaktan \u00e7ekilmelidir, ama do\u011fa gibi onun i\u00e7inde konumlanm\u0131\u015f hayatta bo\u015fluk tan\u0131maz. Ve bu bo\u015flu\u011fu ikame i\u00e7in ellerindeki yeg\u00e2ne \u00f6neri post-humanist yakla\u015f\u0131md\u0131r. Francis Fukuyama\u2019n\u0131n \u201ctarihin sonu\u201d tezi, asl\u0131nda Bat\u0131 d\u00fcnyas\u0131 d\u0131\u015f\u0131ndaki tarihin sonudur ve liberalizmi tek (sabit) gelecek olarak somutla\u015ft\u0131r\u0131r. Foucault ise modernitenin bitti\u011fini s\u00f6yler ama yerine ne gelece\u011fine dair bir \u00e7\u00f6z\u00fcmlemede bulunmaz. Lyotard \u201cb\u00fcy\u00fck anlat\u0131lar\u0131n\u201d farkl\u0131l\u0131klar\u0131n hik\u00e2yelerini g\u00f6rmezden geldi\u011fini s\u0131k\u00e7a yineler, fakat postmoderninin farka yakla\u015f\u0131m\u0131 da siyasal olmaktan \u00f6te k\u00fclt\u00fcreldir. \u00c7\u00fcnk\u00fc o politika alan\u0131n\u0131 k\u00fclt\u00fcr ve kimli\u011fe do\u011fru itmi\u015f ve ontoloji yan\u0131nda de\u011fi\u015fim, d\u00f6n\u00fc\u015f\u00fcm, \u00f6nc\u00fcl\u00fck gibi nosyonlar\u0131 da teknolojik kapitalizme havale etmi\u015ftir.<\/p>\n\n\n\n

Oysa; solun Ayd\u0131nlanma ele\u015ftirisi \u00e7ok eskidir ve kurucu bir ivme ta\u015f\u0131r. Benjamin\u2019den Breton\u2019a, Adorno\u2019dan Carlos Mari\u00e1tegui\u2019ye, Hikmet K\u0131v\u0131lc\u0131ml\u0131\u2019dan Simone Weil\u2019a de\u011fin Bat\u0131 d\u00fc\u015f\u00fcncesinin salt\u0131k ak\u0131lc\u0131l\u0131k, pozitivizm, bilimci ideolojisine kar\u015f\u0131 g\u00fc\u00e7l\u00fc bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f vard\u0131r. Bunun yan\u0131nda k\u00fclt\u00fcrel\/sanatsal avangard (Brecht\u2019ten Dada hareketine, s\u00f6m\u00fcrgecili\u011fe ya da Bat\u0131 merkezcili\u011fe kar\u015f\u0131 tav\u0131r) moderniteye kar\u015f\u0131 modernizmin savunusunu ve eylemini ortaya koymu\u015ftur. Ki burada sorun, ne oldu\u011fu \u00fczerinde bir\u00e7ok farkl\u0131 g\u00f6r\u00fc\u015f olan modernite ya da sa\u011f ve sol \u00e7ok farkl\u0131 kanatlar\u0131 olan Ayd\u0131nlanma ideolojileri de\u011fildir. Her \u015feyi ak\u0131lc\u0131la\u015ft\u0131rma derdi bu iki konumdan \u00f6te end\u00fcstriyel devrimden beri kapitalizmin h\u00e2kimiyetinin sonucudur. Bat\u0131\u2019ya ak\u0131l g\u00f6t\u00fcrmek, ilkel toplumlar\u0131 s\u00f6m\u00fcrgele\u015ftirmenin k\u0131l\u0131f\u0131d\u0131r. Ve geli\u015fen burjuvazi bu hamlelerinde s\u0131k s\u0131k kiliselerle i\u015f birli\u011fi yapmaktan da geri durmam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

1980\/2000 tarihleri aras\u0131nda o kadar fazla, \u00e7o\u011fu kof yeni teorisyen ve y\u00fczlerce kavram ortaya \u00e7\u0131kt\u0131 ki, bu tarihsel olgular\u0131n hepsi geri planda kald\u0131. Felsefi \u00e7aba gitgide pratikten, ger\u00e7ekli\u011finden, hayat\u0131n karanl\u0131k dehlizlerinden uzakla\u015ft\u0131. Hegel ve Kant\u2019\u0131n h\u00e2kimiyetini y\u0131kma \u00e7abas\u0131, felsefeyi Marx \u00f6ncesine g\u00f6t\u00fcrd\u00fc. D\u00fcnyay\u0131 sadece yorumlamayan, onu de\u011fi\u015ftirmeye soyunan pratik felsefeden, soyut bir evrene d\u00fc\u015f\u00fc\u015f; bir nevi kelam ya da logos ilmine geri d\u00f6n\u00fc\u015f. Marx\u2019a \u00f6zel bir ilgisi bulunan (hakk\u0131nda iki kitap yazm\u0131\u015ft\u0131r) postyap\u0131salc\u0131 gelenekten Derrida’n\u0131n, hayat arenas\u0131nda de\u011fil metin \u00fcst\u00fcnde y\u0131k\u0131c\u0131 olan dekonstr\u00fcksiyon y\u00f6nteminin a\u00e7t\u0131\u011f\u0131 sonu\u00e7lar bu duruma ilgin\u00e7 bir \u00f6rnektir. Postmodern yorum \u201cher \u015feyin bir metin oldu\u011fu\u201d fikrine bal\u0131klama atlar ve tarihin bitti\u011fi ve ortak hakikatin olmad\u0131\u011f\u0131 bir d\u00fcnyay\u0131 Borges metinlerindeki labirentler gibi kurgular (par\u00e7alara ay\u0131rma, pasti\u015f, mix, i\u00e7kin montaj). Postmodern yorumunun izle\u011fi nostalji ya da \u00f6yk\u00fcnme y\u00f6ntemlerimde oldu\u011fu gibi \u201ceski olan\u0131\u201d \u00e7e\u015fitlendirme i\u015flemidir. Fakat Derrida\u2019n\u0131n \u00f6ne s\u00fcrd\u00fc\u011f\u00fc metinsel \u201cilave prati\u011fi\u201d \u201ceski olandaki\u201d \u201chik\u00e2yeyi a\u00e7ar, ileri ya da geriye do\u011fru geni\u015fletir, k\u0131vr\u0131mla\u015ft\u0131r\u0131r ve farka y\u00f6nlendirir. Ama her iki yakla\u015f\u0131mda da bir zeminsizle\u015ftirme yaratma g\u00fcc\u00fc yoktur. Postmodern de olan motivasyon, d\u00fc\u015f\u00fcnceye y\u00f6nelik bir eksen kayd\u0131rma harek\u00e2t\u0131 ve hakikati hack\u2019leme hevesiydi. Ortada insana dair yeni bir sosyal teori ya da post-felsefe yoktu.<\/p>\n\n\n\n

Peki Derrida\u2019n\u0131n ger\u00e7ekte arzusu neydi? Derrida, Bat\u0131 gelene\u011fi i\u00e7inde yaz\u0131ya kar\u015f\u0131 s\u00f6ze verilen stat\u00fcy\u00fc sarsma niyetindedir. Ama ayn\u0131 zamanda kelam olarak metne a\u015fk\u0131nsal, bir nevi k\u00fclt mertebe veren mant\u0131\u011f\u0131n netli\u011fi, keskinli\u011fi ve kendi hakl\u0131l\u0131\u011f\u0131na inanc\u0131 da onu rahats\u0131z eder. Edebi metinlere ve felsefe yaz\u0131lar\u0131na bir t\u00fcr kutsal metin okuma sanat\u0131 gibi yakla\u015fan, kelime kelime ve hatta harfe de\u011fin onu soymak, \u00e7\u00f6zmek ve yorumlama niyetini ortaya koyan yorumbilimin anlam aray\u0131\u015f\u0131na, Heidegger ekol\u00fcn\u00fcn ontolojik mevcudiyet \u0131srar\u0131na ve Foucault’nun soyk\u00fct\u00fck ara\u015ft\u0131rmalar\u0131n\u0131n tarihselli\u011fine ve s\u00f6z merkezcili\u011fine, Anglo-Saxon analitik dilbilimin bili\u015fsel soru\u015fturmalar\u0131na kar\u015f\u0131, Nietzsche’ci oyunbaz bir k\u0131\u015fk\u0131rt\u0131c\u0131l\u0131kla cephe a\u00e7ar.<\/p>\n\n\n\n

Ku\u015fkusuz Derrida, yap\u0131lar\u0131 bozan d\u00fc\u015f\u00fcnce tarz\u0131 yan\u0131nda, polemi\u011fi ve provokatif tav\u0131rlar\u0131 seven bir anar\u015fik motivasyona da sahipti. Bu da onu daha sonra pop\u00fcler hale getirilen medyatik d\u00fc\u015f\u00fcn\u00fcrlerin, belki de ilk \u00f6rne\u011fi yapt\u0131. Ayn\u0131 zamanda sonsuz b\u00f6lene dek fark\u0131n alt\u0131n\u0131 \u00e7izmek, kurucu bir reflekse girmeden y\u0131kmak onun eyleme bi\u00e7imiydi. K\u0131ta Avrupa\u2019s\u0131nda, onun \u00fcst ku\u015fa\u011f\u0131na h\u00e2kim olan yap\u0131salc\u0131 yakla\u015f\u0131ma kar\u015f\u0131, bir \u00e7e\u015fit \u00f6n-punk harek\u00e2ta giri\u015fti. Fakat Yahudi-Hristiyan gelene\u011fi olarak s\u00f6z\u00fc, yaz\u0131dan ay\u0131rmak, onu logos\u2019un etki alan\u0131 d\u0131\u015f\u0131na \u00e7\u0131kartm\u0131yordu. Ve fark\u0131n varl\u0131\u011f\u0131n\u0131 s\u0131n\u0131rs\u0131zca g\u00f6r\u00fcn\u00fcr k\u0131lmak, kozmik sistemde farkl\u0131l\u0131klar\u0131n birlik olu\u015funu, b\u00fct\u00fcnsellik fenomenini g\u00f6r\u00fcnmez k\u0131l\u0131yordu. Kavramlar\u0131, ideolojileri, d\u00fc\u015f\u00fcnceleri nesneler gibi tekille\u015ftirme tavr\u0131; ayr\u0131k unsurlar aras\u0131 temaslar\u0131, ileti\u015fim bi\u00e7imleri, etkileri, olan ya da olas\u0131 i\u015f birli\u011fi zeminleri \u00fczerine d\u00fc\u015f\u00fcnmekten imtina ediyordu. A\u015f\u0131r\u0131 s\u00f6z, a\u015f\u0131r\u0131 yaz\u0131ya ve ikisi de teknoloji toplumunda a\u015f\u0131r\u0131 uyarana d\u00f6n\u00fc\u015ft\u00fc.<\/p>\n\n\n\n

Ard\u0131ndan bir\u00e7ok farkl\u0131 yakla\u015f\u0131mda yazar, akademisyen ve felsefeci geldi; ama gelenler Derrida gibi postyap\u0131salc\u0131 d\u00fc\u015f\u00fcncenin kalibresinden olduk\u00e7a uzakt\u0131. Ama sonsuz fark, sonsuz metin, sonsuz \u00f6teki, sonsuz kavramsalla\u015ft\u0131rmaya a\u00e7\u0131lan Pandora Kutusu bir kere a\u00e7\u0131lm\u0131\u015ft\u0131. Eksen kaymas\u0131yla tetiklenen yeni bu logos enflasyonu ve onun yaratt\u0131\u011f\u0131 kavram karma\u015fas\u0131 akademik kanon i\u00e7inde s\u00fcrd\u00fcr\u00fclebilir bir \u015fey olabilirdi ama bu tip d\u00fc\u015f\u00fcnce tarz\u0131 sokaktan ve hayat\u0131n ger\u00e7ekli\u011finden uzakt\u0131. D\u00fc\u015f\u00fcnce yeniden k\u00fct\u00fcphanelerin durgun atmosferine, algoritma kod dizinlerine ve yaz\u0131 masas\u0131n\u0131n halesine geri \u00e7ekilmi\u015fti. Postmodernin yaratt\u0131\u011f\u0131 logos enflasyonu, onun k\u00fclt\u00fcrel ikliminde yeti\u015fmi\u015f Silikon Vadisi elitlerinin elinde bir \u00e7e\u015fit logos ter\u00f6r\u00fcne d\u00f6n\u00fc\u015ft\u00fc. Bu hatt\u0131n yeralt\u0131 fenomeni Curtis Yarvin\u2019i saymazsak; Nick Land gibi anti-h\u00fcmanist tekno-fa\u015fizm teorisyenleri ve onlar\u0131n etkisindeki Palantir \u015firketinin kurucusu Peter Thiel ve kurmay heyeti (ba\u015fta CEO Alex Karp) s\u0131k\u0131 bir bi\u00e7imde k\u0131ta felsefesi e\u011fitimi alm\u0131\u015ft\u0131; hem de Habermas, Girard gibi g\u00fc\u00e7l\u00fc ve kaotik fig\u00fcrlerden. \u015eimdi a\u00e7\u0131k\u00e7a; teknokratik elitizmden, b\u00fcy\u00fck y\u0131k\u0131m sava\u015f\u0131ndan, Yapay Zek\u00e2’n\u0131n ve sermayenin post-human evriminin ka\u00e7\u0131n\u0131lmazl\u0131\u011f\u0131ndan pervas\u0131zca bahsedebiliyorlar.<\/p>\n\n\n\n

Art\u0131k yap\u0131lmas\u0131 gereken ad\u0131m\/at\u0131l\u0131m, nas\u0131l postmodern Ayd\u0131nlanmadan yap\u0131salc\u0131l\u0131\u011fa modernin teorik zemine y\u00fcklendiyse, \u00e7o\u011fulcu bir ontoloji ve d\u00fc\u015f\u00fcnsel f\u00fczyon aray\u0131\u015f\u0131ndaki yeni d\u00fc\u015f\u00fcnce de post-teorilere kar\u015f\u0131 metafelsefenin g\u00fcc\u00fcyle keskin bir hesapla\u015fmaya girmektir. Ve bu u\u011furda felsefe ve teori en az siber oligar\u015finin s\u00f6zc\u00fcleri kadar etkin ve c\u00fcretk\u00e2r olmay\u0131 g\u00f6ze almal\u0131d\u0131r. \u0130\u015f i\u015ften ge\u00e7meden, d\u00fcn\u00fcn zombileri yar\u0131n\u0131n robotlar\u0131yla d\u00fcnya sahas\u0131n\u0131 tamamen i\u015fgal etmeden.<\/p>\n\n\n\n

Yort Savul!<\/p>\n\n\n\n

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(VI) D\u00fc\u015f\u00fcnerek Geni\u015flemek<\/h1>\n\n\n\n
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\u201cO kadar derindir ki\u2026 Keskinlikleri yumu\u015fat\u0131r, d\u00fc\u011f\u00fcmleri \u00e7\u00f6zer, \u0131\u015f\u0131\u011f\u0131 par\u0131lt\u0131s\u0131ndan ar\u0131nd\u0131r\u0131r, kendini d\u00fcnyan\u0131n tozuna kar\u0131\u015ft\u0131r\u0131r.\u201d <\/em><\/strong>Lao Tzu \/ Tao de Ching<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130kinci D\u00fcnya Sava\u015f\u0131 sonras\u0131n\u0131n ilk b\u00fcy\u00fck ressam\u0131 Francis Bacon\u2019d\u0131r; sanat\u00e7\u0131 iki zaman aras\u0131nda ya\u015fanan b\u00fcy\u00fck k\u0131r\u0131lmalar\u0131, yo\u011fun bir estetik form i\u00e7inde g\u00f6r\u00fcn\u00fcr k\u0131lar. Etkisi o denli b\u00fcy\u00fckt\u00fcr ki, \u0130ngiliz yazar JG Ballard bu durumu \u015f\u00f6yle tan\u0131mlar: \u201cE\u011fer gelecekte bir g\u00fcn, uzak bir galaksiden gelen canl\u0131lar yirminci y\u00fczy\u0131lda insan\u0131n neye benzedi\u011fini ve ne hissetti\u011fini anlamak isterlerse, onlara sadece Francis Bacon\u2019\u0131n toplu eserlerini g\u00f6stermemiz yeterli olacakt\u0131r.\u201d Ve devam eder: \u201cO modern insan\u0131n kendi yaratt\u0131\u011f\u0131 steril k\u00fcplerin i\u00e7inde nas\u0131l \u00e7\u00fcr\u00fcd\u00fc\u011f\u00fcn\u00fc herkesten \u00f6nce g\u00f6rm\u00fc\u015ft\u00fcr.\u201d Bacon sanat e\u011fitimi almam\u0131\u015f, alayl\u0131 bir sanat\u00e7\u0131d\u0131r, ama merak ve arzu sahas\u0131 hudutsuz olan \u00e7ok s\u0131k\u0131 bir okurdur. Edebiyattan felsefeye uzanan geni\u015f izlekte kendi kendini yeti\u015ftirmi\u015ftir.<\/p>\n\n\n\n

Bacon\u2019\u0131n, sanat ele\u015ftirmeni David Sylvester ile 1962\/1986 y\u0131llar\u0131 aras\u0131nda ger\u00e7ekle\u015ftirdi\u011fi, uzun soluklu bir dizi r\u00f6portajda; sanat\u00e7\u0131n\u0131n hayata ve sanata kar\u015f\u0131 geni\u015f kavray\u0131\u015f\u0131 ve bilgece bir h\u00fcz\u00fcn i\u00e7 i\u00e7e girer. Bu s\u00f6yle\u015filerde Bacon \u201ckontroll\u00fc felaket\u201d dedi\u011fi \u015feyi resme nas\u0131l dahil etti\u011fini, diyagram \u00f6rne\u011fiyle a\u00e7\u0131klar. \u00d6nce bir resim olu\u015fturur, ard\u0131ndan bir anda ba\u015fta d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc fikri bozmak i\u00e7in kontrols\u00fcz bir m\u00fcdahalede bulunur. Bu fig\u00fcr\u00fcn da\u011f\u0131lma, kendinden \u00e7\u0131kma, ba\u015fkala\u015fma ve \u00e7okla\u015fma an\u0131d\u0131r. Ressam; yapt\u0131\u011f\u0131 bu i\u015flemi diyagram olarak adland\u0131r\u0131r ve \u201cbu diyagram\u0131n i\u00e7inde, her t\u00fcrden olgu, olas\u0131l\u0131klar k\u00f6k salar\u201d der. Yani kendi kurdu\u011fu sistemi bozucu hamlesi, yeni durumlar\u0131n ebesidir. Deleuze, Duyumsaman\u0131n Mant\u0131\u011f\u0131 kitab\u0131nda ve derslerinde Bacon\u2019\u0131n bu m\u00fcdahalesini ve onu tan\u0131mlamak i\u00e7in se\u00e7ti\u011fi diyagram kelimesini kavramsalla\u015ft\u0131r\u0131r.<\/p>\n\n\n\n

Ard\u0131ndan Guattari\u2019yle birlikte \u00fcretimlerinin sonu\u00e7lar\u0131ndan olan Bin Yayla adl\u0131 tu\u011fla metninde bu kavram\u0131 \u201cdiyagram olarak d\u00fc\u015f\u00fcnce\u201d olarak bir pratik \u00f6neriye d\u00f6n\u00fc\u015f\u00fcr. Diyagram olu\u015fturarak d\u00fc\u015f\u00fcnme yakla\u015f\u0131m\u0131, bana her g\u00fcn maruz kald\u0131\u011f\u0131m\u0131z \u00e7ok kanall\u0131 dijital a\u011f\u0131n mant\u0131\u011f\u0131yla bili\u015fsel olarak ba\u015f etmek ad\u0131na s\u0131cak geliyor. Uzun s\u00fcredir sanatsal ya da d\u00fc\u015f\u00fcnsel ekinlerimi, kolajlar ve asamblajlar yan\u0131nda \u00e7e\u015fitli defalar harita ve diyagramlar vas\u0131tas\u0131yla aktarmay\u0131 tercih etmi\u015f biriyim. Tabii herkes d\u00fc\u015f\u00fcnce ya da yarat\u0131lar\u0131n\u0131 g\u00f6rsel haritalara d\u00f6kmek durumunda de\u011fil. Burada \u00f6nemli olan bu \u015fekilde d\u00fc\u015f\u00fcnmeyi geli\u015ftirmek ve bu d\u00fc\u015f\u00fcnceleri harita ve diyagramlar\u0131n mant\u0131\u011f\u0131yla metne d\u00f6kmek ya da ifade etmektir. Bu, \u00f6\u011frenme yetene\u011fi olan insan beynini \u00e7oklu ve ak\u0131\u015fkan d\u00fc\u015f\u00fcnmeye biraz zorlama, sonra da d\u00fc\u015f\u00fcnce bi\u00e7imlerini g\u00fcncelle\u015ftirme potansiyelidir.<\/p>\n\n\n\n

Deleuze ve Guattari (DG), Bat\u0131 d\u00fc\u015f\u00fcncesine iki bine yak\u0131n y\u0131ld\u0131r egemen olan Bilgi A\u011fac\u0131 modeline sava\u015f a\u00e7m\u0131\u015flard\u0131r. Bu dikey model merkezi, hiyerar\u015fik, ikili kar\u015f\u0131tl\u0131k \u00fczerinden kendi ahlaki tekli\u011fini dayatan bir yap\u0131d\u0131r. DG buna kar\u015f\u0131 rizom ad\u0131n\u0131 verdikleri, k\u00f6klerin ve saplar\u0131n bilgi k\u0131vr\u0131mlar\u0131yla beslenen alternatif bir d\u00fc\u015f\u00fcnce bi\u00e7imi sunar. Rizom yatay a\u011fd\u0131r; k\u00f6keni, merkezi, hiyerar\u015fisi yoktur. Bu a\u011f i\u00e7inde her nokta di\u011feriyle ili\u015fkilenebilir, yeni ba\u011flant\u0131lar girebilir, de\u011fi\u015febilir ve hatta ka\u00e7\u0131\u015f \u00e7izgileri vas\u0131tas\u0131yla bu a\u011fdan ba\u015fka \u00e7okluklara firar edebilir. Harita ya da diyagramlar kurarak d\u00fc\u015f\u00fcnce kurma, rizom temelli bir bili\u015fsel yakla\u015f\u0131md\u0131r. Ve g\u00fcncel n\u00f6robilim ara\u015ft\u0131rmalar\u0131na konu olan n\u00f6roplastisite kavram\u0131n\u0131n ta\u015f\u0131d\u0131\u011f\u0131 bili\u015fsel potansiyel ve ba\u011flant\u0131sall\u0131k a\u011flar\u0131 denen \u00f6r\u00fcnt\u00fc sistemleriyle de benzer \u00f6zellikler bar\u0131nd\u0131r\u0131r: \u201cBir diyagram\u0131n asl\u0131nda ne t\u00f6z\u00fc ve bi\u00e7imi ne de i\u00e7eri\u011fi ve ifadesi vard\u0131r\u201d, yani o toplumsal dilin ideolojik yap\u0131lar\u0131n\u0131n, devletin kapma ayg\u0131tlar\u0131n\u0131n, piyasan\u0131n tuzaklar\u0131n\u0131n d\u0131\u015f\u0131nda g\u00f6\u00e7ebe bir olu\u015ftur\u2026 Diyagram\u0131n birbirine ba\u011flamak \u00fczere tuttu\u011fu \u015fey en yersizyurtsuzla\u015fm\u0131\u015f i\u00e7erikle en yersizyurtsuzla\u015fm\u0131\u015f ifadedir.\u201d (Bin Yayla, b\u00f6l\u00fcm 5, \u0130.\u00d6. 587-\u0130.S. 70 \u2013 Bir Tak\u0131m \u0130m Rejimleri Hakk\u0131nda; soyut makine ve diyagram)<\/p>\n\n\n\n

Elbet binlerce y\u0131l kan\u0131ksanm\u0131\u015f dikey d\u00fc\u015f\u00fcnce bi\u00e7imlerini a\u015fmak, yeni bir tarzda d\u00fc\u015f\u00fcnce geli\u015ftirmek zor ve me\u015fakkatli bir i\u015ftir. Bu manada Bin Yayla kitab\u0131n\u0131n kendisinin de i\u00e7ine girmesi zor, okumas\u0131 emek, anlamas\u0131 \u00e7aba isteyen bir kuram sundu\u011funu da s\u00f6ylemeliyim. Ben; aylarca \u00e7\u0131rp\u0131n\u0131\u015flar sonras\u0131 bu kitab\u0131n \u00f6z\u00fcn\u00fcn insan\u0131n dil ve zihin d\u00fcnyas\u0131 (ve bunlara ba\u011fl\u0131 olarak evrim) oldu\u011funu duyumsayarak i\u00e7ine girebildim ya da h\u00e2l\u00e2 \u00f6yle san\u0131yorum\ud83d\ude0a Ama d\u00fc\u015f\u00fcnce tarihinin kaderi b\u00f6yledir, tarihsel k\u0131r\u0131lma d\u00f6nemlerini okumak, \u00e7\u00f6zmek, yan\u0131tlar arama itkisi hep zor, oylumlu ve fazlas\u0131yla \u00e7aba ister. Spinoza\u2019n\u0131n Etika\u2019s\u0131, Marx\u2019\u0131n Kapital\u2019i, Jung\u2019un K\u0131rm\u0131z\u0131 Kitab\u0131 tu\u011fla a\u011f\u0131rl\u0131\u011f\u0131nda metinler; toplum ve insan ruhundaki gizil ge\u00e7itleri, ka\u00e7\u0131\u015f \u00e7izgilerini ortaya sererler.<\/p>\n\n\n\n

Ku\u015fkusuz her devrimci \u00e7\u0131k\u0131\u015f metni, tu\u011fla ebad\u0131nda olmak durumunda de\u011fildir, s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f ya da hap format\u0131nda sunulup zihinde \u00e7\u00f6z\u00fcl\u00fcp geni\u015flemesi i\u00e7in \u00fcretilmi\u015f metinler de vard\u0131r. Walter Benjamin\u2019in kitab\u0131m\u0131zda s\u0131k\u00e7a g\u00f6nderme yapt\u0131\u011f\u0131m\u0131z min\u00f6r \u201ctarih kavram\u0131 \u00fczerine\u201d metni (Tak\u0131my\u0131ld\u0131zsal d\u00fc\u015f\u00fcnce prati\u011fi). Marc Aug\u00e9\u2019nin ge\u00e7 kapitalizmde yok-yerler fenomenini te\u015fhir eden Non-Places incelemesi (ya\u015fam\u0131n, mimarinin ve insan\u0131n tek tiple\u015ftirilmesi ser\u00fcveni). Fredric Jameson\u2019\u0131n Postmodernizm makalesinde elde etti\u011fi r\u00f6ntgen filmleri (insan-\u00f6tesi sisteme kar\u015f\u0131 Bili\u015fsel Haritalar vas\u0131tas\u0131yla kar\u015f\u0131 \u00e7\u0131kma \u00f6nerisi). Foucault\u2019nun k\u0131sac\u0131k \u201cDi\u011fer Mek\u00e2nlar \u00dczerine\u201d makalesinde Heterotopya kavram\u0131n\u0131 ortaya atmas\u0131 (ge\u00e7ici ve u\u00e7u\u015fkan \u00fctopya alanlar\u0131). Jean Baudrillard\u2019\u0131n hiper ger\u00e7ek\u00e7i d\u00f6nemde g\u00fcncel sanat\u0131n maskesini \u00e7ekti\u011fi Sanat Komplosu gibi kilit metinler 21. y\u00fczy\u0131l mantalitesini anlamak ad\u0131na anahtar niteli\u011findedir.<\/p>\n\n\n\n

Ku\u015fkusuz sayd\u0131\u011f\u0131m \u00f6rnekler, bu sat\u0131rlar\u0131n olas\u0131 okurlar\u0131n\u0131n da zihninde ekleyebilece\u011fi yeni kitaplar ya da metinler ile geni\u015fler. Oyun; bozmak, \u00e7\u00f6zmek, k\u0131r\u0131lma yaratmak kadar; ayn\u0131 zamanda kurmak, birbirine ba\u011flamak, a\u011fsal yap\u0131lar in\u015fa etmek, z\u0131t g\u00f6r\u00fclen kutuplar\u0131 yan yana getirmektir. Bu metinlerin devrimci if\u015fa g\u00fcc\u00fc, \u00e7okuluslu kapitalizmin k\u00fclt\u00fcrel mant\u0131\u011f\u0131n\u0131n neden oldu\u011fu kavramsal karma\u015faya ve Silikon Vadisi’nin post-h\u00fcmanist gurular\u0131n\u0131n yaratt\u0131\u011f\u0131 logos ter\u00f6r\u00fcne kar\u015f\u0131 g\u00fc\u00e7l\u00fc uyar\u0131c\u0131lard\u0131r. \u00d6zg\u00fcrl\u00fck\u00e7\u00fc d\u00fc\u015f\u00fcnceyi; dil oyunlar\u0131n\u0131n, \u00e7\u0131k\u0131\u015fs\u0131z labirentlerin, sanal cennetlerin, belirsiz konumlar\u0131n \u00e7\u0131k\u0131\u015fs\u0131zl\u0131\u011f\u0131ndan ve onlardan ta\u015f\u0131p insan\u0131n i\u00e7ine yay\u0131lan anlams\u0131zl\u0131k ve nihilist hislerinden uza\u011fa firar etmeye alan a\u00e7an; nefes alan ve ald\u0131ran metinler. \u0130\u015fte g\u00f6\u00e7ebe \u00e7ad\u0131r\u0131n\u0131 kurmak i\u00e7in g\u00fczel bir vaha ya da Tao’ya d\u00f6n\u00fc\u015fmeyi arzulayan d\u00fc\u015f\u00fcnce.<\/p>\n\n\n\n

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(VII) \u0130krar ya da G\u00f6lgede Ayn\u0131<\/h1>\n\n\n\n
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\u201cG\u00f6n\u00fcll\u00fc olmak hatad\u0131r.\u201d<\/strong> 12 Maymun-Terry Gilliam<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cE\u011fer d\u00fcnya hakk\u0131nda bir \u015feyler -pek de b\u00fcy\u00fck bir \u015fey de\u011fil- anlamak istiyorsak, h\u0131n\u00e7tan kurtulmak gerekir. H\u00e2l\u00e2 topluma kar\u015f\u0131 biraz h\u0131n\u00e7 duyuyorum, ama giderek daha az ve umar\u0131m bir s\u00fcre sonra hi\u00e7 duymam.\u201d<\/strong> J. Genet\/A\u00e7\u0131k D\u00fc\u015fman<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cBen bir ba\u015fkas\u0131d\u0131r.\u201d <\/strong>Arthur Rimbaud<\/em><\/p>\n<\/blockquote>\n\n\n\n

-\u015eimdi yazd\u0131\u011f\u0131n bu sayfalara bak\u0131yorum, senin yapt\u0131\u011f\u0131n \u015fey \u201clogos ter\u00f6r\u00fc\u201d dedi\u011fin \u015feye yeni bir tu\u011fla koymaktan \u00f6te nedir?<\/p>\n\n\n\n

Zaten sorunlar\u0131m\u0131z 3000 y\u0131ld\u0131r neredeyse ayn\u0131 diyen de, sen de\u011fil misin?<\/p>\n\n\n\n

-Bilgi yay\u0131labilir, bili\u015f yeni ba\u011flant\u0131lar kurabilir umuduyla kitaplar yaz\u0131l\u0131yor. Ama\u00e7 her \u015feye ila\u00e7 olmak de\u011fil ki zaten, sadece h\u00e2kim d\u00fc\u015f\u00fcnce kal\u0131plar\u0131ndaki a\u00e7\u0131klar\u0131 g\u00f6r\u00fcl\u00fcr h\u00e2le getirmek. Bunu yaparken atlanm\u0131\u015f d\u00fc\u015fleri belirginle\u015ftirmek ve baz\u0131 \u00e7izgileri birle\u015ftirmek.<\/p>\n\n\n\n

Oyuna, d\u00fc\u015fe, tersinmeye alan a\u00e7mak.<\/p>\n\n\n\n

-H\u0131mm, h\u00e2l\u00e2 baz\u0131 \u015feylerin d\u00fczelme \u015fans\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorsun.<\/p>\n\n\n\n

Umut kadar, umut yaymak da bir hata de\u011fil mi? Hani o filmi \u00e7ok sevmi\u015ftin?<\/p>\n\n\n\n

-Bilmiyorum ama umuyorum. Ya\u015fad\u0131\u011f\u0131m d\u00fcnya hi\u00e7 de iyi bir yere gitmiyor. \u015eunu da unutmu\u015f de\u011filim, bir bilgiden insan\u0131n alaca\u011f\u0131, almak istedi\u011fi kadar\u0131d\u0131r. Manip\u00fclasyon ve aptalla\u015ft\u0131rma teknikleri kadar, insan\u0131n bile isteye aptal rol\u00fcn\u00fc oynamas\u0131; kendi ger\u00e7ekli\u011fi ile y\u00fczle\u015fmemek i\u00e7in her numaray\u0131 \u00e7evirme potansiyelinden Carl Jung 80 y\u0131l \u00f6nce bahsetmi\u015fti.<\/p>\n\n\n\n

Kendini kurtar\u0131c\u0131, insanlar\u0131 kurtar\u0131labilir mi g\u00f6r\u00fcyorsun h\u00e2l\u00e2; 16 ya\u015f\u0131ndan beri ne de\u011fi\u015fti?<\/p>\n\n\n\n

-Evet, ilk gen\u00e7li\u011fimizde, \u015fu an geldi\u011fim ya\u015flarda daha iyi bir gelecek kurulma ihtimaline inanm\u0131\u015ft\u0131m. D\u00fc\u015f\u00fcnsene ruhum bin dokuz y\u00fcz yetmi\u015fli y\u0131llar\u0131n ba\u015flar\u0131nda do\u011fan benim gibi talihsizler, \u00e7ift kutuplu d\u00fcnyay\u0131, Amerika ve m\u00fcttefiklerinin tek h\u00e2kim olmad\u0131klar\u0131 zaman\u0131, internet, cep telefonu, ak\u0131ll\u0131 telefon ve sosyal medyadan \u00f6nceki hakikatin rejimini ya\u015fad\u0131.<\/p>\n\n\n\n

Hayat\u0131m\u0131z \u015fok dalgalar\u0131, b\u00fcy\u00fck ve tarihsel alt\u00fcst olu\u015flar ile ge\u00e7ti. Sadece; kurtulmak isteyen, kendini kurtarabilir. Bizi iyi insan ideali ile yeti\u015ftirdiler, hep verecek, elden tutacak, fedak\u00e2rl\u0131kta bulunacakt\u0131k. Sonu\u00e7 koca bir h\u00fcsran, hi\u00e7lik ve g\u00f6n\u00fcll\u00fc yaln\u0131zl\u0131k oldu.<\/p>\n\n\n\n

Hakl\u0131s\u0131n, ileride insanlar belki de b\u00f6yle kitaplar yazmayacak. Ve hatta bunlar insan\u0131n yazd\u0131\u011f\u0131, yapay zek\u00e2ya yazd\u0131r\u0131lmam\u0131\u015f son kitaplar olarak kalacak.<\/p>\n\n\n\n

-Bak, umut i\u015fte bu kadar k\u0131r\u0131lgan. Bak, sen bile birka\u00e7 soru sonras\u0131 melankolik bir kafaya geldin.<\/p>\n\n\n\n

Bu kadar \u00e7ok ve karma\u015f\u0131k \u015feylere dal\u0131p, bunlar \u00fczerine yazd\u0131\u011f\u0131na g\u00f6re onaylanma, takdir g\u00f6rme mi derdin yoksa anla\u015f\u0131lmak m\u0131?<\/p>\n\n\n\n

-\u0130nsan bu kadar badire atlatt\u0131ktan sonra, asl\u0131nda \u015funu biliyor: Ne kadar ortada yoksan o kadar mesutsun. Benim anla\u015f\u0131lacak bir \u015feyim yok, ki herhangi bir k\u00fclt\u00fcr nesnesi hi\u00e7bir zaman ki\u015fisel yaz\u0131lmaz. \u0130nsanl\u0131\u011f\u0131n birikimiyle oldu\u011fu kadar h\u00e2l\u00e2 tam anlamad\u0131\u011f\u0131m\u0131z (senin gibi) bilin\u00e7d\u0131\u015f\u0131 fakt\u00f6rleri de i\u015fin i\u00e7ine tezah\u00fcr edince yaz\u0131l\u0131r.<\/p>\n\n\n\n

\u0130nsan be\u011feni sever ama be\u011fenilmek ile ilgi manyakl\u0131\u011f\u0131n\u0131 potansiyel olarak ay\u0131rmak \u015fart. Yoksa kitap art\u0131k eskisi kadar g\u00fc\u00e7l\u00fc bir ara\u00e7 de\u011fil. \u0130nsanlar \u201cbunun YouTube’da videosu, \u015furada podcast’i ya da sesli kitab\u0131 yok mu\u201d noktas\u0131ndalar art\u0131k. Dert onaysa YouTuber olmak laz\u0131m, d\u00fc\u015f\u00fcn yaz\u0131s\u0131 yazmak de\u011fil.<\/p>\n\n\n\n

Her \u015fey, sonunda hi\u00e7e ba\u011flan\u0131yorsa neden kitap yaz\u0131yorsun? Kapanacak bir manast\u0131ra ihtiyac\u0131n var bence, hi\u00e7 olmazsa \u00f6lene dek tefekk\u00fcre.<\/p>\n\n\n\n

-Sevgili g\u00f6lgem yine beni a\u015fa\u011f\u0131lara, senin yan\u0131na m\u0131 \u00e7ekmek istiyorsun. Ben o karanl\u0131klarda uzun y\u0131llar\u0131 ge\u00e7irdim. Ancak yarat\u0131c\u0131 edimimi harekete ge\u00e7irince kendim olabiliyorum.<\/p>\n\n\n\n

Rollo May hakl\u0131 ve hatta az\u0131n\u0131 s\u00f6ylemi\u015f. Yaratma itkisi ve cesareti t\u00fcm insanlara verilmi\u015f bir arketipik yetenek. Fakat toplumsal sistemler y\u00fcz y\u0131llard\u0131r amigdalalar\u0131n biyolojik h\u00e2kimiyetine, hayatta kalma moduna insanl\u0131\u011f\u0131 kilitlemi\u015f. Kapitalizm \u00e7ok ak\u0131ll\u0131; yarat\u0131c\u0131l\u0131\u011f\u0131 sanata y\u00f6nelme, kendini ifade etme hakk\u0131 yan\u0131nda oyun oynama arzusu oldu\u011funu bildi\u011fi i\u00e7in e\u011flence sekt\u00f6r\u00fcn\u00fc hi\u00e7 bo\u015f b\u0131rakmam\u0131\u015f.<\/p>\n\n\n\n

Temal\u0131 parklar, Disneyland’ler sadece \u00e7ocuklar i\u00e7in de\u011fil. Paintball, bowling salonlar\u0131, hal\u0131 sahalar ve hatta FRP.<\/p>\n\n\n\n

-Diyorsun Ayd\u0131nlanma’da s\u0131k\u0131nt\u0131lar var, modern ve postmodern zaten yanl\u0131\u015f; her \u015fey d\u00fc\u015f\u00fcnce bi\u00e7imlerinde ba\u015fl\u0131yor.<\/p>\n\n\n\n

Hi\u00e7 \u015funu d\u00fc\u015f\u00fcnd\u00fcn m\u00fc, insanlar\u0131n senin tabirinle tek kanal ya\u015famalar\u0131n\u0131n sebebi onu se\u00e7mi\u015f olmalar\u0131 ve hatta onu sevmi\u015f olmalar\u0131 olmas\u0131n?<\/p>\n\n\n\n

-\u0130nsanlar e\u011filimlere, kitlesel vakalara k\u0131ymet verir. E\u011fer ger\u00e7ekten seviyorlarsa yeni normalin sa\u011flad\u0131\u011f\u0131 ya\u015fam bi\u00e7imini; peki intihar, mental hastal\u0131k, ba\u011f\u0131ml\u0131l\u0131k oranlar\u0131 neden bu kadar y\u00fcksek?<\/p>\n\n\n\n

Hakikat hayattan s\u0131n\u0131r d\u0131\u015f\u0131 edildik\u00e7e b\u00fcy\u00fck anlam krizleri ortada \u00e7\u00f6z\u00fcms\u00fcz kal\u0131yor.<\/p>\n\n\n\n

-Yine o me\u015fhur tinden, psi\u015fe’den mi bahsedeceksin?<\/p>\n\n\n\n

Yoksa, herkese bir kulp bulmu\u015fsun, sen de bir Jung\u00e7u musun?<\/p>\n\n\n\n

-Diyorum ya, tek bir \u015feyci olmak i\u00e7in fazla geni\u015f bir k\u00fclt\u00fcrdeyiz. Ayn\u0131 anda bir\u00e7ok \u015fey olmam\u0131z gerekti\u011fi bir \u00e7a\u011f bu. Hastal\u0131\u011f\u0131n k\u00f6k\u00fc ruhsal ve sirayet etti\u011fi alan ontolojik.<\/p>\n\n\n\n

Karanl\u0131\u011f\u0131m\u0131z ile \u0131\u015f\u0131\u011f\u0131 dengelemeliyiz. Bu kitab\u0131n aray\u0131\u015f\u0131 bu.<\/p>\n\n\n\n

-Yine \u00fctopik d\u00fc\u015f\u00fcnceler i\u00e7indesin. Yazd\u0131klar\u0131n\u0131 okudum, neden \u00fctopyada Tao yok diyorsun?<\/p>\n\n\n\n

-\u00dctopya insan i\u015fi. Konf\u00fc\u00e7y\u00fcs asl\u0131nda Platon gelene\u011fiyle d\u00fc\u015f\u00fcn\u00fclmeli, erdemli bir y\u00f6netim bi\u00e7imi aramak \u00fctopya tasarlamakt\u0131r.<\/p>\n\n\n\n

Tao’da insana ait sistem yok. Do\u011faya d\u00f6nemezsin, k\u00e2inat\u0131n haddince par\u00e7as\u0131 oldu\u011funa eyvallah diyerek, onunla dansa kat\u0131l\u0131rs\u0131n, maskeli olursun ki herkes ya da her \u015fey olas\u0131n. Om der ki, kimi en-el hak, T\u00f6z der kimi, Hayyam hi\u00e7 der; Halalc ise nokta.<\/p>\n\n\n\n

Yan\u0131tlar\u0131m seni tatmin etti mi? \u0130zin verirsen kitab\u0131m\u0131 yazmaya devam etmek istiyorum.<\/p>\n\n\n\n

-Evet, son bir soru, tercih et: Foucault mu Deleuze m\u00fc?<\/p>\n\n\n\n

-Beni bir sal art\u0131k.<\/p>\n\n\n\n

-Tamam, seni rahat b\u0131rak\u0131yorum, sen zaten ba\u015f\u0131na b\u00fcy\u00fck s\u0131k\u0131nt\u0131 a\u00e7m\u0131\u015fs\u0131n b\u00f6yle bir i\u015fe giri\u015fmekle.<\/p>\n\n\n\n

-G\u00fcle g\u00fcle, G\u00f6lge.<\/p>\n\n\n\n

Usulca k\u00fc\u00e7\u00fck bah\u00e7eye geri d\u00f6nd\u00fcm; telefonda \u00e7alan m\u00fczi\u011fin sesini a\u00e7\u0131p, Spinoza gibi erik a\u011fa\u00e7lar\u0131na bakt\u0131m:<\/p>\n\n\n\n

\n

\u201canlamak i\u00e7in de\u011fer sabretmeye
anlatan da sabrediyor oldu\u011fu i\u00e7in
kenetlenip bir olsa da t\u00fcm bulutlar
s\u00f6yle sen \u00e7\u00f6zebildin mi?\u201d <\/strong>M.S<\/em>.<\/p>\n<\/blockquote>\n\n\n\n

\n\n\n\n

(VIII) K\u00f6t\u00fcl\u00fck Sorunu \u00c7\u00f6z\u00fclemiyor<\/h1>\n\n\n\n
\n

\u201cBen ki d\u00fcnyan\u0131n en iyi insan\u0131y\u0131m, ama i\u015fte buyurun \u00fc\u00e7 insan \u00f6ld\u00fcrd\u00fcm bile. Ki bunlar\u0131n ikisi papaz.\u201d <\/em><\/strong>Voltaire, Candide ya da \u0130yimserlik \u00dcst\u00fcne<\/em><\/p>\n<\/blockquote>\n\n\n\n

C. G. Jung, 1937 y\u0131l\u0131nda ger\u00e7ekle\u015ftirdi\u011fi Hindistan gezinde, \u00e7ocukluk d\u00f6neminde ba\u015flay\u0131p ya\u015fam\u0131 boyunca devam eden \u201cbig dream\u201d ad\u0131n\u0131 verdi\u011fi kehanet r\u00fcyalar\u0131ndan birini g\u00f6r\u00fcr. R\u00fcyada \u0130sa\u2019n\u0131n Kutsal Kasesi’ni ait oldu\u011fu yere g\u00f6t\u00fcrmek i\u00e7in bir denizi y\u00fcz\u00fcp ge\u00e7mesi gerekmektedir. Bu r\u00fcya ona Bat\u0131 d\u00fc\u015f\u00fcncesinde Kutsal K\u00e2se ve simyasal Felsefe Ta\u015f\u0131 aray\u0131\u015flar\u0131n\u0131n d\u00fc\u015f\u00fcnsel ve felsefi k\u00f6klerini sorgulat\u0131r. Bu sorgulama s\u00fcrecinde, aranacak ve bulunacak \u015feyin Hindistan’da olmad\u0131\u011f\u0131n\u0131; kendi arkada\u015flar\u0131 ve ya\u015fad\u0131\u011f\u0131 d\u00fcnya i\u00e7in aray\u0131\u015fa \u00e7\u0131kmas\u0131 gerekti\u011fini anlar. Asl\u0131nda aranan ne Kutsal K\u00e2se ne de Felsefe Ta\u015f\u0131’d\u0131r. Aranan \u201csalvator mundi\u201d, yani d\u00fcnyan\u0131n kurtulu\u015fudur. Ve bu aray\u0131\u015f ise ivediydi, \u00e7\u00fcnk\u00fc karanl\u0131k kap\u0131ya dayanm\u0131\u015ft\u0131. 1937 y\u0131l\u0131nda d\u00fcnya yine b\u00fcy\u00fck bir k\u0131y\u0131m\u0131n, y\u0131k\u0131m\u0131n arifesindeydi. Jung hissiyat\u0131n\u0131 \u201cdurumumuz tehlikede; y\u00fczy\u0131llar\u0131n in\u015fa etti\u011fi her \u015feyi yok etme tehlikesiyle kar\u015f\u0131 kar\u015f\u0131yay\u0131z\u201d s\u00f6zleriyle aktar\u0131r. K\u0131sa s\u00fcre sonra, 1 Eyl\u00fcl 1939\u2019da Hitler\u2019in Polonya\u2019y\u0131 i\u015fgali ile \u0130kinci B\u00fcy\u00fck Harp ba\u015flar (Jung benzer g\u00f6r\u00fcleri ilk sava\u015f \u00f6ncesi g\u00f6rm\u00fc\u015f ve bunlar\u0131 K\u0131rm\u0131z\u0131 Kitap\u2019\u0131n ilk b\u00f6l\u00fcm\u00fcnde de aktarm\u0131\u015ft\u0131).<\/p>\n\n\n\n

Hindistan\u2019da g\u00f6rd\u00fc\u011f\u00fc \u00e7ok z\u0131dd\u0131 olan ya\u015fam, Jung\u2019a Bat\u0131’n\u0131n d\u00fc\u015f\u00fcncesinin rasyonalitesi, ayd\u0131nlanmac\u0131 ve ilerlemeci de\u011ferlerini daha net sorgulama \u015fans\u0131 vermi\u015ftir. Bu onun, \u00f6nce Birinci D\u00fcnya Sava\u015f\u0131 \u00f6ncesi ba\u015flayan ve K\u0131rm\u0131z\u0131 Kitap\u2019a evrilen \u00f6znel deneyimi ve ard\u0131ndan 1930\u2019da Tao ve \u00c7in simyas\u0131n\u0131 ke\u015ffiyle s\u00fcren aray\u0131\u015f\u0131n\u0131n yeni basama\u011f\u0131d\u0131r. Hint inanc\u0131nda k\u00f6t\u00fcl\u00fck ve iyili\u011fin i\u00e7 i\u00e7e olu\u015fu ve ahlaki bir m\u00fckemmellik aray\u0131\u015f\u0131nda olmamas\u0131 onu d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Hem kurtar\u0131c\u0131 hem k\u00f6t\u00fcl\u00fc\u011f\u00fc yayan olarak Tanr\u0131’ya kar\u015f\u0131 sunulan tek ka\u00e7\u0131\u015f yolu olarak beni silme yakla\u015f\u0131m\u0131. Jung\u2019a g\u00f6re bu yakla\u015f\u0131m Hermes\u2019ten beri gelen simya felsefesi ve Tao\u2019nun b\u00fct\u00fcnc\u00fcl evren ve onun par\u00e7as\u0131 olan insan anlay\u0131\u015f\u0131yla uyumlu de\u011fildi. \u0130nsan Nirvana a\u015famas\u0131na y\u00fckselmeyi hayal ederken, kan ve \u00f6l\u00fcm Tanr\u0131\u00e7as\u0131 Kali hep insan uygarl\u0131\u011f\u0131n\u0131n \u00fczerine basa basa ilerlemi\u015fti.<\/p>\n\n\n\n

K\u00f6t\u00fcl\u00fck problemini \u00e7\u00f6zmek i\u00e7in \u00f6ncelikle, b\u00fct\u00fcnselli\u011fi bulacak insan\u0131 aramak gerekiyordu. Jung, yeniden b\u00fct\u00fcnsel bir insan psi\u015fesi kurmak \u00e7abas\u0131na, topluluk (yani dil) i\u00e7inde tan\u0131mlanm\u0131\u015f Ben’in ne oldu\u011fu, kim oldu\u011fu, insan\u0131n ne oldu\u011fu sorusuyla ba\u015flar. Ben’in bilincini Biz’in (\u00e7o\u011funlukla hiyerar\u015filerin ya da psi\u015fede toplumsal karanl\u0131k g\u00f6lgenin) belirlenmesinden kurtar\u0131p, farkl\u0131la\u015fan \u00f6znenin bilincini (kendilik) a\u00e7\u0131\u011fa \u00e7\u0131karmak m\u00fcmk\u00fcn m\u00fc? Evet, m\u00fcmk\u00fcnse bu Jung’un alt\u0131n\u0131 \u00e7izdi\u011fi gibi en derin \u201cben\u201d, bizleri bilin\u00e7d\u0131\u015f\u0131ndaki, asl\u0131nda \u00e7okluk olan Bir\u2019e yani Tao\u2019ya m\u0131 g\u00f6t\u00fcr\u00fcr? Yani otantik Ben’e giden zorlu yolun var\u0131\u015f noktas\u0131 yeni ve tahakk\u00fcmc\u00fc bir \u201cbiz\u201d, yani kozmik birlik h\u00e2li midir? Yoksa bu aray\u0131\u015ftan yeni bir kar\u015f\u0131tlar\u0131n birli\u011fine mi var\u0131lacakt\u0131? E\u011fer bu deneyimlenirse, t\u00fcr\u00fcn arketip haf\u0131zas\u0131 ve onun i\u00e7inde\/beraber oldu\u011fu canl\u0131-cans\u0131z do\u011fan\u0131n olas\u0131 ba\u011flant\u0131sall\u0131k a\u011f\u0131n\u0131n par\u00e7as\u0131 olmak, k\u00e2inat\u0131n internetine ba\u011flanmak m\u00fcmk\u00fcnd\u00fc. Bu ayn\u0131 zamanda bilin\u00e7d\u0131\u015f\u0131n\u0131n i\u00e7indeki karanl\u0131k toplumsal g\u00f6lgeye kar\u015f\u0131 bir ka\u00e7\u0131\u015f \u00e7izgisidir, tek tek buradan firar gereklidir. Ben’e varan bireyselle\u015fme s\u00fcrecinde, karanl\u0131k toplamdan azat olan ben’lerin farkl\u0131l\u0131k, ileti\u015fim, kapsay\u0131c\u0131l\u0131k ve i\u015f birli\u011fiyle, usulca yan yana gelme s\u00fcreci. Jung\u2019un \u00e7abas\u0131, bir nevi me\u015fhur sinema serisindeki Zion direni\u015finin Matrix\u2019ten insanlar\u0131 tek tek kurtar\u0131p, insanlara \u00f6zg\u00fcr olma hakk\u0131 vermesine benzer. Elbette Jung uygulamas\u0131 zor, karamsar ama denenmedik bir \u00f6neri sunar. Jung, k\u0131rk ya\u015f\u0131ndan sonra \u00f6l\u00fcm\u00fcne dek hayat\u0131n\u0131 bu amaca harcam\u0131\u015ft\u0131r (tam 41 senesini).<\/p>\n\n\n\n

Jung\u2019un her iki k\u00fclt nesne aras\u0131nda kurdu\u011fu analojiyi daha iyi anlamak i\u00e7in, yeniden Felsefe Ta\u015f\u0131 ve Kutsal K\u00e2se\u2019nin d\u00fcnyas\u0131na geri d\u00f6nelim. Kutsal K\u00e2se, k\u00f6k k\u00f6t\u00fcl\u00fc\u011f\u00fc \u015feytan fig\u00fcr\u00fc \u00fczerinden d\u0131\u015fsalla\u015ft\u0131r\u0131rken, Felsefe Ta\u015f\u0131 ta\u015f\u0131d\u0131\u011f\u0131 \u015fifa, iyilik ve k\u00f6t\u00fcl\u00fc\u011f\u00fc kar\u015f\u0131tlar\u0131n bir birlik h\u00e2li i\u00e7inde ele al\u0131yordu. Agustinius ve devamc\u0131s\u0131 Tomasso\u2019ya g\u00f6re k\u00f6t\u00fcl\u00fck tanr\u0131sal de\u011fildi, insan kaynakl\u0131 olarak iyili\u011fin eksikli\u011fiydi. H\u0131ristiyanl\u0131\u011f\u0131n sundu\u011fu bu zemin, onu devamc\u0131s\u0131 oldu\u011funu s\u00f6yledi\u011fi Eski Ahit\u2019ten d\u00fc\u015f\u00fcnsel olarak kopartm\u0131\u015ft\u0131r. Eski Ahit Tanr\u0131s\u0131’n\u0131n do\u011fas\u0131 k\u00f6t\u00fc ya da dengesizdir ve onun kitab\u0131nda insan cennetten at\u0131ld\u0131\u011f\u0131ndan beri mevrus, yani kal\u0131tsal olarak g\u00fcnahk\u00e2r bir t\u00fcrd\u00fcr. Sadece bir soya seslenmeyen, ek\u00fcmenik iddial\u0131 ve sevgiyi m\u00fcjdeleyen bir yeni inan\u00e7 olarak H\u0131ristiyanl\u0131\u011f\u0131n iyi ve k\u00f6t\u00fcn\u00fcn ayr\u0131l\u0131\u011f\u0131 prensibini benimsemesi kendi i\u00e7inde mant\u0131kl\u0131d\u0131r. Simyaya geri d\u00f6nersek, mercurius (c\u0131va) her \u015feyin k\u00f6k\u00fc, yani ilk maddedir (prima materia). Hem zehir hem de ila\u00e7t\u0131r. Yani kaos ve hayatt\u0131r, t\u0131pk\u0131 entropi kavram\u0131ndaki \u0131s\u0131nma\/so\u011fuma s\u00fcre\u00e7leri gibi. Simyac\u0131n\u0131n elindeki kapta c\u0131va vard\u0131r; yani ya\u015fam\u0131n \u00e7ifte do\u011fas\u0131. Leonardo da Vinci\u2019nin Salvator Mundi (d\u00fcnyan\u0131n kurtar\u0131c\u0131s\u0131) tablosunda \u0130sa\u2019n\u0131n elindeki kap (kristal k\u00fcre), insanl\u0131\u011f\u0131n ve evrenin kurtulu\u015funu temsil eder. Simyada s\u0131k s\u0131k g\u00f6rselle\u015ftirilen kap ise kristal de\u011fil, camdan yap\u0131lmad\u0131r. Simya at\u00f6lyesinde kullan\u0131lan herhangi bir deney t\u00fcp\u00fc ya da cam kavanozudur (buna en belirgin \u00f6rne\u011fi sunan Splendor Solis simya grav\u00fcrleri).<\/p>\n\n\n\n

H\u0131ristiyan d\u00fc\u015f\u00fcncesi k\u00f6t\u00fcl\u00fc\u011f\u00fc d\u00fc\u015fm\u00fc\u015f melek \u00fczerinden d\u0131\u015fsalla\u015ft\u0131r\u0131rken; insan\u0131 kand\u0131r\u0131lan, ba\u015ftan \u00e7\u0131kar\u0131lan bir mevziiye \u00e7eker. Bu yakla\u015f\u0131m simyadaki kozmik birlik i\u00e7inde \u00e7ifte do\u011fa felsefesiyle olduk\u00e7a z\u0131tt\u0131r. \u0130yilik ve k\u00f6t\u00fcl\u00fc\u011f\u00fcn mutlak ayr\u0131l\u0131\u011f\u0131 i\u00e7inde Tanr\u0131’n\u0131n o\u011flu kurtar\u0131c\u0131 \u0131\u015f\u0131\u011f\u0131n\u0131 kristal k\u00fcresi i\u00e7inde ta\u015f\u0131r. Elbette inanc\u0131n k\u00f6t\u00fcl\u00fc\u011f\u00fc d\u0131\u015fsal bir bula\u015f\u0131c\u0131ya indirgemesiyle \u201cevil problem\u201d \u00e7\u00f6z\u00fclemiyordu. Dinin bir bomba gibi ortaya b\u0131rakt\u0131\u011f\u0131 yerden felsefe problemi \u00e7\u00f6zmeye soyundu. Leibniz, \u201cm\u00fcmk\u00fcn d\u00fcnyalar\u0131n en iyisi\u201d diyerek tanr\u0131sal iyilik soru\u015fturmas\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc ve teodise ad\u0131 verilen savunuya matematiksel bir zemin arad\u0131. Bu giri\u015fime Voltaire’nin yan\u0131t\u0131 Candide ya da \u0130yimserlik \u00dcst\u00fcne adl\u0131, m\u00fcthi\u015f g\u00fc\u00e7l\u00fc ve alegorik bir romans yazmakt\u0131r. Onun sorusu \u015fuydu: \u201cOlas\u0131 d\u00fcnyalar\u0131n en iyisi, fena h\u00e2lde g\u00fcl\u00fcn\u00e7\u2026 Peki ac\u0131 \u00e7ekti\u011fimiz ya da ac\u0131 \u00e7ekildi\u011fini g\u00f6rd\u00fc\u011f\u00fcm\u00fcz zaman, \u00e7are nedir?\u201d Jung\u2019un \u201crasyonel mistik\u201d olarak adland\u0131rd\u0131\u011f\u0131 Spinoza, T\u00f6z kavram\u0131 \u00fczerinden Birci (monoteist) bir evren alg\u0131s\u0131 kurar, sorunu ne\u015feye, ya\u015fam\u0131 olumlamaya ve bir nevi M\u00fcsl\u00fcmanl\u0131k inanc\u0131 gibi ki\u015finin ya\u015fam\u0131ndaki iradi \u00e7abas\u0131na ta\u015f\u0131r (Spinoza ile \u00f6rne\u011fin Hallac ya da \u0130bn Arabi aras\u0131nda paralellikler ba\u015fta bir b\u00f6l\u00fcmde d\u00fc\u015f\u00fcn\u00fclecektir). Sonu\u00e7ta Spinoza\u2019n\u0131n felsefesi k\u00f6t\u00fcl\u00fc\u011f\u00fcn bireyde k\u00f6k\u00fcn\u00fc kaz\u0131may\u0131 hedefleyen bir etiktir. Genel yasalar ya da evrensel formlar \u00fcretmeye soyunmaz.<\/p>\n\n\n\n

Kant ise \u201cradikal k\u00f6t\u00fcl\u00fck\u201d ad\u0131n\u0131 verdi\u011fi \u00f6nermeyle k\u00f6t\u00fcl\u00fc\u011fe etik i\u00e7inde bir stat\u00fc sunar. \u0130nsan\u0131n i\u00e7inde k\u00f6t\u00fcye kar\u015f\u0131 \u00f6nlenemez bir e\u011filim vard\u0131r ve semavi dinlerin \u00f6\u011fretileri bu k\u00f6t\u00fcy\u00fc bast\u0131ramam\u0131\u015ft\u0131r. Kant her ne kadar bilgiyi ak\u0131l ve deneyim alan\u0131 i\u00e7inde ele alsa da onun ortaya att\u0131\u011f\u0131 s\u00fcblime (y\u00fcce), numen ve fenomen ayr\u0131m\u0131, deneyimin \u00f6tesinde transandantal \u201ckendinde \u015fey\/ding an sich\u201d kavramlar\u0131 rasyonel insan kavray\u0131\u015f\u0131 i\u00e7inde sakl\u0131 kara deli\u011fi ortaya \u00e7\u0131kar\u0131r. Kant evrensel bir ahlaki yasa \u00fczerine d\u00fc\u015f\u00fcn\u00fcrken \u201cradikal k\u00f6t\u00fcl\u00fck\u201d kavram\u0131n\u0131 do\u011furur (ki ahlak\u0131n kendisi evrensel ya da sabit olamaz h\u00e2lde iken). Yani k\u00f6t\u00fcl\u00fck t\u00fcr\u00fcn g\u00fcnahk\u00e2rl\u0131\u011f\u0131 ya da iyili\u011fin eksilmesi de\u011fildir, o ahlaki bir kapasite sorunudur. Kant\u2019\u0131n bu okumas\u0131, psikanalist Lacan\u2019\u0131n \u201cKant\u2019\u0131n prati\u011fi Marki de Sade\u2019d\u0131r\u201d demesine neden olur. Lacan\u2019a g\u00f6re Kant\u2019\u0131n ahlaki yasas\u0131 i\u00e7inde bir \u00e7e\u015fit s\u00fcperego \u015fiddeti bar\u0131nd\u0131r\u0131r. Sade\u2019\u0131n s\u00f6ylemiyse; bu ahlaki yasa i\u00e7inde bast\u0131r\u0131lm\u0131\u015f arzuyu ya da canavar\u0131 a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r.<\/p>\n\n\n\n

Fakat Lacan yanl\u0131\u015f bir okuma yapmaktad\u0131r. Kant her \u015feyi ak\u0131lc\u0131la\u015ft\u0131rma u\u011fra\u015f\u0131nda ak\u0131ld\u0131\u015f\u0131n\u0131n bariyerini g\u00f6r\u00fcp onu teorisine katm\u0131\u015ft\u0131r. E\u011fer Sade\u2019\u0131n atas\u0131 bir teori aran\u0131yorsa bunun kayna\u011f\u0131 Thomas Hobbes ve onun \u201cinsan\u0131n insanla sava\u015f\u0131\u201d tespitinde bulunabilir. \u0130nsan\u0131n tabiat\u0131 k\u00f6t\u00fc, bencil, y\u0131k\u0131c\u0131 oldu\u011fundan uygarl\u0131k onu bask\u0131 ayg\u0131tlar\u0131 ile kontrol alt\u0131na almal\u0131d\u0131r. Bu y\u00fczden hiyerar\u015fi, zor ve devlet kesinlikle gereklidir. Marki de Sade yaz\u0131n\u0131n temelinde, Hobbes\u2019un insan toplumunu i\u00e7ine yerle\u015ftirdi\u011fi ak\u0131lc\u0131 deli g\u00f6mle\u011finden firar eden ve di\u011ferlerini de buna te\u015fvik etmeye \u00e7al\u0131\u015fan oyun bozan karakterler yer al\u0131r. Kant\u2019\u0131n yaratt\u0131\u011f\u0131 devrimin pe\u015fi s\u0131ra Goethe\u2019nin b\u00fcy\u00fck yap\u0131t\u0131 Faust gelir. Art\u0131k Kant ile iblis ak\u0131lc\u0131la\u015ft\u0131r\u0131lm\u0131\u015f, \u015feytana yorulan ayartma eylemi art\u0131k insana ge\u00e7mi\u015ftir. Vir\u00fcs gibi bula\u015fan k\u00f6t\u00fcl\u00fck anlay\u0131\u015f\u0131ndan yine ba\u015fa sararak insan iradesinin kuvveti nosyonuna geri d\u00f6n\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

Y\u00fczy\u0131llarca k\u00f6t\u00fcl\u00fck sorununun k\u00f6k\u00fcn\u00fc kozmolojide, dinlerde, mitlerde, hik\u00e2yelerde aray\u0131p \u00e7\u00f6z\u00fcm bulamam\u0131\u015f insan k\u00fclt\u00fcr\u00fc, son 300 y\u0131lda bu \u00e7abay\u0131 neredeyse tamamen bilime havale etmi\u015ftir. Fakat insan varl\u0131\u011f\u0131n\u0131n \u00e7ok y\u00f6nl\u00fcl\u00fc\u011f\u00fc evrimsel biyolojik yorumlarla \u00e7\u00f6z\u00fclmeyecek kadar karma\u015f\u0131kt\u0131r.<\/p>\n\n\n\n

Sonu\u00e7ta bulunacak ilk g\u00fcnah yoktur ama ilk cinayet vard\u0131r.<\/p>\n\n\n\n

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(IX) \u00c7o\u011fulcu Ontoloji\/F\u00fczyon D\u00fc\u015f\u00fcnce<\/h1>\n\n\n\n
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\u201cTek bir model yok. Tutarl\u0131 olan tek olgu de\u011fi\u015fim olgusunun ta kendisidir ve bunun sonucu olarak farkl\u0131 toplumsal olas\u0131l\u0131k bilincidir\u2026 Nas\u0131l s\u0131k\u0131\u015f\u0131p kald\u0131k? Nas\u0131l tek bir bi\u00e7im ald\u0131k? Bir zamanlar sadece t\u00fcr\u00fcm\u00fcze \u00f6zg\u00fc olan bu siyasi \u00f6z bilinci nas\u0131l kaybettik? E\u011fer sadece oyun oynayarak ba\u015flad\u0131ysak, oynad\u0131\u011f\u0131m\u0131z\u0131 hangi noktada unuttuk?\u201d <\/em><\/strong>David Graeber & David Wengrow, Her \u015eeyin \u015eafa\u011f\u0131 (Buzul \u00c7a\u011f\u0131n\u0131 \u00c7\u00f6zmek), Epsilon Yay\u0131nlar\u0131<\/em><\/p>\n<\/blockquote>\n\n\n\n

Toplumsal\u0131n \u00f6l\u00fcm\u00fc, Baudrillard\u2019\u0131n ifadesiyle sessiz ama her \u015feyi yutan, sinik y\u0131\u011f\u0131nlar\u0131n olu\u015fmas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. Medya ve enformasyon toplumsal ba\u011flar\u0131 ve anlam\u0131 \u00f6\u011f\u00fct\u00fcp, kitleleri tamamen izole etmi\u015ftir. Postmodernle ba\u015flayan toplumsal ve kavramsal karga\u015faya internet devriminin sonras\u0131 kitlelerin tepkisi, kendi se\u00e7tikleri yank\u0131 odalar\u0131na kapanmak olmu\u015ftur (Baudrillard\u2019\u0131n hiper uyum dedi\u011fi noktaya). Bu s\u00fcre\u00e7, son y\u0131llarda insanlar\u0131 \u00f6ylesine ayr\u0131\u015ft\u0131r\u0131c\u0131, kendi i\u00e7inde b\u00f6l\u00fcnerek d\u00f6nen, blokajl\u0131 ve \u00f6tekine nefret sunan s\u00f6ylemlerle doldurdu ki, geldi\u011fimiz noktada insanl\u0131\u011f\u0131n bu sanal t\u0131marhaneden nas\u0131l \u00e7\u0131kaca\u011f\u0131n\u0131 ciddiyetle d\u00fc\u015f\u00fcnmeliyiz. Bu d\u00fc\u015f\u00fcnce eylemine ge\u00e7meden \u00f6nce baz\u0131 s\u0131f\u0131rlamalar, g\u00fcncellemeler ya da hack\u2019leme y\u00f6ntemleri denemek zorunday\u0131z. Bu y\u00fczden eski tan\u0131mlar\u0131 yeniden elden ge\u00e7irmek yan\u0131nda \u201cyenilenmi\u015f\u201d tan\u0131mlamalara, konumland\u0131rmalara ihtiya\u00e7 var, misal (uygarl\u0131\u011fa kar\u015f\u0131n medeniyet). Bu \u00e7aba yeni tan\u0131mlar eklemekten \u00f6te, zaman i\u00e7inde sapt\u0131r\u0131lm\u0131\u015f kavramlara d\u00f6n\u00fcp ay\u0131klama, yeniden tan\u0131mlay\u0131p aya\u011fa kald\u0131rma giri\u015fimi olacakt\u0131r.<\/p>\n\n\n\n

\u00c7\u00f6z\u00fclmez, kaosa d\u00f6nm\u00fc\u015f ya da yanl\u0131\u015f anlat\u0131lm\u0131\u015f, anla\u015f\u0131lm\u0131\u015f kavram karga\u015fas\u0131na ve ona zemin sunan logosun ter\u00f6r h\u00e2line son vermeliyiz. \u00d6ncelikle; YZ\u2019nin \u00f6n\u00fcm\u00fcze alt\u0131n tepside sundu\u011fu, zaten bizlere ait olan s\u0131n\u0131rs\u0131z ve anlamdan soyutlanm\u0131\u015f bilgiye de\u011fil; manip\u00fcle edilmemi\u015f akla, sa\u011fduyuya, fark\u0131ndal\u0131\u011fa, di\u011ferk\u00e2ml\u0131\u011fa, idrak g\u00f6z\u00fcn\u00fcn a\u00e7\u0131lmas\u0131na ihtiyac\u0131m\u0131z var. B\u00fct\u00fcnsel bir d\u00fcnya\/evren kavray\u0131\u015f\u0131na, onun i\u00e7inde \u00e7o\u011fulcu bir ontoloji nosyonuna ihtiya\u00e7 var. Buna ula\u015fmak, bir f\u00fczyon s\u00fcrecinin kap\u0131s\u0131n\u0131 a\u00e7makt\u0131r. Bu f\u00fczyon ve \u00e7o\u011fulcu varl\u0131k bilinci; yeni ba\u011flant\u0131sall\u0131k a\u011flar\u0131 \u00f6rmek, bilgiyi bilin\u00e7 seviyesine \u00e7\u0131kartmak, bilinci her olu\u015f h\u00e2liyle birlikte prati\u011fe d\u00f6kmektir. Yani ideoloji ve ayr\u0131l\u0131\u011f\u0131n t\u00fcrk\u00fcs\u00fcn\u00fcn toksit tuzaklar\u0131na d\u00fc\u015fmeden, insandan hayvana, bitkiden buluta, denizden quasar\u2019lara de\u011fin ya\u015famsal birli\u011fi kavray\u0131\u015f ve onunla uyumlanma yolunu se\u00e7mi\u015f yeni bir medeniyetin kap\u0131s\u0131n\u0131 a\u00e7ma kudretidir. Bug\u00fcn ya\u015fanan kavram karma\u015fas\u0131 ve onun kanonik ayr\u0131m mant\u0131\u011f\u0131yla \u201cbirle\u015fmez denen\u201d okullar\u0131n; asl\u0131nda ayn\u0131 insanl\u0131k bilin\u00e7 ve tahayy\u00fcl okulunun par\u00e7alar\u0131 oldu\u011funu hat\u0131rlamak m\u00fchimdir. \u00d6rne\u011fin \u00fclkemizde; Ayd\u0131n\u2019\u0131n Didim il\u00e7esi s\u0131n\u0131rlar\u0131nda farkl\u0131 fikirlere sahip filozoflar\u0131n bir bilin\u00e7 tap\u0131na\u011f\u0131 in\u015fa eder gibi birlikte Milet Okulu’nu kurma c\u00fcretini d\u00fc\u015f\u00fcnelim.<\/p>\n\n\n\n

Orada varolu\u015f ve \u00e7eli\u015fkilerini \u00e7ok farkl\u0131 kavramlarla, bak\u0131\u015f a\u00e7\u0131lar\u0131yla \u00e7\u00f6z\u00fcmlemeye \u00e7al\u0131\u015fan filozoflar vard\u0131. Yani oras\u0131 ne tek kanal bir yank\u0131 odas\u0131 ne de fikir uyu\u015fmazl\u0131\u011f\u0131n\u0131n ayr\u0131l\u0131\u011fa d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc bir mek\u00e2nd\u0131. D\u00fc\u015f\u00fcnceler z\u0131tl\u0131klar\u0131n birli\u011fi i\u00e7inde evriliyor, bir tart\u0131\u015fma ve m\u00fczakere k\u00fclt\u00fcr\u00fc i\u00e7inde geli\u015fiyordu. Milet Okulu’nda, evrenin temel ilkesi olan arkhe\u2019yi bulma aray\u0131\u015f\u0131yla yola \u00e7\u0131kan felsefe; Herakleitos ile ontolojiye, Pisagor\u2019la b\u00fct\u00fcnselli\u011fe, Empodokles ile senteze ilerliyordu. Milet Okulu, mesleki bran\u015flar \u00fczerine e\u011fitim veren bir \u00fcniversite de\u011fildi; daha \u00e7ok erdemli ya\u015famaya dair bir hayat okuluydu. Eski Yunan uygarl\u0131\u011f\u0131ndaki h\u00e2kim k\u00fclt\u00fcr B\u00fct\u00fcnsel Bilim anlay\u0131\u015f\u0131yd\u0131 ve bu perspektifle bir filozof ayn\u0131 zamanda astronomi ve kimya ile de ilgilenmekteydi. \u00c7\u00fcnk\u00fc k\u00e2inata de\u011fin t\u00fcm var olu\u015f b\u00fct\u00fcnsel kavran\u0131yordu. Bu anlay\u0131\u015f semavi dinlerin \u00e7\u0131k\u0131\u015f\u0131yla zaman i\u00e7inde gitgide alt bir forma d\u00f6n\u00fc\u015ferek (misal ilmi simya gibi gizlice) R\u00f6nesans\u2019a kadar s\u00fcrd\u00fc. R\u00f6nesans ya da R\u00f6nesans insan\u0131 denilen \u015fey asl\u0131nda Latin ve Yunanca kadim metinlere d\u00f6n\u00fc\u015f ve Antik bilgeli\u011fin Birle\u015fik Bilim anlay\u0131\u015f\u0131n\u0131 yeniden canland\u0131rma te\u015febb\u00fcs\u00fcyd\u00fc.<\/p>\n\n\n\n

Fakat sermaye ve kilise bu arada bo\u015f durmad\u0131; yakla\u015f\u0131k 12. y\u00fczy\u0131ldan itibaren Bologna, Paris ve Oxford gibi merkezlerde kurulan ilk \u00fcniversiteler lonca temelli ekonomiyle kilisenin ortakl\u0131\u011f\u0131nda kuruldu. Devletlerin de memnuniyetle kar\u015f\u0131lad\u0131\u011f\u0131 bu giri\u015fimler papaz, hukuk\u00e7u ve hekim yeti\u015ftirmeyi hedefliyordu. Fakat 17. y\u00fczy\u0131lla birlikte art\u0131k \u00fcniversite sisteminin toplum d\u00fczenindeki artan karma\u015f\u0131kla\u015fmaya ve teknik ilerleme beklentilerine cevap vermemesi sonucu, deney ve g\u00f6zlemi merkeze alan ve uzmanla\u015fmaya izin veren; laik ve evrensel oldu\u011fu s\u00f6ylenen Akademiler a\u00e7\u0131lmaya ba\u015flad\u0131. End\u00fcstri Devrimi’nin filozoftan \u00e7ok bilim ordusuna ihtiyac\u0131 vard\u0131. 19. y\u00fczy\u0131lla e\u011fitim ulus devlet projesine ba\u011fl\u0131 olarak millile\u015fti. Bunun sonucu olarak okullar; ulus devletin, yerli sermayenin ve k\u00fclt\u00fcrel formlar\u0131n ihtiya\u00e7lar\u0131n\u0131 temel alan b\u00fcy\u00fcme stratejileri do\u011frultusunda \u00e7al\u0131\u015fmalar yapan kurumlara d\u00f6n\u00fc\u015ft\u00fcler ve h\u00e2l\u00e2 da biraz \u00f6yleler. Bilim; silah geli\u015ftirme, teknik ilerleme, sa\u011fl\u0131kta yenilikler arama ile ba\u015flay\u0131p atom bombas\u0131 yapma, Ay\u2019a roket g\u00f6nderme gibi bir\u00e7ok alana yay\u0131ld\u0131. 20. y\u00fczy\u0131lla gitgide a\u011f\u0131rl\u0131klar\u0131n\u0131 g\u00f6steren \u00f6zel sermaye g\u00fc\u00e7leri \u00fcniversiteleri fonlamaktan, stratejik \u00e7\u0131karlar\u0131 do\u011frultusunda kendi \u201c\u00f6zel\u201d \u00fcniversitelerini kurmaya y\u00f6neldiler.<\/p>\n\n\n\n

\u0130nsanl\u0131\u011f\u0131n d\u00fc\u015f\u00fcnsel ve bili\u015fsel \u00e7abas\u0131 alayl\u0131 refleks ile ba\u015flasa da zaman i\u00e7inde akademi i\u00e7inde k\u00f6klenmi\u015ftir. 68 Ku\u015fa\u011f\u0131n\u0131n yenilgisi (ki ana dip dalgas\u0131 1979 y\u0131l\u0131na dek s\u00fcrm\u00fc\u015ft\u00fcr) bu a\u00e7\u0131dan tarihsel bir d\u00f6n\u00fcm noktas\u0131d\u0131r. Yetmi\u015fli y\u0131llar\u0131n ortalar\u0131na kadar Sartre ve Deleuze gibi etkin d\u00fc\u015f\u00fcn\u00fcrler ya da Jean Genet ve William S. Burroughs gibi d\u00fc\u015f\u00fcncenin k\u00f6t\u00fc \u00e7ocuklar\u0131n\u0131 hayat\u0131n i\u00e7inde ve hatta protesto eylemlerinin i\u00e7inde g\u00f6rebiliyorduk. Fakat 1980 sonras\u0131 y\u00fckselen vah\u015fi neo-liberalizmin e\u011fitimi ele ge\u00e7irmesi ve ayn\u0131 d\u00f6nemde Fredric Jameson\u2019\u0131n \u00e7ok uluslu sermayenin ya da \u201cge\u00e7 kapitalizmin k\u00fclt\u00fcrel mant\u0131\u011f\u0131\u201d olarak adland\u0131rd\u0131\u011f\u0131 postmodernin, teoriye ve tahayy\u00fcle kar\u015f\u0131 ba\u015flatt\u0131\u011f\u0131 salvolarla bamba\u015fka bir d\u00fcnya ger\u00e7ekli\u011finin i\u00e7ine girildi. Prati\u011fe a\u00e7\u0131lan teorinin, sahaya \u00e7\u0131kan ayd\u0131n misyonunun ve devrimci entelekt\u00fcalizmin g\u00f6zden d\u00fc\u015f\u00fcr\u00fclmesinin ilk etkisi sanat\u0131n tamamen meta piyasas\u0131na teslim edilmesine, yani k\u00fclt\u00fcr end\u00fcstrisinin etki alan\u0131 d\u0131\u015f\u0131nda ekine alan tan\u0131nmayan \u201ciyi niyetli\u201d banka\/holding egemenli\u011fini do\u011furdu.<\/p>\n\n\n\n

Bu de\u011fi\u015fim yeni a\u00e7\u0131lan k\u00fcrs\u00fcleri \u201ckanaat \u00f6nderli\u011fi\u201d gibi k\u0131l\u0131flarla kapan ama ger\u00e7ekte idrakten, tarih bilgisinden ve b\u00fct\u00fcnc\u00fcl bak\u0131\u015f a\u00e7\u0131s\u0131ndan yoksun medya yorumcular\u0131na, ba\u015far\u0131s\u0131z ve vasat d\u00fc\u015f\u00fcn\u00fcrlere, \u00e7okuluslu \u015firketlerin finanse etti\u011fi akademi k\u00fcrs\u00fclerini kapan sol liberal ya da yeni sa\u011f yazarlara teorinin teslim edilmesiyle sonu\u00e7land\u0131. Zaten; \u00fcniversitelerin finans\u00f6rleri olan banka\/holdingler radyo ve televizyon kanallar\u0131n\u0131n da sahipleriydiler ve ayn\u0131 zamanda di\u011fer bir ayaklar\u0131 da bas\u0131n ve yay\u0131nc\u0131l\u0131k sekt\u00f6r\u00fcndeydi. Bu sayede hem kendi ideologlar\u0131n\u0131 kendileri doyurabiliyor hem de onlar\u0131 pop\u00fclist medya arenas\u0131na \u00e7ekip, birer talk show y\u0131ld\u0131z\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcyorlard\u0131. Bir ta\u015f ile bir\u00e7ok ku\u015f indiriliyordu.<\/p>\n\n\n\n

Bu anlatt\u0131klar\u0131m komplo teorisi olarak okunamaz. Zaten, komplo teorilerine de gerek yok, neo-liberalizmin ve hatta tarihsel kapitalizmin kendisi hayata kar\u015f\u0131 kurulmu\u015f bir komplodur. Kamuoyu yaratmak ve onu yoklamak k\u00fcresel ticaretin temel unsurudur, sistem b\u00f6yle i\u015fler. Toplum ile ba\u011f\u0131, sadece se\u00e7imler ve spor m\u00fcsabakalar\u0131 olan, liberter g\u00f6r\u00fcn\u00fcmle liberalizmi savunan, disco\u2019ya giden, uyar\u0131c\u0131 alan ve zengin olmay\u0131 arzulayan yeni bir teorisyen tipi olu\u015fturulmu\u015ftur. Bu yeni sinik teorisyen i\u00e7in sendika \u00e7a\u011fd\u0131\u015f\u0131, kamusal haklar \u00f6zg\u00fcrl\u00fc\u011f\u00fcn bask\u0131lanmas\u0131, kazan\u0131lm\u0131\u015f sosyal haklar ayak ba\u011f\u0131, toplumsal muhalefet ise aksi ve tatminsizdir. Postmodern anlay\u0131\u015f montaj \u00fczerinden gider, mix k\u00fclt\u00fcr\u00fc ile i\u00e7 i\u00e7edir – bitmez plastik katmanlar, \u015f\u0131mar\u0131k yeniden \u00fcretimler yarat\u0131r. Merkezsiz olmay\u0131, mobil olmay\u0131, ak\u0131\u015fkan olmay\u0131 insan \u00f6zg\u00fcrl\u00fc\u011f\u00fc ve b\u00fct\u00fcnl\u00fc\u011f\u00fc i\u00e7in de\u011fil \u00e7ok uluslu gelecek i\u00e7in savunurlar ve bu onlar\u0131n olu\u015f bi\u00e7imleridir. Bu y\u00fczden kavram \u00fcretemeden, logos ter\u00f6r\u00fcne ba\u015fvurmadan rahat edemez post teori.<\/p>\n\n\n\n

\u00d6nce, Kant\u2019\u0131n evrensel ahlak ilkesine sald\u0131r\u0131 ba\u015flat\u0131p, ard\u0131ndan siyaseten do\u011fruculuk, woke, cancel k\u00fclt\u00fcr gibi bir\u00e7ok \u201cs\u00f6zde\u201d ahlak formu \u00fcretildi. Yanl\u0131\u015f anla\u015f\u0131lmas\u0131n; burada farkl\u0131 kimliklerin ya\u015fam m\u00fccadelesi, kad\u0131n ya da queer hareketini de\u011fil, postmodern kal\u0131plar\u0131n onlar\u0131 tek kanal liberal d\u00fc\u015f\u00fcnceye ve indirgemeci bir forma sokma hevesini masaya yat\u0131r\u0131yorum. Hedefte ya da yolda sapma yaratmak, \u201caktivist\u201d \u00e7abay\u0131 g\u00f6steriye eklemek i\u00e7in bin bir yarat\u0131c\u0131 end\u00fcstri icat etmek, bu yakla\u015f\u0131m\u0131n taktiklerindendir. Kentsel d\u00f6n\u00fc\u015f\u00fcm projelerinin yaratt\u0131\u011f\u0131 y\u0131k\u0131ma ya da do\u011fal kaynaklar\u0131n\u0131n talan\u0131na teorik k\u0131l\u0131flar, postmodern g\u00fczellemeler bu kanallarla yap\u0131l\u0131r. Bu \u201clogos wash\u201d prati\u011fi, \u00e7akt\u0131rmadan s\u00fcrekli aktif olan bir toplum m\u00fchendisli\u011fi faaliyetidir ve en u\u00e7 noktas\u0131n\u0131 \u201cturuncu devrim\u201d gibi sosyal a\u011f \u00fczerinden y\u00fcr\u00fcyen toplumsal dezenformasyon kampanyalar\u0131nda g\u00f6r\u00fcl\u00fcr. Kitap okuma faaliyetinin internet okur-yazarl\u0131\u011f\u0131na, bilginin Wikipedia d\u00fczeyine, felsefenin kavram salatas\u0131na, aktivizmin bir part-time i\u015fe \u00e7evrildi\u011fi dijital ge\u00e7 kapitalizmde insan\u0131n idrak kapasitesi gitgide t\u00fckenmektedir.<\/p>\n\n\n\n

Buradan bak\u0131l\u0131nca, Milet Okulundan bug\u00fcne, aradan ge\u00e7en 1500 y\u0131l i\u00e7inde insan bilinci a\u00e7\u0131s\u0131ndan bir ilerlemeden \u00e7ok gerilemeden bahsetmeliyiz. Aradan ge\u00e7en s\u00fcrede R\u00f6nesans, h\u00fcmanizm, romantizm, \u0130slam Ayd\u0131nlanmas\u0131 (k\u0131saca Horosan Okulu, \u0130bn R\u00fc\u015fd, Farabi, \u0130bni Sina, \u0130b-i Arabi, Yunus Emre, Hayyam) gibi par\u0131ldama anlar\u0131ndan bahsetsek bile genel tablo karanl\u0131kt\u0131r. Son olarak 20. y\u00fczy\u0131lda olu\u015fturulan Bauhaus, Frankfurt Okulu gibi nitelikli denemeler ise fa\u015fizm \u00e7izmesi ile bast\u0131r\u0131lm\u0131\u015ft\u0131r. Bug\u00fcn postmodern kavram karma\u015fas\u0131 \u00fcst\u00fcne gelen internet devriminin sars\u0131nt\u0131lar\u0131yla teori ve d\u00fc\u015f\u00fcnce genel olarak indirgemeci bir tek\u00e7ilik sistemine (her \u015feyi tek bir kuramla a\u00e7\u0131klama \u00e7abas\u0131na) ve g\u00fcndelik k\u00fclt\u00fcrde yank\u0131 odalar\u0131n\u0131n kampla\u015fmas\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Yani \u00f6zg\u00fcr d\u00fc\u015f\u00fcnce monomani adl\u0131 hastal\u0131\u011fa yakalanm\u0131\u015ft\u0131r. Monomani, ki\u015finin d\u00fcnyay\u0131 kendi hakikat hapishanesinden g\u00f6rmesi ve tak\u0131nt\u0131yla bu seraba tutunmas\u0131, kendi ger\u00e7ekli\u011fini buradan kurmas\u0131d\u0131r. T\u00fcrk\u00e7ede basit bir kar\u015f\u0131l\u0131\u011f\u0131 da mevcut; sabit fikir.<\/p>\n\n\n\n

Monomani\u2019nin yaratt\u0131\u011f\u0131 psikolojik kilitlenme, indirgemeci g\u00f6r\u00fc\u015flerin olu\u015fturdu\u011fu teorik kitlenmeyle i\u00e7 i\u00e7e girer. Her ikisi de var olu\u015fun \u00e7oklu\u011funu tek bir eksene sokmay\u0131 zorlar. Bunun sonucu deneyim daralt\u0131l\u0131r, d\u00fc\u015f\u00fcnceler s\u0131n\u0131rlan\u0131r, d\u00fcnya basitle\u015fir ama \u00e7ok fakirle\u015fir. Ki\u015fi bir \u015feylere inanmakta oldu\u011funu s\u00f6yler ama s\u0131k s\u0131k patlak veren depresyon onun asl\u0131nda anlam sanc\u0131s\u0131 \u00e7ekti\u011finin i\u015fareti olur. A\u015f\u0131r\u0131 y\u00fckleme alan logos can \u00e7eki\u015fmekte, g\u00fcndelik hayat ak\u0131\u015f\u0131 ise sosyal a\u011fa iltica etmektedir.<\/p>\n\n\n\n

T\u00fcm bunlara kar\u015f\u0131n \u00e7o\u011fulcu ontoloji yaratma d\u00fc\u015f\u00fc ise tek bir k\u00f6k\u00fcn sessizli\u011finden de\u011fil; \u00e7oklu\u011fun u\u011fultusundan do\u011far. Varl\u0131k, birle\u015fmelerin ge\u00e7ici dengesi, ayr\u0131\u015fmalar\u0131n gizli ritmidir. \u0130nsan, bu \u00e7o\u011fullu\u011fun i\u00e7inde ne merkezdir ne de kenar; bir d\u00fc\u011f\u00fcmd\u00fcr yaln\u0131zca ekolojinin, tarihin ve bilin\u00e7d\u0131\u015f\u0131n\u0131n kesi\u015fti\u011fi titre\u015fimli bir nokta. Ursula K. Le Guin\u2019in kulland\u0131\u011f\u0131 anlamda insan ekolojisi diyebilece\u011fimiz \u015fey, do\u011fan\u0131n d\u0131\u015f\u0131nda bir alan de\u011fil; do\u011fan\u0131n kendi i\u00e7indeki k\u0131vr\u0131m\u0131d\u0131r. D\u00fc\u015f\u00fcnce, toprakla konu\u015fur; dil, r\u00fczg\u00e2r\u0131n izini ta\u015f\u0131r, beden, y\u0131ld\u0131z tozunun ge\u00e7ici bir d\u00fczenidir. Bu y\u00fczden her kimlik, her ideoloji, her d\u00fczen bir anl\u0131\u011f\u0131na tutulan bir formdur. Sonra \u00e7\u00f6z\u00fcl\u00fcr, yeniden kar\u0131\u015f\u0131r, ba\u015fka bir \u015feye d\u00f6n\u00fc\u015f\u00fcr. Kesin do\u011frular, sonuna kadar hakl\u0131l\u0131klar, tekil \u00e7\u00f6z\u00fcmler yoktur.<\/p>\n\n\n\n

Ama bu \u00e7o\u011fulluk, kaos de\u011fildir. Derinde, hen\u00fcz ad\u0131n\u0131 koyamad\u0131\u011f\u0131m\u0131z bir y\u00f6nelim vard\u0131r: birle\u015fmeye do\u011fru, ama tekilli\u011fe d\u00fc\u015fmeden; birli\u011fe do\u011fru, ama fark\u0131 yok etmeden. Belki de arad\u0131\u011f\u0131m\u0131z \u015fey, Platon\u2019un sordu\u011fu o eksik say\u0131d\u0131r (peki d\u00f6rt nerede?), \u00fc\u00e7\u00fcn geriliminden do\u011fan, ama d\u00f6rd\u00fcn dinginli\u011fine (birli\u011fe) a\u00e7\u0131lan. A\u015fk ile \u00e7at\u0131\u015fma, d\u00fczen ile ka\u00e7\u0131\u015f, bilin\u00e7 ile karanl\u0131k hepsi ayn\u0131 ak\u0131\u015f\u0131n farkl\u0131 h\u0131zlar\u0131d\u0131r. Ve biz, bu ak\u0131\u015f\u0131n i\u00e7inde ne b\u00fct\u00fcn\u00fcyle \u00f6zg\u00fcr ne b\u00fct\u00fcn\u00fcyle belirlenmi\u015f; ama her an yeniden kurulabilir bir varl\u0131k olarak dururuz. Evrensel birlik, bir son de\u011fil o h\u00e2lde bir hedef de de\u011fil. Daha \u00e7ok, \u00e7o\u011fullu\u011fun kendini tan\u0131d\u0131\u011f\u0131 an\u0131n ad\u0131. \u00c7ok olan\u0131n, kendi i\u00e7indeki ba\u011f\u0131 sezdi\u011fi o ince e\u015fik.<\/p>\n\n\n\n

Ve belki de b\u00fct\u00fcn aray\u0131\u015f, \u015fundan ibarettir: Ayr\u0131\u015farak \u00e7o\u011falmak, ama da\u011f\u0131lmadan bir kalabilmek.<\/p>\n\n\n\n

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(X) Distopya m\u0131 \u00dctopya m\u0131: Karar Ver<\/h1>\n\n\n\n

Bir kafede oturuyoruz. Yan masada iki gen\u00e7 ne\u015feli bir hararet i\u00e7inde konu\u015fuyor. Konu\u015fman\u0131n i\u00e7indeki \u015fu c\u00fcmle dikkatimi \u00e7ekiyor: Distopya m\u0131, \u00fctopya m\u0131, hangisi sence? Masamda k\u0131r\u0131k bir tebess\u00fcm ediyorum. \u0130nsan t\u00fcr\u00fcn\u00fcn gelece\u011fine dair m\u00fchim kavramlar bile g\u00fcndelik dilde, ikili kar\u015f\u0131tl\u0131klar olarak dile geliyor. Sanki bu iki kavram sadece Netflix ya da Hollywood sinemas\u0131n\u0131n tekelindeymi\u015f gibi. Asl\u0131nda \u00fctopya ve distopya tam da bu y\u00fczden var. Her ikisi de insan uygarl\u0131\u011f\u0131n\u0131n en ba\u015f\u0131ndan bug\u00fcne gelen iki ya\u015famsal durumu tan\u0131ml\u0131yor ve gelece\u011fin yollar\u0131n\u0131 soru\u015fturmaya heves ediyor.<\/p>\n\n\n\n

\u00dctopya; ba\u015flang\u0131c\u0131m\u0131zdan bug\u00fcne dek g\u00f6z ard\u0131 edilmi\u015f, f\u0131rsat \u015fans\u0131 verilmemi\u015f, bast\u0131r\u0131lm\u0131\u015f ve hatta yok edilmi\u015f ya\u015famlardan g\u00fcndelik hayata s\u0131zan imgelerdir. Umuttan, \u00f6zg\u00fcrl\u00fckten, oyundan, \u00e7ok seslilikten, birlik\u00e7i idealden arta kalan, kaz\u0131l\u0131p \u00e7\u0131kart\u0131lan idealleri somutla\u015ft\u0131r\u0131r. Ve ne \u015f\u00fck\u00fcr ki bunu yapmay\u0131 h\u00e2l\u00e2 s\u00fcrd\u00fcr\u00fcyor. Distopya ise, ba\u015flang\u0131c\u0131m\u0131zdan bug\u00fcne de\u011fin t\u00fcr\u00fcm\u00fcz\u00fcn yaratt\u0131\u011f\u0131 risk ve tehlikeleri, d\u00fcnyaya ve kendimize verdi\u011fimiz zararlar\u0131, bast\u0131rma ve kapma, kontrol ve denetim ayg\u0131tlar\u0131n\u0131 somutla\u015ft\u0131r\u0131yor.<\/p>\n\n\n\n

\u0130kisinin de derdi ortak:<\/p>\n\n\n\n

a- Haf\u0131zay\u0131 ak\u0131\u015fkan ve canl\u0131 k\u0131lmak<\/p>\n\n\n\n

b- Bug\u00fcn\u00fcn felaketine \u00e7areler aramak<\/p>\n\n\n\n

c- Gelece\u011fe dokunmak<\/p>\n\n\n\n

\u00dctopya bunu arzu yaratarak yap\u0131yor, distopya ise uyar\u0131da bulunarak; \u00fctopya \u201cba\u015fka bir d\u00fcnya m\u00fcmk\u00fcn\u201d derken, distopya \u201cbu b\u00f6yle giderse\u201d ortada bir d\u00fcnya kalmaz diyerek. Ki \u00fctopya\/distopya \u00e7ifti zaman i\u00e7inde sabit kalmad\u0131, bir\u00e7ok yeni bak\u0131\u015f, kavram tahayy\u00fcle kat\u0131ld\u0131: Kar\u015f\u0131 \u00fctopya (Huxley), heterotopya (Foucault), T.A.Z. (H\u00e2kim Bey), ekotopya (Callenbach), ikircikli \u00fctopya (Le Guin ve Zamyatin), inovasyon ideali (Schumpeter), kara \u00fctopya (R. A.). Yani, s\u00fcrekli geni\u015fleyen ve par\u00e7al\u0131 bir bili\u015fsel harita.<\/p>\n\n\n\n

Asl\u0131nda, \u00fctopya da distopya da taraf olunacak z\u0131tl\u0131klar de\u011fil. Her ikisi de ayn\u0131 anda ve \u015fimdi de cereyan eden sonsuz olas\u0131l\u0131klar, i\u00e7 i\u00e7e ge\u00e7i\u015fler, da\u011f\u0131lmalar ve birle\u015fmeler, hastal\u0131klar ve \u015fifalar \u00fczerinden imgesel d\u00fcnyalar yarat\u0131yor. Bu d\u00fcnya; Zerd\u00fc\u015ft\u2019ten beri anlat\u0131lan keskin ve bitimsiz \u0131\u015f\u0131k ve karanl\u0131k aras\u0131ndaki sava\u015f; Freud\u2019un antik filozof Empedokles\u2019ten indirgeyerek g\u00fcncelledi\u011fi eros ve thanatos (\u00f6l\u00fcm i\u00e7g\u00fcd\u00fcs\u00fc) kar\u015f\u0131tl\u0131\u011f\u0131 gibi uzla\u015fmaz ikiliklerin arenas\u0131 de\u011fil. Anaerki ve ataerki b\u00fcy\u00fck ihtimalle ayn\u0131 anda yak\u0131n co\u011frafyalarda e\u015fzamanl\u0131 ya\u015fand\u0131. Hitler\u2019in \u201cmi\u011ffer devletleri\u201d vard\u0131 ama fa\u015fizme kar\u015f\u0131 birle\u015fik cephe de vard\u0131. Her \u015fey ayn\u0131 anda, i\u00e7 i\u00e7e, tersinir bi\u00e7imlerde tezah\u00fcr etti.<\/p>\n\n\n\n

Bu manada \u00fctopya ve distopya bizlere, \u015fair Ece Ayhan\u2019\u0131n ifadesiyle \u201ctarihi d\u00fcz\u00fcnden\u201d okuma \u015fans\u0131 verir. Yaz\u0131l\u0131 tarih kurgudur, i\u00e7inden hakikat fragmanlar\u0131 dev\u015firmemiz gereken. Buradaki as\u0131l tehlike \u00e7okuluslu kapitalizmin kendi distopyas\u0131n\u0131 t\u00fcm insanl\u0131\u011fa de\u011fi\u015fmez kader olarak dayatmas\u0131d\u0131r. B\u00fcy\u00fck \u00fctopya kuramc\u0131s\u0131 Fredric Jameson\u2019un d\u00fcnyan\u0131n sonunu hayal etmek, kapitalizmin sonunu tahayy\u00fcl etmekten \u00e7ok daha zor deyi\u015fini an\u0131msayal\u0131m. Yani eski Yunan filozofu Empedokles\u2019e g\u00f6ndermeyle, d\u00fcnya y\u00fczeyinde, ayn\u0131 anda y\u0131k\u0131c\u0131l\u0131k ve sevgi kuvvetleri bug\u00fcn ve yar\u0131n i\u00e7in bir m\u00fccadele i\u00e7 i\u00e7edir (W. Benjamin buna ge\u00e7mi\u015fi de ekler).<\/p>\n\n\n\n

S\u0131k\u00e7a san\u0131lan\u0131n aksine \u00fctopya yar\u0131n i\u00e7in de\u011fil bug\u00fcn i\u00e7in vard\u0131r, \u00fctopyaya gerek olmayacak, herhangi bir ideal d\u00fczen ya da toplum s\u00f6zle\u015fmesi tahayy\u00fcl etmeyecek bir gelece\u011fe varmak i\u00e7in yap\u0131lm\u0131\u015flard\u0131r. Bu y\u00fczden Roland Barthes \u00e7ok hakl\u0131 bir bi\u00e7imde \u201c\u00fctopyan\u0131n izi g\u00fcndelik hayatt\u0131r\u201d demi\u015ftir. Farkl\u0131 toplumlar\u0131n hayat\u0131nda s\u00fcregelen dayan\u0131\u015fma, \u00f6z y\u00f6netim, \u015fenlik, oyun, takas pratiklerinde, torrent payla\u015f\u0131mlar\u0131nda, copyleft yay\u0131nc\u0131l\u0131kta ya\u015fayan ve gelece\u011fi s\u00fcrekli yoklayan bir \u00fctopya vard\u0131r.<\/p>\n\n\n\n

\u0130nsan uygarl\u0131\u011f\u0131 m\u00fclkiyet, devlet, b\u00fcrokrasi, zul\u00fcm ayg\u0131tlar\u0131 ke\u015ffettik\u00e7e filozoflar, mistikler ve \u015fairler \u00fctopyalara ihtiya\u00e7 duymu\u015flard\u0131r. Adil, ya\u015fan\u0131labilir, h\u00fcr bir toplumun taslaklar\u0131n\u0131 \u00e7izmek i\u00e7in. O y\u00fczden kimse Platon’a k\u0131z\u0131p anti-\u00fctopya demesin Devlet kitab\u0131na. T\u00fcm \u00fctopyalar biraz zaafl\u0131, k\u0131s\u0131tl\u0131, fazla planl\u0131 ve s\u0131k\u00e7a da s\u0131k\u0131c\u0131d\u0131r. Dedi\u011fimiz gibi onu olu\u015fturan -yaz\u0131l\u0131rken ya\u015fanan- d\u00fcnyada \u00fctopyaya s\u0131zar, s\u0131zmamas\u0131 da m\u00fcmk\u00fcn de\u011fildir. E\u011fer s\u0131zm\u0131yorsa o \u00fctopya de\u011fil, ba\u015fka bir \u015feydir. O y\u00fczden \u00fctopyalara h\u00e2l\u00e2 \u00e7ok ihtiyac\u0131m\u0131z var.<\/p>\n\n\n\n

\u0130nsan\u0131n ikinci \u015fafa\u011f\u0131 hen\u00fcz ger\u00e7ekle\u015fecekse, uygarl\u0131k yarg\u0131lanmal\u0131 ve tart\u0131\u015fmaya a\u00e7\u0131lmal\u0131d\u0131r. Olas\u0131 bir yeni medeniyete dair baz\u0131 ipu\u00e7lar\u0131 W. Benjamin’in alt\u0131n\u0131 \u00e7izdi\u011fi \u015fekilde, insan t\u00fcr\u00fcn\u00fcn var olu\u015fundan beri pratikte denenme imk\u00e2n\u0131 tan\u0131nmayan bir\u00e7ok par\u0131lt\u0131l\u0131 denemeyi, ger\u00e7ekle\u015fmemi\u015f umudu, \u00fctopya taslaklar\u0131n\u0131 i\u00e7inde bar\u0131nd\u0131r\u0131r. Bug\u00fcne d\u00e2hil edilmemi\u015f bu birikmeyi, \u015fimdiki uygarl\u0131\u011f\u0131n durumuna enjekte etmek, gelece\u011fe y\u00f6nelen bili\u015fsel ad\u0131mlar\u0131 h\u0131zland\u0131rma potansiyelini bar\u0131nd\u0131r\u0131r.<\/p>\n\n\n\n

\u015eimdi 21. y\u00fczy\u0131lda \u0130ngiliz yazar, sanat\u00e7\u0131 ve k\u00e2hin J. G. Ballard\u2019\u0131n \u201c\u015fimdiki gelecek\u201d dedi\u011fi noktaday\u0131z. Yar\u0131n, bug\u00fcne s\u0131zd\u0131 ve onun ger\u00e7ekli\u011fini s\u00fcrekli hack\u2019leyerek. O y\u00fczden yak\u0131nda Turing Testi’ni tamamlamaya aday YZ, robot i\u015f\u00e7i ve askerler, insan zihnini a\u011fa ba\u011flama fantezileri, \u00e7evre ve iklim krizi realitesi i\u00e7inde ortak bir karar verelim.<\/p>\n\n\n\n

\u00dctopya m\u0131? Distopya m\u0131?<\/p>\n\n\n\n

Ya da insan t\u00fcr\u00fcn\u00fcn yeni bilin\u00e7 devrimi mi?<\/p>\n\n\n\n

Bu karar hepimizin.<\/p>\n\n\n\n

Unutmay\u0131n; Tao’da \u00fctopya, \u00fctopyada Tao yoktur.<\/p>\n\n\n\n

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(XI) Devrim Nas\u0131l Viral Olur?<\/h1>\n\n\n\n
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\u201cBizler, rengarenk birer kaosuz.” <\/em><\/strong>Paul Cezanne\/An\u0131lar<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cKairos: A\u00e7\u0131k\u00e7a uygun an\u2019d\u0131r. Uygun \u00e2n\u0131 ka\u00e7\u0131rmay\u0131n.\u201d<\/em><\/strong> Gilles Deleuze\/Spinoza \u00dczerine<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cDevrim ebedidir ve zamanda k\u0131r\u0131lma yarat\u0131r\u2026 Filozof devrim ta kendisidir.\u201d <\/em><\/strong>Philippe Sollers\/Arzu<\/em><\/p>\n<\/blockquote>\n\n\n\n

Devrim mevhumunun \u00f6z\u00fcnde, avangart yani \u00f6nc\u00fc kol olmak, kaosla dans edebilmek, zaman\u0131n\u0131 bir mevcudiyet olarak (s\u00fcrekli \u015fimdi) deneyime d\u00f6kmek, yenide beliren farkl\u0131 olu\u015fu etkin k\u0131lmak, de\u011fi\u015fim sa\u011flamak ve d\u00f6n\u00fc\u015f\u00fcme gen havuzu olmak vard\u0131r. Derrida\u2019n\u0131n hakl\u0131 bi\u00e7imde s\u00f6yledi\u011fi gibi her al\u0131nt\u0131n\u0131n, bir ba\u015fka al\u0131nt\u0131s\u0131 vard\u0131r ve bu ileri-geri de\u011fil d\u00f6ng\u00fcsel bir mant\u0131k izler. Politik alanda kullan\u0131mda olan devrim s\u00f6zc\u00fc\u011f\u00fcn\u00fcn Latincedeki revolutio<\/em>, yani d\u00f6n\u00fc\u015f k\u00f6k\u00fcnden gelmesi rastlant\u0131 de\u011fildir. Ya\u015famda, kavram ve onu olu\u015fturan anlam d\u00fcnyas\u0131 mevcuttur; ama zaman, mek\u00e2n, ko\u015fullar (iklim, ekosistem vb.), \u00fcretim ara\u00e7lar\u0131, ileti\u015fim teknikleri de\u011fi\u015fim halindedir. Ve d\u00fc\u015f\u00fcnce her yeni durumla ba\u015fa \u00e7\u0131kmak i\u00e7in kendini yeniden konumland\u0131r\u0131r, \u015fartlara uygun bir g\u00fcncelleme al\u0131r. Bu insan\u0131n aktif bili\u015fsel kapasitesidir, fakat onun tinsel var olu\u015fu, anlam d\u00fcnyas\u0131, etik yasalar\u0131 kolay kolay de\u011fi\u015fmez. Farkl\u0131la\u015fan ko\u015fullarla toplumlar ilerlemez, geli\u015fmez, b\u00fcy\u00fck kopu\u015f ger\u00e7ekle\u015fmez; zaman ileriye do\u011fru akmaz.<\/p>\n\n\n\n

Yani, b\u00fcy\u00fck s\u0131\u00e7ramalar, atlamal\u0131 ge\u00e7i\u015fler, s\u00fcrekli ileriye ko\u015fu, konsol oyunu gibi kat edilen a\u015fama, bir yerden \u00f6tekine giden d\u00fcmd\u00fcz \u00e7izgi yoktur. Ama canl\u0131-cans\u0131z varolu\u015funun do\u011furdu\u011fu, do\u011fan\u0131n de\u011fi\u015fmezleri \u00f6tesinde yeni \u00f6ng\u00f6r\u00fclemez \u00f6zelliklerle kar\u015f\u0131la\u015f\u0131labilir ve De Landa\u2019ya g\u00f6ndermeyle bunda baz\u0131 ama\u00e7lanmam\u0131\u015f kolektif sonu\u00e7lar belirleyici olabilir. Yani insan toplulu\u011fu ne iradi ne de nedensel olmayan kaotik s\u00fcre\u00e7lere maruz kalabilir ve bunun sonucu olarak hesaplanamayacak sonu\u00e7larla y\u00fczle\u015febilir. \u0130nsan istencinin g\u00fcc\u00fc, evrimsel biyolojik fakt\u00f6rler, toplumsal etmenler, bilinen ya da tahmin edilen do\u011fal \u015fartlar i\u00e7 i\u00e7edir ve karma\u015f\u0131k sistem i\u00e7inde \u201colas\u0131 b\u00fct\u00fcn haller\u201d e\u015fzamanl\u0131 olarak oradad\u0131r (sonsuz olas\u0131l\u0131klar \u00e2lemi). Ve t\u0131pk\u0131 inorganik maddelerde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi kendi kendine \u00f6rg\u00fctlenme potansiyeli ve kaos etmeni yan yana geldi\u011finde b\u00fcy\u00fck ve g\u00f6rkemli patlama anlar\u0131 olu\u015furlar (A. Badiou\u2019nun \u201cevent\u201d kavram\u0131). \u00d6zellikle neoliberalizmin zaferini ilan etti\u011fi son 30 y\u0131lda durup durup farkl\u0131 co\u011frafyalarda p\u00f6rtleyen haysiyet isyanlar\u0131 ve onlar\u0131n hesaplanmam\u0131\u015f tetiklenmeleriyle (h\u0131zland\u0131r\u0131lm\u0131\u015f viral etkisi) olay\/zuhur h\u00e2li olu\u015fur.<\/p>\n\n\n\n

Jeolojik k\u00f6k metaforu takip edersek; patlama i\u00e7ten, daha do\u011frusu zemin alt\u0131ndan zuhur eder (yanarda\u011f, deprem, grizu, tsunami vb.). \u0130nsan\u0131n ve onun olu\u015fturdu\u011fu toplumsal\u0131n da derininde, yerin alt\u0131nda, zaman ve mek\u00e2ndan ba\u011f\u0131ms\u0131z bilin\u00e7d\u0131\u015f\u0131 fenomenler de gizlenir. Burada fiziksel ve toplumsal ko\u015fullar kadar insan psi\u015fesinden g\u00fcndelik hayattaki toplumsal g\u00f6lgeye ta\u015fan ve hakk\u0131nda pek az bilgimiz olan bilin\u00e7d\u0131\u015f\u0131 fenomenlerin pay\u0131 b\u00fcy\u00fckt\u00fcr. Bu fakt\u00f6r o kadar b\u00fcy\u00fck enerjik s\u00fcre\u00e7lere neden olabilir ki, toplumsal ger\u00e7eklik i\u00e7inde ge\u00e7ici ya da kal\u0131c\u0131 b\u00fcy\u00fck k\u0131r\u0131lmalara ve kitle histerilerine zemin yaratabilir. Devrimler, ayaklanmalar, b\u00fcy\u00fck y\u0131k\u0131m sava\u015flar\u0131nda bu olgular\u0131n hepsinin ayn\u0131 anda zuhur etti\u011fini, kaosun y\u0131k\u0131c\u0131 ve ba\u015ftan \u00e7\u0131kar\u0131c\u0131 g\u00fc\u00e7lerinin tuhaf bir f\u00fczyonla birle\u015fti\u011fini g\u00f6r\u00fcr\u00fcz.<\/p>\n\n\n\n

Toplumsal; b\u00f6yle s\u00fcre\u00e7lerde kat\u0131 g\u00f6z\u00fcken yap\u0131dan s\u0131v\u0131 ve ak\u0131\u015fkan, o anda tan\u0131m\u0131 zor bir konuma ge\u00e7er. Sonra olu\u015fan yeni ger\u00e7eklik d\u00fczlemi i\u00e7inde yeniden bir ba\u015fka kat\u0131 form h\u00e2lini al\u0131r; Amerikan, Frans\u0131z ya da Rus devrimlerinin arkas\u0131ndan kurulan yeni rasyonalitelerde g\u00f6r\u00fclece\u011fi \u00fczere. Bu manada devrimler insan\u0131, toplumu, eti\u011fi d\u00f6n\u00fc\u015ft\u00fcrmezler. Verili ger\u00e7eklik alg\u0131s\u0131n\u0131 devirip, yerine fark\u0131 olan bir ger\u00e7eklik d\u00fczlemini kurarlar. Bu iki konum aras\u0131ndaki ge\u00e7i\u015f s\u00fcrecinin kendisi; kontrol edilemeyen, zeminsiz, ak\u0131\u015f h\u00e2linde ruh, zaman aktif eyleme h\u00e2lidir. Yani ayaklanma g\u00fcn\u00fc; de\u011fi\u015fim an\u0131 ya da devrimin icras\u0131n\u0131 sa\u011flar. Devrimin kurumsalla\u015fmas\u0131 zaman\u0131n tekrar donmas\u0131, ger\u00e7eklik sahnesinin bir ba\u015fka versiyonunda devam etmesidir; yani alternatif sahne art\u0131k ana sahneyi i\u015fgal etmi\u015ftir. Kurallar ve onlar\u0131n moral \u00f6zellikleri de\u011fi\u015fir ama oyun devam eder. Bu manada \u201cs\u00fcrekli devrim\u201d, s\u00fcrekli bir likit h\u00e2le, ak\u0131\u015fa tekab\u00fcl eder. O de\u011fi\u015fimle de\u011fil, aktif kalan devrim ile zamanda, alg\u0131da, ger\u00e7eklikte ve ya\u015fam\u0131n k\u00f6klendi\u011fi arka planlarda d\u00f6n\u00fc\u015f\u00fcm sa\u011flar. Bu manada s\u00fcrekli devrim h\u00e2linde do\u011facak ilk yeni insan\u0131n ad\u0131 etiktir.<\/p>\n\n\n\n

(PS: \u00c7ocukluk d\u00f6nemi yan yana d\u00fc\u015f kurdu\u011fum yolda\u015flara ve zuhur kavram\u0131 \u00fczerine \u00e7al\u0131\u015fan fizik\u00e7i yazar Gediz abiye selamla:<\/p>\n\n\n\n

\n

\u201csen hayalperest misin
d\u00fcnyay\u0131 yoluna koymak i\u00e7in
ben sonsuza kadar evde kalaca\u011f\u0131m
orada iki art\u0131 iki be\u015f eder\u201d<\/strong> Radiohead \/ 2+2=5<\/em><\/p>\n<\/blockquote>\n\n\n\n

\n\n\n\n

(XII) Sahi \u0130nsan Do\u011fas\u0131 Nedir ya da G\u00f6beklitepe Uzay \u00dcss\u00fc m\u00fc?<\/h1>\n\n\n\n

Bir fikir; insan do\u011fas\u0131 k\u00f6t\u00fcd\u00fcr (Thomas Hobbes).<\/p>\n\n\n\n

\u0130kinci fikir; hay\u0131r insan do\u011fas\u0131nda iyi vard\u0131r, sonradan bozulmu\u015ftur (J. J. Rousseau).<\/p>\n\n\n\n

\u00dc\u00e7; insan do\u011fas\u0131 iyidir ama bunu canland\u0131rmak i\u00e7in \u00e7aba gerekir (Wilhelm Reich).<\/p>\n\n\n\n

D\u00f6rt; biraz uzaktan bakarak hepsinde hakl\u0131l\u0131k pay\u0131 olabilir. Ve hatta ayn\u0131 anda birka\u00e7 bi\u00e7im e\u015fzamanl\u0131 ya\u015fanm\u0131\u015f olabilir. Ne \u015fu ne bu, kadim Upani\u015fad metinlerinin dedi\u011fi gibi \u201cNeti, Neti\u201d.<\/p>\n\n\n\n

Bu se\u00e7enekler belki de \u00e7o\u011falabilir, \u00e7\u00fcnk\u00fc kar\u015f\u0131tl\u0131\u011f\u0131n tan\u0131m\u0131 ba\u015fka, daha \u00f6nce g\u00f6ze batmayan farkl\u0131 \u00e7eli\u015fkileri de g\u00f6r\u00fcl\u00fcr k\u0131lar. Bu sentezdir, dengeyi aram\u0131\u015ft\u0131r. D\u00fcnden bug\u00fcne \u00e7atall\u0131 yollar\u0131 ele al\u0131r ve yorumlar. Farkl\u0131 insan do\u011fas\u0131 tan\u0131mlamalar\u0131na sosyolojik de\u011fil psikolojik bir yerden giri\u015f yapmak istiyorum. Ard\u0131ndan \u00fclkemizdeki devam eden Ta\u015f Tepeler kaz\u0131lar\u0131nda ortaya \u00e7\u0131kan g\u00fcncel verilerle insan do\u011fas\u0131 retoriklerini pratikte s\u0131namaya \u00e7al\u0131\u015faca\u011f\u0131m. Son noktada Graeber ve Wengrow\u2019un 2020 y\u0131l\u0131nda yay\u0131nlad\u0131klar\u0131, oylumlu Her \u015eeyin \u015eafa\u011f\u0131 adl\u0131 ara\u015ft\u0131rmas\u0131ndan yola \u00e7\u0131karak.<\/p>\n\n\n\n

Psikanaliz (Freud), biyolojik d\u00fcrt\u00fclerin zihinsel temsiline \u201cTriebe\u201d (d\u00fcrt\u00fc) der. Psikanalize g\u00f6re g\u00fcd\u00fcler sadece fiziksel bir ihtiyac\u0131 doyurmaz, ayn\u0131 zamanda ruhsal ayg\u0131t\u0131 (id, ego, s\u00fcperego) harekete ge\u00e7iren bir gerilim yarat\u0131r. Freud bu yakla\u015f\u0131m\u0131na ba\u011fl\u0131 iki temel d\u00fcrt\u00fc ortaya atar. Eros (Ya\u015fam \u0130\u00e7g\u00fcd\u00fcs\u00fc): Sadece cinsellik de\u011fil; ba\u011f kurma, yaratma, sevme ve hayatta tutma enerjisidir. Freud buna genel anlamda libido der. Bir \u00e7ocu\u011fun annesine duydu\u011fu sevgi de bir sanat\u00e7\u0131n\u0131n eser yaratma tutkusu da Eros\u2019un t\u00fcrevleridir. Thanatos (\u00d6l\u00fcm \u0130\u00e7g\u00fcd\u00fcs\u00fc): Freud\u2019un daha ge\u00e7 d\u00f6nemde (I. D\u00fcnya Sava\u015f\u0131 sonras\u0131) tan\u0131mlad\u0131\u011f\u0131, organizman\u0131n her t\u00fcrl\u00fc gerilimi s\u0131f\u0131rlama, sessizli\u011fe ve inorganik h\u00e2le (ba\u015flang\u0131ca) d\u00f6nme arzusudur. D\u0131\u015fa y\u00f6neldi\u011finde sald\u0131rganl\u0131k, i\u00e7e y\u00f6neldi\u011finde \u00f6z y\u0131k\u0131m olarak belirir.<\/p>\n\n\n\n

Fakat Eros\u2019un kar\u015f\u0131t\u0131 \u00f6l\u00fcm de\u011fil, korku olabilir. \u00d6l\u00fcm\u00fc her canl\u0131 tadacaksa da orada bir d\u00fcrt\u00fc art\u0131k yoktur. Freud biyoloji d\u0131\u015f\u0131nda ruhsal d\u00fcrt\u00fcleri bulmaya \u00e7al\u0131\u015fm\u0131\u015f ama pozitivist d\u00fc\u015f\u00fcnce bi\u00e7imi nedeniyle tinsel geni\u015fli\u011fi yakalama \u015fans\u0131 bulamam\u0131\u015ft\u0131r. Bu kuram\u0131n \u00e7atlaklar\u0131na kar\u015f\u0131 ilk g\u00fcncelleme Lacan\u2019dan gelmi\u015ftir. Lacan, Freud\u2019un \u201cd\u00fcrt\u00fc\u201d kavram\u0131n\u0131 al\u0131p onu biyolojik bir ihtiya\u00e7tan kopararak tamamen dil ve arzu d\u00fczlemine ta\u015f\u0131r. Lacan\u2019a g\u00f6re d\u00fcrt\u00fc, biyolojik bir \u201ci\u00e7g\u00fcd\u00fc\u201d (instinct) de\u011fildir; o, dilin beden \u00fczerindeki etkisidir; \u00e7\u00fcnk\u00fc hayvanlar\u0131n i\u00e7g\u00fcd\u00fcleri vard\u0131r (a\u00e7l\u0131k gibi ve doyurulunca biter). \u0130nsan\u0131n ise d\u00fcrt\u00fcleriyle vard\u0131r ve bu d\u00fcrt\u00fcler asla doyurulamaz. Bir elma yedi\u011finizde a\u00e7l\u0131\u011f\u0131n\u0131z ge\u00e7er (i\u00e7g\u00fcd\u00fc), ama \u201celma yeme arzunuzun\u201d alt\u0131ndaki o eksiklik hissi ge\u00e7mez. D\u00fcrt\u00fc bir hedefe ula\u015fmak i\u00e7in de\u011fil, daha \u00e7ok o hedefin etraf\u0131nda d\u00f6nmek i\u00e7in vard\u0131r. Lacan buna \u201cba\u015far\u0131s\u0131zl\u0131\u011f\u0131n hazz\u0131\u201d veya Jouissance (keyif\/ac\u0131 kar\u0131\u015f\u0131m\u0131 bir haz) der.<\/p>\n\n\n\n

Avusturyal\u0131 psikiyatrist Wilhelm Reich ise Gelece\u011fin \u00c7ocuklar\u0131 adl\u0131 kitab\u0131nda kal\u0131tsal olarak k\u00f6t\u00fc insan do\u011fas\u0131 kavram\u0131na kar\u015f\u0131 \u00e7\u0131kar. Wilhelm Reich\u2019\u0131n tabiriyle \u201cbizler k\u00f6t\u00fc bir ge\u00e7mi\u015fle daha iyi olabilecek gelecek aras\u0131nda aktarma kay\u0131\u015f\u0131ndan ba\u015fka bir \u015fey de\u011filiz\u201d. Ona g\u00f6re insan do\u011fas\u0131 denen kavram uydurulmu\u015f bir \u015feydir. \u201c\u0130nsan do\u011fas\u0131 denen sap\u0131k ve ac\u0131mas\u0131z ikincil \u00f6z\u00fc yaratan\u0131n bu birincil do\u011fal ilkeyi \u00f6ld\u00fcrmek\u201d oldu\u011funu s\u00f6yler. Peki nedir birincil ve \u00f6z olan bu ilke? Bu ilke insan varl\u0131\u011f\u0131n\u0131n evrensel birli\u011fini sa\u011flayan enerjidir. Reich\u2019a g\u00f6re her bebek do\u011fan\u0131n k\u00fc\u00e7\u00fck bir par\u00e7as\u0131, dirimsel enerji yasalar\u0131n\u0131n y\u00f6netti\u011fi kozmik bir enerji dizgesidir. Jung ile Reich farkl\u0131 yollardan benzer sonu\u00e7lara ula\u015f\u0131r ve insan\u0131n evrendeki yeri konusunda ayn\u0131 yakla\u015f\u0131m\u0131 savunur. Temel farklar Reich\u2019ta kurtulu\u015f \u00e7abas\u0131 yeni do\u011fan \u00e7ocuktan ba\u015flarken, Jung ise insan ki\u015fisinin ancak 40 ya\u015f\u0131ndan sonra benli\u011fine kavu\u015ftu\u011funu ve \u00f6zg\u00fcrle\u015fme \u015fans\u0131na eri\u015fti\u011fini d\u00fc\u015f\u00fcn\u00fcr. Yine Jung, iyilik ve k\u00f6t\u00fcl\u00fc\u011f\u00fcn d\u00fcnyaya e\u015fit da\u011f\u0131ld\u0131\u011f\u0131n\u0131 ve insan\u0131n k\u00f6t\u00fcl\u00fc\u011fe kar\u015f\u0131 koyma \u00e7abas\u0131n\u0131 merkeze al\u0131r. Yani Jung da Reich da bilin\u00e7d\u0131\u015f\u0131n\u0131n toplumsal g\u00f6lgesinden \u00e7\u0131kmak ya da kozmik enerji orgon\u2019a ula\u015fmak i\u00e7in insan t\u00fcr\u00fcn\u00fcn bir \u00e7abaya girmesini ister. Freud ekol\u00fcnden kopmu\u015f ve insan\u0131n var olu\u015f tragedyas\u0131na \u00e7are arayan bu iki keskin zihnin birbirleriyle hi\u00e7 tan\u0131\u015fmam\u0131\u015f olmalar\u0131 kaderin tuhaf bir cilvesi olsa gerek.<\/p>\n\n\n\n

Reich\u2019in klinik ara\u015ft\u0131rma sonu\u00e7lar\u0131na g\u00f6re insan\u0131n i\u00e7inde nefret ve \u015fiddet bar\u0131nd\u0131ran bir \u00f6z\u00fc yoktur. Her yeni do\u011fan, \u00f6ncelikle dil ile, aile, toplum, kilise ve devlet\u00e7e patolojik z\u0131rhlara b\u00fcr\u00fcnd\u00fcr\u00fcl\u00fcr, hasta edilir. Ku\u015fkusuz Reich genel olarak hakl\u0131d\u0131r. Ki olas\u0131 herhangi bir zamanda, olas\u0131 bir toplumun g\u00fcndeli\u011fi i\u00e7inde \u015fiddet, hak gasp\u0131, k\u00f6lelik itkisi marjinaldir; topluluk huzur, bar\u0131\u015f, bolluk, sa\u011fl\u0131k ister. \u00c7\u00fcnk\u00fc insan\u0131n di\u011fer canl\u0131lardan fark\u0131 \u00f6lece\u011fini bilmektir. Bu anlam yan\u0131nda de\u011fer ve akt\u00f6re de yarat\u0131r. Lacroux Ma\u011faras\u0131\u2019ndan G\u00f6beklitepe\u2019ye mimari ve sanat bu anlam ihtiyac\u0131n\u0131n sonu\u00e7lar\u0131 olmu\u015ftur. Her ne kadar bug\u00fcn \u201ctarihte adalet yoktur\u201d diyen Yuval Noah Harari gibi insan do\u011fas\u0131n\u0131n k\u00f6t\u00fcc\u00fcll\u00fc\u011f\u00fcnden ba\u015flay\u0131p, k\u00fcresel kapitalizmin kaderimiz oldu\u011funa varan ideolojiler aksini iddia etse de.<\/p>\n\n\n\n

Engels\u2019in veya Hobbes\u2019un egemen hiyerar\u015fi, iktidar ve k\u00f6lelik \u00fczerine geli\u015ftirdikleri tezler, kas g\u00fcc\u00fcne dayal\u0131 bir form\u00fcl sunar. D\u00fcnya g\u00f6r\u00fc\u015fleri tamamen z\u0131t olsa da her ikisinde de kavramsal zeminlerini a\u00e7mak i\u00e7in devlete bir bask\u0131 ayg\u0131t\u0131 olarak ihtiya\u00e7 duyarlar. Ancak kas g\u00fcc\u00fc d\u0131\u015f\u0131nda da \u015fiddet bi\u00e7imleri vard\u0131r: \u0130knaya dayal\u0131 zorlama, kand\u0131rma, tuzak, oyun kurarak veya tezg\u00e2h kurarak zarar vermek\u2014\u00f6rne\u011fin zehir. Psikolojik olarak da baz\u0131 oyunlar kurulabilir; kabuller yan\u0131nda reddedi\u015fler de bir oyun olabilir veya isyan se\u00e7enek olarak i\u015flev g\u00f6rebilir. Bask\u0131 g\u00fcc\u00fc i\u00e7in hep polise ya da devlete l\u00fczum yoktur. Hobbes\u2019un \u201cherkesin herkes ile sava\u015f\u0131\u201d \u015feklindeki k\u00f6t\u00fcc\u00fcl insan do\u011fas\u0131 ve oradan insan toplulu\u011funun bask\u0131 ayg\u0131t\u0131 olmadan var olamayaca\u011f\u0131 iddialar\u0131na kar\u015f\u0131 ilk g\u00fc\u00e7l\u00fc \u00e7\u0131k\u0131\u015f Frans\u0131z ara\u015ft\u0131rmac\u0131 Pierre Clastres\u2019in \u201cdevlet kar\u015f\u0131t\u0131 toplumlar\u201d \u00fczerine antropolojik \u00e7al\u0131\u015fmalar\u0131yla gelir. Ard\u0131ndan, 21. y\u00fczy\u0131lda ise David Graeber\u2019in devrimsel ara\u015ft\u0131rmalar\u0131yla bu kurgular tamamen tuz buz olur.<\/p>\n\n\n\n

Graeber\u2019in David Wengrow ile birlikte ger\u00e7ekle\u015ftirdi\u011fi ve yirmi y\u0131l\u0131 a\u015fk\u0131n bir \u00e7al\u0131\u015fman\u0131n \u00fcr\u00fcn\u00fc olan Her \u015eeyin \u015eafa\u011f\u0131 (\u0130nsanl\u0131\u011f\u0131n Yeni Tarihi) adl\u0131 tu\u011fla kitap, insan\u0131n k\u00f6kenlerine dair bir\u00e7ok ideolojik manip\u00fclasyonu y\u0131k\u0131p, tarihi yeniden okuma ve kurgulama zemini sunar. <\/p>\n\n\n\n

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\u201c\u00c7ok uzun zamand\u0131r efsaneler \u00fcretip duruyoruz. Sonu\u00e7 olarak \u00e7o\u011funlukla yanl\u0131\u015f sorular soruyoruz: Festival rit\u00fcelleri otorite ifadeleri mi, yoksa toplumsal yarat\u0131c\u0131l\u0131\u011fa yarayan ara\u00e7lar m\u0131? Gericiler mi, yoksa ilericiler mi? En eski atalar\u0131m\u0131z\u0131n toplumlar\u0131 basit ve e\u015fitlik\u00e7i mi, yoksa karma\u015f\u0131k ve katmanl\u0131 m\u0131yd\u0131? \u0130nsan do\u011fas\u0131 masum mu, yoksa yozla\u015fm\u0131\u015f m\u0131? Bir t\u00fcr olarak, do\u011fam\u0131z gere\u011fi i\u015fbirlik\u00e7i mi rekabet\u00e7i miyiz, nazik mi yoksa bencil miyiz, iyi mi yoksa k\u00f6t\u00fc m\u00fcy\u00fcz? Belki de t\u00fcm bu sorular, ilk a\u015famada bizi ger\u00e7ekten insan yapan \u015feyleri alg\u0131lamam\u0131z\u0131 engeller ki bu\u2014ahlaki ve toplumsal varl\u0131klar olarak\u2014bu t\u00fcr alternatifler aras\u0131nda m\u00fczakere etme kapasitemizdir.\u201d <\/em><\/strong>Her \u015eeyin \u015eafa\u011f\u0131 (Sapiens Olman\u0131n As\u0131l Anlam\u0131)<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130ki yazar\u0131n bahsetti\u011fi kapasite insan\u0131n bili\u015fsel kapasitesidir. Her ne kadar kabile \u015fefleri, krallar, rahipler ya da devletler insan zihnini tekil d\u00fc\u015f\u00fcnce bi\u00e7imlerine zorlasa da, bili\u015fsel yeteneklerimiz bizi hep var olan \u00e7e\u015fitlili\u011fe, \u00e7oklu\u011fa, kapsay\u0131c\u0131l\u0131\u011fa ve birlik bilincine sevk eder. Bize dayat\u0131lan, s\u00fcrekli ikili kar\u015f\u0131tl\u0131klar kurup, tek\u00e7i sonu\u00e7lara varma eylemi her t\u00fcrl\u00fc bili\u015fsel \u00e7abay\u0131 sakatlar. O y\u00fczden ezber tan\u0131mlar terk edilmeli, b\u00fct\u00fcnsel yeni bak\u0131\u015f a\u00e7\u0131lar\u0131 geli\u015ftirmeliyiz. Kavramlar\u0131 yeniden yerine oturturken, do\u011fru sorular ile yanl\u0131\u015f sorular aras\u0131nda eleme yapmal\u0131y\u0131z. \u00c7\u00fcnk\u00fc evrim teorisine g\u00f6re bir t\u00fcr\u00fcn s\u00fcrecini tamamlamas\u0131 i\u00e7in y\u00fcz binlerce y\u0131l gerekir. H\u00e2l\u00e2 ilk aletleri yapan atalar\u0131n zihni ile d\u00fc\u015f\u00fcnmekte oldu\u011fumuzu unutmamal\u0131y\u0131z.<\/p>\n\n\n\n

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\u201c\u0130nsan hikayesi i\u00e7in e\u015fitlik\u00e7i ya da hiyerar\u015fik bir ba\u015flang\u0131\u00e7 aras\u0131nda art\u0131k se\u00e7im yapmak zorunda de\u011filiz. \u2018\u0130nsan\u0131n \u00c7ocuklu\u011fu\u2019na art\u0131k veda edelim ve (Levi-Strauss\u2019un \u0131srar etti\u011fi gibi) erken atalar\u0131m\u0131z\u0131n sadece bili\u015fsel e\u015fitlerimiz de\u011fil, ayn\u0131 zamanda entelekt\u00fcel akranlar\u0131m\u0131z oldu\u011funu kabul edelim\u2026 Sadece bizim gibi insanlard\u0131: bizimle e\u015fit derecede alg\u0131 sahibi, e\u015fit derecede kafalar\u0131 kar\u0131\u015f\u0131k.\u201d <\/strong>Her \u015eeyin \u015eafa\u011f\u0131 (Sapiens Olman\u0131n As\u0131l Anlam\u0131)<\/em><\/p>\n<\/blockquote>\n\n\n\n

Tabii bu hakl\u0131 tespitler, insan t\u00fcr\u00fcn\u00fcn hayvandan ilkele, oradan geleneksele ve moderne s\u00fcrekli geli\u015fim ve ilerleme i\u00e7inde oldu\u011funu s\u00f6yleyen ideologlar\u0131 \u00fcrk\u00fctmektedir. Do\u011fal olarak onlar sadece tek\u00e7i \u00e7\u00f6z\u00fcmlere ve sabit insan do\u011fas\u0131 kavram\u0131na inanmak ister. \u0130lle de her \u015feyi a\u00e7\u0131klayacak elitler, \u015fefler, komutanlar ve papalar ararlar.<\/p>\n\n\n\n

Gelin \u015fimdi Graeber\u2019in \u00e7al\u0131\u015fmalar\u0131n\u0131 sahada test edelim. Bug\u00fcn Karahantepe ya da G\u00f6beklitepe\u2019de \u201ck\u00fclt alan\u0131\u201d diye tarif etti\u011fimiz yerler ve bu alanda T\u00fcrkiye\u2019de kaz\u0131lar\u0131 y\u00fcr\u00fcten uzmanlar\u0131n \u00e7o\u011funlu\u011fu taraf\u0131ndan art\u0131k \u201cortak etkinlik alan\u0131\u201d olarak tarif ediliyor. Bu ne demektir? K\u00fclt alan\u0131n\u0131 olu\u015fturacak bir duygu ve mana d\u00fcnyas\u0131na sahip insan, ayn\u0131 zamanda toplumsalla\u015fmay\u0131 bar\u0131\u015f i\u00e7inde de kurabilmi\u015f insand\u0131r. Onlar bu\u011fdaya muhta\u00e7 a\u00e7 ve sald\u0131rgan insanlar de\u011fil, bolluk i\u00e7inde ve sulh ortam\u0131nda zihinsel, ruhsal ve k\u00fclt\u00fcrel yarat\u0131lara zaman ay\u0131rabilecek olgunlu\u011fa ula\u015fm\u0131\u015f topluluklard\u0131r. Bu y\u00fczden bahsetti\u011fimiz toplu kullan\u0131m alanlar\u0131 ayn\u0131 zamanda bir t\u00fcr \u201cagora\u201d i\u015flevi g\u00f6r\u00fcr.<\/p>\n\n\n\n

Bunun yan\u0131nda m\u00fczakerenin; yani baz\u0131 anla\u015fmazl\u0131klar\u0131n giderilmesi i\u00e7in ailelerin ya da kabilelerin topyek\u00fbn sava\u015fmad\u0131\u011f\u0131, bunun yerine belirli bireylerin kar\u015f\u0131l\u0131kl\u0131 d\u00fcello yapt\u0131\u011f\u0131; yani \u015fiddetin tamamen yok edilmedi\u011fi ama kontrol alt\u0131na al\u0131nmaya \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 alanlard\u0131r bunlar. Ayn\u0131 zamanda \u00e7ocuklar\u0131n ko\u015ftu\u011fu, bahar, \u00fcz\u00fcm ya da bu\u011fday \u015fenliklerinin yap\u0131ld\u0131\u011f\u0131 yerlerdir. Bulunan devasa boyuttaki kap kacaklar bu alanlarda toplu yemek yenildi\u011fini de belgeliyor. Ki burada Apolloncu anlamda kutsala dair sembol\u00fcn yo\u011funla\u015fmas\u0131 kadar, Dionisos\u00e7u toplu \u015fenlikler de yap\u0131lm\u0131\u015f olabilece\u011fini hesaba katmal\u0131y\u0131z (sahada bulunan dev bira depolar\u0131 bu d\u00fc\u015f\u00fcnceyle uyum i\u00e7inde). Dolay\u0131s\u0131yla buralar siyasetin do\u011fdu\u011fu, de\u011fi\u015f-toku\u015fun d\u00f6nd\u00fc\u011f\u00fc, toplumsall\u0131\u011f\u0131n ve farkl\u0131 normlar\u0131n ortaya \u00e7\u0131kt\u0131\u011f\u0131 alanlar olarak d\u00fc\u015f\u00fcn\u00fclebilir. Ne toplumsalla\u015fma ile birlikte hemen ceberut devletlerin ortaya \u00e7\u0131kt\u0131\u011f\u0131 s\u00f6ylenebilir\u2014\u00e7\u00fcnk\u00fc devletin ortaya \u00e7\u0131k\u0131\u015f\u0131na \u00e7ok \u00e7ok zaman vard\u0131r\u2014ne de mana d\u00fcnyas\u0131n\u0131n ke\u015ffiyle birlikte insanlar\u0131 k\u00f6lele\u015ftiren bir rahip aristokrasisinin zorunlu olarak do\u011fdu\u011funu.<\/p>\n\n\n\n

Sonu\u00e7ta bu modern anlamda bir demokrasi de\u011fildir elbette; ama hi\u00e7bir \u015fey de siyah ya da beyaz de\u011fildir ve bug\u00fcn\u00fcn toplumsal bi\u00e7imlerini k\u00f6ke indirgemeye \u00e7al\u0131\u015fmak tarihe idealist\u00e7e yakla\u015fmakt\u0131r. Bu medeniyeti olu\u015fturan insanlar ayn\u0131 zamanda bir \u201c\u00f6teki\u201dye sahip olabilir, onunla tats\u0131zl\u0131klar ya\u015fam\u0131\u015f olabilirler. Bu \u00f6tekiyle sava\u015fm\u0131\u015f, ona belki de zulmetmi\u015f de olabilirler. Ancak bu durum, ortaya koyduklar\u0131 medeniyetin \u0131\u015f\u0131lt\u0131s\u0131n\u0131 ortadan kald\u0131rmaz. \u0130nsana devrim yapt\u0131ran bu\u011fday, toprakta yerle\u015fince hemencecik ba\u015flayan ilk \u00f6zel m\u00fclkiyet, ilk rahibin yontturdu\u011fu ilk put kar\u015f\u0131s\u0131nda diz \u00e7\u00f6ken topluluk, iki Homo erectus<\/em> yan yana gelince olu\u015fan fa\u015fizm yoktur. Hatta yer yer bunlar\u0131n oldu\u011fu farkl\u0131 \u00f6rneklerin varl\u0131\u011f\u0131 da onlar\u0131 genel, evrensel ve insan do\u011fas\u0131nda de\u011fi\u015fmez yapmaz ve buradan sa\u011flam bir kuram \u00e7\u0131kmaz.<\/p>\n\n\n\n

Ku\u015fkusuz belirgin h\u00e2le gelen bu erken idrak ve yeni ke\u015fiflerin; 21. y\u00fczy\u0131l mantalitesinin bizlere dayatt\u0131\u011f\u0131 indirgemeci d\u00fc\u015f\u00fcnsel kal\u0131plarla uyumsuzlu\u011fu, zaman i\u00e7inde daha da belirginle\u015fecektir. Bizler, T\u00fcrkiye Cumhuriyeti vatanda\u015flar\u0131 olarak gerek \u00c7atalh\u00f6y\u00fck gerekse de Ta\u015f Tepeler kaz\u0131lar\u0131yla belirginle\u015fen uygarl\u0131\u011f\u0131n gen havuzunun i\u00e7inde ya\u015f\u0131yoruz. Fakat ba\u015f\u0131nda arkeolog ve antropologlar\u0131n oldu\u011fu ve di\u011fer bilimsel disiplinlerle beraber sahadaki \u00e7al\u0131\u015fma s\u00fcrd\u00fcren gruplar\u0131n i\u00e7ine direkt olarak sanat\u00e7\u0131lar\u0131n, sanat tarih\u00e7ilerinin ve felsefecilerin d\u00e2hil edilmemesi \u00f6nemli bir handikapt\u0131r. \u00d6zellikle kaz\u0131lan \u201c\u00f6zel etkinlik alanlar\u0131n\u0131n\u201d tam mahiyetini anlamak, sembolleri okumak, oyuntu ve kabartmalar\u0131n s\u0131rlar\u0131n\u0131 \u00e7\u00f6zmek i\u00e7in (\u00f6rne\u011fin duvar\u0131n ortas\u0131nda a\u00e7\u0131lan ni\u015f ve oraya kafatas\u0131n\u0131n arkas\u0131na a\u00e7\u0131lan minik oyuk ile as\u0131lm\u0131\u015f kuru kafan\u0131n do\u011furdu\u011fu ikonografiyi okumak i\u00e7in).<\/p>\n\n\n\n

Antropoloji literat\u00fcr\u00fc insan\u0131n k\u00f6klerine inerken s\u00fcrekli arkeolojiye, sosyolojiye, s\u00f6m\u00fcrgeci i\u015fgalcilerin tarihsel belgelerine ve modern d\u00f6nem i\u00e7inde azalarak yok olan ilkel kabilelerin g\u00f6zlemlenen t\u00f6relerine ba\u015fvurur. Burada ilgin\u00e7 olansa, s\u00fcrekli aram\u0131zda b\u00fcy\u00fcyen ilkelin d\u00fcnyas\u0131 ile alan \u00e7al\u0131\u015fmalar\u0131n\u0131n h\u00e2l\u00e2 birle\u015fmemi\u015f olmas\u0131d\u0131r.<\/p>\n\n\n\n

Oysa, her yeni do\u011fan \u00e7ocuk 3-4 ya\u015flar\u0131na dek, en do\u011fal h\u00e2liyle ilk insan\u0131n formudur.<\/p>\n\n\n\n

G\u00f6rmek isteyen g\u00f6zlere.<\/p>\n\n\n\n

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(XIII) S\u00f6zlerin K\u00f6lesi Olmaktan Sak\u0131n!<\/h1>\n\n\n\n

Dil, insanda \u00f6l\u00fc m\u00fc do\u011fdu? E\u011fer gizli ve mutlak vah\u015fi bir anlam\u0131n aray\u0131\u015f\u0131nda isen \u00c2dem o\u011flu gibi d\u00fc\u015f\u00fcnme; bir harita olarak d\u00fc\u015f\u00fcn, s\u00fcrekli d\u00f6nen ve yeniden yaz\u0131lan bir atlas.<\/p>\n\n\n\n

Tao Te Ching her sene takvimin \u00e7evriminde \u00c7inceye yeniden \u00e7evrilir ve bu g\u00fcncel dile y\u00f6nelik bir adaptasyon de\u011fildir. \u0130nsan t\u00fcr\u00fcn\u00fcn sakat uygarl\u0131\u011f\u0131 ve onu korkun\u00e7 bi\u00e7imde h\u0131zland\u0131ran dili\/akl\u0131yla bozdu\u011fu kozmik hakikati, devasa bir harita puzzle\u2019\u0131nda yeniden kurmak gerekmektedir.<\/p>\n\n\n\n

\u0130nsan d\u00fcnyas\u0131nda sadece s\u00f6zc\u00fckler de\u011fil, anlamlar da kuvvetli bir ak\u0131nt\u0131yla s\u00fcr\u00fckleniyor. Anlamlar bozulduk\u00e7a, i\u00e7i bo\u015fald\u0131k\u00e7a, hastaland\u0131k\u00e7a insan ruhlar\u0131 da emiliyor. E\u011fer s\u00f6zler kalpten \u00e7\u0131km\u0131yorsa ve onu s\u00f6yleyen ki\u015fi bile asl\u0131nda kendisi de\u011filse, burada ruhtan bahsetmek m\u00fcmk\u00fcn de\u011fildir. Kar\u0131\u015f\u0131k anlamlar, bo\u015f s\u00f6zc\u00fckler, kavram karma\u015fas\u0131nda ge\u00e7en vakitler de d\u00fc\u015f\u00fcnce eylemi de\u011fildir.<\/p>\n\n\n\n

E\u011fer s\u00f6z yalansa, kand\u0131rmaysa, hileyse, oyun de\u011fil toplumsal bir vodvil ise art\u0131k hakikatten de bahsetmek m\u00fcmk\u00fcn de\u011fildir.<\/p>\n\n\n\n

Jung; K\u0131rm\u0131z\u0131 Kitap\u2019\u0131n \u201cM\u00fcnzevi\u201d adl\u0131 b\u00f6l\u00fcm\u00fcnde tuhaf bir soru sorar: \u201cSen hi\u00e7 tersine \u00f6\u011frendin mi?\u201d<\/p>\n\n\n\n

Peki ama nas\u0131l?<\/p>\n\n\n\n

\u0130ki d\u00fcnyas\u0131 var asl\u0131nda insan\u0131n. Biri akl\u0131m\u0131z\u0131n erdi\u011fi d\u00fcnyevi ya da g\u00fcndelik hayat. Di\u011feri zihnimizin s\u0131n\u0131rlar\u0131n\u0131 h\u00e2l\u00e2 a\u015fan kozmik ya da galaktik var olu\u015f.<\/p>\n\n\n\n

Birinde ya\u015fam ve hatta birey bile parampar\u00e7a.<\/p>\n\n\n\n

Di\u011feri \u015fu anki bilgimiz d\u00e2hilinde Big Bang\u2019den beri b\u00fct\u00fcn ya da Bir.<\/p>\n\n\n\n

\u0130lk d\u00fcnya dile, kimli\u011fe, k\u00fclt\u00fcre ve topluma ait.<\/p>\n\n\n\n

\u0130kincisi k\u00e2inattaki t\u00fcm canl\u0131 cans\u0131z ya\u015fama, \u0131\u015f\u0131\u011fa ve karanl\u0131\u011fa ait.<\/p>\n\n\n\n

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\u201cOysa karanl\u0131\u011f\u0131m\u0131z \u0131\u015f\u0131\u011f\u0131 kavramal\u0131\u201d Jung (K\u0131rm\u0131z\u0131 Kitap, M\u00fcnzevi)<\/p>\n<\/blockquote>\n\n\n\n

Peki ama nas\u0131l?<\/p>\n\n\n\n

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\u201cBiny\u0131l\u0131n mezar\u0131nda uyuyan harika d\u00fc\u015f g\u00f6r\u00fcr.\u201d Jung <\/em><\/strong>(K\u0131rm\u0131z\u0131 Kitap, Dies II)<\/em><\/p>\n<\/blockquote>\n\n\n\n

Peki ama nas\u0131l?<\/p>\n\n\n\n

D\u00fc\u015flerde s\u00f6ylenen s\u00f6zc\u00fckler h\u0131zl\u0131ca kaybolur. \u00c7ok az\u0131 sabaha ak\u0131lda kal\u0131r. Neredeyse diyalogsuz bir film gibi. Zihinde yerle\u015fen s\u00f6zc\u00fcklerden \u00f6te g\u00f6r\u00fcnt\u00fcler ve onlar\u0131n g\u00f6sterdi\u011fi hik\u00e2yedir.<\/p>\n\n\n\n

R\u00fcyadaki s\u00f6zc\u00fckler zihnin kontrol\u00fc d\u0131\u015f\u0131ndan, bilin\u00e7d\u0131\u015f\u0131 havuzlar\u0131ndan y\u00fckselir. Oysa g\u00fcndelik ya\u015fam\u0131m\u0131zda kendi se\u00e7ti\u011fimiz, d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz s\u00f6zc\u00fckleri kulland\u0131\u011f\u0131m\u0131z\u0131 iddia ederiz. Ama biz kulland\u0131\u011f\u0131m\u0131z s\u00f6z\u00fc sa\u011fl\u0131kl\u0131 sarf etmek i\u00e7in biyo\/beden, psi\u015fe, toplumsal a\u011f ve kozmik b\u00fct\u00fcn i\u00e7inde oldu\u011fumuzun, yani taml\u0131\u011f\u0131n fark\u0131ndal\u0131\u011f\u0131nda olmak zorunday\u0131z. Yani o s\u00f6zc\u00fcklerin ve onlar\u0131 yaratan zihnimizin dijital ve reel bir s\u00fcr\u00fcklenme i\u00e7inde olmad\u0131\u011f\u0131n\u0131, akl\u0131m\u0131z\u0131 oto-pilotta kullanmad\u0131\u011f\u0131m\u0131z\u0131 bilmeliyiz.<\/p>\n\n\n\n

Yani o s\u00f6zlerin ve onu yaratan zihnimizin direksiyonunu s\u0131k\u0131ca tuttu\u011fumuzu, kontrol\u00fcn \u00f6zg\u00fcr Benli\u011fimizde oldu\u011funu idrak etmeliyiz.<\/p>\n\n\n\n

Sahi biz, h\u00e2l\u00e2 biz miyiz?<\/p>\n\n\n\n

Eski Ahit\u2019in \u00f6fkeli tanr\u0131s\u0131 \u201cBen, benim\u201d diyordu. Peki bizler, kendimiz ad\u0131na bundan emin miyiz?<\/p>\n\n\n\n

E\u011fer kafam\u0131z hep kar\u0131\u015f\u0131ksa, o zaman konu\u015fan kim?<\/p>\n\n\n\n

O zaman konu\u015fan oto-pilotta bir ara\u00e7 m\u0131?<\/p>\n\n\n\n

Peki, bu d\u00fc\u015f\u00fcnceler ger\u00e7ekten bizim mi?<\/p>\n\n\n\n

Nas\u0131l emin olabiliriz?<\/p>\n\n\n\n

Belki de kozmik ak\u0131\u015fta r\u00fcyalar\u0131n misyonu ya da kar\u015f\u0131l\u0131\u011f\u0131 budur. G\u00fcndelik bizi, d\u00fc\u015fteki biz ile yoklama \u015fans\u0131. Bir \u00e7e\u015fit backcheck.<\/p>\n\n\n\n

Sahi, r\u00fcyalarda unutulan c\u00fcmleler mi biz, yoksa g\u00fcndelik i\u00e7inde ak\u0131p duranlar m\u0131?<\/p>\n\n\n\n

Ki susman\u0131n, \u201ckonu\u015fup durmaman\u0131n\u201d yok say\u0131lmak oldu\u011fu bir dijital t\u00fcketim ikliminde.<\/p>\n\n\n\n

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\u201cHam g\u00fc\u00e7 bir kez pe\u015fine d\u00fc\u015ft\u00fc m\u00fc hi\u00e7bir \u015feyin yard\u0131m\u0131 olmaz.\u201d <\/em><\/strong>Jung (K\u0131rm\u0131z\u0131 Kitap, Cehennem)<\/em><\/p>\n<\/blockquote>\n\n\n\n

Peki ama ne yapaca\u011f\u0131z?<\/p>\n\n\n\n

S\u00f6zc\u00fckler, anlamlar\u0131n y\u00fck\u00fcn\u00fc s\u0131rtlam\u0131yorsa, insan\u0131n dilinin kemi\u011finden bo\u015fanan s\u00f6z omurgas\u0131zsa, t\u00fcm o par\u0131lt\u0131l\u0131 imajlar yalansa, g\u00fcndeli\u011fin zihni Hint d\u00fc\u015f\u00fcncesindeki d\u00fcnyevi \u00f6rt\u00fc Maya gibi sisiyle ruhlar\u0131 teslim ald\u0131ysa; bu gayya kuyusundan nas\u0131l \u00e7\u0131k\u0131lacak?<\/p>\n\n\n\n

Yuhanna \u0130ncili \u201cba\u015flang\u0131\u00e7ta s\u00f6z (logos) vard\u0131\u201d diyor; emin miyiz?<\/p>\n\n\n\n

Modern toplum Freud\u2019un kokain ald\u0131\u011f\u0131 gibi logos ald\u0131 zihnine, bedenine, ruhuna. S\u00f6z olarak ideoloji bizleri hasta etti. \u0130drakten yoksun bir logosa \u00e7ekilen kitleler hep yeniye y\u00f6neldiler, teknoloji ve ilerlemeye. Varolu\u015fun hakikatinden ve kendi varl\u0131klar\u0131ndan ka\u00e7mak i\u00e7in, logos \u00e7ektiler i\u00e7lerine; ruhlar\u0131n\u0131 kurutana de\u011fin.<\/p>\n\n\n\n

Modern d\u00fcnya logostan binlerce yeni kavram icat etti. Art\u0131k ne akademi ne de entelekt\u00fceller kavram bombard\u0131man\u0131 yapmadan hareket edemezler. Logos\u2019un yaratt\u0131\u011f\u0131 bu kavram vir\u00fcs\u00fc internet ile herkesin hayat\u0131na d\u00e2hil oldu. Bir vibe h\u00e2line geldi.<\/p>\n\n\n\n

Oysa kavramlar i\u015fgalcidir. Konak\u00e7\u0131 gibi bedene yerle\u015fir, zihni ele ge\u00e7irir ve dil ile d\u0131\u015fa vurulurlar. Oysa kavramlar konu\u015fmaktan \u00f6te d\u00fc\u015f\u00fcnmek i\u00e7in vard\u0131rlar. Bu, Eski Yunan\u2019da en az\u0131ndan her \u00f6zg\u00fcr yurtta\u015fa tan\u0131nan bir hakt\u0131r. Ve h\u00e2l\u00e2 ya\u015fam i\u00e7in, ya\u015fam\u0131 daha erdemli, daha b\u00fct\u00fcn ve anlaml\u0131 k\u0131lmak i\u00e7in varlar. D\u00fc\u015f\u00fcnce asla tek ve donmu\u015f bir kavram seti de\u011fildir. E\u011fer d\u00fc\u015f\u00fcnce bili\u015fsel olarak kavranm\u0131\u015fsa, ya\u015fama uyarlanmak i\u00e7in pratik yollar arar.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcnce ele\u011finden ge\u00e7mi\u015f kavram\u0131, bir ba\u015fka kavram ile ya\u015famaz insan. Kavramda, onun eylemi de \u015fahsi ve muhteremdir. Ama d\u00fc\u015f\u00fcnce \u00e7o\u011falmak ister. Ancak benzer idrak seviyesindeki ki\u015filer ortakla\u015fman\u0131n yollar\u0131n\u0131 arar ve bulur.<\/p>\n\n\n\n

Tek\u00e7i d\u00fc\u015f\u00fcnce di\u011fer her \u015feyin \u00fcst\u00fcne bir da\u011f gibi \u00e7\u00f6ker. Bu y\u00fczden ger\u00e7ekten d\u00fc\u015f\u00fcnmek, kavramak ve eylemek; canl\u0131-cans\u0131z her \u015feyi kapsamal\u0131d\u0131r. Ku\u015fkusuz bu deneyim dikey de\u011fil yatay zeminde ger\u00e7ekle\u015fir. Bir insanla oldu\u011fu gibi bir nehirle, bir kedi ile konu\u015fmak. D\u00fc\u015f\u00fcncemizin g\u00fcc\u00fcyle t\u00fcm varolu\u015fu kapsamak, kucaklamak. D\u00fc\u015f\u00fcnsel, s\u00f6zel ya da biyolojik hiyerar\u015filer kurmaks\u0131z\u0131n.<\/p>\n\n\n\n

Ku\u015fkusuz kapsamak, fark\u0131 kucaklamakt\u0131r.<\/p>\n\n\n\n

\u0130\u015fte insan\u0131n yeniden konu\u015fmaya, d\u00fc\u015f\u00fcnmeye, eylemeye ba\u015flang\u0131\u00e7 noktas\u0131.<\/p>\n\n\n\n

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(XIV) A\u011f\u0131n Mant\u0131\u011f\u0131<\/h1>\n\n\n\n
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\u201cUbik kahvalt\u0131l\u0131k gevrek. Daha \u00e7\u0131t\u0131r, daha lezzetli, daha Ubik. \u00d6nerilen porsiyonu a\u015fmay\u0131n\u0131z.\u201d <\/em><\/strong>P. K. Dick\/Ubik<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201c\u0130nanmak anlamaktan daha kolayd\u0131r. Hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011framak anlamaktan daha kolayd\u0131r. Tiksinip vazge\u00e7mek anlamaktan daha kolayd\u0131r\u2026 Oysa d\u00fc\u015f\u00fcnmek bir oyalanma de\u011fil sorumluluktur.\u201d <\/em><\/strong>Strugatski Karde\u015fler\/Yoku\u015ftaki Salyangoz<\/em><\/p>\n<\/blockquote>\n\n\n\n

D\u00fc\u015f\u00fcnce eylemi d\u00fc\u015f\u00fcnmeye alan tan\u0131mak, d\u00fc\u015f\u00fcnceyi yatay olarak geni\u015fletmek, daireleri b\u00fcy\u00fctmek, sarmala \u00e7evirip ya\u015fam\u0131 kapsamak i\u00e7in yap\u0131l\u0131r. Buradan bakarsak, i\u00e7inde bulundu\u011fumuz sosyal a\u011f d\u00fcnyas\u0131nda d\u00fc\u015f\u00fcnceye pek az yer kal\u0131r. \u00c7\u00fcnk\u00fc a\u011f i\u00e7inde kurulan herhangi bir komutun ya da s\u00f6zc\u00fc\u011f\u00fcn belli fayda sa\u011flayan bir i\u015flevi ve sonucu olmas\u0131 beklenir. Peki, nas\u0131l beklenir? \u015e\u00f6yle beklenir: Yap\u0131lan her payla\u015f\u0131m \u00e7ok like almal\u0131, be\u011fenilmeli, yay\u0131lmal\u0131d\u0131r. Yani, psikolojideki dopamin onay merkezini, ki\u015finin yaratt\u0131\u011f\u0131 sosyal personay\u0131 ya da s\u00fcperegoyu g\u00fc\u00e7lendiren ve s\u0131vazlayan sonu\u00e7lar al\u0131nmas\u0131 hedeftir. Ki bu tutum ki\u015fide bir \u00e7e\u015fit uyar\u0131c\u0131 ba\u011f\u0131ml\u0131l\u0131\u011f\u0131 yarat\u0131r; ki\u015fi etkile\u015fimsiz duramaz, durdurulamaz.<\/p>\n\n\n\n

Bunun sonucu kullan\u0131c\u0131n\u0131n (art\u0131k pek ki\u015fi de de\u011fildir) a\u011f\u0131n s\u00fcrekli yayd\u0131\u011f\u0131 narkoz etkisinde bitmez t\u00fckenmez bir ergen hazz\u0131 \u00fctopyas\u0131nda ya\u015famas\u0131d\u0131r. Art\u0131k ne \u00f6zne ne de \u00f6znelle\u015fme s\u00fcreci vard\u0131r. Ama ki\u015fi bunu yaparak, yani dijitalde ya\u015fayarak psikolojik \u00f6d\u00fcller ve hazlar kazand\u0131\u011f\u0131 gibi; e\u011fer belli bir g\u00f6r\u00fcn\u00fcrl\u00fck kazand\u0131ysa (yani onay ve takip y\u00fcksekse) buradan ticari bir gelir alma \u015fans\u0131 ortaya \u00e7\u0131kar. \u00dcr\u00fcn\u00fcn ne oldu\u011fu \u00f6nemli de\u011fildir, kullan\u0131lm\u0131\u015f \u00e7orap, t\u0131rnak makyaj\u0131, fl\u00f6rt uzmanl\u0131\u011f\u0131 ya da astrolojik rehberlik olabilir. Reklam alma-verme dengelerinin devreye girmesiyle, yani bilinirlik ve ticaret i\u00e7 i\u00e7e ge\u00e7ti\u011finde; herhangi bir sosyal medya kullan\u0131c\u0131s\u0131 olmaktan fenomen, YouTuber ya da influencer mertebelerine ge\u00e7i\u015f ya\u015fan\u0131r. Hatta bir pop star bile olunabilir. Sosyal de\u011fil, dijital sermaye \u00fczerinden geli\u015fen bu yeni hiyerar\u015fide herhangi bir yere (yani d\u00fc\u015f\u00fck IQ\u2019dan kaynakl\u0131 bir elitizme) sahip olabilir. Fenomen ad\u0131 tak\u0131lan bu mesle\u011fe uzaktan bak\u0131l\u0131nca, ne kadar trajikomik de\u011fil mi \ud83d\ude0a<\/p>\n\n\n\n

Tabii, algoritma s\u0131rf onaylanma mekanizmas\u0131yla \u00e7al\u0131\u015fm\u0131yor. Bir de kar\u015f\u0131tl\u0131\u011f\u0131n diyalekti\u011fi var. Yani \u201chater\u201d olmak. \u00c7\u00fcnk\u00fc ilk modeldeki insan, onay almas\u0131 i\u00e7in esas\u0131nda \u00e7o\u011funlu\u011fun de\u011ferlerini, parlak, \u0131\u015f\u0131lt\u0131l\u0131, yani daha \u00f6nce yap\u0131lm\u0131\u015f ve s\u00f6ylenmi\u015f \u015feyleri farkl\u0131 bir paketle sergiler. Yani uyumlulu\u011fu artistik olmasa da performatif bir \u015feydir. Herkes gibi d\u00fc\u015f\u00fcnen\/ya\u015fayan biridir; ama kendi sanal personas\u0131n\u0131 s\u00fcrekli ilgiye \u00e7ekmeye d\u00f6n\u00fck, tutars\u0131zca de\u011fi\u015fken, s\u00fcrate \u00f6nem veren, duyar kasan, genel be\u011feniyi \u00e7a\u011f\u0131ran, izleyicisini zeki hissettiren ve t\u00fcm bunlar\u0131 \u00e7\u0131lg\u0131nca bir tuhafl\u0131kla yapan, takip edilesi biri olur. G\u00f6rselli\u011fi iyi kullan\u0131r ve onu YZ ile s\u00fcsleyerek sunar.<\/p>\n\n\n\n

Kar\u015f\u0131t model ise psikotik bir \u015fekilde herkesin kar\u015f\u0131 \u00e7\u0131kaca\u011f\u0131, isyan edece\u011fi, onlar\u0131 \u00fczecek ya da \u00f6fkelendirecek \u015feyleri s\u00fcrekli sergileyen ki\u015fidir. \u0130nsanlar\u0131 k\u0131zd\u0131rmal\u0131, \u015fa\u015f\u0131rtmal\u0131 ve pratik akl\u0131yla s\u00fcrekli ters k\u00f6\u015feleri aramal\u0131d\u0131r. Yani u\u00e7 noktada \u015feyler s\u00f6yleye s\u00f6yleye, insanlar taraf\u0131ndan \u201cbu manyak ne dedi, bir bakal\u0131m diye\u201d kan\u0131ksan\u0131r ve tersinden bir onay zinciri kurar. Ama bu a\u015f\u0131r\u0131 \u201conaylamamaktan\u201d olu\u015fan bir onay h\u00e2lidir. Yine buradaki fig\u00fcrlerde sosyal a\u011f i\u00e7inde \u00f6nce pop\u00fclerlik kazanmay\u0131, daha sonra bunu farkl\u0131 bi\u00e7imlerle ekonomiye \u00e7evirecek alanlara a\u00e7\u0131lmay\u0131 hedefler. Ama burada verdi\u011fim iki \u00f6rnekte idrak temelli d\u00fc\u015f\u00fcnce eylemine ayk\u0131r\u0131, bizzare \u00e7izgisinde vakalard\u0131r. Pratikleri ak\u0131l sa\u011fl\u0131\u011f\u0131n\u0131n ve izan s\u0131n\u0131rlar\u0131n\u0131n d\u0131\u015f\u0131ndad\u0131r. Bu kal\u0131plara tamamen ters ve kar\u015f\u0131t olan d\u00fc\u015f\u00fcnme eyleminin sosyal a\u011f ikliminde nefes \u015fans\u0131 yoktur. Daha \u00f6nce s\u00f6yledi\u011fimizi tekrar edersek; d\u00fc\u015f\u00fcnce \u00e7\u0131kt\u0131s\u0131z, sat\u0131\u015fa kapal\u0131, zihni zorlay\u0131c\u0131 bir pratik olarak sosyal a\u011f i\u00e7erisinde herhangi bir pop\u00fclerlik bulamaz. Akademiyi bo\u015fa al\u0131p, YouTube \u00fczerinden kariyere y\u00f6nelen bir\u00e7ok akademisyen bilgi de\u011fil sansasyon, d\u00fc\u015f\u00fck sanatsal performans ve ba\u015far\u0131l\u0131 bir talk show icra ederler. Bu y\u00fczden kafa kar\u0131\u015ft\u0131r\u0131c\u0131 ba\u015fl\u0131klar, provokat\u00f6r tav\u0131rlar, amiyane s\u00f6ylemler, kar\u015f\u0131t arayan terslemeler, patlat\u0131lan kahkahalar ve s\u00fcrekli yukar\u0131 kalk\u0131p inen ellerle; her \u015feyi \u00e7\u00f6zm\u00fc\u015f, kafa yak\u0131c\u0131, bilge performans\u0131nda yan yana gelirler.<\/p>\n\n\n\n

Sosyal a\u011f mant\u0131\u011f\u0131 an\u0131nda d\u00f6n\u00fc\u015fler, etkile\u015fimlerle \u00e7al\u0131\u015f\u0131r. Etkile\u015fim almak ya da \u201cetkile\u015fim kasmak\u201d kal\u0131plar\u0131 bu y\u00fczden vard\u0131r. Bunlar anl\u0131kt\u0131r \u00e7\u00fcnk\u00fc oras\u0131 s\u00fcrekli bir ak\u0131\u015f alan\u0131d\u0131r, gezegen \u00e7evresinde e\u015f zamanl\u0131 milyarlarca insan orada, d\u00fc\u015f\u00fcnme ve idrak s\u00fcrecine girme niyeti ta\u015f\u0131madan bir s\u00fcr\u00fcklenme h\u00e2lindedir. Kimse bir y\u0131l \u00f6nceki g\u00f6nderinin g\u00fczelli\u011fine, iyili\u011fine bakmaz, o an t\u00fcketilmelidir. Yeter narkozun ak\u0131\u015f h\u0131z\u0131 ve s\u00fcrekli y\u00fckselen dozaj\u0131 eksilmesin.<\/p>\n\n\n\n

\u201cUbik k\u00f6t\u00fc nefese kar\u015f\u0131 etkilidir. Ve talimatlara uygun kullan\u0131ld\u0131\u011f\u0131nda zarars\u0131zd\u0131r.\u201d<\/p>\n\n\n\n

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(XV) Aks: S\u0131n\u0131f Sava\u015f\u0131m\u0131ndan Ku\u015fak \u00c7at\u0131\u015fmas\u0131na<\/h1>\n\n\n\n

\u0130kinci b\u00fcy\u00fck sava\u015f sonras\u0131 \u00e7ift kutba b\u00f6l\u00fcnen d\u00fcnyan\u0131n yaratt\u0131\u011f\u0131 gerilime kar\u015f\u0131, ba\u015f\u0131n\u0131 Amerika\u2019n\u0131n \u00e7ekti\u011fi kapitalist blok, sava\u015f s\u0131ras\u0131nda y\u0131k\u0131m i\u00e7in geli\u015ftirilen teknolojinin olanaklar\u0131n\u0131 g\u00fcndelik hayata \u00e7ekerek, \u201ckom\u00fcnizm tehdidine kar\u015f\u0131\u201d yeni bir sistem in\u015fa etmeye koyuldu. Yap\u0131lmak istenen sabitlenmi\u015f, art\u0131k de\u011fi\u015ftirilmesine kimsenin arzu duymayaca\u011f\u0131 ve izin vermeyece\u011fi bir konfor d\u00fczeni kurmakt\u0131. Ama toplumda olduk\u00e7a kar\u015f\u0131tl\u0131klar bakidir. Marx\u2019a g\u00f6ndermeyle kapitalizm, finans, teknik ve bilimde devrim yapmadan duramayacak bir sistem oldu\u011fundan, o toplumdaki kar\u015f\u0131tl\u0131klar\u0131 s\u0131n\u0131f \u00e7at\u0131\u015fmalar\u0131 yerine ku\u015fak \u00e7at\u0131\u015fmalar\u0131n\u0131n gerilimiyle yumu\u015fatmak ister. \u00c7at\u0131\u015fmay\u0131 k\u00fclt\u00fcrel alana \u00e7ekip, \u00fcretti\u011fi yeni kar\u015f\u0131tl\u0131k \u00fczerinden ba\u015fta gen\u00e7 ku\u015fak olmak \u00fczere, toplumsal enerjiyi tolere edebilece\u011fi alana kayd\u0131rmay\u0131 ama\u00e7layarak.<\/p>\n\n\n\n

Ku\u015fak \u00e7at\u0131\u015fmas\u0131 sadece bir metafordu, k\u00f6ktenci bir e\u011filim yans\u0131tm\u0131yordu ve iki nesil aras\u0131ndaki ileti\u015fim sorunlar\u0131na ve g\u00fcndelik farklara parmak bas\u0131yordu. Bu fark ilk defa ikinci sava\u015f sonras\u0131 nihilizmi ve kurulan refah toplumunun \u00e7izdi\u011fi liberal s\u0131n\u0131rlar\u0131n birle\u015fmesiyle olu\u015ftu. Refah ve d\u00fczen sa\u011flanm\u0131\u015ft\u0131 ama, ortada eksik olan ve tam da tan\u0131mlanamayan bir \u015feyler vard\u0131. Refah g\u00f6r\u00fcn\u00fcml\u00fc toplumun ilk gen\u00e7lik isyanlar\u0131 James Dean, Marlon Brando, Marilyn Monroe, Beat Ku\u015fa\u011f\u0131, Do\u011fu Felsefesi’ne y\u00fckselen ilgi, pop sanat ve rock’n’roll\u2019un ortaya \u00e7\u0131k\u0131\u015f\u0131 ile belirginle\u015fti. 50\u2019lerin huzurlu, sakin ve refah dolu Amerikan kasabas\u0131 bir t\u00fcr kapitalist \u00fctopya sahas\u0131 idi. Seri montaj band\u0131 \u00fcretimiyle i\u015f\u00e7inin y\u00fck\u00fc hafifletilmi\u015f, sosyal haklar artt\u0131r\u0131lm\u0131\u015f, toplumsal konsens\u00fcs sa\u011flanm\u0131\u015ft\u0131. Bu model Marshall Program\u0131 olarak sava\u015f \u015fokundan \u00e7\u0131km\u0131\u015f Avrupa\u2019ya ve \u00fclkemiz gibi Demir Perde blo\u011fuyla kom\u015fu \u00fclkelere yard\u0131m paketleri gibi masum ambalajlarla ithal edilmi\u015fti.<\/p>\n\n\n\n

Fa\u015fizm vah\u015fetinden Amerika\u2019ya ka\u00e7an ele\u015ftirel teorinin kurucusu Frankfurt Okulu’nun iki s\u00f6zc\u00fcs\u00fc Adorno ve Horkheimer, yeni d\u00fcnyada yapt\u0131klar\u0131 saha \u00e7al\u0131\u015fmalar\u0131nda bu \u00f6zg\u00fcrl\u00fck ve refah \u00fctopyas\u0131nda geli\u015fen g\u00fcndeli\u011fe dair teknolojilerin (otomobil, ev i\u00e7i kullan\u0131m ara\u00e7lar\u0131 vb.) ve onlar\u0131n destekledi\u011fi ya\u015fam tarz\u0131n\u0131n t\u00fcketim \u00f6zg\u00fcrl\u00fc\u011f\u00fc temelli bir toplum in\u015fas\u0131 oldu\u011funu ke\u015ffetti. Adorno ve Horkheimer; bu hamleyle beraber ve ona zemin olarak ileti\u015fim sekt\u00f6r\u00fc, reklamc\u0131l\u0131k, pazar ara\u015ft\u0131rmalar\u0131, TV ve sineman\u0131n destekledi\u011fi kitlelere y\u00f6nelik bir \u201ck\u00fclt\u00fcr end\u00fcstrisinin\u201d in\u015fa edildi\u011fini tespit etti. \u0130nsanlara verilen \u00f6zg\u00fcrl\u00fck alan\u0131 \u00fcretim-t\u00fcketim, e\u011flence ve dola\u015f\u0131m \u00f6zg\u00fcrl\u00fc\u011f\u00fc \u00fczerindendi (s\u00fcrekli otoyollar in\u015fa ediliyordu).<\/p>\n\n\n\n

Bu \u0131\u015f\u0131lt\u0131l\u0131 g\u00f6r\u00fcn\u00fcm alt\u0131nda; insan akl\u0131n\u0131n, ruhunun ve k\u00fclt\u00fcr\u00fcn\u00fcn kontrol edilebilecek bir \u015fey oldu\u011funa inanan \u201cAyd\u0131nlanman\u0131n Diyalekti\u011fi\u201d \u00e7al\u0131\u015fmaya devam ediyordu. Yani bu insan toplulu\u011funu rasyonalizme edece\u011fini d\u00fc\u015f\u00fcnen akl\u0131n yaratt\u0131\u011f\u0131 \u201ctek boyutlu toplum\u201d arka planda tam gaz ilerliyordu. Sava\u015f sonras\u0131 Amerikan toplumunun sokulmaya \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 h\u00e2l, Philip K. Dick’in yazd\u0131\u011f\u0131 distopik \u00f6yk\u00fclerinde a\u00e7\u0131\u011fa \u00e7\u0131kan bir \u00e7e\u015fit yapay cennet yaratma itkisidir. Ard\u0131ndan gelen 1960\u2019lar ku\u015fa\u011f\u0131, Beatles ve Rolling Stones gibi b\u00fcy\u00fck starlar\u0131n \u00f6rne\u011finde, a\u015fk\u0131 y\u00fccelten, dans eden ve partiye ko\u015fan bir ku\u015fak olarak yola \u00e7\u0131kt\u0131. Ama k\u0131sa s\u00fcrede hedefi b\u00fcy\u00fctt\u00fc ve d\u00fcnyay\u0131 de\u011fi\u015ftirmeye soyundu ve ku\u015fak \u00e7at\u0131\u015fmas\u0131 tehlikeli bir bi\u00e7imde s\u0131n\u0131f \u00e7at\u0131\u015fmas\u0131yla temas etme riski g\u00f6sterdi.<\/p>\n\n\n\n

Bu ku\u015fak \u00e7at\u0131\u015fmalar\u0131 mevhumu uzun bir \u00f6yk\u00fcd\u00fcr, do\u011fal olarak burada konunun tarihini verme iddiam\u0131z yok (\u00f6zel olarak ilgi duyanlara Greil Marcus\u2019un Ruj Lekesi incelemesini tavsiye ederim). Sadece s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f bir \u00f6n altl\u0131k sunmak derdindeyiz. Beat Ku\u015fa\u011f\u0131’n\u0131n bir alt k\u00fclt\u00fcr olarak temel mefhumlar\u0131n\u0131n geni\u015f kitleleri i\u00e7ine alan birer meseleye d\u00f6n\u00fc\u015f\u00fc yakla\u015f\u0131k on y\u0131l alm\u0131\u015ft\u0131 ve zaman ge\u00e7tik\u00e7e bu zamansal pergel s\u00fcrekli kapanarak azalmaya devam etti. S\u00fcrekli alt k\u00fclt\u00fcrler p\u00f6rtlediler ve onlar h\u0131zla kitlesel k\u00fclt\u00fcr h\u00e2lini ald\u0131lar; bunun bedeli ise hareketlerin keskin k\u00f6\u015felerinin ak\u0131mlar kalabal\u0131kla\u015ft\u0131k\u00e7a t\u00f6rp\u00fclenmesiydi. \u00d6rne\u011fin 1970\u2019lerin h\u00e2kim k\u00fclt\u00fcr ve ya\u015fam\u0131na isyan eden Punk\u2019\u0131n ana ak\u0131ma \u00e7ekilmesi bir y\u0131l gibi k\u0131sa s\u00fcrede ger\u00e7ekle\u015fmi\u015fti. Toparlamak istersek, toplum 68 Ku\u015fa\u011f\u0131 dedi\u011fimiz fenomenle birlikte, art\u0131k her yeni gelmekte olan ku\u015fak \u00fczerine kafa yorulacak bir vaka h\u00e2line geldi. Yani, 68\u2019in yaratt\u0131\u011f\u0131 k\u00fclt\u00fcrel ve siyasal k\u0131r\u0131lmalar sermayeyi, devletleri ve toplumlar\u0131 buna mecbur k\u0131ld\u0131. Ve bu gerilimlerin takibi ve kontrol \u00e7abas\u0131 21. y\u00fczy\u0131la gelene de\u011fin, en uzunu 10 y\u0131lda bir k\u0131r\u0131lma ya\u015fayan yeni ku\u015faklar\u0131n hik\u00e2yesiyle devam etti. Her bir ku\u015fa\u011f\u0131 tan\u0131mlamak, ay\u0131r\u0131c\u0131 y\u00f6nlerinin alt\u0131n\u0131 \u00e7izmek amac\u0131yla \u00f6nce adlar sonras\u0131nda ise harfler tan\u0131mland\u0131.<\/p>\n\n\n\n

\u015eimdi yeni \u00e7a\u011f\u0131n h\u00fckm\u00fc Y, Z ve Alfa ku\u015faklar\u0131n\u0131n elindeki ate\u015fte. Ya kendilerini ve \u00e7a\u011f\u0131 yakacaklar ya silkinip bir bilin\u00e7 de\u011fi\u015fiminin yolunu arayacaklar (az sonra buraya d\u00f6nece\u011fiz).<\/p>\n\n\n\n

\u0130\u015frak!<\/p>\n\n\n\n

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(XVI) A\u011f\u0131n \u00c7ocuklar\u0131: Yeni \u015eeytanlar ve Mesihler<\/h1>\n\n\n\n
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\u201cat\u0131lm\u0131\u015fl\u0131k ad\u0131na mevcudu biraz daha temiz tutal\u0131m
kurban ad\u0131na \u00f6l\u00fcm\u00fc biraz daha temiz tutal\u0131m\u201d <\/em><\/strong>Mustafa Irgat<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130nternet devriminin etkisi insan\u0131n s\u00f6zel k\u00fclt\u00fcrden yaz\u0131l\u0131 k\u00fclt\u00fcre ge\u00e7i\u015fi kadar sars\u0131c\u0131 olacak, ki oluyor. Yaz\u0131n\u0131n ke\u015ffi, hesaplama ya da \u00e7ivi ile tutulan muhasebeci defteri (ilk b\u00fcrokrasi ve k\u00f6k kapitalizm), t\u00f6resel ahlaktan yaz\u0131l\u0131 kanuna ge\u00e7i\u015f (hukuk mefhumunun ke\u015ffi), ilk kurumsal din ya da tanr\u0131 kral (monar\u015finin y\u00f6netimi), k\u00f6k okul olarak edubba sistemi, ilk yaz\u0131l\u0131 edebiyat\/mit (G\u0131lgam\u0131\u015f), sava\u015f makinesinin do\u011fumunu \u00f6nc\u00fclleyen profesyonel askerlik n\u00fcveleri (Lagash Sava\u015f\u0131) ve prehistorya denen d\u00f6nemin bitip kurgusal (metne d\u00f6k\u00fclm\u00fc\u015f) tarih a\u015famas\u0131na ge\u00e7i\u015f gibi \u00e7ok b\u00fcy\u00fck k\u0131r\u0131lmalar ve makro sonu\u00e7larla gelmi\u015fti. Tarihteki bu yeni \u00e7atlakta b\u00fcy\u00fck tektonik hareketler yaratarak ilerlemektedir: \u00c7evirmeli a\u011f ba\u011flant\u0131s\u0131ndan sosyal a\u011fa, bot olarak AI konumundan Tekille\u015fmi\u015f S\u00fcper YZ\u2019ye, bir dijitalize toplum.<\/p>\n\n\n\n

Ku\u015fkusuz \u00f6nce bu d\u00f6n\u00fc\u015f\u00fcmlerin insan \u00fczerindeki etkisine bakmal\u0131. W.W.W.\u2019in icat edilip normal toplum ya\u015fant\u0131s\u0131nda zaten var olan ve gizlenen ki\u015filik b\u00f6l\u00fcnmeleri, sosyal medyayla en az art\u0131 bir yeni sanal kimlik eklenerek par\u00e7alanmaya ba\u015flad\u0131. Yani birey ve onun i\u00e7inde oldu\u011fu sosyal \u00e7evrenin tan\u0131mlanmas\u0131 internet devrimi ile farkl\u0131 bir d\u00fczleme girdi. D\u00fcne kadar kabul edilmi\u015f toplumsal ger\u00e7eklik s\u0131n\u0131rlar\u0131 de\u011fi\u015fmeye ba\u015flad\u0131. Bu yeni toplum; an\u0131nda eri\u015filebilirlik, h\u0131z, mobil olu\u015f, k\u00fcresel ya\u015fam\u0131n sundu\u011fu sonsuz g\u00f6r\u00fclen se\u00e7enek \u00e2lemi, yeni kimlikler, s\u0131n\u0131rs\u0131z bilgi ve yepyeni dijital k\u00fclt\u00fcrler vaat ediyordu. Bu yeni durumu 2023 y\u0131l\u0131nda yay\u0131nlad\u0131\u011f\u0131m Ballard Kitab\u0131 \u00e7al\u0131\u015fmamda \u015f\u00f6yle a\u00e7\u0131klam\u0131\u015ft\u0131m: \u201cArt\u0131k \u2018Ger\u00e7ek\u2019 ile hayat aras\u0131na sonsuz bir u\u00e7urum a\u00e7\u0131lm\u0131\u015ft\u0131r. \u0130nternet d\u00fcnyas\u0131n\u0131n yaratt\u0131\u011f\u0131 siber-\u015fizofreni de mutlulu\u011fun sanal adac\u0131klarda aranmas\u0131 h\u00e2lini kitleselle\u015ftirir. \u0130nsanlar \u2018ger\u00e7ek\u2019 varl\u0131klar\u0131ndan o kadar s\u0131k\u0131lm\u0131\u015flard\u0131r ki, s\u00fcrekli sanal d\u00fcnya i\u00e7erisinde farkl\u0131 farkl\u0131 sahte karakterlere b\u00fcr\u00fcn\u00fcp mutlu olman\u0131n, ego \u00e7at\u0131s\u0131n\u0131 y\u00fckseltmenin, k\u00fc\u00e7\u00fck tahakk\u00fcm a\u011flar\u0131 kurman\u0131n hazz\u0131n\u0131 ararlar.\u201d Rafet Arslan\/Ballard Kitab\u0131, Simurg Art Yay\u0131nlar\u0131.<\/p>\n\n\n\n

\u0130nsan toplulu\u011fu, insanl\u0131k tarihi i\u00e7in \u00e7ok \u00e7ok k\u0131sa say\u0131labilecek bir s\u00fcrede bamba\u015fka bir ger\u00e7ekli\u011fe ad\u0131m att\u0131. Art\u0131k Jean Baudrillard\u2019\u0131n \u201cger\u00e7ekli\u011fi sahte ger\u00e7eklikle de\u011fi\u015ftiren\u201d hiperger\u00e7eklik dedi\u011fi \u015feyden, onun art\u0131k ger\u00e7ek ile ger\u00e7ek olmayan\u0131n aras\u0131ndaki ayr\u0131m s\u0131n\u0131r\u0131n\u0131n tamamen silindi\u011fi sim\u00fclasyon evreni dedi\u011fi \u015feye ge\u00e7i\u015f s\u00fcrecindeyiz. Bu e\u015fi\u011fi ge\u00e7me ivmesine giren Yapay Zek\u00e2, piyasaya s\u00fcr\u00fclmeye haz\u0131rlanan sanal \u201cmetaverse\u201d oyun evrenleri, Neuralink adl\u0131 yat\u0131r\u0131mla g\u00f6rme dedi\u011fimiz \u015feyin kendisini yap\u0131sal olarak de\u011fi\u015ftirmeye aday \u00e7al\u0131\u015fmalar, g\u00fcndelik robot teknolojileri, benim de d\u00e2hil oldu\u011fum eski ku\u015faklar\u0131n t\u00fcketimi i\u00e7in haz\u0131rlanm\u0131yor. \u00c7\u00fcnk\u00fc bu teknolojileri haz\u0131rlayan Silikon Vadisi oligar\u015fisi; hakikatin tamamen yok olmad\u0131\u011f\u0131, her \u015feyin tamamen sanalla\u015fmad\u0131\u011f\u0131 d\u00fcnyay\u0131 deneyimleyen \u201ceski\u201d nesillerin bu yeni normal kar\u015f\u0131s\u0131nda ne kadar bocalad\u0131\u011f\u0131n\u0131n, b\u00fcy\u00fck travmalar ya\u015fad\u0131\u011f\u0131n\u0131n fark\u0131nda. Bu y\u00fczden onlar Z Ku\u015fa\u011f\u0131’ndan ba\u015flamak \u00fczere, yak\u0131n gelece\u011fi in\u015fa edecek yeni normalin standartlar\u0131n\u0131 ve paradigmas\u0131n\u0131 \u015fimdiden belirlemek i\u00e7in hummal\u0131 bir \u00e7al\u0131\u015fma i\u00e7erisindeler.<\/p>\n\n\n\n

Bu geli\u015fmeler kar\u015f\u0131s\u0131nda Ayd\u0131nlanmadan gelen gelene\u011fin ya da modern toplumun yaratt\u0131\u011f\u0131 ideallerin; devletler, piyasa ya da siyasi akt\u00f6rlerce sahaya uyarland\u0131\u011f\u0131nda tek kanall\u0131 bir yakla\u015f\u0131ma d\u00fc\u015fen d\u00fc\u015f\u00fcnce, kural ve davran\u0131\u015f kal\u0131plar\u0131 kifayetsiz kald\u0131. Buna kar\u015f\u0131n icat edilen d\u00fc\u015f\u00fcnce paketleri de yeni ger\u00e7eklikle uyumlu g\u00f6z\u00fck\u00fcr bir g\u00f6r\u00fcn\u00fcm alt\u0131nda olsalar da yeni bir \u00e7\u00f6z\u00fcm geli\u015ftirme kayg\u0131s\u0131 ve \u00e7abas\u0131ndan uzakt\u0131lar. 80\u2019li y\u0131llar\u0131n nihilist ve y\u0131k\u0131c\u0131 postmodernizm dalgas\u0131, ard\u0131ndan yeni tek kanal d\u00fc\u015f\u00fcnce kal\u0131plar\u0131 sunan woke yakla\u015f\u0131m\u0131yla h\u00e2kim genel k\u00fclt\u00fcr, ahlak ve ilkelerinin da\u011f\u0131lmas\u0131 sorunsal\u0131 ortada kald\u0131. \u00d6nce postmodern alg\u0131, toplumsal kaosu d\u00fc\u015f\u00fcnsel kaosa ta\u015f\u0131yarak sahadaki tozu havaya kald\u0131rd\u0131 ve ard\u0131ndan gelen woke k\u00fclt\u00fcr bu tozu hal\u0131n\u0131n alt\u0131na s\u00fcp\u00fcrd\u00fc. Dijital k\u00fclt\u00fcr\u00fcn bize sundu\u011fu se\u00e7enek ise ba\u015f edemeyece\u011fimiz h\u0131zda \u00fcreyen arzu ve onun dikkat ekonomisi \u00fczerinden uyum ve devaml\u0131 \u201cher an\u201d genel k\u00fclt\u00fcr h\u00e2line gelebilecek yeni alt k\u00fclt\u00fcrler sunmakt\u0131. Yani \u201chashtag = Ak\u0131\u015fta kal\u201d, hayatta kalmak (g\u00f6r\u00fcn\u00fcr olmak) istiyorsan ak\u0131\u015fa teslim ol. Yeni \u00e7a\u011f\u0131n bireyi bu sim\u00fclasyonun kurgulad\u0131\u011f\u0131 \u201cs\u00f6zde \u00f6zne\u201d kal\u0131plar\u0131ndan \u00e7\u0131kacakt\u0131. Pandemi sonras\u0131 yeni normalin belirledi\u011fi toplumsal (k\u00fcresel) hayat bo\u015fluk tan\u0131mayacak h\u0131zla kendi d\u00fczenini kurmaya ba\u015flad\u0131. Yeni nesil; bu \u00e7\u0131\u011fa kar\u015f\u0131 b\u00fct\u00fcnsel anlamlar arayacak\/yaratacak \u00f6nc\u00fc ya da kurucu devrimci birikimden uzak ve g\u00f6zlerini h\u0131zla dijitalle\u015fen bir d\u00fcnyaya a\u00e7t\u0131lar. Onlar da genel anlamda anlam yaratamasalar da (ve b\u00f6yle bir \u00e7abada olmasalar da), \u00e7e\u015fitli alt k\u00fclt\u00fcrel \u201canlamsal birle\u015fme noktalar\u0131\u201d bulmaya olduk\u00e7a yetenekliydiler.<\/p>\n\n\n\n

Yeni ku\u015faklar\u0131n g\u00f6nderilerine, kendi h\u00e2llerini tan\u0131mlamak i\u00e7in se\u00e7tikleri emojilere, \u00e7ok sevdikleri anime\/manga g\u00f6rsellerine, s\u00fcrekli dinledikleri pop\u00fcler m\u00fcziklerin diline, caps\u2019lere, reels\u2019lere bakt\u0131\u011f\u0131m\u0131zda; kendi aralar\u0131nda d\u00f6nen ve d\u0131\u015far\u0131ya kapal\u0131 bir \u201cdijital alt k\u00fclt\u00fcr jargonu\u201d ile ya\u015fad\u0131klar\u0131n\u0131 g\u00f6rmekteyiz. Yani eski toplum ile aralar\u0131ndaki fark, bir k\u00fclt\u00fcr de\u011fil \u201cdil fark\u0131\u201d olacak noktaya ula\u015fm\u0131\u015ft\u0131r. Art\u0131k; Ayd\u0131nlanmadan beri tan\u0131mlad\u0131\u011f\u0131m\u0131z ger\u00e7eklik, okullarda verdi\u011fimiz e\u011fitim ya da kamu yasalar\u0131, yeni bu \u201cparalel ger\u00e7ekli\u011fe\u201d n\u00fcfuz edemez. Kendi dilini ve ifade sistemini yaratanlar i\u00e7in ahlak olu\u015fturmak zaten en kolay\u0131, \u00fc\u00e7 ki\u015fi yan yana gelince bir akt\u00f6re kurgulanabilir, ki Z Ku\u015fa\u011f\u0131’ndan itibaren olduk\u00e7a kaygan ve y\u00fczer-gezer yeni ahlak formlar\u0131 olu\u015fmaya da ba\u015flad\u0131.<\/p>\n\n\n\n

Sabit, bilinen ve kan\u0131ksanm\u0131\u015f toplumsal kodlar yerine alt k\u00fclt\u00fcrlerin temel k\u00fclt\u00fcr h\u00e2line gelmesi ve hatta bunlar\u0131n i\u00e7ine kapal\u0131 yeni bir dil kurmas\u0131, Marksist\u2019inden muhafazak\u00e2r\u0131na her \u201ceski\u201d kesimi zorlamaktad\u0131r; en \u00e7ok da ebeveynleri. Ailelerin \u00e7ocuklar\u0131yla \u201cyalandan\u201d bir ba\u011f i\u00e7inde kald\u0131klar\u0131, bildikleri ve iflas etmi\u015f normali s\u00fcrd\u00fcrmeyi zorlad\u0131klar\u0131; \u00e7ocuklar\u0131nsa \u201czorunlu sponsor\u201d olarak g\u00f6rd\u00fckleri bu insanlarla d\u00fc\u015f\u00fck yo\u011funluklu harp i\u00e7inde olduklar\u0131 bir hayat s\u00fcrd\u00fcr\u00fcl\u00fcyor. Kaosun h\u00e2kim oldu\u011fu zamanlarda b\u00fcy\u00fcm\u00fc\u015f Y Ku\u015fa\u011f\u0131’ndan anne ve babalar, sevgi al\u0131p-vermeyi \u00e7oktan unutmu\u015f, kendi gen\u00e7lik ideallerinin tersine yol alm\u0131\u015f, g\u00fc\u00e7, mevki ve para sever bir hayat s\u00fcrd\u00fcler ve \u015fimdi as\u0131l s\u0131navlar\u0131 ba\u015flad\u0131. Zihinsel olarak tek kanall\u0131 sistemlerine tak\u0131l\u0131p b\u00fcy\u00fcd\u00fcler ve \u00f6yle devam ettiler. \u015eimdi onlar kendi imtihanlar\u0131n\u0131 Z Ku\u015fa\u011f\u0131’yla veriyorlar.<\/p>\n\n\n\n

Yeni gelmekte olan Alfa Ku\u015fa\u011f\u0131 ise \u00e7ok kanall\u0131 d\u00fc\u015f\u00fcnceye uyum sa\u011flayan ve ona g\u00f6re ya\u015fayan ama bu duruma uygun d\u00fc\u015f\u00fcnsel, tinsel ve ahlaki formlara \u201ctamamen\u201d sahip olmayan ilk ku\u015fak. Bunun yaratt\u0131\u011f\u0131 travmatik durum \u00e7ok keskindir, hem tek kanal bir toplum ve ger\u00e7eklik i\u00e7inde ya\u015fay\u0131p hem de ona kar\u015f\u0131 d\u00fcnyalar\u0131n\u0131n \u00e7ok link\u2019li i\u00e7uzay\u0131nda ya\u015fayan bir nesil. Ya\u015flar\u0131 itibar\u0131 ile onlar\u0131 a\u015fan, maruz kald\u0131klar\u0131 eski d\u00fcnya ve b\u00fcy\u00fctt\u00fckleri kendi i\u00e7uzaylar\u0131 aras\u0131nda s\u0131k\u0131\u015f\u0131p; deneyimledikleri ger\u00e7eklikleri tan\u0131mlamaktan ve anlamaktan uzak bir nesil. Bu yeni yabanc\u0131la\u015fma safhas\u0131 tam bir nesnele\u015fmeye a\u00e7\u0131l\u0131yor. Kafka gibi b\u00f6ce\u011fe de\u011fil, bir androide ya da Charles Manson\u2019a d\u00f6n\u00fc\u015fmeyi arzulayabilecek bir ku\u015fak.<\/p>\n\n\n\n

2010 ve sonras\u0131 do\u011fan bu ku\u015fak teknolojiyi \u00f6\u011frenen de\u011fil, teknolojiyle do\u011fan; e\u011fitimden e\u011flenceye, a\u015fktan nefrete her \u015feyi dijital platformlar \u00fczerinden bilen ve deneyimleyen ilk ku\u015fak. Yapay zek\u00e2 ile e\u015f zamanl\u0131 b\u00fcy\u00fcd\u00fcler, tamamen k\u00fcresel bir d\u00fcnya realitesi i\u00e7inde, yerel diller yan\u0131nda neredeyse ana dil \u0130ngilizce i\u00e7inde ya\u015f\u0131yorlar. Adapte olmak zorunda olduklar\u0131 verinin ak\u0131\u015f h\u0131z\u0131 gibi onlar\u0131 sab\u0131rs\u0131z, aceleci, dikkati da\u011f\u0131n\u0131k ve karma\u015f\u0131k yap\u0131yor. Ve de hiper-bireysel (\u00e7ok s\u0131k\u00e7a narsis) bir varolu\u015f h\u00e2lindeler. A\u00e7\u0131klamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z gibi bu olgular\u0131n pratik sonucu olarak art\u0131k ku\u015faklar aras\u0131nda \u00e7ok ciddi k\u00fclt\u00fcr-ya\u015fant\u0131 fark\u0131 d\u0131\u015f\u0131nda dil, anlam d\u00fcnyas\u0131 ve ahlaki norm fark\u0131 da var. Yani art\u0131k ayn\u0131 anda birka\u00e7 ger\u00e7eklik d\u00fczlemine e\u015fzamanl\u0131 olarak maruz kal\u0131yor ya da ya\u015f\u0131yoruz. Ebeveynlerinin ve \u00fcst ku\u015faklar\u0131n Alfa\u2019lara y\u00f6nelik \u201cvicdans\u0131z, hissiz, duyars\u0131z, vah\u015fi ku\u015fak\u201d s\u00f6ylemi de \u015fimdi ya\u015fanan bu farkl\u0131 ger\u00e7eklik d\u00fczlemlerinin sebep oldu\u011fu ileti\u015fimsizlikten kaynaklan\u0131yor.<\/p>\n\n\n\n

Her daim anla\u015f\u0131lmayan, tarif edilemeyen, kavranamaz \u015feyler tedirginlik yarat\u0131r ve bir \u00e7e\u015fit alien muamelesi g\u00f6r\u00fcr. Fakat \u015fimdi modernin icat etti\u011fi disiplin mekanizmalar\u0131 yani kontrol \u00f6tesinde yeni tan\u0131mlar, anlay\u0131\u015flar, anlamlar bulmaya ihtiya\u00e7 var. Yoksa dijital Babilonya bu h\u0131zla b\u00fcy\u00fcd\u00fck\u00e7e yar\u0131n bunlar\u0131 konu\u015fmak i\u00e7in gereken ortak dili tamamen kaybetmi\u015f olaca\u011f\u0131z.<\/p>\n\n\n\n

\u201cHayat\u0131m boyunca hep yaln\u0131z kald\u0131m. Nedenini bilmiyorum, asl\u0131nda \u00e7ok fazla \u015feyim vard\u0131\u2026 \u0130nsanlar\u0131n beni tan\u0131mas\u0131, fark etmesi ho\u015fuma gidiyor. Bu d\u00fcnyadaki varl\u0131\u011f\u0131m\u0131 ve verdi\u011fim zarar\u0131 hissetsinler istiyorum ki sonunda beni fark etsinler\u2026 Ancak yaln\u0131zl\u0131k yapaca\u011f\u0131m \u015feyin sebebi de\u011fil. Yaln\u0131zl\u0131k bir sebep de\u011fildir\u2026 Bu sadece bir durumdur. Ailem benden nefret ediyor, benden korkuyor ve hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015f durumdalar\u2026 Ben bir d\u00e2hiyim. Herkesten daha iyiyim. En \u00fcst\u00fcn insan\u0131m. Kendime sad\u0131\u011f\u0131m. Ben daha iyiyim. Ortalama zek\u00e2n\u0131n \u00e7ok \u00fcst\u00fcndeyim. 130 IQ testim vard\u0131… Benim kadar h\u0131zl\u0131 \u00f6\u011frenemediklerini fark ettim. Bu y\u00fczden okulu b\u0131rakt\u0131m. Okul bana bir \u015fey katm\u0131yordu\u2026 Kendi kendime \u00f6\u011frenmek daha h\u0131zl\u0131yd\u0131. Ben zaten herkesten daha iyiyim.\u201d<\/p>\n\n\n\n

Bu sat\u0131rlar, asl\u0131nda 14 ya\u015f i\u00e7in fazla bilgece bu s\u00f6zler, bir \u00f6l\u00fcm manifestosundan al\u0131nt\u0131. 2026-Nisan ay\u0131nda \u00fclkemizde ger\u00e7ekle\u015fen ilk b\u00fcy\u00fck okul sald\u0131r\u0131s\u0131n\u0131n zanl\u0131s\u0131n\u0131n son mesaj\u0131ndan ald\u0131\u011f\u0131m, ibret verici notlardan. Ve ne yaz\u0131k bu sat\u0131rlar\u0131n yazar\u0131 \u0130sa Aras, ger\u00e7ekle\u015ftirdi\u011fi sald\u0131r\u0131da 6 ki\u015fiyi \u00f6ld\u00fcrd\u00fc ve \u00f6ld\u00fcr\u00fcld\u00fc. Bu ruhun ya\u015fad\u0131\u011f\u0131 k\u0131r\u0131lma; yazd\u0131\u011f\u0131 s\u00f6zc\u00fckler de ger\u00e7eklik d\u00fczlemini yitirmi\u015f, bilin\u00e7d\u0131\u015f\u0131 unsurlar taraf\u0131ndan ele ge\u00e7irilmi\u015f, g\u00f6lgesindeki narsis psi\u015fenin egemenli\u011fi alt\u0131na s\u0131\u011f\u0131narak ya\u015fama motivasyonunu g\u00f6steriyor. Bu \u00e7ocuk kendi ismi \u0130sa ad\u0131n\u0131 kullanmam\u0131\u015f ve kendini dijital uzamda Konata ad\u0131yla isimlendirmi\u015fti. D\u00fc\u015f\u00fcn\u00fcrsek orijinal ismi eski d\u00fcnyada bir Mesih ve de peygamberin ad\u0131yd\u0131 ama yeni ger\u00e7eklikte bu kavram setlerinin g\u00fcc\u00fc bo\u015fa d\u00fc\u015f\u00fcyor. Ama Konata\u2019ya d\u00f6n\u00fc\u015fen Aras \u0130sa\u2019dan kalan s\u00f6zler bize \u201ctanr\u0131 sevgidir\u201d diyen Mesih\u2019i de\u011fil, b\u00fcy\u00fck Tap\u0131nak Kap\u0131s\u0131’na dayan\u0131p, k\u0131zg\u0131nl\u0131kla \u201cben k\u0131l\u0131\u00e7 olarak geldim\u201d diyen Nas\u0131ral\u0131 \u0130sa\u2019n\u0131n s\u00f6zlerinin hiddetini an\u0131msat\u0131yor. Yani hem kahraman hem de kurban, hem kurtar\u0131c\u0131 hem de y\u0131k\u0131c\u0131 olan\u0131n \u00e7eli\u015fkisini.<\/p>\n\n\n\n

\u0130smin ve onun sembolize edildi\u011fi, ona tahsis edilmi\u015f toplumsal \u00f6znenin reddi giri\u015fimi, 68 yenilgisi sonras\u0131 silaha sar\u0131lan Alman Red Army Faction (RAF) \u00fcyelerinin \u00f6rg\u00fcte kabul seremonisi d\u00e2hilinde, ilk olarak n\u00fcfus k\u00e2\u011f\u0131tlar\u0131n\u0131 yakmas\u0131 ve yeni adlar se\u00e7meleriyle benze\u015fiyor. \u0130lk \u00f6nce eski toplumla olan ba\u011f\u0131n\u0131 kesmek, onun ard\u0131ndan ona kar\u015f\u0131 harbe giri\u015fmek. Ayn\u0131 zamanda hem kurban hem de olan su\u00e7lu olan ruh; RAF\u2019\u0131n kurucu ekibinde oldu\u011fu gibi yoksul, terk edilmi\u015f, m\u00fclks\u00fcz ve su\u00e7la i\u00e7 i\u00e7e bir ortamlarda b\u00fcy\u00fcmemi\u015fti. Tam tersine babas\u0131 polis te\u015fkilat\u0131nda y\u00f6netici, annesi \u00f6\u011fretmen olan bir orta s\u0131n\u0131f ailenin \u00e7ocu\u011fuydu. Politik radikalizmin biti\u015fi ard\u0131ndan, neoliberalizmin av sahas\u0131na d\u00f6nen toplumlarda gen\u00e7 ku\u015faklar\u0131n \u00f6fkesi \u00f6nce Amerika\u2019da, ard\u0131ndan k\u00fcresel boyutta bireysel \u015fiddet eylemlerine d\u00f6n\u00fc\u015f\u00fcr. Bir manifestodan ya da gelece\u011fe dair umutlardan \u0131rak bu yeni \u015fiddet mevsiminin en belirgin eyleme ge\u00e7me bi\u00e7imini ise okul sald\u0131r\u0131lar\u0131 olu\u015fturur. \u00dctopyas\u0131z \u00f6fke ayn\u0131 zamanda hakikatin toptan yitiminin ba\u015flang\u0131\u00e7 noktas\u0131n\u0131 i\u015faret eder.<\/p>\n\n\n\n

Art\u0131k kurgu ile ger\u00e7ek, hayal ile ya\u015fam, \u015faka ile hakikat aras\u0131nda denge yok olmaya y\u00fcz tutmu\u015ftur. \u0130sa Aras\u2019\u0131n par\u00e7as\u0131 oldu\u011fu \u00fc\u00e7 ki\u015filik ili\u015fkinin payda\u015f\u0131 olan k\u0131z \u00e7ocuk, ya\u015fanan durumu \u015f\u00f6yle \u00f6zetliyor: \u201cAras (Konata), s\u00fcrekli \u2018Okul sald\u0131r\u0131s\u0131 yapaca\u011f\u0131m, ha ha\u2019 derdi. Biz de \u2018Arkada\u015flar g\u00fcl\u00fcmseyin, yak\u0131nda bir belgeselde olaca\u011f\u0131z\u2019 gibi \u015fakalar yapard\u0131k.\u201d Ne yaz\u0131k bu \u015faka ger\u00e7ek oldu. Ortada \u00f6len \u00f6\u011fretmeni, s\u0131n\u0131f arkada\u015flar\u0131 ve \u0130sa Aras\u2019\u0131n ortada kalan naa\u015f\u0131yla. Burada derdim kimseyi yarg\u0131lamak, su\u00e7lamak de\u011fil, ayr\u0131ca hissetti\u011fim psi\u015fik durumlar hakk\u0131ndaki yorumlar, sadece beni ba\u011flar. Bir uzman ya da doktor da de\u011filim; sadece bir insan olarak durumu kavrama derdindeyim. Fail anla\u015f\u0131lmam\u0131\u015f bir otistik mi, Asperger mi, psikotik mi, tan\u0131 koyamam. Ki hakikat her zaman t\u00fcm bu t\u0131bbi tan\u0131lar\u0131 a\u015fan toplumsal kodlar aras\u0131nda gizlidir. Kitab\u0131m\u0131z\u0131n ilk pasaj\u0131nda dedi\u011fimiz gibi, d\u00f6ng\u00fcsel denemelerimizin amac\u0131 yan\u0131t sunmak de\u011fil, ger\u00e7ek d\u00fczlemleri aramak ve do\u011fru sorular sormak.<\/p>\n\n\n\n

Frans\u0131z Devrimi ile birlikte yapt\u0131\u011f\u0131m\u0131z evrensel yasalar, toplumsal s\u00f6zle\u015fmeler, ahlaki normlar art\u0131k \u00e7al\u0131\u015fm\u0131yor. \u0130nsan ger\u00e7ekli\u011fini, Bacon\u2019dan Darwin\u2019e zemini at\u0131lan ve 20. y\u00fczy\u0131lda tamamen hesaplanabilir bir biyolojik ger\u00e7eklik olarak tan\u0131mlayan ve ona ba\u011fl\u0131 insan\u0131n ruhsal tedavisini salt \u201cbeyindeki kimyasal oranlar\u0131n art\u0131\u015f\u0131 ya da d\u00fc\u015f\u00fc\u015f\u00fc\u201d olarak ele alan psikiyatrik normlar da art\u0131k \u00e7al\u0131\u015fm\u0131yor. The Lancet dergisinde yay\u0131nlanan g\u00fcncel bir ara\u015ft\u0131rma 1990 y\u0131l\u0131nda yakla\u015f\u0131k 599 milyon olan psikolojik rahats\u0131zl\u0131k ya\u015fayan insan say\u0131s\u0131n\u0131n, 2023\u2019te 1 milyar 170 milyona y\u00fckseldi\u011fini ortaya koydu. Yani dijital hayat\u0131n k\u0131sa tarihi i\u00e7inde ruhsal sorunlar y\u00fczde 95,5 art\u0131\u015f g\u00f6sterdi. Yani bu delilik dalgas\u0131 baz\u0131 ku\u015faklara \u00f6zel de\u011fildir; kitlesel ve k\u00fcresel boyutta ya\u015fanan bir akl\u0131n yitimidir.<\/p>\n\n\n\n

Peki ne yapaca\u011f\u0131z?<\/p>\n\n\n\n

1950\u2019li y\u0131llarda, yani yarat\u0131lan bu refah toplumu \u00fctopyas\u0131 ve ona kar\u015f\u0131 gen\u00e7lik isyanlar\u0131n\u0131n ba\u015flang\u0131\u00e7 d\u00f6neminde, Herbert Marcuse ve Jung, iki ayr\u0131 bak\u0131\u015fla \u00e7a\u011f\u0131n tan\u0131k oldu\u011fu b\u00fcy\u00fck sorunlar\u0131n\u0131n temelinin ciddi ruhsal fenomenlerde yatt\u0131\u011f\u0131n\u0131 if\u015fa ettiler. Bu fenomenler asl\u0131nda hi\u00e7 \u00e7\u00f6z\u00fclmedi, tersine hep katlanarak da s\u00fcregeldi. Sadece devam etti\u011fi kabul g\u00f6rm\u00fc\u015f ger\u00e7eklik ve onun refah, toplumsal huzur ve k\u00fcresel bar\u0131\u015f g\u00f6r\u00fcn\u00fcm\u00fc alt\u0131nda gizlendi ve bast\u0131r\u0131ld\u0131. Fakat varolu\u015fun kanunudur, bast\u0131r\u0131lan her hakikat zuhur eder, hem de hi\u00e7 istenmeyecek \u015fekillerde. K\u00e2inatla, do\u011fa\/gezegenle, insanl\u0131kla ayr\u0131\u015ft\u0131r\u0131lm\u0131\u015f ve rasyonel zihinsel sabitlere s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f insan psi\u015fesi mutlaka err\u00f6r verecektir, verir.<\/p>\n\n\n\n

2026 y\u0131l\u0131nda, art\u0131k okulun disiplin ve e\u011fitim misyonu da (Foucault\u2019nun \u00fczerinde \u00e7al\u0131\u015ft\u0131\u011f\u0131), 20. y\u00fczy\u0131l psikoloji dal\u0131n\u0131n aileye bi\u00e7ti\u011fi pedagojik rol de iflas etmi\u015ftir. S\u00fcrecin do\u011fal sonucu okulun, ailenin ya da toplumun de\u011fil, internetin b\u00fcy\u00fctt\u00fc\u011f\u00fc yeni nesiller oluyor. Bunun yan\u0131nda yard\u0131ma gelmesi umulan di\u011fer temel unsur yani \u201ckutsal aile\u201d \u00e7oktan \u00e7\u00f6km\u00fc\u015ft\u00fcr. \u0130nsanlar art\u0131k varolu\u015fun yaln\u0131z tabiat\u0131yla ba\u015f edemez ve de ayn\u0131 zamanda birlikte ya\u015fam kurman\u0131n sorumluluklar\u0131n\u0131 da alamaz garip bir yerdedir, h\u00e2ldedir. Sanki onlar (bizler) bo\u015fanmak i\u00e7in evlenir h\u00e2le gelmi\u015fizdir.<\/p>\n\n\n\n

Peki ne yapaca\u011f\u0131z?<\/p>\n\n\n\n

Benim bu konuda iki ba\u015flang\u0131\u00e7 \u00f6nerim var.<\/p>\n\n\n\n

Bu realite i\u00e7inde; art\u0131k \u00e7ocukluktan bozuk psikolojileri s\u00fcrekli ciddi hasar alm\u0131\u015f, bir\u00e7ok ba\u011f\u0131ml\u0131l\u0131\u011fa sahip, birey olamam\u0131\u015f, h\u00e2l\u00e2 ergen gibi ya\u015fayan insanlar\u0131n evlilik i\u00e7in belli \u00f6zel kriterleri ta\u015f\u0131mas\u0131 ve bu \u015fartlara tabi olmas\u0131 beklenmelidir. 18 ya\u015f\u0131n\u0131 ge\u00e7en ve vatanda\u015f olan herkes evlenemez, madem aile her \u015feyin ba\u015f\u0131 olan k\u00f6k toplumsal yap\u0131; o vakit \u00f6zenle kurulmal\u0131d\u0131r. Daha da \u00f6nemlisi, \u00e7ocuk yapman\u0131n herkese da\u011f\u0131t\u0131lan bir hak de\u011fil; belli \u00f6zelliklerle kazan\u0131labilecek bir \u015fans olmas\u0131 gereklidir. \u00c7ocuk yapmak isteyen ailelerin ciddi s\u0131navlardan ge\u00e7mesi ve belli etik, psikolojik ve insani y\u00fck\u00fcml\u00fcl\u00fckleri ta\u015f\u0131d\u0131klar\u0131n\u0131n ispat\u0131na ba\u011fl\u0131 olmas\u0131 da art\u0131k bir olarak \u015fart g\u00f6z\u00fck\u00fcyor. Sadece ekonomik de\u011fil; k\u00fclt\u00fcrel, moral, tinsel ve etik anlamda \u201cbu d\u00fcnyaya bir yeni do\u011fan\u201d getirmenin belli \u015fartlar\u0131 ve s\u0131navlar\u0131 olmak zorundad\u0131r. Tabii b\u00f6yle bir sorumluluk paketinin bireysel \u00f6zg\u00fcrl\u00fck mitinin h\u00e2kim oldu\u011fu \u00e7okuluslu kapitalist sistemde hayata ge\u00e7mesi imk\u00e2ns\u0131zd\u0131r. Bu yenilik\u00e7i ve insanc\u0131l \u00f6neriler ilk elden Kuzey Kore ya da \u00c7in\u2019e d\u00f6n\u00fc\u015fmek \u00f6zlemi olarak bertaraf edilecektir.<\/p>\n\n\n\n

\u0130nternetin icad\u0131n\u0131n insan t\u00fcr\u00fcn\u00fc, yaz\u0131n\u0131n bulunmas\u0131ndan daha \u00e7ok etkiledi\u011fini hen\u00fcz fark edemedik. Bu y\u00fczden eski usul ola\u011fan \u015f\u00fcpheli aray\u0131\u015f\u0131m\u0131z; bu s\u00fcrekli de\u011fi\u015fen, karma\u015f\u0131kla\u015fan, g\u00fcncelleme alan, i\u00e7 i\u00e7e ge\u00e7en, tersinen \u201cyeni d\u00fcnyan\u0131n mant\u0131\u011f\u0131n\u0131\u201d anlayamamaktad\u0131r. Ortada bu krizle ba\u015f edebilmek i\u00e7in anla\u015f\u0131lacak tek tek sebepler ve onlar\u0131 \u00e7\u00f6zecek tek tek sonu\u00e7lar yok. Bizler, Z Ku\u015fa\u011f\u0131’n\u0131 anlayamad\u0131k derken (ki \u00f6z y\u0131k\u0131m ve depresyon ku\u015fa\u011f\u0131yd\u0131), \u015fimdi sanal d\u0131\u015f\u0131nda bir d\u00fcnyan\u0131n yoklu\u011fu ile b\u00fcy\u00fcmekte olan Alfa Ku\u015fa\u011f\u0131 geldi. Ger\u00e7ek nihilizmin \u00e7a\u011f\u0131 yeni ba\u015fl\u0131yor.<\/p>\n\n\n\n

Yak\u0131n gelecekte ise Z Ku\u015fa\u011f\u0131’n\u0131n b\u00fcy\u00fctt\u00fc\u011f\u00fc ilk \u00e7ocuklarla, d\u00fcn\u00fcn i\u015flevli ve konforlu teorilerinin \u00e7ok b\u00fcy\u00fck \u00e7o\u011funlu\u011funun i\u015fe yaramad\u0131\u011f\u0131n\u0131 \u00f6mr\u00fcm\u00fcz yettik\u00e7e g\u00f6rece\u011fiz. B\u00fct\u00fcnsel bir hayat\u0131 tek boyutlu ya\u015fad\u0131k, ya\u015fatt\u0131k. Her s\u0131k\u0131\u015ft\u0131\u011f\u0131m\u0131zda; e\u011fitim sistemi reformu, eksik kalan polisiye tedbirlerin artt\u0131r\u0131lmas\u0131 ya da su\u00e7u, rap m\u00fczikte, mafya dizilerinde, video oyunlar\u0131nda bulma; yok incel, yok poligamik, yok queer diye yarat\u0131lmaya \u00e7al\u0131\u015fan yeni \u015feytani bi\u00e7imlerde arar h\u00e2le geldik.<\/p>\n\n\n\n

Hayat asl\u0131nda hi\u00e7 normal ve adil olmad\u0131, insan da sa\u011fl\u0131kl\u0131.<\/p>\n\n\n\n

Hayat\u0131 tek kanall\u0131 bir \u015feye indirgemek, monomani ya da sabit fikre s\u0131\u011fmad\u0131\u011f\u0131 art\u0131k dijital d\u00fcnya da saklam\u0131yor. Ve onunla b\u00fcy\u00fcyen \u00e7ocuklar da \u00e7ok kanall\u0131 linkler ile d\u00fc\u015f\u00fcn\u00fcp \u00f6yle ya\u015f\u0131yor. E\u011fer topluluk bunu kavray\u0131p yan\u0131t vermezse daha \u00e7ok felaket bizleri bekliyor.<\/p>\n\n\n\n

Peki buraya nereden geldik?<\/p>\n\n\n\n

S\u0131k\u0131nt\u0131 \u015furadad\u0131r, burjuvazi kendi devrimi ve ona mukabil kendi sistemini kurarken kendi normal tan\u0131m\u0131n\u0131 yapm\u0131\u015ft\u0131r. Bu normal tan\u0131m\u0131na uyanlar i\u015finde-g\u00fcc\u00fcnde olan, vergi \u00f6deyen, \u00e7ocuk yapan ve huzurlu bir emeklilik hayal edenlerdir. Fakat hi\u00e7bir toplumsal d\u00fczen bu s\u0131n\u0131rda kalmaz, o y\u00fczden kapatma ayg\u0131tlar\u0131 ke\u015ffedilmi\u015ftir. Modern hapishane, ak\u0131l hastanesi ve benzerlerinin do\u011fu\u015fu.<\/p>\n\n\n\n

K\u00fcresellik, Do\u011fu Blo\u011fu’nun \u00e7\u00f6k\u00fc\u015f\u00fc, internet ve ileti\u015fim devrimiyle; yeni ve tam a\u00e7\u0131klayamad\u0131\u011f\u0131m\u0131z bir \u015fey ba\u015flad\u0131. Pandemi\u2019ye kadar normal hayat \u201ch\u00e2l\u00e2\u201d s\u00fcr\u00fcyor sim\u00fclasyonu ile idare ettik. Fakat Covid-19 pandemisinden sonra ger\u00e7eklikteki deli\u011fin kapanmaz h\u00e2le geldi\u011fi if\u015fa oldu; art\u0131k yeni normaller var. \u0130nsanlar neoliberalizmin s\u0131n\u0131rs\u0131z \u00f6zg\u00fcrl\u00fck vaadinin harbi oldu\u011funu, Alfa Ku\u015fa\u011f\u0131’nda ilk defa anlad\u0131lar. B\u0131rak\u0131n yaps\u0131nlar, b\u0131rak\u0131n ge\u00e7sinler: B\u0131rak\u0131n bir g\u00fcnde zengin olsun, b\u0131rak\u0131n mutant\u2019a d\u00f6n\u00fc\u015fs\u00fcn, b\u0131rak\u0131n can\u0131n\u0131n \u00e7ekti\u011fini \u00f6ld\u00fcrs\u00fcn, b\u0131rak\u0131n can\u0131n\u0131n \u00e7ekti\u011fini lin\u00e7 etsin, b\u0131rak\u0131n sadece kafas\u0131 g\u00fczel olsun, b\u0131rak\u0131n enerjiye, \u015feytana ya da bir odun par\u00e7as\u0131na taps\u0131n\u2014b\u0131rak\u0131n.<\/p>\n\n\n\n

U\u00e7u\u015f serbest.<\/p>\n\n\n\n

Burada \u00f6zetledi\u011fimiz sorun asla ku\u015faklar ya da gen\u00e7 nesiller de\u011fildir, ya\u015fanan sorun politiktir, fakat bu durum bug\u00fcne kadar gelen \u201ctek kanal ger\u00e7ekli\u011fin\u201d politik \u00e7er\u00e7evesi i\u00e7erisine s\u0131\u011fmaz. Politik olmak demek, \u00f6nce kendini tan\u0131mak (beden, ak\u0131l, ruh ve \u00fc\u00e7\u00fcn\u00fcn ortak senkronu), ben’i tan\u0131yan ki\u015finin bizi -insanla, do\u011fayla, cans\u0131z ta\u015f par\u00e7as\u0131 ile kurmas\u0131 demektir- ya\u015fad\u0131\u011f\u0131 gezegen ya da hayatla senkron i\u00e7inde. Ondan sonra kendisinin ve d\u00fcnyan\u0131n, k\u00e2inat\u0131n kadim d\u00f6ng\u00fcs\u00fcn\u00fcn par\u00e7as\u0131 oldu\u011fu idrakine s\u0131ra gelir. B\u00f6yle Birlik tamamlan\u0131r. Bunun tamamlanmas\u0131yla ki\u015fi; olu\u015flar\u0131n s\u00fcreklili\u011fi, b\u00fct\u00fcnselli\u011fi, kaosu ve kar\u015f\u0131tlar\u0131n birlik d\u00fczeninin fark\u0131ndal\u0131\u011f\u0131yla eyler.<\/p>\n\n\n\n

O art\u0131k politik olmaya ve onun prati\u011fine haz\u0131r, kurucu bir \u00f6znele\u015fme s\u00fcrecindedir. Hen\u00fcz y\u00fcksek olmasa da y\u00fckselmeye haz\u0131r biridir. Ben\u2019i, bizi, d\u00fcnyay\u0131, hayat\u0131 kavramadan yap\u0131lan siyaset tek kanald\u0131r, kullan\u0131m tarihi de \u00e7oktan dolmu\u015ftur. \u015eimdi; diyagramlara y\u00f6nelen f\u00fczyon d\u00fc\u015f\u00fcnceler ve \u00e7o\u011fulcu ontolojiler i\u00e7in bizlere yeniden tan\u0131mlamalar, i\u00e7i dolu anlamlar ve yeni bir etik d\u00fczlem gerek. Bu sayede sim\u00fclasyona kar\u015f\u0131n hakikate y\u00f6nelebilir, bug\u00fcn\u00fc olmasa da yar\u0131n\u0131 bir nebze kurtarmak i\u00e7in sorumluluk alabiliriz.<\/p>\n\n\n\n

Aperion!<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n
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(XVII) Nietzsche\u2019den Sonra: Ne Senle Ne de Sensiz!<\/h1>\n\n\n\n
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\u201cBundan b\u00f6yle batan g\u00fcne\u015f alt\u0131nda sonsuza dek yaln\u0131z\u0131z.\u201d<\/em><\/strong> <\/em>G. Bataille, \u0130\u00e7 Deney<\/em><\/p>\n<\/blockquote>\n\n\n\n

S\u00fcrrealist terminolojide \u201colas\u0131 randevular\u201d diye bir kavram var. Andr\u00e9 Breton\u2019un \u00c7\u0131lg\u0131n A\u015fk kitab\u0131nda Hegel\u2018e ait \u201czorunlulu\u011fun rastlant\u0131 formunda tezah\u00fcr etmesi\u201d ve Engels\u2019in evrim kuram\u0131 \u00fcst\u00fcnden yapt\u0131\u011f\u0131 \u201crastlant\u0131n\u0131n asl\u0131nda gizli bir zorunluluk oldu\u011fu\u201d fikirlerini birle\u015ftirerek olu\u015fturdu\u011fu \u201cnesnel rastlant\u0131\u201d kuram\u0131ndan geli\u015fen bir \u00f6neri. Bu bak\u0131\u015f a\u00e7\u0131s\u0131ndan ger\u00e7ekle\u015fmi\u015f randevu \u00f6rne\u011fi olarak yolu s\u00fcrrealistlerle kesi\u015fmi\u015f \u00f6zg\u00fcrl\u00fck\u00e7\u00fc Marksist Henri Lefebvre\u2019nin daha ge\u00e7 avangart\u2019lar olarak Cobra Hareketi ya da Sit\u00fcasyonist Enternasyonal\u2019i tetiklemesini ya da modern antropolojinin geli\u015fiminde s\u00fcrrealistlerin rol\u00fcn\u00fc \u00f6rnek g\u00f6sterebiliriz.<\/p>\n\n\n\n

Tabii ger\u00e7ekle\u015fenler kadar ger\u00e7ekle\u015fmeyen s\u00fcrrealist olas\u0131 randevular var. Misal Eros\u2019un \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc merkeze alan Bretoncu s\u00fcrrealizm ile Wilhelm Reich\u2019\u0131n yollar\u0131n\u0131n kesi\u015fmemi\u015f olmas\u0131 gibi. Keza insan yavrusunun do\u011fal h\u00e2linin kozmik bir enerji ve b\u00fct\u00fcnl\u00fck ta\u015f\u0131d\u0131\u011f\u0131n\u0131 kuram\u0131n\u0131n merkezine alan Reich ve Jung\u2019un da yollar\u0131n\u0131n hi\u00e7 kesi\u015fmemesi gibi. Keza vecd h\u00e2lleri \u00fczerine \u0130\u00e7 Deney kitab\u0131 \u00fczerine y\u0131llarca \u00e7al\u0131\u015fm\u0131\u015f Bataille\u2019\u0131n yollar\u0131 da Jung ile kesi\u015fmemi\u015ftir. Bataille bir \u00e7e\u015fit anti-Bretoncu \u201cundercover s\u00fcrrealizmin\u201d \u00f6nc\u00fcs\u00fc olmu\u015ftur. Breton gibi Freud ile ili\u015fki kurmam\u0131\u015fsa da gen\u00e7li\u011finde s\u00fcrrealist dergilerde yazan, mezuniyet tezi paranoya ba\u015fl\u0131\u011f\u0131nda Dali ile g\u00f6r\u00fc\u015fen Lacan ile temasta olmu\u015ftur (olmak durumunda kalm\u0131\u015ft\u0131r).<\/p>\n\n\n\n

Ku\u015fkusuz Yahudi gelene\u011finde aforoz, Hristiyanl\u0131ktakinden daha vehim bir tavra tekab\u00fcl eder. Misal Spinoza\u2019n\u0131n lanetlenerek aforoz edilmesinden tam 400 y\u0131l sonra baz\u0131 Yahudi ayd\u0131nlar\u0131n onun i\u00e7in yapt\u0131\u011f\u0131 itiraz reddedilmi\u015f ve h\u00fckm\u00fcn b\u00e2kili\u011fi tekrar onaylanm\u0131\u015ft\u0131r. Kendisinin dini inanc\u0131 olmasa da Freud, Yahudi toplulu\u011fu i\u00e7inde b\u00fcy\u00fcm\u00fc\u015f bir bireydi; bu a\u00e7\u0131dan bu k\u00fclt\u00fcre ait baz\u0131 normlar\u0131n bilin\u00e7alt\u0131na i\u015fledi\u011fini d\u00fc\u015f\u00fcnebiliriz. Freud\u2019un ald\u0131\u011f\u0131 ilk b\u00fcy\u00fck aforoz karar\u0131, metafizik bir bilin\u00e7d\u0131\u015f\u0131 kuram\u0131na sapt\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc Jung\u2019a kar\u015f\u0131 olmu\u015ftur. Ard\u0131ndan teker teker t\u00fcm parlak talebeleri Adler, Rank, Ferenczi, Reich\u2019\u0131n aforoz s\u00fcre\u00e7leri gelmi\u015ftir. Kendi ke\u015ffinden yani psikanalizden sapanlara kar\u015f\u0131 onun g\u00fctt\u00fc\u011f\u00fc d\u0131\u015flama, yok sayma ve hor g\u00f6rme tavr\u0131 bug\u00fcn bile psikanaliz \u00e7evresinde s\u00fcrd\u00fcr\u00fclmektedir.<\/p>\n\n\n\n

Andr\u00e9 Breton, s\u00fcrrealist hareketi ba\u015f\u0131ndan itibaren tamamen Hristiyanl\u0131k kar\u015f\u0131t\u0131 bir hareket olarak konumland\u0131rm\u0131\u015ft\u0131r. Fakat burada ilgin\u00e7 olan, t\u0131pk\u0131 onun da Freud gibi, dinsel bir tav\u0131r olan aforoz y\u00f6ntemine \u201chareketin safl\u0131\u011f\u0131n\u0131 koruma\u201d gerek\u00e7esiyle s\u0131k\u00e7a ba\u015fvurmu\u015f olmas\u0131d\u0131r. S\u00fcrrealizm sadece Hristiyanl\u0131\u011fa de\u011fil, zaman i\u00e7inde onun da i\u00e7inde k\u00f6k salan ak\u0131lc\u0131l\u0131\u011fa ve her t\u00fcrden ger\u00e7ek\u00e7ili\u011fe kar\u015f\u0131d\u0131r. Bu y\u00fczden Breton\u2019un ilk ger\u00e7ek\u00fcst\u00fcc\u00fc manifestosu \u00e7ocuklar, deliler ve \u015fairlere \u00f6vg\u00fc ile a\u00e7\u0131l\u0131r; daha sonra medyumlar\u0131n otomatizmi ve Freud\u2019un r\u00fcya yorumlar\u0131 ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fc\u011fe \u00f6n haz\u0131rl\u0131k olarak \u00f6ne s\u00fcr\u00fcl\u00fcr.<\/p>\n\n\n\n

Breton\u2019un kat\u0131 Freud\u00e7u yakla\u015f\u0131m\u0131 asl\u0131nda e\u015fzamanl\u0131l\u0131k fenomeninin bir unsuru olarak zuhur eden nesnel rastlant\u0131 ve olas\u0131 randevular ba\u015fl\u0131klar\u0131 ile Jung d\u00fc\u015f\u00fcncesi aras\u0131nda ba\u011f kurmas\u0131na izin vermez. Fakat tamamen farkl\u0131 motivasyonlarla, o da ak\u0131lc\u0131l\u0131\u011fa ve Hristiyan d\u00fc\u015f\u00fcncesine kar\u015f\u0131 olarak Jung ile ayn\u0131 tarihsel kaynaklara y\u00f6nelir: Simya, animist inan\u00e7lar, Herakleitos, Nietzsche, Schopenhauer, Romantik Ak\u0131m, hermetik d\u00fc\u015f\u00fcnce, gnostizm gibi.<\/p>\n\n\n\n

Breton\u2019un Jung\u2019tan farkl\u0131 olarak, z\u0131tl\u0131klar\u0131n birlik h\u00e2li de\u011fil kar\u015f\u0131tl\u0131\u011f\u0131 \u00fczerinden d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131 kurgulad\u0131\u011f\u0131 i\u00e7in ok\u00fclt, ateizm, k\u00f6t\u00fcl\u00fck ve \u015feytan fig\u00fcr\u00fcn\u00fc olumlayan bir bak\u0131\u015f a\u00e7\u0131s\u0131 geli\u015ftirmi\u015ftir. Frans\u0131z yaz\u0131n\u0131nda gotik edebiyat ve Marki de Sade ile ba\u015flayan Baudelaire ve Lautr\u00e9amont ile devam eden kara yaz\u0131n gelene\u011fini ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fckle birle\u015ftirmi\u015ftir.<\/p>\n\n\n\n

\u201cEy s\u00fcrg\u00fcnler prensi, haks\u0131zl\u0131\u011fa u\u011frayan
Yenildi\u011finde bile g\u00fc\u00e7l\u00fc, do\u011frulup kalkan
Sen, ey \u015feytan bu uzun sefaletime ac\u0131.\u201d
(\u00c7eviri Erdo\u011fan Alkan)<\/p>\n\n\n\n

Baudelaire\u2019nin K\u00f6t\u00fcl\u00fck \u00c7i\u00e7ekleri kitab\u0131nda yer alan \u015eeytana \u00d6vg\u00fc \u015fiiri Lucifer\u2019\u0131 \u015fairin tesellisi ve kurtar\u0131c\u0131s\u0131 olarak konumland\u0131r\u0131r. Keza isyank\u00e2r ve d\u00fc\u015fk\u00fcn melek olarak Lucifer, bir \u00e7e\u015fit ok\u00fclt Promete sembolizminin \u00e7e\u015fitlili\u011fini yans\u0131t\u0131r (cehennem ate\u015fi, sabah y\u0131ld\u0131z\u0131, demon, Satana, Mephistopheles, beast, y\u0131lan, 666, evil, sineklerin tanr\u0131s\u0131, Azazel, Diablo\u2026 Ku\u015fkusuz Katolik do\u011fmas\u0131 bu literat\u00fcr\u00fcn geli\u015fmesinde \u00f6zel rol alm\u0131\u015ft\u0131r). Gizemli dahi Lautr\u00e9amont ise, Maldoror \u015eark\u0131lar\u0131 adl\u0131 destans\u0131 yap\u0131t\u0131nda \u201ck\u00f6t\u00fcl\u00fc\u011f\u00fcn kayna\u011f\u0131 Tanr\u0131\u2019d\u0131r\u201d der ve ona kar\u015f\u0131 olarak kendini kararl\u0131 bir bi\u00e7imde k\u00f6t\u00fcl\u00fck mesle\u011fine adar. Bu k\u00f6t\u00fcl\u00fck tonu ve tanr\u0131sall\u0131\u011fa isyan ba\u015fta Breton olmak \u00fczere s\u00fcrrealist yaz\u0131n ve sanatta etkisi hep g\u00fc\u00e7l\u00fcd\u00fcr. \u00d6yle ki 2026 y\u0131l\u0131nda Filistin ve \u0130ran\u2019da s\u00fcren y\u0131k\u0131m sald\u0131r\u0131lar\u0131na tepki i\u00e7in imzaya a\u00e7\u0131lan bir metne, M\u0131s\u0131r\u2019da aktif olan k\u00fc\u00e7\u00fck bir s\u00fcrrealist grup \u201cyerel dine kar\u015f\u0131 olmak\u201d ad\u0131na kar\u015f\u0131 \u00e7\u0131km\u0131\u015ft\u0131r. Yani bu duyarl\u0131l\u0131k neredeyse \u00f6zde fundamentalist olan, Siyonist-Evangelist kamp\u0131n sald\u0131r\u0131lar\u0131n\u0131 me\u015frula\u015ft\u0131racak bir tutuma girmi\u015ftir; ki uluslararas\u0131 s\u00fcrrealist hareketin \u00e7o\u011funlu\u011fu bu konuda onlara kar\u015f\u0131t ve net bir politik tavra sahipken.<\/p>\n\n\n\n

Bu yakla\u015f\u0131mlar sadece baz\u0131 s\u00fcrrealist \u00e7evrelere ait de\u011fildir, Frans\u0131z Devrimi’nden beri geli\u015fen cumhuriyet\u00e7i, laik, ayd\u0131nlanmac\u0131, ateist, kom\u00fcnist bir\u00e7ok e\u011filim konu tin, inan\u00e7 d\u00fcnyas\u0131 ya da Tanr\u0131 fikrine gelince nesnel bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 yitirmektedir. Yery\u00fcz\u00fcnde kurumsal dinlerin ve onlar\u0131n uygulay\u0131c\u0131 mekanizmalar\u0131n\u0131n i\u015fledi\u011fi t\u00fcm g\u00fcnahlar\u0131 Tanr\u0131 kavram\u0131na, metafizik yakla\u015f\u0131ma, tinselli\u011fe ihale etmeyi se\u00e7en ve bunu seven bir maddecilik \u00e7e\u015fidi s\u00f6z konusudur. Bu mant\u0131\u011fa g\u00f6re ak\u0131l ya da bilin\u00e7 \u00f6tesi bir ruh kavram\u0131ndan kesinlikle s\u00f6z edilemez.<\/p>\n\n\n\n

Oysa bu konu; idealistler ve materyalistler \u015feklinde iki kampa indirgenemeyecek kadar kar\u0131\u015f\u0131k ve felsefe literat\u00fcr\u00fc a\u00e7\u0131s\u0131ndan da ontolojik \u00f6nemdedir. Kant felsefesi; evrensel akl\u0131 tan\u0131mlama, her \u015feyi ak\u0131lc\u0131la\u015ft\u0131rma d\u00fc\u015f\u00fcncesiyle yola \u00e7\u0131k\u0131p, ak\u0131l d\u0131\u015f\u0131 kategorisine ula\u015f\u0131r (oysa evrensel ve sabit bir ger\u00e7eklik yoktur). Tam tersi yolda; kendini inanc\u0131na adam\u0131\u015f Aquinasl\u0131 Thomas\u2019\u0131n Tanr\u0131’n\u0131n ak\u0131l yoluyla kavranaca\u011f\u0131n\u0131 ispat etme \u00e7abas\u0131 pozitivizmin yolunu a\u00e7ar. Henri Bergson d\u00fc\u015f\u00fcncesi ise metafizi\u011fi i\u00e7kin k\u0131lmaya \u00e7al\u0131\u015fm\u0131\u015f, sezgiyi bilimsel bir temele oturtmaya giri\u015fmi\u015ftir. Freud tam bir rasyonalist olarak bilin\u00e7d\u0131\u015f\u0131n\u0131, r\u00fcyalar\u0131, vecd h\u00e2llerini ak\u0131lc\u0131la\u015ft\u0131rmaya soyunmu\u015ftur. Bu konumun en u\u00e7 \u00f6rne\u011fi ise Sovyetler Birli\u011fi y\u00f6netiminin, idealist \u201cburjuva bilime\u201d kar\u015f\u0131 \u201cmateryalist s\u0131n\u0131f bilimi\u201d icat etme giri\u015fimidir. Bu \u00e7aba sadece Sovyet deneyimiyle s\u0131n\u0131rl\u0131 de\u011fildir, genel olarak bilim d\u00fcnyas\u0131 da metafizik alan\u0131na d\u00fc\u015fmemek, fizik alan\u0131nda kalmak konusunda \u0131srarc\u0131 olmu\u015ftur; bu y\u00fczden bilim insan\u0131n\u0131n metafizik ile kurdu\u011fu ili\u015fki Spinoza\u2019n\u0131n matematiksel T\u00f6z ispat\u0131n\u0131 ge\u00e7meme \u00fczerine kurulmu\u015ftur.<\/p>\n\n\n\n

Heidegger’e g\u00f6re, bilim varl\u0131k \u00fczerine konu\u015furken, \u201chi\u00e7lik\u201d hakk\u0131nda hi\u00e7bir \u015fey bilmek istememektedir. Fizik\u00e7i yazar Gediz Akdeniz\u2019in ifadesiyle \u201ckaos \u00e7ok \u00f6nceden bilinen bir kelime ama bilim literat\u00fcr\u00fcne \u00e7ok ge\u00e7 girmi\u015ftir, \u00e7\u00fcnk\u00fc bilim konjonkt\u00fcr\u00fcn\u00fcn d\u0131\u015f\u0131nda tutulmu\u015ftur\u2026 Bu, pozitivist anlay\u0131\u015fta kenara itilmi\u015f, ak\u0131lc\u0131l\u0131ktan uzak tutulmu\u015f bir konudur\u201d. Bu y\u00fczden \u201ckaos\u201d kelimesinin bir bilimsel makalede ilk defa kullan\u0131lmas\u0131 1975\u2019te olur. Tanr\u0131 zar atmaz diyen Einstein\u2019\u0131n ba\u015flatt\u0131\u011f\u0131 devrim ve kuantum fizi\u011fi ile devam eden \u00e7al\u0131\u015fmalar\u0131n ele ald\u0131\u011f\u0131 \u00e7o\u011fu ba\u015fl\u0131k \u201cak\u0131lc\u0131l\u0131k\u201d bariyerlerini a\u015fa a\u015fa ilerlemek zorunda kalm\u0131\u015ft\u0131r. Oysa akl\u0131n s\u0131n\u0131rlar\u0131n\u0131 belirleyen \u015fey, o ya\u015fan\u0131lan zaman\u0131n kabul etti\u011fi ger\u00e7eklik mantalitesinden ba\u015fka bir \u015fey de\u011fildir. Bilim tarihinin kendisi de s\u00fcrekli \u201ch\u00e2kim akla\u201d kar\u015f\u0131 o d\u00f6nem irrasyonel oldu\u011fu iddia edilen alana s\u0131zarak ilerlemi\u015ftir. Bilim felsefecisi Feyerabend bu durumu \u201cakla s\u0131k s\u0131k kar\u015f\u0131 gelmeden bilim olmaz\u201d diyerek \u00f6zetler.<\/p>\n\n\n\n

S\u00fcrrealizmin aforoz uygulamalar\u0131na geri d\u00f6nersek, Breton\u2019un hedef tahtas\u0131na koydu\u011fu isimlerden en \u00f6nde geleni, Documents Dergisi \u00e7evresinde bir \u00e7e\u015fit alternatif s\u00fcrrealizmi organize eden Bataille\u2019d\u0131. Her ikisi de Nietzsche\u2019nin d\u00fc\u015f\u00fcnsel \u00e7\u0131k\u0131\u015f\u0131n\u0131 \u00f6nemser, fakat Breton burada Hristiyanl\u0131\u011fa kar\u015f\u0131 g\u00fc\u00e7l\u00fc ve \u00f6zg\u00fcrl\u00fck\u00e7\u00fc bir ba\u015fkald\u0131r\u0131 g\u00f6r\u00fcrken, Bataille\u2019\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131 olduk\u00e7a farkl\u0131d\u0131r.<\/p>\n\n\n\n

Ku\u015fkusuz, Nietzsche\u2019nin \u201cTanr\u0131 \u00f6ld\u00fc\u201d \u00e7\u0131k\u0131\u015f\u0131yla Hristiyanl\u0131\u011f\u0131n y\u00fczy\u0131llarca bast\u0131rd\u0131\u011f\u0131 pagan d\u00fc\u015f\u00fcncenin intikam\u0131 ger\u00e7ekle\u015ftirilir. Kurumsal din\u00ee yap\u0131n\u0131n, \u0130znik Konsili ile ba\u015flayan gnostik, heretik, pagan her inanca kar\u015f\u0131 yasak, zorla din de\u011fi\u015ftirme, s\u00fcrg\u00fcn gibi y\u00f6ntemlerle, 1500 y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcre devam eden cad\u0131 av\u0131n\u0131n da ba\u015far\u0131s\u0131zl\u0131\u011f\u0131n\u0131n ilan\u0131d\u0131r. Bast\u0131r\u0131lan pagan \u00e7oktan geri d\u00f6nm\u00fc\u015ft\u00fcr ve R\u00f6nesans d\u00fc\u015f\u00fcncesi bunun a\u00e7\u0131k if\u015fas\u0131d\u0131r. Fakat garip \u015fekilde Yuhanna \u0130ncili\u2019nin \u201cba\u015flang\u0131\u00e7ta logos vard\u0131\u201d s\u00f6z\u00fc ile modernin kurulu\u015f ve geli\u015fim s\u00fcrecinde akla bi\u00e7ilen rol, bir bi\u00e7imde \u00fcst \u00fcste binmektedir. Keza \u0130sa\u2019ya bi\u00e7ilen \u201cTanr\u0131\u2019n\u0131n o\u011flu\u201d ve bundan dolay\u0131 \u201cTanr\u0131\u201d misyonu (insan\u0131n tanr\u0131la\u015fma yolu), insan\u0131 her \u015feyin merkezine koyan R\u00f6nesans anlay\u0131\u015f\u0131n\u0131n da ba\u015flang\u0131\u00e7 noktas\u0131d\u0131r. Bu a\u00e7\u0131dan Nietzsche\u2019nin \u00e7\u0131k\u0131\u015f\u0131 bir kopu\u015f mu yoksa bir d\u00f6ng\u00fcsel tamamlanma m\u0131, \u00fczerine kafa patlatmak gerekebilir.<\/p>\n\n\n\n

Onun; Deccal ve Zerd\u00fc\u015ft fig\u00fcrlerine verdi\u011fi misyon ile Hristiyanl\u0131\u011f\u0131n bir din olarak de\u011filse de ya\u015fayan bir tin olarak \u00f6l\u00fcm\u00fc resmile\u015fir. Fakat Nietzsche\u2019nin kendi \u00f6z ya\u015fam \u00f6yk\u00fcs\u00fc, modern \u00e7a\u011f\u0131n sosyo-k\u00fclt\u00fcrel ve ekonomik ger\u00e7ekli\u011finde, Tanr\u0131 kadar pagan\u0131n co\u015fkun var olu\u015funa da yer olmad\u0131\u011f\u0131n\u0131n g\u00f6stergesi olur. Putperestin \u015fenli\u011fi de\u011fil kurban ayini modern \u00e7a\u011f\u0131n karanl\u0131k bilin\u00e7d\u0131\u015f\u0131 ma\u011faralar\u0131ndan y\u00fczeye \u00e7\u0131kar. Pagan, Zerd\u00fc\u015ft ya da Dionysos olarak de\u011fil, Germen bilin\u00e7d\u0131\u015f\u0131nda g\u00f6m\u00fcl\u00fc kanl\u0131 tanr\u0131 Wotan olarak zuhur eder. Zerd\u00fc\u015ft\u2019ten sonra da sanc\u0131l\u0131 uyar\u0131lar bitmez; onun ard\u0131ndan ki\u015filik b\u00f6l\u00fcnmesinin \u0131st\u0131rab\u0131yla cebelle\u015fen Dostoyevski kahramanlar\u0131 ve bir b\u00f6ce\u011fe d\u00f6n\u00fc\u015fen Kafka karakterleri gelir.<\/p>\n\n\n\n

Bataille ise Nietzsche\u2019nin \u201cTanr\u0131 \u00f6ld\u00fc\u201d beyan\u0131n\u0131 bir \u00f6zg\u00fcrle\u015fme manifestosu olarak de\u011fil, deh\u015fet verici bir bo\u015flu\u011fun ilan\u0131 olarak g\u00f6r\u00fcr. Ona g\u00f6re \u201cTanr\u0131\u2019n\u0131n \u00f6l\u00fcm\u00fc\u201d evrendeki otorite ve anlam merkezinin yok olmas\u0131d\u0131r. Bataille buna kar\u015f\u0131 Ateoloji kavram\u0131n\u0131 ortaya atar; kutsall\u0131k art\u0131k dinsel olan da de\u011fil, pagan\u0131n kurban, erotizm, s\u0131n\u0131r deneyimi pratikleriyle devam etmelidir. Bataille psikolojinin temel bir yasas\u0131n\u0131 uygular, \u201cortadan kald\u0131rd\u0131\u011f\u0131n \u015fey yerine bir ikame koy\u201d. Bataille\u2019\u0131n \u00f6nerdi\u011fi i\u00e7 deney asl\u0131nda bir \u00e7e\u015fit mistik deneyimdir. Zihni susturma, ben\u2019i ortadan kald\u0131rma, hi\u00e7lik ile kucakla\u015fma i\u00e7in ya\u015fanan vecd h\u00e2lleri yeni kutsald\u0131r. Bir bak\u0131ma bu \u00e7aba, kilisenin dini her insan\u0131n kalbinde deneyimlenen Tanr\u0131 fikrinden kopar\u0131p, kilise toplu ibadet rit\u00fcellerine indirgemesine kar\u015f\u0131 bir duru\u015f; belki de ger\u00e7ek inan\u00e7 deneyimine sapk\u0131nca bir geri d\u00f6n\u00fc\u015ft\u00fcr. Orta \u00c7a\u011f sonlar\u0131nda ya\u015fam\u0131\u015f ve kilisenin hedefi olmu\u015f mistik Meister Eckhart\u2019\u0131n geli\u015ftirdi\u011fi apofatik teolojisi (olumsuzlama teolojisi) hi\u00e7lik ile kavu\u015fma eylemini merkeze al\u0131r. \u201cTanr\u0131\u2019dan beni Tanr\u0131’dan kurtarmas\u0131n\u0131 diliyorum\u201d der Eckhart. Simgesel dildeki Tanr\u0131’yla (Gott); akl\u0131n, iyinin ve k\u00f6t\u00fcn\u00fcn \u00f6tesindeki Tanr\u0131sall\u0131\u011f\u0131 (Gottheit) birbirinden ay\u0131rarak. Ona g\u00f6re g\u00fcndelik zihni bo\u015faltmak bir yokluk de\u011fil, b\u00fct\u00fcnsel bir dolulu\u011fa a\u00e7\u0131lan kap\u0131d\u0131r.<\/p>\n\n\n\n

Bataille da \u0130\u00e7 Deney kitab\u0131nda kendi vecd h\u00e2llerinin d\u00f6k\u00fcm\u00fcn\u00fc yaparken, 14. y\u00fczy\u0131l ba\u015flar\u0131nda ya\u015fam\u0131\u015f Azize Angela de Foligno\u2019nun ya\u015fad\u0131\u011f\u0131 mistik deneyimlerden etkilenir ve onun yazd\u0131\u011f\u0131 Deneyin Kitab\u0131\u2019ndan \u00f6rnekler verir. Bataille\u2019a g\u00f6re Foligno\u2019nun anlatt\u0131\u011f\u0131 deneyim o kadar g\u00fc\u00e7l\u00fcd\u00fcr ki, e\u011fer o \u201cTanr\u0131\u2019y\u0131 g\u00f6rd\u00fc\u011f\u00fcn\u00fc s\u00f6yl\u00fcyorsa, g\u00f6rm\u00fc\u015ft\u00fcr\u201d diye yorumlar. Ard\u0131nda ya\u015fad\u0131\u011f\u0131 travmalar; annesi, e\u015fi ve \u00e7ocuklar\u0131n\u0131n \u00f6l\u00fcm\u00fc kar\u015f\u0131s\u0131nda b\u00fcy\u00fck bir ruhsal krize giren Azize; mutlak bo\u015flukta, zihnin ve t\u00fcm kavramlar\u0131n \u00f6tesinde Tanr\u0131\u2019y\u0131 deneyimler. B\u00fcy\u00fck bir ac\u0131, par\u00e7alanma, benli\u011fin hi\u00e7e indirgenmesi ya\u015fad\u0131\u011f\u0131 b\u00fcy\u00fck a\u015fk\u0131n en belirgin semptomlar\u0131d\u0131r.<\/p>\n\n\n\n

Bataille yaz\u0131n hayat\u0131na, bir Katolik rahip olma d\u00fc\u015f\u00fcncesinden vazge\u00e7ip, Hristiyanl\u0131\u011fa bir sald\u0131r\u0131 olarak okunabilecek G\u00f6z\u00fcn \u00d6yk\u00fcs\u00fc roman\u0131n\u0131 yazarak ad\u0131m atm\u0131\u015ft\u0131r. Marki de Sade, Koveje, Nietzsche \u00fczerinden okumalar\u0131yla bir materyalist olsa da \u00f6znel ya\u015fam\u0131nda ya\u015fad\u0131\u011f\u0131 deneyimler ya da \u201ci\u00e7 deneyler\u201d ile kutsall\u0131k d\u00fc\u015f\u00fcncesinden kopamam\u0131\u015ft\u0131r. Ona g\u00f6re \u201c\u00e7ileye kar\u015f\u0131 benim ilkem, en u\u00e7 noktan\u0131n yoklukla de\u011fil; a\u015f\u0131r\u0131l\u0131kla elde edilebilece\u011fidir\u2026 \u00c7ile, di\u011fer bir par\u00e7as\u0131n\u0131 kurtarmak \u00fczere kendisinden kaybetti\u011fi bir par\u00e7an\u0131n kurban edilmesidir.\u201d Ger\u00e7ekten kaybolmak isteniyorsa pagan\u0131n Bak\u00fcs\u2019\u00e7\u00fc \u015fenlik deviniminden yola \u00e7\u0131k\u0131lmal\u0131; kurtulu\u015f i\u00e7in kendini sakatlamal\u0131, bunun i\u00e7in uyu\u015fturucu, alkol, orji, \u015fiddet ve kurban rit\u00fcellerini g\u00f6ze almal\u0131d\u0131r. Yani insan yeniden kurulacaksa Nietzsche\u2019nin \u00fcst-insan\u0131 gibi bilgelik, sevin\u00e7, hafiflik ve dans\u0131n \u00f6tesinde karanl\u0131k bir diyara da iltica edilmelidir. \u201cTanr\u0131 kavray\u0131\u015f\u0131n\u0131, bizi bilinmezin (hi\u00e7bir \u015fekilde yokluktan fark\u0131 olmayan bir var olman\u0131n) daha karanl\u0131k kavray\u0131\u015f\u0131na g\u00f6t\u00fcren devinimde bir duraklama olarak g\u00f6r\u00fcyorum\u201d (Bataille).<\/p>\n\n\n\n

K\u0131rm\u0131z\u0131 Kitap\u2019ta Jung tanr\u0131lar\u0131 insanlar\u0131n yaratt\u0131\u011f\u0131n\u0131 s\u00f6yler, bu manada \u201cTanr\u0131\u2019n\u0131n \u00f6l\u00fcm\u00fcn\u00fc\u201d ilan etmek, insan\u0131n gitgide k\u0131s\u0131tlanan ruhsal d\u00fcnyas\u0131na bir \u00e7\u00f6z\u00fcm getirmeyecektir. Jung ya\u015fad\u0131\u011f\u0131 deneyimde kendi tanr\u0131s\u0131n\u0131 yarat\u0131m s\u00fcrecini de K\u0131rm\u0131z\u0131 Kitap\u2019ta aktar\u0131r (Phases). Jung\u2019a g\u00f6re tek tanr\u0131n\u0131n \u00f6l\u00fcm\u00fc tekrar \u00e7ok tanr\u0131n\u0131n ortaya \u00e7\u0131kmas\u0131na sebep olur. O y\u00fczden g\u00f6ky\u00fcz\u00fcndeki y\u0131ld\u0131zlar kadar tanr\u0131 vard\u0131r der. Tabii insan kald\u0131rd\u0131\u011f\u0131 bir \u015fey yerine ba\u015fka \u015fey koymadan, ikame etmeden duramaz. Bu y\u00fczden olu\u015fan bo\u015fluk 20. y\u00fczy\u0131l boyunca milyonlarca insan\u0131 kitleler h\u00e2linde pe\u015finden gezdiren diktat\u00f6rler, rock y\u0131ld\u0131zlar\u0131 ya da sahte mesihlerle ikame edilmeye \u00e7al\u0131\u015f\u0131l\u0131r; ama \u00e7\u00f6z\u00fcm bulunamaz. Ak\u0131l, teknik, ilerleme ve t\u00fcketim merkezli uygarl\u0131k insan\u0131n ruh d\u00fcnyas\u0131n\u0131 a\u00e7 b\u0131rakm\u0131\u015ft\u0131, \u015fimdi ise sosyal a\u011f toplumu ruhun kalan\u0131n\u0131 emiyor. O y\u00fczden insan\u0131n biyolojik bir varl\u0131k olmak yan\u0131nda tinsel bir varl\u0131k oldu\u011funu kabul etmek, her ruhun kendine ait bir i\u00e7 d\u00fcnya dengesi kurma ihtiyac\u0131na ses vermek gerekir. Unutmayal\u0131m Jung\u2019a g\u00f6re \u201cTanr\u0131 fikri, Tanr\u0131’n\u0131n bizzat varl\u0131\u011f\u0131 sorunu ile hi\u00e7 ilgisi olmayan, ak\u0131ld\u0131\u015f\u0131 nitelikte olan mutlaka gerekli bir psikolojik i\u015flevdir.\u201d Yani Tanr\u0131’ya inansan\u0131z da inanmasan\u0131z da bilin\u00e7d\u0131\u015f\u0131nda s\u00fcrekli aktif olan bir arketiptir.<\/p>\n\n\n\n

Tanr\u0131 deneyiminin ve tinselli\u011fin modern d\u00fcnyadan kovulmas\u0131n\u0131n as\u0131l etkisi, \u015fimdi 21. y\u00fczy\u0131lda ya\u015fan\u0131yor. Genel do\u011frular\u0131n, ahlak, \u00fctopya, toplum s\u00f6zle\u015fmelerinin zeminin kayboldu\u011fu g\u00fcn\u00fcm\u00fcz d\u00fcnyas\u0131nda, her birey ya\u015fad\u0131\u011f\u0131 en b\u00fcy\u00fck kriz anlam sorunsal\u0131d\u0131r.<\/p>\n\n\n\n

Ve acil \u00e7\u00f6z\u00fcm beklemektedir.<\/p>\n\n\n\n

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(XVIII) Do\u011faya D\u00f6n\u00fc\u015f M\u00fcmk\u00fcn m\u00fc?<\/h1>\n\n\n\n

\u0130nsan hayvan\u0131, bedensel ve zihinsel olarak i\u00e7g\u00fcd\u00fcy\u00fc a\u015fan bir bilin\u00e7 yap\u0131s\u0131 geli\u015ftirdi\u011fi anda do\u011fadan kopmu\u015ftur. Do\u011fa d\u0131\u015f\u0131 yeni bir kategori yaratm\u0131\u015f, d\u00fcnyadaki ya\u015fam \u00fcst\u00fcnde bir anomali olu\u015fturmu\u015ftur. \u0130lk alet \u00fcretmeye ba\u015flad\u0131\u011f\u0131 iki bu\u00e7uk milyon y\u0131ldan, dili geli\u015fti\u011fi 100 ya da 70 bin y\u0131l \u00f6ncesine kadar s\u00fcre\u00e7 h\u00e2l\u00e2 bir kara deliktir. Ne Darwinci \u201cdo\u011fal seleksiyon\u201d ne de Chomskyci \u201cbirdenbire ger\u00e7ekle\u015fen bili\u015fsel mutasyon\u201d tezleri bu durumu g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131karmaktan uzakt\u0131r. Hatta bu tezlerin 2001: A Space Odyssey<\/em> filminde, evrimin d\u00fcnya d\u0131\u015f\u0131 kozmik monolitin yard\u0131m\u0131 sayesinde ger\u00e7ekle\u015fen bir zihin mutasyonu olarak kurgulanmas\u0131ndan daha \u201cbilimsel\u201d oldu\u011funu s\u00f6ylemek zordur. \u0130ddia \u00e7ok, kan\u0131t ise pek azd\u0131r. Etnobotanist Terence McKenna bu hipotez yar\u0131\u015f\u0131n\u0131, atalar\u0131m\u0131z\u0131n t\u00fcketti\u011fi psilosibin mantar sayesinde bilincin ve dilin b\u00fcy\u00fck bir s\u0131\u00e7rama yapt\u0131\u011f\u0131 hipoteziyle b\u00fcy\u00fct\u00fcr. \u0130nsan evrimi kafay\u0131 g\u00fczelle\u015ftirerek ger\u00e7ekle\u015fmi\u015ftir. Neden olmas\u0131n \ud83d\ude0a<\/p>\n\n\n\n

El-zihin ili\u015fkisi, alet (silah), hile (tuzak ve ate\u015f) ke\u015fifleriyle insans\u0131, hayvan kategorisinin d\u0131\u015f\u0131na \u00e7\u0131km\u0131\u015f, ya\u015fam\u0131n anomalisi olmu\u015ftur. H\u00e2l\u00e2 ilkeldir ama hayvan de\u011fildir; sadece i\u00e7g\u00fcd\u00fc ve ak\u0131l aras\u0131nda bir yar\u0131k i\u00e7inde bocalayan bir t\u00fcrd\u00fcr. Do\u011faya d\u00f6nemez, \u00e7\u00fcnk\u00fc art\u0131k \u201co\u201d do\u011fa yoktur; insans\u0131n\u0131n g\u00f6z\u00fcn\u00fc a\u00e7t\u0131\u011f\u0131 do\u011fa m\u00fcdahaleye maruz kalm\u0131\u015f, d\u00f6n\u00fc\u015fme s\u00fcreci ba\u015flam\u0131\u015ft\u0131r. Bozulmaz do\u011fa bilin\u00e7d\u0131\u015f\u0131n\u0131n ma\u011faralar\u0131na geri \u00e7ekilmi\u015ftir. \u0130nsan\u0131n ayak bast\u0131\u011f\u0131 her yer (e\u011fer insan o an yok olmad\u0131ysa) do\u011fall\u0131\u011f\u0131n\u0131 yitirmi\u015ftir. Bu y\u00fczden ‘do\u011fal’ dedi\u011fimiz \u015feyin kendisi bile E. Cassirer\u2019in tarifiyle ancak k\u00fclt\u00fcr\u00fcn i\u00e7inden tan\u0131mlanabilir.<\/p>\n\n\n\n

Elbet bu konu bu k\u0131sa denemede \u00f6zetlenemeyecek kadar geni\u015f; ba\u015fl\u0131 ba\u015f\u0131na bir ara\u015ft\u0131rma ba\u015fl\u0131\u011f\u0131 olsa da ya\u015fanan g\u00fcncel geli\u015fmeler b\u00f6yle bir giri\u015fi mecbur k\u0131l\u0131yor. G\u00fcn\u00fcm\u00fczde yeniden do\u011faya d\u00f6n\u00fc\u015f bir fenomen h\u00e2line gelmeye ba\u015flam\u0131\u015ft\u0131r. \u0130nternet devrimi ile ba\u015flay\u0131p bug\u00fcn YZ ve onunla geli\u015fen robotik teknolojinin evrimi, insan t\u00fcr\u00fcne biyolojik bedensel varl\u0131\u011f\u0131yla kadar bilin\u00e7 ve de ruh fenomenlerini de yeniden tart\u0131\u015fmaya a\u00e7ma mecburiyeti yarat\u0131r. Bu tart\u0131\u015fman\u0131n \u00f6z\u00fcnde uygarl\u0131\u011f\u0131n ne oldu\u011fu, yani do\u011fa ile k\u00fclt\u00fcr gerilimi olmak zorundad\u0131r. Fakat 21. y\u00fczy\u0131l\u0131n iyi e\u011fitimli, \u00fcst ve orta s\u0131n\u0131f insanlar\u0131 bu tart\u0131\u015fmalar\u0131 yeniden ba\u015flatmak yerine, ekolojik ya\u015fam dedi\u011fi ideale yani do\u011faya d\u00f6nmeye \u00e7al\u0131\u015fmaktad\u0131r. Toplumsal geli\u015fim denen \u015fey, art\u0131k tersine d\u00f6nm\u00fc\u015f k\u00f6y\u00fcn kente s\u0131zmas\u0131 d\u0131\u015f\u0131nda, elit kentlinin k\u00f6ye ge\u00e7i\u015f s\u00fcreci de ba\u015flam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Uygarl\u0131ktan ka\u00e7mak istiyoruz ama nereye?<\/p>\n\n\n\n

Bu bir fantastik hik\u00e2ye gibidir. Biz cennetten kovulup ba\u015fka yere d\u00fc\u015fmedik, biz g\u00f6z\u00fcm\u00fcz\u00fc a\u00e7t\u0131\u011f\u0131m\u0131z cenneti kabusa \u00e7eviren bir t\u00fcr\u00fcz (ayn\u0131 zamanda onu anlamaya \u00e7al\u0131\u015fan ve anlamlar kuran). Ama her s\u0131k\u0131\u015ft\u0131\u011f\u0131m\u0131zda oyun bozanl\u0131k ediyor, geriye d\u00f6nece\u011fimiz g\u00fcvenli bir Ana ar\u0131yoruz. Frans\u0131z Devrimi \u00f6ncesinin karga\u015fa toplumunda J. J. Rousseau, Sanayi Devrimi’nin karanl\u0131\u011f\u0131nda William Morris ve Ruskin, 1960\u2019lar\u0131n So\u011fuk Sava\u015f d\u00fcnyas\u0131nda Hippy hareketi hep do\u011faya ka\u00e7may\u0131 hayal ettiler.<\/p>\n\n\n\n

Yani, \u00f6nce d\u00fcnyam\u0131z\u0131 mahvediyor ve ondan ka\u00e7acak saf ve primitif do\u011fay\u0131 aray\u0131p duruyoruz. Tabii bu zaaf\u0131m\u0131z\u0131n felsefi k\u00f6kenleri var, Aristo insan\u0131 \u201cd\u00fc\u015f\u00fcnen hayvan\u201d ilan etmi\u015fti. Fakat bu d\u00fc\u015f\u00fcnce bi\u00e7imi k\u00f6kten bir yan\u0131lsamad\u0131r. Aya gemi g\u00f6nderen hayvan, ozon tabakas\u0131n\u0131 delen bir hayvan olamaz. E\u011fer insan bir t\u00fcr hayvan ise, do\u011fal bir hayvan de\u011fil; Doktor Moreau\u2019nun Adas\u0131 ya da Victor Frankenstein\u2019in laboratuvar\u0131nda t\u00fcretilmi\u015f bir hayvand\u0131r. Bu y\u00fczden naif hayvan ya\u015famlar\u0131n\u0131n \u00e7ok \u00f6tesinde bir k\u0131y\u0131c\u0131l\u0131\u011fa, y\u0131k\u0131c\u0131l\u0131\u011fa ve s\u00f6m\u00fcrgecili\u011fe de sahip olmu\u015ftur.<\/p>\n\n\n\n

T\u00fcm k\u00fcreyi sarm\u0131\u015f fiber optik a\u011flar, baz istasyonlar\u0131, radarlar, uydular, optik taray\u0131c\u0131lar, ordular, s\u0131n\u0131rlar vard\u0131r. Buna ra\u011fmen modern insan sadece teknolojiyi terk etmeyi deneyebilir. Ama bu durumda bile yine 70 bin y\u0131l\u0131n geli\u015ftirdi\u011fi insan akl\u0131, \u00e7ok daha da eski el becerisi h\u00e2l\u00e2 devrede olacakt\u0131r. Do\u011fal sand\u0131\u011f\u0131 ya da yaban addetti\u011fi yere geri \u00e7ekilebilir; oray\u0131 da \u201cilkel akl\u0131yla\u201d yeniden yok etmek i\u00e7in (acaba bu \u201csprit\u00fcal ar\u0131nma kamp\u201d alan\u0131nda Wi-Fi \u00e7eken neresi var?). Bu \u00f6zetlemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z nedenler y\u00fcz\u00fcnden yeniden primitif bir ideale d\u00f6n\u00fc\u015f, \u015fimdi ya da gelecekte var olamaz. Ba\u015fka t\u00fcrl\u00fcs\u00fc i\u00e7in insan\u0131n dili unutmas\u0131 ve yeniden kurmamas\u0131, beynini \u201cHomo sapiens sapiens\u201d \u00f6ncesi beyne geriletecek bir operasyon ge\u00e7irmesi gerekir. Yeniden avc\u0131-toplay\u0131c\u0131 olmas\u0131, en fazla 20 ki\u015filik gruplar \u015feklinde ya\u015famas\u0131 gerekir (dikkat edin, airfryer teknolojisi, D\u00fcnya Kupas\u0131 ma\u00e7\u0131 ya da Tinder uygulamas\u0131 yok). Buna ben, bir bilimkurgu \u00f6yk\u00fcs\u00fc bile diyemiyorum; \u00e7\u00fcnk\u00fc her ne kadar zihinsel serbest u\u00e7u\u015f \u00f6zg\u00fcrl\u00fc\u011f\u00fc olsa da bilimkurgu her zaman bili\u015fsel ve toplumsal bir zemin \u00fczerinde y\u00fckselir. \u0130\u015fte bu y\u00fczden do\u011faya d\u00f6n\u00fc\u015f fikirleri \u00e7\u0131lg\u0131nca bir fantastik \u00f6yk\u00fc yazma giri\u015fimidir.<\/p>\n\n\n\n

Oysa \u015fimdi; 21. y\u00fczy\u0131l\u0131n anlam sorunsal\u0131 ile bo\u011fu\u015fan, tinsel kapasitesini sosyal medyaya emdirmi\u015f, t\u00fcm \u00fctopyalar\u0131n\u0131 yitirmi\u015f insan t\u00fcr\u00fc anlamakta g\u00fc\u00e7l\u00fck \u00e7ekti\u011fi kuantum teorileri, enerji felsefesi, teozofi sa\u00e7mal\u0131klar\u0131yla i\u00e7 i\u00e7e ge\u00e7mi\u015f orta s\u0131n\u0131f akl\u0131; yeni new age dinleriyle do\u011faya, do\u011fal olana d\u00f6nme provalar\u0131 yap\u0131yor. B\u00fcy\u00fck \u015fehirleri terk edip g\u00fcney sahillerinde yoga kamplar\u0131, kakao rit\u00fcelleri, frekans temizleme at\u00f6lyelerine kat\u0131l\u0131yor. Para ile sat\u0131n al\u0131nabilece\u011fi bir akvaryum do\u011fa ve do\u011fall\u0131k i\u00e7inde.<\/p>\n\n\n\n

En a\u011f\u0131r ger\u00e7ekte ise, en do\u011fal, primitif, \u00e7evreci insan intihar\u0131n\u0131 ger\u00e7ekle\u015ftiren insand\u0131r. \u00c7\u00fcnk\u00fc insan do\u011fan\u0131n ve do\u011fal\u0131n seri katilidir. \u0130nsan t\u00fcr\u00fc e\u011fer ya\u015famda kalmak istiyorsa, ya\u015fam tarz\u0131n\u0131 de\u011fil; d\u00fc\u015f\u00fcnce ve de\u011fer sistemlerini yeniden in\u015fa etmelidir. Yoksa bulabilece\u011fi; Tao Te Ching\u2019in y\u00fczy\u0131llar \u00f6nce \u0131\u015f\u0131ldayan dizelerinden daha do\u011fal insan olu\u015f yok. Para ile do\u011fal ya\u015fam sim\u00fclasyonlar\u0131 kurmak m\u00fcmk\u00fcnse de bu burjuva bohem davran\u0131\u015flar\u0131n kaderi de hippy ku\u015fa\u011f\u0131n\u0131n do\u011fal ya\u015fama d\u00f6nme \u00e7abas\u0131n\u0131 ge\u00e7emeyecektir. E\u011fer ger\u00e7ekten yeniden do\u011fal olana yani bir hayvan olana d\u00f6n\u00fc\u015fmek isteniyorsa, end\u00fcstriyel topluma kar\u015f\u0131 manifestosal eylemlere imza atm\u0131\u015f Ted Kaczynski\u2019nin alt\u0131n\u0131 \u00e7izdi\u011fi gibi s\u0131nav \u00e7ekmeye ba\u015flay\u0131n. Ama bu yaban ya\u015fam k\u0131lavuzu, toplumsal de\u011fil bireysel \u00e7\u00f6z\u00fcmler sunar, hayatta kalman\u0131n kurallar\u0131yla.<\/p>\n\n\n\n

Sonu\u00e7 olarak; do\u011faya d\u00f6n\u00fc\u015f hikayelerinde yeni bir ya\u015fam tarz\u0131 ya da imaj\u0131 bulma \u00e7abas\u0131 kifayetsizdir. \u0130nsan t\u00fcr\u00fcn\u00fcn, gezegendeki devam\u0131 ve gelecekteki kurtulu\u015f umudu i\u00e7in \u00e7ok daha k\u00f6kl\u00fc sorgulamaya girmesi gerekir. Yeni bir bilin\u00e7 i\u00e7in, yeni bir tin gerek. \u0130nsan\u0131n b\u0131rak\u0131n do\u011fay\u0131, k\u00e2inat\u0131n bir par\u00e7as\u0131 oldu\u011funu yeniden an\u0131msamak ve \u00f6yle ya\u015famak. Bu kadim bilgi her atomumuzda sakl\u0131. Dil\/ideoloji, toplumsal organizasyon, m\u00fclkiyet ve teknoloji masum de\u011fildir, do\u011fal de\u011fildir; ki hi\u00e7 \u00f6yle olmad\u0131.<\/p>\n\n\n\n

E\u011fer erdem aran\u0131yorsa, talebesi Konf\u00fc\u00e7y\u00fcs\u2019a, Lao Tzu\u2019nun tavsiyesi h\u00e2l\u00e2 ge\u00e7erlidir: Kaybol!<\/p>\n\n\n\n

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(XIV) Ki\u015fisel Geli\u015fim Kilisesi<\/h1>\n\n\n\n
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\u201cTek \u00f6nemli olan s\u0131n\u0131r \u00e7izgisidir-anormal\u201d <\/em><\/strong>DG\/Bin Yayla<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201ccans\u0131z evin bah\u00e7esini terk edemedim
kendi ellerimle bu mezar\u0131 kazd\u0131m
ve bu \u00e7i\u00e7eksiz \u00f6l\u00fcmle can verdim\u201d <\/em><\/strong>Simon Vinkenoog\/K\u0131\u015f<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cBiz vah\u015fice inan\u00e7l\u0131y\u0131z\u201d <\/em><\/strong>George Bataille\/Acaphel<\/em><\/p>\n<\/blockquote>\n\n\n\n

Art\u0131k ya\u015fam ko\u00e7lar\u0131, ki\u015fisel geli\u015fim uzmanlar\u0131, postmodern gurular, enerji uzmanlar\u0131 21. y\u00fczy\u0131l insan\u0131n\u0131n temel dertlerini, anlam a\u011fr\u0131lar\u0131n\u0131, varolu\u015f sanc\u0131lar\u0131n\u0131, ya\u015fam\u0131 bo\u011fan ba\u011f\u0131ml\u0131l\u0131klar\u0131n\u0131 10 kurda \u00e7\u00f6zecek form\u00fcller, re\u00e7eteler da\u011f\u0131t\u0131yorlar. \u0130nsan t\u00fcr\u00fcn\u00fcn iki bu\u00e7uk milyon y\u0131la dayanan dertlerini 5-6 ay i\u00e7inde \u00e7\u00f6zeceklerini s\u00f6yleyerek (tabii \u00fccreti d\u00e2hilinde). \u201cKendini ger\u00e7ekle\u015ftirme\u201d ideali, ge\u00e7 kapitalizmin yeni ve g\u00f6zde sekt\u00f6r\u00fcn\u00fc olu\u015fturur. \u00d6nce \u00fcst s\u0131n\u0131flarda \u201cFerrari\u2019sini satan bilge\u201d hik\u00e2yeleriyle ba\u015flayan, oradan yeniye merakl\u0131 orta s\u0131n\u0131f i\u00e7inde k\u00f6klenen ve k\u00fcresel pandemiyle birlikte b\u00fct\u00fcn insanl\u0131\u011f\u0131 hedef alan bir pazar h\u00e2line d\u00f6n\u00fc\u015ft\u00fc. Bu e\u011filimle modern bireyin kimlik sorunu, spirit\u00fcel bir \u201csahte kimlik\u201d in\u015fas\u0131 ile \u00e7\u00f6z\u00fclmeye \u00e7al\u0131\u015f\u0131l\u0131r. B\u00f6ylece siyasi ya da mistik inan\u00e7lardan uzakla\u015fm\u0131\u015f modern bireyin hem \u201canlaml\u0131 bir ya\u015fam\u201d derdi \u00e7\u00f6z\u00fclecek hem de yeni bir sekt\u00f6re alan a\u00e7\u0131lacakt\u0131r. Bu y\u00fczden \u201ckendini ger\u00e7ekle\u015ftirme\u201d s\u00f6ylemi alt\u0131nda bir\u00e7ok laik, yar\u0131 laik ya da irrasyonel paket sat\u0131\u015fa sunulur: Depresyonda m\u0131 ka\u00e7\u0131yorsun – gel, madde ba\u011f\u0131ml\u0131l\u0131\u011f\u0131ndan m\u0131 uzakla\u015facaks\u0131n – gel, inanc\u0131n\u0131 m\u0131 yitirdin – gel. Telkin, zihin kontrol\u00fc, enerji temizli\u011fi, soy a\u011fac\u0131 zinciri, niyet ekonomisi, olmad\u0131 hafta sonu \u00e7\u0131\u011fl\u0131k kamp\u0131. Bu k\u00fcresel ve \u00e7okuluslu kapitalizmin icat etti\u011fi yeni din mecras\u0131d\u0131r.<\/p>\n\n\n\n

Oysa insan tini \u201ch\u00e2l\u00e2\u201d yanmaktad\u0131r. Anlamlar, erekler, inan\u00e7lar, \u00fctopyalar yok olduk\u00e7a bu ate\u015f s\u00f6nmemi\u015f, daha da harlam\u0131\u015ft\u0131r. D\u00fc\u015f\u00fcn\u00fcn, ilk do\u011fa filozoflar\u0131ndan Stoac\u0131lara eski felsefe insan\u0131n tabiatla uyumlu, erdemli bir varolu\u015fu; kaderini ve ya\u015fam\u0131 sevme fikri \u00fczerinden kurulmu\u015ftur. Bug\u00fcnden bakt\u0131\u011f\u0131m\u0131zda Hermes ve Pisagor d\u00fc\u015f\u00fcncelerindeki a\u015fk\u0131n b\u00fct\u00fcnc\u00fcl ve deneyim temelli mistik \u00f6z belirleyici olamam\u0131\u015ft\u0131r. Bunun yerine ger\u00e7ekli\u011fi kabulleni\u015f, \u00e7at\u0131\u015fmas\u0131zl\u0131k ve geli\u015fim idealleri \u00f6ne \u00e7\u0131kar. Demokritos\u2019ta tarihsel ilerlemecilik yakla\u015f\u0131m\u0131n\u0131n, Parmenides\u2019te \u201cakl\u0131n h\u00fck\u00fcmranl\u0131\u011f\u0131\u201d fikrinin, Platon\u2019da toplumsal hedef olarak \u00fctopyan\u0131n, Stoac\u0131l\u0131kta Katolik \u00e7ilecili\u011finin k\u00f6klerini buluruz. Buradaki tek uyumsuz \u00f6nc\u00fc Herakleitos gibidir. Onun felsefesi kaos, d\u00fczensizlik, y\u0131k\u0131m\u0131 da kapsayan bir evren anlay\u0131\u015f\u0131na a\u00e7\u0131larak, insan\u0131n s\u0131rlar\u0131na y\u00f6nelir. Bildi\u011fimiz do\u011fay\u0131, kozmosun bilinmezli\u011fi ve insan ile beraber d\u00fc\u015f\u00fcnmek gerekir. \u00c7\u00fcnk\u00fc sonsuz ak\u0131\u015f, de\u011fi\u015fim ve ba\u015fkala\u015f\u0131m\u0131n felsefesi i\u00e7inde kar\u015f\u0131tlar birdir (do\u011fa felsefesine insan\u0131n varolu\u015funun da d\u00e2hil edilmesi s\u00fcrecinin ba\u015flang\u0131c\u0131). Uygarl\u0131k geli\u015ftik\u00e7e toplumlar kendi dinami\u011fiyle y\u0131k\u0131ma evrildi\u011finden, Herakleitos\u2019un bahsetti\u011fi y\u0131k\u0131c\u0131 ate\u015f s\u00fcrekli yanar. Ve buna kar\u015f\u0131 Platon\u2019un Devlet<\/em>\u2019i ya da Konf\u00fc\u00e7y\u00fcs d\u00fc\u015f\u00fcncesi gibi erdemli y\u00f6netim aray\u0131\u015flar\u0131 ya da \u201cideal ya\u015fam nedir\u201d sorular\u0131 da artar. Fakat sava\u015f, k\u00f6lelik, a\u00e7g\u00f6zl\u00fcl\u00fck, s\u00f6m\u00fcr\u00fc, manip\u00fclasyon gibi dertler 3000 y\u0131ld\u0131r tekrar tekrar tart\u0131\u015f\u0131lmakta ama \u00e7\u00f6z\u00fcm bulunamamaktad\u0131r. Yani t\u00fcm teknik-bilimsel ilerlemeye ra\u011fmen onu i\u015fleyen insan ayn\u0131d\u0131r.<\/p>\n\n\n\n

Uygarl\u0131\u011f\u0131n geli\u015fimi insan ile ya\u015fad\u0131\u011f\u0131 d\u00fcnya aras\u0131ndaki ili\u015fkileri bozduk\u00e7a, teknik geli\u015fimlerin ve toplumsal ya\u015fam\u0131n karma\u015f\u0131kl\u0131\u011f\u0131 kar\u015f\u0131s\u0131nda \u00e7ok tanr\u0131l\u0131 inan\u00e7lar kifayetsiz kald\u0131. \u0130nsan\u0131n \u201cinsan gibi\u201d ya\u015famaya devam etmesi i\u00e7in b\u00fcy\u00fck mitlere de\u011fil, \u201ckesin emirlere\u201d ve \u201cnet yasaklara ihtiyac\u0131 var\u201d fikri yayg\u0131nl\u0131k kazand\u0131. Fakat burada bir parantez a\u00e7mak gerekir; \u00e7\u00fcnk\u00fc Eski Yunan\u2019da tanr\u0131lar insan hayat\u0131n\u0131 karma\u015faya \u00e7eken, ha\u015far\u0131 \u00e7ocuklar gibidir. Filozof Epicurus insan akl\u0131yla onlar\u0131 anlamaya \u00e7al\u0131\u015fman\u0131n, de\u011fer atfetmenin bo\u015funa oldu\u011funu s\u00f6yler. \u0130nsana d\u00fc\u015fen m\u00fcmk\u00fcn oldu\u011funca ay\u0131k bir keyifle hayat\u0131n\u0131 ya\u015famak ve tanr\u0131lar\u0131 umursamamakt\u0131r. \u00c7a\u011flar i\u00e7inde \u00d6mer Hayyam gibi bir\u00e7ok bilge bu yolu izler. Art\u0131k hasat rit\u00fcelleri, ya\u011fmur dualar\u0131 ve kurban t\u00f6renleri \u00f6tesinde bir d\u00fcnya vard\u0131r ve yeni d\u00fcnyay\u0131 organize edecek, toplumu bir arada tutacak yeni inan\u00e7 sistemleri do\u011far; Akadlar\u2019dan Eski ve Yeni Ahit\u2019e de\u011fin. Pagan\u0131n kovulmas\u0131yla, kurumsalla\u015fan inan\u00e7lar kal\u0131c\u0131 olacaklar\u0131 ara\u00e7larda yaratm\u0131\u015flard\u0131r. \u00d6rne\u011fin Katolik Kilisesi y\u00fczy\u0131llar boyunca kurulu d\u00fczenini devam ettirmi\u015ftir. Toplumsal yap\u0131 \u00e7\u00f6z\u00fcl\u00fcp, yeni s\u0131n\u0131flar belirdi\u011finde Katolik inan\u00e7 yan\u0131na yeni kapitalist hayatla b\u00fct\u00fcnle\u015fecek Protestanl\u0131k eklemlenmi\u015ftir. Fakat tek tanr\u0131 dinleri insan ya\u015fam\u0131n\u0131n merkezinde olma prensibindedir; sadece ahlaki normlarla yetinmez, toplulu\u011fun y\u00f6netiminden hukukun kurallar\u0131na de\u011fin g\u00fcndelik hayat\u0131 organize etme arzusu da ta\u015f\u0131r. Bu manada antik d\u00f6nem \u00e7ok tanr\u0131c\u0131l\u0131k yakla\u015f\u0131m\u0131yla semavi dinlerin belirleyici oldu\u011fu d\u00f6nem aras\u0131nda ayr\u0131m nettir. Roma \u0130mparatorlu\u011fu resm\u00ee olarak H\u0131ristiyanl\u0131\u011fa ge\u00e7ti\u011finde bir din monar\u015fisi kurulmu\u015f olur. \u0130nan\u00e7 kurumsalla\u015ft\u0131k\u00e7a insan ruhu ile aras\u0131na mesafeler girer. Bu a\u015fa\u011f\u0131dan y\u00fckselen metafizik yakla\u015f\u0131ma kar\u015f\u0131 yukar\u0131dan kurulan metafizik sistem aras\u0131ndaki mutlak gerilimdir.<\/p>\n\n\n\n

Bunun kar\u015f\u0131s\u0131nda bir \u00e7e\u015fit yer alt\u0131 tepkisi olarak mistik ya da heterodoks k\u00f6k bulunur. Gnostizm, Simya Felsefesi, Sufizm ve Tasavvuf, Hasidik Kabala, Hristiyan gelene\u011fi i\u00e7inde Romal\u0131 Clement\u2019ten Master Eckhart\u2019a geni\u015f bir gelenek. Bu k\u00f6klerin hepsi \u201ckalpte deneyimlenen tanr\u0131\u201d temelinde var olurlar. K\u00e2hin r\u00fcyalar\u0131, vizyonlar, g\u00f6r\u00fcler bu inan\u00e7lar\u0131n ki\u015fiselli\u011fi i\u00e7inde geli\u015fir. Yunus, Edibali, Bestami, Mevl\u00e2na, Bedreddin, Hall\u00e2c, Arabi ve t\u00fcm Anadolu dervi\u015f gelene\u011fi bu k\u00f6klerden ye\u015fermi\u015ftir. Kadim Hint d\u00fc\u015f\u00fcncesini revize eden Upani\u015fad\u2019lara damgas\u0131n\u0131 vurmu\u015f \u201cAtman asl\u0131nda Brahman\u2019d\u0131r\u201d d\u00fcsturu da bu gelene\u011fin i\u00e7inde \u00f6nemli bir yerdedir. Yani ezeli ve ebedi varolu\u015fu temsil eden Brahman ile insan kalbindeki kozmik g\u00fc\u00e7 ya da tanr\u0131 olarak Atman; bir ve ayn\u0131 \u015feydir g\u00f6r\u00fc\u015f\u00fc. \u00c7in d\u00fc\u015f\u00fcncesi ise Hint felsefesi gibi girift yap\u0131lara gerek duymaz, orada her \u015fey Tao\u2019dur. Yani rahiplerin, kast sistemlerinin, kiliselerin ve liderlerin \u00f6tesinde bir par\u00e7as\u0131 kalpte\/bedende deneyimlenen ve kar\u015f\u0131tlar\u0131n birlik h\u00e2liyle evrene da\u011f\u0131lm\u0131\u015f olan bir kozmik denge vard\u0131r. \u0130nsan k\u00e2inattan ba\u011f\u0131ms\u0131z de\u011fildir. \u0130nsan d\u00fcnyadaki canl\u0131-cans\u0131z her \u015feyden kopuk de\u011fildir. \u0130nsan insandan ayr\u0131 gayr\u0131 de\u011fildir.<\/p>\n\n\n\n

Bat\u0131 felsefesinde \u00f6nce Bruno ve Spinoza, sonra Charles Fourier, 20. y\u00fczy\u0131lda da s\u00fcrrealist sanat\u00e7\u0131lar, Jung, Reich, Deleuze ve Guattari d\u00fc\u015f\u00fcnceleri, sek\u00fcler bir d\u00fcnya mantalitesi i\u00e7inde bu kozmik birlik idealini yoklamaya devam etmi\u015ftir. Deleuze ve Guattari, Bin Yayla<\/em> adl\u0131 labirent kitaplar\u0131n\u0131n \u201cBir Spinozac\u0131n\u0131n An\u0131lar\u0131-1\u201d b\u00f6l\u00fcm\u00fcnde \u015f\u00f6yle derler: \u201c\u00d6yle ki, her birey sonsuz bir \u00e7okluktur ve Do\u011fa\u2019n\u0131n tamam\u0131 kusursuz bir bi\u00e7imde bireyselle\u015fmi\u015f \u00e7okluklar\u0131n bir \u00e7oklu\u011fudur\u201d. \u0130nsan\u0131n bu Birli\u011fi hissetmesi i\u00e7in zihni (beyni), kalbi (bedeni), ruhu (kozmik enerjisi) ile bir ve senkron olmas\u0131 k\u00e2fidir. Yoksa binlerce kursa gidilse, webinara, at\u00f6lyeye kat\u0131lsa, karmik temizli\u011fe giri\u015fse, aile dizini kurcalasa, kum torbas\u0131 d\u00f6vse, perhiz yapsa, \u00e7ivili yata\u011fa yatsa, avaz\u0131 \u00e7\u0131kt\u0131\u011f\u0131 kadar hayk\u0131rsa zehrinin i\u00e7inde sakl\u0131 ilac\u0131 bulamaz. \u0130\u00e7sel d\u00f6n\u00fc\u015f\u00fcm eklemek, bilgi y\u00fcklemek, artt\u0131rmak, kalabal\u0131\u011fa kar\u0131\u015fmak de\u011fil, tam tersine i\u00e7indekini azaltmak, eksiltmek ve atmak bilinci ve eylemiyle ger\u00e7ekle\u015fir. Yan\u0131t kalpte, yan\u0131t sessizliktedir.<\/p>\n\n\n\n

Kadim Pisagorcu gelenekte susmay\u0131 tercih; onu bilmek ve ona cesaret etmekten \u00f6nce gelir. Bu y\u00fczden Pisagorcu Okulun acemilere ve d\u0131\u015far\u0131dan dinleyicilere be\u015f y\u0131l suskun kalmay\u0131 telkin etti\u011fi s\u00f6ylenir. \u00c7\u00fcnk\u00fc idrak kap\u0131s\u0131n\u0131n anahtar\u0131 suskunluk sanat\u0131nda eriyerek pi\u015fer. Ancak bu sanatta ustala\u015fanlar ger\u00e7ekten bilme ve konu\u015fma deneyimini elde edebilirler. Anadolu tasavvufunda ise bu s\u00fcre\u00e7 daha da uzundur ve Taptuk Emre\u2019nin \u201ck\u0131rk y\u0131l d\u00fczg\u00fcn odun ta\u015f\u0131mak\u201d s\u00f6z\u00fcyle v\u00fccut bulur. Yine Anadolu K\u0131z\u0131lba\u015f Alevi desturunda menzil \u201c40 kap\u0131 ve 40 makama\u201d a\u00e7\u0131lan bir yoldur ve bu \u00f6rnekleri \u00e7o\u011faltmak da m\u00fcmk\u00fcn.<\/p>\n\n\n\n

Hakikat penceresinden bakt\u0131\u011f\u0131m\u0131zda, yeni moda spirit\u00fceller ya da laik soslu new age dinleriyle insan\u0131n tinsellik evreni birbirlerinden ayr\u0131k ve tamamen z\u0131t \u015feylerdir. Ayd\u0131nlanma t\u00fcts\u00fc ile heybe ile uyar\u0131c\u0131lar yard\u0131m\u0131yla ya da salt bilgi edinerek kat edilebilecek bir menzil de\u011fildir. Ger\u00e7ek ayd\u0131nlanma sars\u0131c\u0131 ve hatta y\u0131k\u0131c\u0131d\u0131r. \u0130lk talebi sosyal maskelerin ve onlar\u0131 besleyen s\u00fcperego ideallerinin y\u0131k\u0131m\u0131d\u0131r.<\/p>\n\n\n\n

Modern d\u00fcnya \u201ckendini ger\u00e7ekle\u015ftirme\u201d s\u00f6ylemleriyle narsisizmi besledik\u00e7e, hakikat buna durdurulmaz bi\u00e7imde nevroz ve a\u015fa\u011f\u0131l\u0131k kompleksi yaratarak yan\u0131t vermeye devam edecektir.<\/p>\n\n\n\n

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(XX) True Detective ya da Evrensel K\u00f6t\u00fcl\u00fck Problemi<\/h1>\n\n\n\n
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\u201cBence; insan bilinci, evrimin en ac\u0131 hatas\u0131d\u0131r. Kendimizin fazlas\u0131yla fark\u0131na vard\u0131k. Do\u011fa, kendisinin bir par\u00e7as\u0131 olmayan ayr\u0131 bir suretini yaratt\u0131. Bizler do\u011fa kanununa g\u00f6re var olmamas\u0131 gereken varl\u0131klar\u0131z.\u201d <\/em><\/strong>Rust Cole<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cBa\u015flang\u0131\u00e7ta; d\u00fc\u015fmeden \u00f6nce, yarat\u0131l\u0131\u015ftan \u00f6nce
Orada bir a\u011fa\u00e7 vard\u0131, bilgi a\u011fac\u0131
Sophia \u0131srar ederdi, bundan yemelisin
Bu; orijinal g\u00fcnah m\u0131?
Hay\u0131r; hi\u00e7 sanm\u0131yorum.\u201d <\/em><\/strong>Tori Amos\/Original Sinsuality<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u0130nsanl\u0131k tarihi korkun\u00e7 tan\u0131kl\u0131klar ile bug\u00fcne gelmi\u015fse de sokaktaki insan\u0131n hayatta kalma ya da normal bir ya\u015fam s\u00fcrme realitesi bu konular\u0131 unutma ya da s\u00fcrekli g\u00fcndeminde tutmama \u00fczerine kurulur. Son aylarda birbiri ard\u0131na s\u0131zd\u0131r\u0131lan Epstein dosyalar\u0131 ilk ba\u015fta Stanley Kubrick’in \u00f6nemli filmi Eyes Wide Shut<\/em>‘u akla getirdi. \u00c7\u00fcnk\u00fc sanatsal kurgu korkun\u00e7 olaylar\u0131 bili\u015fselle\u015ftirmekte zihne kolayl\u0131klar sa\u011flar. Fakat dosyalar a\u00e7\u0131ld\u0131k\u00e7a ortaya \u00e7\u0131kan pedofili, kurban eylemi olarak cinayet gibi bulgular sonucu True Detective<\/em> dizisinin ilk sezonu hakl\u0131 olarak daha \u00e7ok tart\u0131\u015f\u0131lmaya ba\u015fland\u0131. Kubrick’in filmi elit zenginlerin kamuoyundan gizli toplu seks rit\u00fcelleri \u00fczerine kuruluydu, fakat True Detective<\/em> \u00e7ocuk ya da gen\u00e7 insanlar\u0131n ka\u00e7\u0131r\u0131lmas\u0131, ayinlerle kurban edilmesi ve bu vah\u015fetin toplum i\u00e7inde yay\u0131l\u0131\u015f\u0131n\u0131 a\u00e7\u0131k\u00e7a ortaya koyuyordu. Bu fark\u0131 Kubrick’in hik\u00e2yesini asla k\u00fc\u00e7\u00fcmsemeden ortaya koyuyorum \u00e7\u00fcnk\u00fc filmi sadakat, burjuva evlilik i\u015fleyi\u015fi, a\u015fk ve seks aras\u0131ndaki gri tonlara da yo\u011funla\u015f\u0131yordu.<\/p>\n\n\n\n

Ayr\u0131ca True Detective<\/em> \u00fcrk\u00fct\u00fcc\u00fc bir ger\u00e7ekli\u011fi i\u015flerken ayn\u0131 zamanda \u00e7ok g\u00fc\u00e7l\u00fc psikolojik profillerle bireyi ele al\u0131yor ve b\u00fcy\u00fck felsefi sorunlara da dalmaktan \u00e7ekinmiyordu. Ben bu metnimde filmin (ki bence ayr\u0131k 8 b\u00f6l\u00fcmden \u00e7ok yekpare bir b\u00fct\u00fcn oldu\u011fu i\u00e7in) \u00e7at\u0131\u015fma h\u00e2lindeki, z\u0131t iki ana karakteri \u00fczerinden ele almaya \u00e7al\u0131\u015faca\u011f\u0131m. Hik\u00e2yenin merkezine oturmu\u015f z\u0131t kutupluluk sadece kar\u015f\u0131l\u0131kl\u0131 iki birey aras\u0131nda da de\u011fil, ayn\u0131 zamanda kendi \u00f6zleri ile ku\u015fand\u0131klar\u0131 toplumsal maskeler, yani personalar aras\u0131ndad\u0131r. Filmin iki ana karakteri Rust ve Marty’nin eski meslekta\u015flar\u0131 taraf\u0131ndan dinlendi\u011fi (sorguland\u0131\u011f\u0131) uzun sekanslar boyunca kendi g\u00f6zleri (ya da personalar\u0131) \u00fczerinden anlatt\u0131klar\u0131 ile araya giren kameralar\u0131n g\u00f6sterdi\u011fi ger\u00e7ekte olanlar aras\u0131ndaki s\u00f6ylem fark\u0131 bize bunu ele verir. Finaldeki b\u00fcy\u00fck de\u011fi\u015fim (ya da tersinme olmadan) her ikisi de g\u00fcndelik hayat dedi\u011fimiz oyunun i\u00e7inde se\u00e7mi\u015f olduklar\u0131 Rust ve Marty kimliklerinin b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc korumaya \u00e7al\u0131\u015f\u0131rlar. Ba\u015fa d\u00f6nersek Rust ve Marty’nin d\u00fcnyas\u0131 kendi i\u00e7inde iki kar\u015f\u0131t ki\u015fili\u011fin ya\u015fam i\u00e7inde s\u0131nanmas\u0131d\u0131r. Bu kar\u015f\u0131tl\u0131\u011f\u0131n alan\u0131 g\u00fcndelik d\u00fcnyad\u0131r. Fakat filmin konu ald\u0131\u011f\u0131 as\u0131l \u00e7eli\u015fki bu iki ya\u015fam bi\u00e7imi aras\u0131nda de\u011fildir. Bu, bildi\u011fimiz hayat ile Carcosa aras\u0131ndad\u0131r.<\/p>\n\n\n\n

Carcosa bu d\u00fcnyadaki cehennemdir. Bu d\u00fcnyan\u0131n gecesine saklanm\u0131\u015f g\u00fcndeli\u011fin g\u00f6lgesindeki cereyan eden bir i\u00e7 d\u00fcnyad\u0131r. Ne yaz\u0131k, bu d\u00fcnya i\u00e7inde bu cehenneme kar\u015f\u0131l\u0131k gelecek Carcosa kar\u015f\u0131s\u0131nda cennete dair bir uzam yoktur. \u0130nsan t\u00fcr\u00fcn\u00fcn aptall\u0131\u011f\u0131 ya da cehaletiyle kovuldu\u011fu s\u00f6ylenen cennet bu d\u00fcnyaya sadece k\u00fc\u00e7\u00fck an’lar olarak s\u0131zabilmektedir. Bu d\u00fcnyan\u0131n ko\u015fu\u015fturmas\u0131, nas\u0131l persona\u2019lara (rasyonalist, nihilist ya da mistik) sahip olursak olal\u0131m zaman ak\u0131\u015f\u0131n\u0131 h\u0131zland\u0131rarak ya da neredeyse durdurarak ya\u015fanan bu meleksi an’lar\u0131n k\u0131ymetini \u00f6rter. Kadim Hint d\u00fc\u015f\u00fcncesinde bu durumun kar\u015f\u0131l\u0131\u011f\u0131 g\u00fcndelik i\u00e7inde hakikati \u00f6rten \u00f6rt\u00fc olarak Maya’d\u0131r. Ki\u015finin ya\u015fam i\u00e7inde cenneti -ki bu mutluluk dedi\u011fimiz k\u0131sac\u0131k an’d\u0131r- hissetmesi i\u00e7in an\u0131n i\u00e7inde ay\u0131k, bilin\u00e7li bir deneyim h\u00e2linde olmas\u0131d\u0131r. Bu detaya dikkat kesilenler, Walter Benjamin’in homojen ve bo\u015f zaman d\u00fc\u015f\u00fcncesine kar\u015f\u0131 kulland\u0131\u011f\u0131 Jetztzeit kavram\u0131na ya da \u0130bni Arabi’nin mevcudiyetin s\u00fcrekli \u015fimdide olu\u015fu g\u00f6r\u00fc\u015flerine bakmal\u0131d\u0131r.<\/p>\n\n\n\n

Fakat g\u00fcndelik ya da Maya b\u00f6yle fark\u0131ndal\u0131k ile ya\u015famaya izin vermez. Yeni ev e\u015fyalar\u0131, futbol m\u00fcsabakalar\u0131, terapi seanslar\u0131, kredi \u00f6demeleri vs. hangi k\u00fclt\u00fcrel segmentte ya da inan\u00e7ta olursak olal\u0131m herkesin ya\u015fam\u0131n\u0131 bir \u00e7e\u015fit oto-pilota ba\u011flar. Say\u0131s\u0131z derecede rol modelleri vard\u0131r ve elbet hepimize uygun birini se\u00e7ebiliriz, Rust gibi marjinal bir ki\u015filik olsak bile. Kimileri \u201cben buna d\u00e2hilim\u201d demenin konforunu s\u00fcrer, kimileri de \u201cbuna d\u00e2hilim\u201d dememenin yaln\u0131zl\u0131\u011f\u0131n\u0131. Sonu\u00e7ta Maya’n\u0131n asli unsuru kar\u015f\u0131tl\u0131k yan\u0131lsamalar\u0131 yaratmakt\u0131r. Evrendeki kozmik birlikten ya da ya\u015fam\u0131n b\u00fct\u00fcnselli\u011finden ne denli uzakla\u015f\u0131rsak Maya’n\u0131n efsunu o kadar g\u00fc\u00e7l\u00fc olur.<\/p>\n\n\n\n

O zaman idrak dedi\u011fimiz \u015fey, \u00e7a\u011f\u0131n pop\u00fcler #ak\u0131\u015ftay\u0131z mottosunun tam z\u0131tt\u0131 bir yerde bilin\u00e7li ‘Ben’in g\u00fcndelik ak\u0131\u015fa zaman \u00fczerinden m\u00fcdahale etme otonomisinde yatar. G\u00fcndeli\u011fin oto-pilotta ya\u015fam\u0131na kar\u015f\u0131 otantik ve hakiki olmaya \u00e7al\u0131\u015fan Ben’in otonomi \u00e7abas\u0131 ve \u0131srar\u0131d\u0131r; bu d\u00fcnyada cenneti aramak. Do\u011fal olarak me\u015fakkatli \u00e7aba isteyen, yer yer ac\u0131 y\u00fckl\u00fc bir deneyimdir. \u00c7\u00fcnk\u00fc s\u0131n\u0131fl\u0131 toplumsal yap\u0131n\u0131n s\u00fcrekli i\u015fleyen saat ritmine, her daim ilerleme ve geli\u015fme d\u00fcsturuna ayk\u0131r\u0131 bir eylemdir an\u2019da ya\u015famak. Modern insan g\u00fcndelik i\u00e7inde “akmaktan” anda kalmay\u0131 \u00e7ok zor ba\u015far\u0131r, \u00e7o\u011funlukla ka\u00e7\u0131r\u0131r. Bunun sonucu depresyon, nevroz, dikkat da\u011f\u0131n\u0131kl\u0131\u011f\u0131d\u0131r. Mutluluk hissi zaman gibi u\u00e7ucu oldu\u011fundan genellikle ge\u00e7mi\u015fe y\u00f6nelik \u00f6zlem ve pi\u015fmanl\u0131k olarak deneyimlenir. Rust’\u0131n \u00f6lm\u00fc\u015f evlad\u0131 ya da babas\u0131na dair an\u0131msamalar\u0131nda, Marty’nin bo\u015fand\u0131ktan sonra \u00e7ocuklar\u0131 ya da kar\u0131s\u0131na y\u00f6nelik hasretinde boy verir.<\/p>\n\n\n\n

Maya’n\u0131n varl\u0131\u011f\u0131 mutlulu\u011fa dair d\u00fcnya cennetini \u00f6rterken ayn\u0131 zamanda bu d\u00fcnyan\u0131n gecesine sinmi\u015f Carcosa’n\u0131n \u00fcst\u00fcn\u00fc de \u00f6rter. Fakat bu d\u00fcnyan\u0131n cehennemi bundan memnundur. \u00c7\u00fcnk\u00fc \u015feytan i\u015fini ayr\u0131nt\u0131da g\u00f6rmeyi sever. Ve ayr\u0131ca teraziye koysak bu d\u00fcnyan\u0131n cehennemi cenneti kar\u015f\u0131s\u0131nda \u00e7ok g\u00fc\u00e7l\u00fcd\u00fcr. Kendine ait zaman\u0131, uzam\u0131 ve bu ger\u00e7ekli\u011fini s\u00fcrd\u00fcrecek realite i\u00e7erisinde g\u00fcce sahiptir. \u00c7a\u011f\u0131n insanlar\u0131n\u0131n \u00e7ok sevdi\u011fi gizem tarikatlar\u0131 \u00f6yk\u00fcleri ya da komplo teorilerinin \u00e7\u0131lg\u0131n i\u00e7erikleri Carcosa’y\u0131 sadece g\u00fcld\u00fcrmektedir. Onun illegal \u00f6rg\u00fctlenmeleri avc\u0131-toplay\u0131c\u0131l\u0131ktan yerle\u015fik toplumuna ge\u00e7i\u015ften beri ayn\u0131d\u0131r: Sermaye birikimini elinde tutanlar, devlet kademeleri ve yozla\u015fm\u0131\u015f dinsel otoriteler i\u00e7inde k\u00f6k salm\u0131\u015flard\u0131r. Mu ya da Atlantis uygarl\u0131klar\u0131, reptilyan uzayl\u0131 komplosu, Baal gibi antik tanr\u0131 adlar\u0131n\u0131n ortada gezmesi, yani i\u015fin \u00e7\u00f6z\u00fclemeyecek katmanlarda aranmas\u0131 onlar\u0131n i\u015fine gelir. \u00d6rne\u011fin Epstein dosyalar\u0131nda bir \u015fekilde ge\u00e7en t\u00fcm isimlerin \u201cayn\u0131 listelerde\u201d yay\u0131mlanmas\u0131n\u0131 d\u00fc\u015f\u00fcnelim. Misal, Epstein ve \u00e7etesinin d\u00fc\u015fman ilan etti\u011fi \u201cFidel Castro’nun ad\u0131\u201d ile onlar\u0131n kankas\u0131 \u201cGeorge Bush’un isimlerinin beraber ayn\u0131 belgelerde ge\u00e7iyor\u201d diye lanse edilmesi gibi basit manip\u00fclasyonlar bile k\u00f6t\u00fcl\u00fck i\u00e7in i\u015f g\u00f6rmektedir. True Detective<\/em> \u00e7ok hakl\u0131 olarak 3-5 toplum d\u0131\u015f\u0131 psikopat\u0131n manyak cinsel eylemleri ve cinayete susam\u0131\u015fl\u0131\u011f\u0131 olarak lanse edilen gelen durumun alt\u0131n\u0131 kazmaya soyunur. \u0130\u015fin i\u00e7inde vali, emniyet g\u00f6revlileri, \u00fcst d\u00fczey kilise mensuplar\u0131 ve i\u015f adamlar\u0131ndan \u00f6r\u00fclm\u00fc\u015f bir k\u00f6t\u00fcl\u00fck \u00f6rg\u00fctlenmesi vard\u0131r.<\/p>\n\n\n\n

Bu keskin, uzla\u015fmaz, salt\u0131k bir k\u00f6t\u00fcl\u00fckt\u00fcr ve i\u015fin berbat\u0131 kendi i\u00e7ine kapal\u0131 bir metafizi\u011fe sahiptir. Yani tehlikeli ve ya\u015fanan bir felsefesi vard\u0131r. Bu felsefe \u00f6tekini yok etmeye soyunmu\u015f bir ikiliktir. Oysa Rust ve Marty \u00f6zg\u00fcl\u00fcnde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz z\u0131tl\u0131k, tersinirli\u011fe ya da dengeye a\u00e7\u0131kt\u0131r. Hik\u00e2yenin finalinde g\u00fcndeli\u011fin sahteli\u011fi i\u00e7inde “normal ya\u015fam” s\u00fcren ve bundan memnun olan Marty (aile saadeti, ka\u00e7amaklar, pazar ayinleri vs.) ile bu g\u00fcndelik i\u00e7inde yenilip, onun d\u0131\u015f\u0131nda nihilist bir yaln\u0131zl\u0131k ya\u015fayan Rust; ya\u015fad\u0131klar\u0131 sert hakikat deneyimiyle temelden sars\u0131nt\u0131 ge\u00e7irirler. Sonu\u00e7ta Marty d\u00fcnyan\u0131n karanl\u0131\u011f\u0131n\u0131 idrak eder, pesimist bak\u0131\u015fa hak verir, yani \u00f6nceki persona\u2019s\u0131n\u0131n sahte ayd\u0131nl\u0131\u011f\u0131n\u0131 terk eder. Rust ise ya\u015fad\u0131\u011f\u0131 \u015fok deneyimiyle \u0131\u015f\u0131\u011f\u0131 yeniden ke\u015ffeder (\u00f6lm\u00fc\u015f \u00e7ocu\u011fu ve babas\u0131na duydu\u011fu sevgiyle).<\/p>\n\n\n\n

G\u00fcndelik ak\u0131\u015f kesintiye u\u011fray\u0131p Maya delindi\u011finde kar\u015f\u0131t g\u00f6z\u00fcken var olu\u015flar birbirlerine d\u00f6ner ve kadim simyasal birliktelik yeniden kurulur. Art\u0131k Marty’nin kara g\u00f6lgesi, Rust’\u0131n da bilin\u00e7d\u0131\u015f\u0131na g\u00f6md\u00fc\u011f\u00fc ayd\u0131nl\u0131k animas\u0131 (di\u015fil ilke Sophia) birle\u015fir; yani Carl Gustav Jung’un “bireyselle\u015fme s\u00fcreci” dedi\u011fi b\u00fct\u00fcnle\u015fme sa\u011flanm\u0131\u015ft\u0131r. Bu tablo bize Jung’un k\u00f6k\u00fcn\u00fc do\u011fada ve kozmik b\u00fct\u00fcnde g\u00f6rd\u00fc\u011f\u00fc “d\u00f6rtl\u00fcl\u00fck” ilkesinin m\u00fckemmel bir \u00f6rne\u011fini sunar. \u201cBaba o\u011ful, kutsal ruhtan” te\u015fkil H\u0131ristiyan Teslis (\u00fc\u00e7leme anlay\u0131\u015f\u0131n\u0131n) gerek di\u015fil ilkeyi g\u00f6r\u00fcnmezle\u015ftirdi\u011fi gerekse de k\u00f6t\u00fcl\u00fck ilkesi olan \u015feytan\u0131 tamamen yok sayd\u0131\u011f\u0131 i\u00e7in ele\u015ftirir. Jung buna kar\u015f\u0131 olarak Pisagorcu Okul, Simya felsefesi ve Gnostiklerin payla\u015ft\u0131klar\u0131 “d\u00f6rtl\u00fcl\u00fck” ilkeleri \u00fczerine modern yorumlar sunar. Marty (baba vs. d\u00fczen) ve Rust’\u0131n (isyan eden o\u011ful) yan\u0131na anima ve k\u00f6t\u00fcl\u00fck ilkelerini eklendi\u011finde b\u00fct\u00fcnl\u00fck tekrar sa\u011flan\u0131r.<\/p>\n\n\n\n

Modern d\u00fcnya i\u00e7inde k\u00f6t\u00fcl\u00fc\u011fe \u201cg\u00fcndelik ak\u0131\u015f i\u00e7inde kavranabildi\u011fi kadar\u201d uyum sa\u011flan\u0131r. \u00c7\u00fcnk\u00fc Hannah Arendt’in \u00e7ok hakl\u0131 g\u00f6zlemiyle k\u00f6t\u00fcl\u00fc\u011f\u00fcn i\u015fini y\u00fcr\u00fctmesi i\u00e7in korkun\u00e7 k\u00fcltlere mensup \u00fcyelere ya da ideoloji manyaklar\u0131ndan \u00f6te, s\u0131radan i\u015f birlik\u00e7ilere gereksinmesi vard\u0131r. R\u00fc\u015fvet, ahbap \u00e7avu\u015f ili\u015fkileri ve en \u00e7ok da \u201cverilen emri yapan\u201d s\u0131radan insanlar \u00fczerinden. True Detective<\/em>‘te bunun en iyi \u00f6rne\u011fi \u015ferif yard\u0131mc\u0131s\u0131 Steve Geraci karakteridir. \u0130lk cinayetlerin \u00fcst\u00fcn\u00fc \u00f6rten bu adam, sadece kariyerini korumak ve ’emirleri yerine getirmekle’ k\u00f6t\u00fcl\u00fc\u011fe i\u00e7y\u00fcz\u00fcn\u00fc bilmeden d\u00e2hil olmu\u015ftur. Rust ve Marty ona teknede imtiyazl\u0131 Tuttle ailesi i\u00e7inden \u00e7\u0131kan, \u00e7ocuk kurban t\u00f6renine ait gizli kaseti izletti\u011finde \u015foke olur. \u00c7\u00fcnk\u00fc o sadece i\u015fini yapm\u0131\u015ft\u0131r. Tek derdi g\u00fcndelik i\u00e7indeki refah\u0131n\u0131 ve d\u00fczenini devam ettirmektir, Nazi Partisi ideolojisiyle ba\u011f\u0131 olmayan herhangi bir SS subay\u0131 gibi.<\/p>\n\n\n\n

Sonu\u00e7ta modern insan, ya\u015fad\u0131\u011f\u0131 zamana ait ya\u015fam kal\u0131plar\u0131n\u0131n sa\u011flad\u0131\u011f\u0131 kolayl\u0131klarla ya\u015far. Onun i\u00e7indeki g\u00f6lge ben, \u00f6z\u00fcnde sakl\u0131 di\u015fil ya da eril y\u00f6n ya da bilin\u00e7d\u0131\u015f\u0131 ile y\u00fczle\u015fmek; s\u00fcrekli “ben kimim?” sorgulamas\u0131na girmek k\u00fclfettir. \u0130\u015f\u00e7i Partili ya da Zafer Partili olmak, Fenerbah\u00e7e ya da Trabzonsporlu olmak, optimist ya da pesimist olmak birer se\u00e7imdir. Bu se\u00e7imlerin toplam\u0131na ise uzun zamand\u0131r ‘\u00f6zg\u00fcr irade’ dedik (yersen:). Bir \u015fey se\u00e7mek, bir \u015fey olmak, d\u00e2hil olmak, onaylamak ve kar\u015f\u0131 \u00e7\u0131kmak\u2026 E\u011fitim sistemleri, dinler ya da siyasal partiler kimseye “kendin misin” ya da “kendin ol” demez. Hayat\u0131 oto-pilotta ya\u015famak g\u00fcndeli\u011fin rutinidir, Maya b\u00f6yle \u00e7al\u0131\u015f\u0131r. Ki\u015fisel geli\u015fim s\u00f6ylemi ne denli b\u00fcy\u00fckse otantik ki\u015filik ise o kadar yok olur. Biz iyiyizdir, g\u00fczel her \u015feyi hak ediyoruzdur, fark\u0131ndal\u0131\u011f\u0131m\u0131z y\u00fcksektir, bla bla\u2026 K\u00f6t\u00fcl\u00fck d\u0131\u015fsalla\u015ft\u0131r\u0131l\u0131p genel ahl\u00e2k, normallik, sapk\u0131nl\u0131k gibi tan\u0131mlarla \u00f6rt\u00fcld\u00fc\u011f\u00fcnde k\u00f6t\u00fcn\u00fcn korkun\u00e7 kudreti ne yaz\u0131k azalm\u0131yor.<\/p>\n\n\n\n

Yine de enseyi karartmayal\u0131m, bu tip fosseptik \u00e7ukurlar\u0131n\u0131n patlamalar\u0131n\u0131n kan\u0131ksama kadar idrak etme g\u00fcc\u00fcne de kap\u0131 a\u00e7t\u0131\u011f\u0131na umut edelim. En az\u0131ndan 21. y\u00fczy\u0131lda \u00fcretilmi\u015f en m\u00fcstesna ve yetkin sanat yap\u0131tlar\u0131ndan True Detective -1-<\/em> filminin finali, bize \u201cumutsuzlu\u011fa kap\u0131lmay\u0131 daha iyi g\u00fcnlere saklay\u0131n\u201d diyor.<\/p>\n\n\n\n

T.D. -1- Final Sahnesi Diyalo\u011fu<\/em><\/p>\n\n\n\n

Rust: Eskiden buralarda yatarken g\u00f6ky\u00fcz\u00fcne bakard\u0131m. Gece vakti. Orada sadece bir hik\u00e2ye oldu\u011funu d\u00fc\u015f\u00fcn\u00fcrd\u00fcm. En eskisi.<\/p>\n\n\n\n

Marty: Hangi hik\u00e2ye?<\/p>\n\n\n\n

Rust: I\u015f\u0131k, karanl\u0131\u011fa kar\u015f\u0131.<\/p>\n\n\n\n

Marty: (G\u00f6ky\u00fcz\u00fcne bakarak) Evet, pek\u00e2l\u00e2… \u015eu an buraday\u0131z, d\u0131\u015far\u0131day\u0131z. Bana kal\u0131rsa karanl\u0131\u011f\u0131n \u00e7ok daha fazla yeri var gibi g\u00f6r\u00fcn\u00fcyor.<\/p>\n\n\n\n

Rust: (Bir s\u00fcre sessiz kal\u0131r, uzaklara bakar) Evet, hakl\u0131s\u0131n.<\/p>\n\n\n\n

(Marty, Rust’\u0131 arabaya g\u00f6t\u00fcrmek i\u00e7in hareketlenir, ancak Rust onu durdurur.)<\/p>\n\n\n\n

Rust: Marty?<\/p>\n\n\n\n

Marty: Ne var?<\/p>\n\n\n\n

Rust: Yan\u0131l\u0131yorsun.<\/p>\n\n\n\n

Marty: Ne hakk\u0131nda?<\/p>\n\n\n\n

Rust: “Karanl\u0131\u011f\u0131n daha fazla yeri var” dedin ya.<\/p>\n\n\n\n

Marty: Evet?<\/p>\n\n\n\n

Rust: Bence yan\u0131l\u0131yorsun. Eskiden sadece karanl\u0131k vard\u0131. Bana sorarsan, \u0131\u015f\u0131k kazan\u0131yor\u2026<\/p>\n\n\n\n

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(XXI) Sahi Bilin\u00e7d\u0131\u015f\u0131 Nedir?<\/h1>\n\n\n\n
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\u201cBen bir gizli hazine idim, bilinmek istedim.\u201d <\/em><\/strong>Anonim (Sufi Rivayeti)<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cDo\u011fan\u0131n d\u0131\u015f\u0131nda Tanr\u0131 Gizemdir yani Hi\u00e7liktir; \u00e7\u00fcnk\u00fc do\u011fan\u0131n d\u0131\u015f\u0131nda, hi\u00e7bir yerde bulunmayan ve hi\u00e7bir \u015fey g\u00f6rmeyen, ebediyetin g\u00f6z\u00fc, temelsiz g\u00f6z (olan) Hi\u00e7lik bulunur, bu Ungrund\u2019tur. Ve ayn\u0131 g\u00f6z iradedir yani tecelli arzusudur, Hi\u00e7li\u011fi fark etme\/ke\u015ffetme arzusudur.\u201d<\/em><\/strong> Jacob Boehme (vurgular yazar\u0131na aittir)<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201c<\/em>(B\u0130R, H\u0130\u00c7, B\u0130LGE (DERV\u0130\u015e) GER\u00c7E\u011e\u0130N B\u0130L\u0130NEB\u0130L\u0130RL\u0130\u011e\u0130N\u0130 S\u00d6YLEMEZ\u201d<\/strong> Ece Ayhan (vurgu \u015fairin tasarrufu, aynen ald\u0131m)<\/p>\n<\/blockquote>\n\n\n\n

Bu zor bir giri\u015f metni yazan i\u00e7in ama umar\u0131m okuru i\u00e7in \u00f6yle olmaz. Bilin\u00e7d\u0131\u015f\u0131 hen\u00fcz ayd\u0131nlat\u0131lmam\u0131\u015f bir kara deliktir. Freud onu bireyin bast\u0131rd\u0131\u011f\u0131 arzular\u0131 ile toplum aras\u0131nda, Lacan ise ki\u015fisel d\u00fczlemde her bireyin ya\u015fad\u0131\u011f\u0131 \u201cimgesel, simgesel, ger\u00e7ek\u201d olarak tan\u0131mlad\u0131\u011f\u0131 s\u00fcre\u00e7ler ve onlarda kapanmayan, s\u00fcrekli bir eksiklik h\u00e2linde arar; \u00f6zellikle dilde. Bilin\u00e7d\u0131\u015f\u0131n\u0131n ger\u00e7ek k\u00e2\u015fifi Carl Gustav Jung\u2019tur ama o bile fenomeni bir c\u00fcmleyle tan\u0131mlamaktan imtina eder. E\u011fer o hi\u00e7, kaos ya da TAO ise onu d\u00fc\u015fle, hakikat fragmanlar\u0131yla, idrakle, ondan s\u00f6k\u00fcn etmi\u015f dizelerle anlamaya \u00e7al\u0131\u015fmak karanl\u0131k yola ilk ad\u0131md\u0131r. Ard\u0131ndan bu girizg\u00e2h\u0131n esrikli\u011fiyle, psikoloji biliminin analitik \u00e7al\u0131\u015fmalarda ortaya \u00e7\u0131kan bulgular\u0131na s\u0131ras\u0131 gelir. \u015eimdi s\u00f6z\u00fc K\u0131rm\u0131z\u0131 Kitap<\/em>\u2019\u0131n yazar\u0131na b\u0131rak\u0131yorum\u2026<\/p>\n\n\n\n

\u201cHer bireyde kendi ki\u015fisel an\u0131lar\u0131ndan ba\u015fka (sanat tarih\u00e7isi) Jacob Burckhardt\u2019\u0131n yerinde bir deyimiyle \u2018ilksel\u2019 simgeler vard\u0131r; bunlar kalubeladan (ezelden) insan muhayyilesinden kal\u0131t\u0131m yoluyla edinilen kuvvetlerdir. Bu kal\u0131t\u0131m, baz\u0131 mitos ve efsane motiflerinin d\u00fcnyan\u0131n her yerinde ayn\u0131 bi\u00e7imlerde tekrarlanmas\u0131, ger\u00e7ekten hayret verici bir olay\u0131 a\u00e7\u0131kl\u0131yor\u2026 Tedavinin daha sonraki bir a\u015famas\u0131nda, ki\u015fisel an\u0131larla ilgisi olmayan fantaziler belirmeye ba\u015flad\u0131\u011f\u0131nda, i\u00e7inde insanl\u0131\u011fa ortak ilksel imgelerin uyur durumda bulundu\u011fu, bilin\u00e7d\u0131\u015f\u0131n\u0131n daha derin kat\u0131n\u0131n tezah\u00fcrleri ile kar\u015f\u0131la\u015f\u0131yoruz. Bu imgelere veya motiflere \u2018arketipler\u2019 (ana \u00f6rnekler) diyorum; bilin\u00e7d\u0131\u015f\u0131n\u0131n \u2018dominantlar\u0131\u2019 (bask\u0131n \u00f6rnekleri) dedi\u011fim de oldu.<\/p>\n\n\n\n

Bu bulu\u015f, olay\u0131 bir ad\u0131m daha ileri g\u00f6t\u00fcr\u00fcyor bizi: yani bilin\u00e7d\u0131\u015f\u0131nda iki kat bulundu\u011fu ger\u00e7e\u011fini kabul etmemize. Bir ki\u015fisel, bir de ki\u015fi\u00f6tesi, (ki\u015fid\u0131\u015f\u0131nda) bilin\u00e7d\u0131\u015f\u0131 var. Bu sonuncusuna \u2018ortak (ya da kolektif) bilin\u00e7d\u0131\u015f\u0131\u2019 diyoruz; \u00e7\u00fcnk\u00fc ki\u015fisel olabilecek \u015feyden uzak, tamam\u0131yla evrensel bir olay. Bu i\u00e7eriklere her yerde rastlamak m\u00fcmk\u00fcn, ki\u015fisel bilin\u00e7te olmayacak \u015feyler bunlar. Ki\u015fisel bilin\u00e7te unutulan an\u0131lar, bast\u0131r\u0131l\u0131p geriye at\u0131lm\u0131\u015f olan (yani bile bile unutulmu\u015f) ac\u0131 hat\u0131ralar, e\u015fikalt\u0131 alg\u0131lamalar, yani bilin\u00e7 y\u00fczeyine \u00e7\u0131kacak g\u00fcc\u00fc bulamam\u0131\u015f duyu-alg\u0131lamalar\u0131, en sonra da bilin\u00e7 i\u00e7in hen\u00fcz olgunla\u015fmam\u0131\u015f i\u00e7erikler vard\u0131r. Bu, s\u0131k s\u0131k d\u00fc\u015flerde kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z g\u00f6lge fig\u00fcr\u00fcne tekab\u00fcl etmektedir… Bilin\u00e7d\u0131\u015f\u0131n\u0131n derinliklerine do\u011fru yolculu\u011funa devam edersek ve orada ta ba\u015f\u0131ndan beri uyuklamakta olan \u015feyleri harekete getiririz. \u0130nsanl\u0131\u011f\u0131n o g\u00fcn bug\u00fcnd\u00fcr yararland\u0131\u011f\u0131 gizli hazineyi, tanr\u0131lar\u0131n ve \u015feytanlar\u0131n bar\u0131nd\u0131\u011f\u0131, insan\u0131n onlar olmasayd\u0131 insan olmaktan \u00e7\u0131kaca\u011f\u0131 \u015fu g\u00fc\u00e7l\u00fc, b\u00fcy\u00fck d\u00fc\u015f\u00fcncelerin bar\u0131nd\u0131\u011f\u0131 yeri bulmu\u015ftur.\u201d Jung, Analitik Psikoloji\/Ki\u015fisel Bilin\u00e7d\u0131\u015f\u0131 ve Ortak Bilin\u00e7d\u0131\u015f\u0131<\/em>, Payel Yay\u0131nlar\u0131<\/p>\n\n\n\n

Metnime bu fenomenin k\u00e2\u015fifinden s\u00f6z alarak ba\u015flamak istedim\u2026 Bilin\u00e7d\u0131\u015f\u0131 insan t\u00fcr\u00fcn\u00fcn s\u0131f\u0131r noktas\u0131ndan beri do\u011fa g\u00fcc\u00fcyle ya da evrimle aktar\u0131lan bir \u00f6zelli\u011fidir. H\u00e2l\u00e2 tam a\u00e7\u0131klayamad\u0131\u011f\u0131m\u0131z, her yeni do\u011fan\u0131n beyaz sayfa olarak d\u00fcnyaya gelmedi\u011fi, d\u0131\u015fsal ko\u015fullara ra\u011fmen bir kendi \u015fahs\u0131na m\u00fcnhas\u0131r ki\u015fili\u011fi olmas\u0131 da bu kozmik s\u00fcrece ba\u011flanabilir. R\u00fcyalar ve g\u00f6r\u00fcler, bire bir bilin\u00e7d\u0131\u015f\u0131n\u0131n konu\u015ftu\u011fu alanlard\u0131r. Jung\u2019un \u00e7\u00f6z\u00fcmlemek i\u00e7in kuantum fizik\u00e7isi Wolfgang Pauli ile \u00e7al\u0131\u015ft\u0131\u011f\u0131; s\u00fcrekli tekrar eden baz\u0131 ya\u015famsal kal\u0131plar, birdenbire ger\u00e7ekle\u015fen k\u00fc\u00e7\u00fck ya da b\u00fcy\u00fck fark\u0131ndal\u0131k anlar\u0131 ve anlaml\u0131 tesad\u00fcfler zincirleri, yani e\u015fzamanl\u0131l\u0131k ilkesi, bilin\u00e7d\u0131\u015f\u0131n\u0131n g\u00fcndelik hayat i\u00e7inde kendini g\u00f6sterdi\u011fi en a\u00e7\u0131k alanlar\u0131 temsil eder.<\/p>\n\n\n\n

Asl\u0131nda bu tip fenomenler (g\u00f6r\u00fc, \u00f6nbili\u015f, anlaml\u0131 rastlant\u0131, duyu-\u00f6tesi k\u00fc\u00e7\u00fck ileti\u015fimler vb.) hep vard\u0131, fakat bu ger\u00e7eklikler y\u00fczy\u0131llarca birilerinin gelip onlar\u0131 karanl\u0131ktan \u0131\u015f\u0131\u011fa \u00e7\u0131kartmas\u0131n\u0131 bekledi. E. A. Poe\u2019nun simya \u015fifreleri de ta\u015f\u0131yan i\u00e7 mek\u00e2n kurgular\u0131 ve e\u015fya felsefesine d\u00f6n\u00fck yakla\u015f\u0131mlar\u0131, keza Walter Benjamin\u2019in \u201cauratik\u201d kavram\u0131 ve i\u00e7 mek\u00e2nlardaki psi\u015fik yo\u011funla\u015fmalar \u00fczerine denemelerinde bir \u00e7e\u015fit \u00f6n-e\u015fzamanl\u0131l\u0131k ara\u015ft\u0131rmalar\u0131 sezilir. Ger\u00e7ekli\u011fe kar\u015f\u0131 tinsel bir bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 se\u00e7mi\u015f S\u00fcrrealistler ise Freud\u2019un \u201ctekinsiz\u201d olarak ele ald\u0131\u011f\u0131 ama fizik\u00f6tesi bir alana kayma riskinden dolay\u0131 \u00e7ok da derinine inmedi\u011fi kavram\u0131 al\u0131p, onu t\u00fcm hayat i\u00e7inde s\u0131namaya kalkm\u0131\u015flard\u0131r. Ortada fiziki olan ile ruhsal olan\u0131n kesi\u015fmesine dair rasyonalist bilimin pek dalmak istemedi\u011fi bulgular vard\u0131r, bilimle b\u00fcy\u00fc olarak ifade edilenin arzu ekseninde kesi\u015fti\u011fi sanat bu tekinsiz topraklara girmeye \u00e7ekinmez. S\u00fcrrealistlerin bir \u00e7e\u015fit ele\u015ftirel devamc\u0131s\u0131 say\u0131labilecek ve 68 hareketlerinin olu\u015funda etkisi olan Situasyonist Enternasyonal grubu ise d\u0131\u015f mek\u00e2nlardaki psikoco\u011frafya unsurlar\u0131 \u00fczerine pratik faaliyetler y\u00fcr\u00fct\u00fcr. Psikoco\u011frafya kentsel alandaki baz\u0131 b\u00f6lgeler ve onlar\u0131n ta\u015f\u0131d\u0131klar\u0131 \u00f6zel psikolojiler \u00fczerine ara\u015ft\u0131rma faaliyetidir. Sit\u00fcasyonist ara\u015ft\u0131rmalar bu fenomenin 300 y\u0131l\u0131 a\u015fan k\u00f6klerini k\u0131saca \u00f6zetleyip as\u0131l onun g\u00fcncel d\u0131\u015favurumlar\u0131na y\u00f6neldiler.<\/p>\n\n\n\n

Jung\u2019un \u00f6zetlemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z fenomenlere dair en radikal \u00e7\u00f6z\u00fcmlemeleri, \u00f6mr\u00fcn\u00fcn tamamlamaya yetmedi\u011fi katalitik d\u0131\u015favurum ve onu temellendiren psychoid kavramlar\u0131d\u0131r. Bu alanlarda; zamans\u0131z ve ak\u0131\u015fkan bilin\u00e7d\u0131\u015f\u0131 fenomen kendisini e\u015fzamanl\u0131l\u0131k fizi\u011fi d\u00e2hilinde g\u00f6r\u00fcn\u00fcr k\u0131lar. Jung; ki\u015fisel psi\u015felerin, di\u011fer insanlar\u0131n psi\u015felerinin de ve nesnelerde etkileri, yani katalitik d\u0131\u015favurum dedi\u011fi durumlar \u00fczerinde \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Bu konunun en bilinen nesnel \u00f6rne\u011fi; bilin\u00e7d\u0131\u015f\u0131 ve libido konusunda fikir ayr\u0131l\u0131klar\u0131n\u0131 Freud ile tart\u0131\u015f\u0131rken odadaki k\u00fct\u00fcphaneden \u0131srarl\u0131 bir bi\u00e7imde s\u00fcrekli a\u015fa\u011f\u0131 d\u00fc\u015fen kitaplard\u0131r. Yani Jung, eski ustas\u0131na bilin\u00e7d\u0131\u015f\u0131n\u0131n biyoloji d\u0131\u015f\u0131ndaki g\u00fc\u00e7lerini anlatmaya \u00e7al\u0131\u015f\u0131rken, bilin\u00e7d\u0131\u015f\u0131 fenomen buna katalitik d\u0131\u015favurumla, yani art arda d\u00f6k\u00fclen kitaplarla yan\u0131t vermi\u015ftir. G\u00fcncel new age inan\u00e7lar\u0131n, herhangi bir bili\u015fsel altyap\u0131 ya da analitik bir temel sunmaya giri\u015fmeden \u00f6nerdikleri enerjisel mek\u00e2n ya da bedensel aura temizli\u011fi yakla\u015f\u0131mlar\u0131n\u0131n arkas\u0131ndaki ger\u00e7ek temel e\u015fzamanl\u0131l\u0131k ve onun katalitik d\u0131\u015favurumlar\u0131d\u0131r.<\/p>\n\n\n\n

Teorik fizik\u00e7ilerin ortam\u0131nda yar\u0131 \u015faka yar\u0131 ciddi sohbet konusu olan \u201cPauli Etkisi\u201d diye bir konu var ve bunun sebebi Pauli\u2019nin bir laboratuvara ad\u0131m att\u0131\u011f\u0131nda s\u0131k s\u0131k ya\u015fanan, hassas deney cihazlar\u0131ndaki kazalard\u0131r. Pauli bir mektubunda bu durumu \u015f\u00f6yle anlatm\u0131\u015ft\u0131r: \u201cBenim durumumda, bilimcim ile bilin\u00e7d\u0131\u015f\u0131m aras\u0131nda gerilim ne zaman artsa, nesnel d\u00fcnya buna tuhaf ar\u0131zalarla tepki veriyor. Bu durum, zihin ile madde aras\u0131ndaki s\u0131n\u0131r\u0131n, klasik fizi\u011fin iddia etti\u011fi kadar ge\u00e7irimsiz olmad\u0131\u011f\u0131n\u0131n apa\u00e7\u0131k bir kan\u0131t\u0131d\u0131r.\u201d Jung bu deneyimi, kolektif bilin\u00e7d\u0131\u015f\u0131n\u0131n nesneleri birer kataliz\u00f6r olarak kullanarak kendini d\u0131\u015fa vurmas\u0131 olarak yorumlar ve burada arketipsel g\u00fcc\u00fcn arac\u0131s\u0131 Pauli\u2019nin fiziksel varl\u0131\u011f\u0131d\u0131r. Pauli\u2019nin ya\u015fad\u0131\u011f\u0131 psikolojik s\u0131k\u0131nt\u0131 d\u00f6nemlerinde hep yan\u0131nda olan Jung ile ba\u015flayan dostlu\u011fu, ayn\u0131 zamanda e\u015fzamanl\u0131l\u0131k \u00fczerine beraber \u00e7al\u0131\u015fmalar\u0131na da zemin sa\u011flar. Beraber, Do\u011fan\u0131n ve Psikenin A\u00e7\u0131klamas\u0131<\/em> (1952) ad\u0131nda bir metin yazarlar. Bu birliktelik e\u015fzamanl\u0131l\u0131k ilkesinin kuantum mekani\u011fi alan\u0131na a\u00e7\u0131lmas\u0131na yol a\u00e7ar. Bu ilham \u00f6zellikle birlikte zihin-madde ili\u015fkisi \u00fczerine \u00e7al\u0131\u015fmalar yapan David Bohm ve F. David Peat \u00fczerinde etkili olmu\u015ftur.<\/p>\n\n\n\n

Psychoid (psikoid) kavram\u0131, ruhsal olan ile maddi\/fiziksel olan aras\u0131ndaki ba\u011flant\u0131lar\u0131 a\u00e7\u0131klamak i\u00e7in Jung\u2019un geli\u015ftirdi\u011fi bir terimdir ve onu e\u015fzamanl\u0131l\u0131k fenomeni ile birlikte okumak gerekir. Jung bu kavram\u0131 \u00f6zellikle bilin\u00e7d\u0131\u015f\u0131n\u0131n en derin katmanlar\u0131n\u0131 a\u00e7\u0131klarken geli\u015ftirir. \u201cTam psikolojik olmayan ama tamamen fiziksel de olmayan\u201d bir alan\u0131 i\u015faret eder. Yani ruhsal olan ile fiziksel olan\u0131n s\u0131n\u0131rlar\u0131n\u0131n silindi\u011fi, ikisinin birbirinden ayr\u0131lamayaca\u011f\u0131 bir k\u00f6pr\u00fc s\u00f6z konusudur. Jung\u2019a g\u00f6re bu kavram\u0131n k\u00f6kleri, arketiplerin tamamen psikolojik olmad\u0131\u011f\u0131na, biyolojik i\u00e7g\u00fcd\u00fclere ve evrenin temel kurallar\u0131na (psikoid arketiplere) uzanabildi\u011fine i\u015faret eder.<\/p>\n\n\n\n

Jung K\u0131rm\u0131z\u0131 Kitap<\/em> anlat\u0131s\u0131 i\u00e7inde, aral\u0131 iki kar\u015f\u0131la\u015fmada ayn\u0131 arketip sembol\u00fcn\u00fcn s\u00fcre i\u00e7inde de\u011fi\u015fmedi\u011fini (K\u0131rm\u0131z\u0131 Kitap-\u00d6l\u00fcler<\/em>) deneyimler. Fakat burada ilgin\u00e7 olan Jung\u2019un bilin\u00e7d\u0131\u015f\u0131n\u0131 tarif ederken ak\u0131\u015fkan ve zamans\u0131z -yani d\u00fcn, an, yar\u0131n\u0131n tek zamanda ya\u015fand\u0131\u011f\u0131 bir boyut olarak tarif etmesidir. Fakat arketip gelece\u011fi de kapsayan bir yasa ise asl\u0131nda ayn\u0131 kalmaz (Filemon sembol\u00fc misal). Jung\u2019a g\u00f6re \u201cbir arketip; d\u00fc\u015fte, fantezide ya da ya\u015famda tezah\u00fcr etti\u011fi zaman, \u00f6yle bir etki ya da g\u00fc\u00e7 do\u011furur ki, bu sayede ya numinous (hu\u015fu olu\u015fturan, esrarl\u0131) bir etki yarat\u0131r ya da bir harekete ge\u00e7ilmesi gerekir.\u201d Jung; numinous kavram\u0131n\u0131 Rudolf Otto\u2019nun \u00e7al\u0131\u015fmalar\u0131ndan alm\u0131\u015f (T\u00fcrk\u00e7ede Kutsala Dair<\/em> kitab\u0131yla bilinen) ve onu kendi bilin\u00e7d\u0131\u015f\u0131 \u00e7\u00f6z\u00fcmlemesine eklemi\u015ftir. Bu kavram vizyon g\u00f6rme, ilahi ya da do\u011fa\u00fcst\u00fc deneyimleri de kapsar. Bu egonun kendisinden \u00e7ok b\u00fcy\u00fck bir g\u00fc\u00e7le kar\u015f\u0131la\u015fma an\u0131d\u0131r ve Jung bu deneyimleri bireyselle\u015fme s\u00fcrecinde ki\u015fili\u011fin \u00e7e\u015fitli y\u00f6nlerinin b\u00fct\u00fcnle\u015ftirilmesi i\u00e7in kullanm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Ki\u015fisel bilin\u00e7d\u0131\u015f\u0131 ile uyumlanmay\u0131 se\u00e7en bireyin \u00f6ncelikle kendi \u201ckendili\u011fini ke\u015ffetmesi\u201d, yani ad\u0131na persona dedi\u011fimiz g\u00fcndelik ya\u015fam\u0131 s\u00fcrd\u00fcrmek i\u00e7in takt\u0131\u011f\u0131m\u0131z \u00e7e\u015fitli sosyal maskeleri tespit etmesi ve zihnindeki \u00f6z ile bu personalar\u0131 ay\u0131rmas\u0131 gerekmektedir. Bilin\u00e7d\u0131\u015f\u0131 erkekte di\u015fil prensip (anima), kad\u0131nlarda eril prensip (animus) olarak sirayet eder. Kad\u0131n ile erkek aras\u0131nda birlik ve z\u0131tl\u0131klar asl\u0131nda her bireyin i\u00e7inde ba\u015flar. O y\u00fczden bu s\u00fcre\u00e7 kar\u015f\u0131t kimlikle tan\u0131\u015fma ve uzla\u015f\u0131 aramay\u0131 ifade eder. Jung, bu durumu \u201cger\u00e7ekten b\u00fcy\u00fck bir bilge ki\u015fi olan koca Herakleitos psikoloji yasalar\u0131n\u0131n en harikas\u0131n\u0131 ke\u015ffetmi\u015fti: kar\u015f\u0131tlar\u0131n ayarlay\u0131c\u0131 i\u015fleviydi s\u00f6z konusu olan. Buna, tersine ko\u015fmak anlam\u0131na gelen enantiodromia demi\u015fti; bundan anlad\u0131\u011f\u0131 her \u015feyin er ya da ge\u00e7 kar\u015f\u0131t\u0131na do\u011fru ko\u015faca\u011f\u0131 idi\u201d \u015feklinde \u00f6zetler. Jung, kabaca s\u00f6ylersek, ki\u015fisel bilin\u00e7d\u0131\u015f\u0131 s\u00fcre\u00e7ler ile y\u00fczle\u015fen ya da onu anlamaya \u00e7al\u0131\u015fanlar\u0131n kar\u015f\u0131la\u015ft\u0131klar\u0131 sembolleri ve sembolik ki\u015fileri (arketipleri) tan\u0131ma \u00e7abas\u0131na girmesini \u00f6nerir. Fakat bu \u00e7aba ciddi bir bilgi, ara\u015ft\u0131rma ve yo\u011funla\u015fma gerektirir. Ama herhangi bir bireyin, bilin\u00e7d\u0131\u015f\u0131na mit ad\u0131 verip, onu kendi \u00e7al\u0131\u015fmas\u0131n\u0131n merkezine alan Joseph Campbell gibi mitler tarihine h\u00e2kim olmas\u0131 zordur. Fakat Mircea Eliade\u2019\u0131n \u00fc\u00e7 ciltlik Dinler ve D\u00fc\u015f\u00fcnceler Tarihine Giri\u015f<\/em> \u00e7al\u0131\u015fmas\u0131n\u0131 okumak temel mit ve efsanelere h\u00e2kim olmak i\u00e7in iyi bir ba\u015flang\u0131\u00e7t\u0131r. Bu tip oylumlu ve d\u00fcnya ekseninde yap\u0131lm\u0131\u015f ara\u015ft\u0131rma sayesinde Jung\u2019un derinine indi\u011fi bir\u00e7ok kal\u0131b\u0131n \u00e7e\u015fitli zaman ve co\u011frafyalarda nas\u0131l tekrar etti\u011fini, bir \u00f6r\u00fcnt\u00fc olu\u015fturdu\u011funu g\u00f6rebiliriz.<\/p>\n\n\n\n

Fakat konu her bir ki\u015finin \u201cbireysel bilin\u00e7d\u0131\u015f\u0131n\u0131\u201d a\u015f\u0131p, kolektif bilin\u00e7d\u0131\u015f\u0131na girmek ise bu i\u015fe giri\u015fmek \u00e7ok risklidir. Ona dair birka\u00e7 kitap okuyup ya da uzun videolar izleyip a\u015f\u0131lacak bir e\u015fik de\u011fildir kolektif bilin\u00e7d\u0131\u015f\u0131. Bilin\u00e7d\u0131\u015f\u0131 ile ba\u011flant\u0131 kurulan numinous h\u00e2linde muhatab\u0131m\u0131z\u0131n kim oldu\u011funu bilemeyiz, o y\u00fczden bu deneyim Jung\u2019un tabiriyle insan\u0131 \u00e7arpar, darmada\u011f\u0131n eder. Ve hatta bu yolda ne oldu\u011funu bile bilmedi\u011fimiz bir arketip taraf\u0131ndan ele bile ge\u00e7irilebiliriz. Jung\u2019un kendine d\u00f6n\u00fck bilin\u00e7d\u0131\u015f\u0131 ara\u015ft\u0131rmas\u0131n\u0131n d\u00f6k\u00fcm\u00fc olan K\u0131rm\u0131z\u0131 Kitap<\/em>\u2019ta aktar\u0131lan deneyimler bile, i\u00e7inde dal\u0131nan bu alan\u0131n ne kadar tehlikeli ve karanl\u0131k bir b\u00f6lgeye yolculuk oldu\u011funun en bariz delilidir. Bu deneyim insan ki\u015fili\u011fini bamba\u015fka bir y\u00f6ne iter. Jung\u2019un s\u0131k s\u0131k verdi\u011fi \u00f6rnekler; H\u0131ristiyanl\u0131\u011f\u0131 bast\u0131rmak i\u00e7in gitti\u011fi Suriye yolunda \u0130sa ile konu\u015ftu\u011funu s\u00f6yleyen Aziz Paul, Faust<\/em>\u2019u yazmaya hayat\u0131n\u0131 adayan Goethe, Zerd\u00fc\u015ft taraf\u0131ndan ele ge\u00e7irilip delili\u011fe s\u00fcr\u00fcklenen Nietzsche\u2019dir. Bu y\u00fczden kolektif bilin\u00e7d\u0131\u015f\u0131 Jung i\u00e7in b\u00fct\u00fcnle\u015fme s\u00fcrecinin d\u0131\u015f\u0131ndad\u0131r ve hatta herkes tek tek g\u00f6lge yan\u0131 g\u00fc\u00e7l\u00fc ortak bilin\u00e7d\u0131\u015f\u0131ndan \u00e7\u0131karak, benli\u011fini kurma \u015fans\u0131 bulabilir. Jung buna ben ile ben olmayan\u0131n ayr\u0131lmas\u0131 s\u00fcreci diyordu.<\/p>\n\n\n\n

Jung\u2019un bahsetti\u011fi bireyselle\u015fme s\u00fcrecini ya\u015fam\u0131\u015f ki\u015fi; yani ego ve onun sosyal maskeleri, personalar\u0131n\u0131 \u00e7\u00f6z\u00fcmlemi\u015f ve ben\u2019in direksiyonunun sorumlulu\u011funu \u00fcstlenmi\u015f, anima (ya da animus) taraf\u0131yla y\u00fczle\u015fmi\u015f, g\u00f6lgesi ile sa\u011fl\u0131kl\u0131 ileti\u015fim kurmu\u015f ya da uzla\u015f\u0131m yolu bulmu\u015f ki\u015fi, zihni ve bedeniyle bir taml\u0131k i\u00e7inde ve senkronize olur. B\u00f6yle oldu\u011fu i\u00e7in do\u011fan\u0131n ak\u0131\u015f dinamikleri ile kavga etmez, Tao \u00f6rne\u011finde oldu\u011fu gibi hayat\u0131 bir ak\u0131\u015f olarak deneyimler. Ku\u015fkusuz \u00e7ok engebeli ve sarp bir yoldur. San\u0131r\u0131m bunu yapmak i\u00e7in askeri hayat\u0131 s\u00fcrd\u00fcrme fonksiyonlar\u0131n\u0131n maddi ve manevi \u00e7\u00f6zm\u00fc\u015f olmak; d\u0131\u015f tesire kar\u015f\u0131 kur\u015fun ge\u00e7irmez olmak da gerekir. S\u00fcre\u00e7 uzun ve me\u015fakkatlidir. Ama ucunda bu d\u00fcnyaya veda etmeden bir kez bile olsa \u00f6zg\u00fcr soluk alma \u015fans\u0131 bekler.<\/p>\n\n\n\n

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\u201cYeniden do\u011fum i\u00e7in saf olmayan suyla vaftiz edildim. Cehennem ate\u015finden kopan alev, vaftiz kurnas\u0131n\u0131n \u00fczerinde beni bekledi. Kendimi saf olmayanla y\u0131kad\u0131m ve pislikle ar\u0131nd\u0131rd\u0131m. Onu kabul ettim, tanr\u0131sal karde\u015fi, yery\u00fcz\u00fcn\u00fcn o\u011flunu, iki cinsiyetli ve saf olmayan\u0131 benimsedim ve geceleyin insan oldu\u2026 Onu yakalad\u0131m, alt ettim ve kucaklad\u0131m. Benden \u00e7ok \u015fey istedi ama her \u015feyi beraberinde getirdi. O vars\u0131l \u00e7\u00fcnk\u00fc; yery\u00fcz\u00fc onun.\u201d <\/em><\/strong>Jung, K\u0131rm\u0131z\u0131 Kitap, Liber Secundus-Nox Quarta b\u00f6l\u00fcm\u00fc, Kakn\u00fcs Kitap<\/em><\/p>\n<\/blockquote>\n\n\n\n

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(XXII) Su\u00e7lular, Su\u00e7 Olarak Dil ve Tao<\/h1>\n\n\n\n
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\u201cG\u00f6zlerimizi kapat\u0131yoruz \u00e7\u00fcnk\u00fc g\u00f6rmek bizi su\u00e7 orta\u011f\u0131 yap\u0131yor. Ama g\u00f6z kapaklar\u0131n\u0131n ard\u0131ndaki o karanl\u0131k d\u0131\u015far\u0131daki vah\u015fetten daha uyan\u0131k.\u201d<\/strong><\/em> <\/em><\/strong>Roberto Bola\u00f1o \/ 2666<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cTepelere bak, \u015fimdi y\u00fcz\u00fcme bak
G\u00f6zlerimi fark ettin mi, onlar do\u011fru yerde mi?\u201d <\/em><\/strong>Siouxsie and the Banshees \/ Paradise Place<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cBazen geceleri, her \u015fey sustu\u011funda; d\u00fcnyan\u0131n asl\u0131nda devasa bir g\u00f6z oldu\u011funu ve bize de\u011fil, kendi i\u00e7ine, kendi karanl\u0131\u011f\u0131na bakt\u0131\u011f\u0131n\u0131 hissederim.\u201d <\/strong>Roberto Bola\u00f1o \/ Katil Orospular<\/em><\/p>\n<\/blockquote>\n\n\n\n

Yazar, sanat\u00e7\u0131 ve daha bir\u00e7ok \u015fey olan William S. Burroughs (WSB) silahlar\u0131 seven bir insand\u0131, hatta bir d\u00f6nem shooting painting ad\u0131n\u0131 verdi\u011fi ate\u015f ederek, kendine \u00f6zg\u00fc tarzda resimler de yapm\u0131\u015ft\u0131. Bir e\u015fcinsel olarak WSB\u2019nin neden bir kad\u0131n ile evlendi\u011fi \u00fczerine d\u00fc\u015f\u00fcn\u00fclecek bir konudur. Rivayet odur ki tarihsel kahraman William Tell\u2019in canl\u0131 hedeflerin kafas\u0131na koydu\u011fu elmay\u0131 okla vurmas\u0131n\u0131 tabanca ile yineliyormu\u015f. Ve bu oyunlar\u0131n birinde elmay\u0131 de\u011fil e\u015fini vurup, \u00f6l\u00fcm\u00fcne sebep oldu. Ve bir cinayet \u015f\u00fcphelisi olarak bir s\u00fcre ka\u00e7ak ya\u015fad\u0131. WSB\u2019ye g\u00f6re bu bir kazayd\u0131. Bu olay\u0131 \u201cbir adam bir kad\u0131n\u0131 \u00f6ld\u00fcrd\u00fc\u201d \u015feklinde okumak da m\u00fcmk\u00fcn. Fakat WSB queer kimli\u011fi ve yaz\u0131n\u0131 nedeniyle yarg\u0131lanm\u0131\u015f bir insan. \u0130\u015fin asl\u0131 yaln\u0131z de\u011fil, Katy Acker ya da Jean Genet \u201csu\u00e7 dosyalar\u0131 kabar\u0131k\u201d queer sanat\u00e7\u0131lar. Keza \u201cerkek do\u011frama manifestosu\u201dnu yazan Valeri Solanas\u2019\u0131n vurdu\u011fu Andy Warhol da \u00f6lebilirdi.<\/p>\n\n\n\n

Ama bu yaz\u0131n\u0131n konusu sanat ve su\u00e7 de\u011fil. Biraz ironik ifadeyle ve verev bir bak\u0131\u015fla; dilin do\u011fu\u015fuyla bir su\u00e7 zinciri mi ba\u015flad\u0131 ona bakmak istiyoruz. WSB dili \u201cd\u0131\u015f uzaydan gelen bir vir\u00fcs\u201d olarak tan\u0131mlar. Vir\u00fcsler canl\u0131 ile cans\u0131z aras\u0131nda tuhaf ara b\u00f6lgede var olurlar. Kendi ba\u015flar\u0131na ya\u015fayamaz ve bir kona\u011fa ihtiya\u00e7 duyarlar. WSB\u2019ye g\u00f6re kelimeler insan zihnine yerle\u015fir ve ku\u015faktan ku\u015fa\u011fa her \u015feyimizi belirlemek \u00fczere bula\u015f\u0131rlar. Yani insan dili icat etmedi, bir bak\u0131ma dil insan\u0131 yaratt\u0131. Tabii atalar\u0131m\u0131z yakla\u015f\u0131k \u00fc\u00e7 ya da iki bu\u00e7uk milyon y\u0131l \u00f6nce alet yapmaya ba\u015flad\u0131klar\u0131nda, do\u011faya m\u00fcdahale etmeye ba\u015flam\u0131\u015ft\u0131. Dilin ke\u015ffi ise 100 ya da 70 bin y\u0131l \u00f6nce ger\u00e7ekle\u015fti. Yani beyni geli\u015fmeye ba\u015flam\u0131\u015f, hayvan olmaktan \u00e7\u0131km\u0131\u015f atalar\u0131m\u0131z\u0131n dili bulmas\u0131 baya\u011f\u0131 uzun s\u00fcrd\u00fc. Bu y\u00fczden Chomsky ekol\u00fcn\u00fcn beklenmedik bir mutasyon ile dilin geli\u015fti\u011fi d\u00fc\u015f\u00fcncesi, WSB\u2019nin teorisiyle bir \u015fekil \u00f6rt\u00fc\u015f\u00fcr.<\/p>\n\n\n\n

WSB dil insan\u0131 yaratt\u0131 derken, insan\u0131n kelimelerle kurulmu\u015f bir kafeste ya\u015fad\u0131\u011f\u0131 d\u00fc\u015f\u00fcncesini \u00f6ne s\u00fcrer. Yasalar, kontrol, yasaklar, dinler, ahlak, ideolojiler, ulusal ayr\u0131mlar hep dil vir\u00fcs\u00fc \u00fczerinden yay\u0131l\u0131r. Dil \u00f6ncesi insan hayvanlar \u00e2leminden kopmu\u015f ama bir toplum olmam\u0131\u015ft\u0131r. Toplum deyince k\u00fclt\u00fcr\u00fcn ve uygarl\u0131\u011f\u0131n sayac\u0131n\u0131n s\u0131n\u0131r noktas\u0131n\u0131 hayal edelim; en k\u00fc\u00e7\u00fck topluluk \u00fc\u00e7 ki\u015fi ile yola koyulmu\u015ftu. Dilin meydana gelmesi i\u00e7in korteksin geli\u015fmesi, beynin soyut d\u00fc\u015f\u00fcnce \u00fcretir h\u00e2le gelmesi gerekiyordu. Fakat WSB\u2019ye g\u00f6re bilincin kendisi, s\u00fcrekli konu\u015fan bir \u00e7e\u015fit \u201ci\u00e7 ses\u201dtir. Ki\u015finin devaml\u0131 kendi i\u00e7inde konu\u015fmas\u0131yla vir\u00fcs k\u00f6kle\u015fir ve konu\u015farak salg\u0131na neden olur. Bu y\u00fczden insan t\u00fcr\u00fc dilin ke\u015ffinden \u00f6nce sahip oldu\u011fu do\u011fal bir \u00f6zg\u00fcrl\u00fc\u011f\u00fc yitirmi\u015ftir. Bu \u00f6zg\u00fcrl\u00fck akla Tao ve Jung\u2019un bilin\u00e7d\u0131\u015f\u0131 dedi\u011fi \u015feyi getirir.<\/p>\n\n\n\n

Burada bahsetmek istedi\u011fimiz di\u011fer bir su\u00e7lu ise, akut bir psikotik kriz esnas\u0131nda kar\u0131s\u0131n\u0131n \u00f6l\u00fcm\u00fcne sebep olan filozof Althusser\u2019dir. \u0130fadesinde kar\u0131s\u0131n\u0131 ondan istedi\u011fi boyun masaj\u0131n\u0131 yaparken \u00f6l\u00fc buldu\u011funu s\u00f6yler, mahkeme cezai ehliyetinin olmad\u0131\u011f\u0131na kanaat getirir. Fakat Althusser\u2019in bu yaz\u0131da bulunma sebebi bu travmatik durumdan \u00f6te, dili t\u0131pk\u0131 WSB gibi riskli bir yap\u0131 olarak g\u00f6rmesidir. Althusser\u2019e g\u00f6re dil toplumsal\u0131 \u00fcretmekle kalmam\u0131\u015f ayn\u0131 zamanda onu s\u00fcrekli yeniden-yeniden \u00fcretilmesini de sa\u011flam\u0131\u015ft\u0131r. \u0130nsan\u0131 \u00f6zne yapan ona g\u00f6re dildir, yani birine \u201chey sen\u2026\u201d diye seslendi\u011fimiz an, \u00f6znele\u015fme ba\u015flar ve ideoloji kurulur. Bu \u201c\u00e7a\u011fr\u0131lma\u201d \u00e7ok \u00f6nemlidir, \u00e7\u00fcnk\u00fc insan biyolojik olarak do\u011far, ama ideolojik olarak dil i\u00e7inde s\u00fcrekli yeniden do\u011fmaya devam eder.<\/p>\n\n\n\n

Althusser bu teorisini olu\u015ftururken Lacanc\u0131 psikanalizin dile yakla\u015f\u0131mdan esinlenmi\u015ftir. Lacan \u201cbilin\u00e7d\u0131\u015f\u0131 dil gibi yap\u0131lanm\u0131\u015ft\u0131r\u201d der, yani \u00f6zne dili kullanmaz dil \u00f6zneyi kullan\u0131r. Lacan\u2019\u0131n \u201cbilin\u00e7d\u0131\u015f\u0131\u201d kuram\u0131nda dil, \u00f6znenin eksikli\u011fi \u00fczerine kurulur. Bu yakla\u015f\u0131m\u0131n Jung\u2019un kulland\u0131\u011f\u0131 anlamda bilin\u00e7d\u0131\u015f\u0131 ile hi\u00e7bir ba\u011f\u0131 yoktur. Jung\u2019a g\u00f6re bilin\u00e7d\u0131\u015f\u0131n\u0131n kendi dili vard\u0131r ve o asli olarak imgeler, g\u00f6r\u00fcler, semboller ve r\u00fcyalar vas\u0131tas\u0131yla konu\u015fur. Yani Jung\u2019a g\u00f6re bilin\u00e7d\u0131\u015f\u0131 dil s\u00f6zsel ya da sessel olmaktan \u00f6te g\u00f6rseldir. Dilin bulunu\u015fu s\u00fcrecinin melekleri ve \u015feytanlar\u0131n\u0131 bir yana b\u0131rak\u0131p, \u015fimdi onu kuran anlama giden yolu tekrar d\u00fc\u015f\u00fcnelim istiyorum. Ku\u015fkusuz, ilk kelimeden \u00f6nce ilk bak\u0131\u015f ve ilk duyu\u015f vard\u0131. Buradan gidersek, yapaca\u011f\u0131m\u0131z okuma vas\u0131tas\u0131yla do\u011fayla b\u00fct\u00fcn ya\u015fayan atalar\u0131m\u0131z\u0131n hissetti\u011fi Tao\u2019ya giden yolu da canland\u0131rabiliriz.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcnme, nesne ve kavramlar\u0131 temsil eden bir sistem kurup, bu belirtilerle i\u015flem yapabilmek yetene\u011fiyle ger\u00e7ekle\u015fir. Konu\u015fma eylemi ise \u00fc\u00e7l\u00fc bir yap\u0131 izler, kelimeler d\u00fc\u015f\u00fcn\u00fcl\u00fcr, bu kar\u015f\u0131l\u0131kl\u0131 bir konu\u015fma ise kar\u015f\u0131dan gelen ses duyulur ve yorumlan\u0131r; son olarak s\u00f6ylenecek s\u00f6zc\u00fck ses olarak \u00e7\u0131kar. Fakat bu s\u00fcrecin \u00f6ncesi vard\u0131r yani insan t\u00fcr\u00fc konu\u015fmadan \u00f6nce ses ve g\u00f6r\u00fcnt\u00fc ile tan\u0131\u015fma s\u00fcrecini ya\u015far. Ki evrimsel s\u00fcre\u00e7te her bili\u015fsel geli\u015fme a\u015famas\u0131 aras\u0131nda binlerce y\u0131l\u0131 bulan ya\u015fam s\u00fcre\u00e7leri vard\u0131r ve \u00f6\u011frenilen beceri soya aktar\u0131larak devam eder. Atalar\u0131m\u0131z ilk \u00f6nce \u00e7evresini g\u00f6zlemledi, do\u011fan\u0131n bitmez dip g\u00fcr\u00fclt\u00fcs\u00fcn\u00fc dinledi ve belki de baz\u0131 taklitler yapt\u0131 yani ilk \u00f6nce sembol\u00fc ke\u015ffetti. Kelimeleri icat etmeden \u00f6nce baz\u0131 sesler (h\u0131r\u0131lt\u0131lar) \u00e7\u0131kar\u0131yor, sessiz tiyatro pantomim \u00f6rne\u011findeki gibi bedeniyle i\u015faretler veriyordu (yani dilin ke\u015ffinden \u00f6nce bir proto-dil vard\u0131).<\/p>\n\n\n\n

E. Cassirer\u2019e g\u00f6re sembol, \u201csimge, bir d\u00fc\u015f\u00fcnce, fikir ya da nesnenin yerini tutan, g\u00f6zle g\u00f6r\u00fcl\u00fcr ve anlam\u0131 bilinir olan\u201d ortak i\u015faretti. Yani sembol \u201cbir anlam, bir nitelik, soyutlama ya da nesneyi g\u00f6stermek, ifade etmek i\u00e7in kullan\u0131lan s\u00f6zc\u00fck, i\u015faret ya da mimiktir\u201d. Sembolle\u015ftirme g\u00f6rerek ya da duyarak alg\u0131lanan \u015feyin, \u00f6nce zihinde anlamlanmas\u0131 ve sonras\u0131nda tan\u0131mlanmas\u0131 s\u00fcrecidir. Sonraki fark\u0131na varma an\u0131, g\u00f6r\u00fcnt\u00fcy\u00fc ses ile senkronize etmek, ikisini zihinde birle\u015ftirmektir. Ve bunu yaparken insan beyni ayn\u0131 zamanda ilk foto\u011fraf karesini \u00e7ekti, bu g\u00f6r\u00fcnt\u00fcy\u00fc beyine (haf\u0131zaya) kaz\u0131nd\u0131, \u00f6nce sembol, sonra dil ile aktar\u0131ld\u0131 ve depoland\u0131. Yani tek bir bak\u0131\u015f\u0131 bir k\u00fc\u00e7\u00fck polaroid bask\u0131s\u0131 olarak d\u00fc\u015f\u00fcn\u00fcrsek zihin \u00e7o\u011falan imgelerden bir \u00e7e\u015fit foto alb\u00fcm\u00fc yapt\u0131.<\/p>\n\n\n\n

\u201cBir leopar nehirden su i\u00e7iyordu.\u201d<\/p>\n\n\n\n

Yani ilk bak\u0131\u015ftan ilk deneyime bir ba\u011f kuruldu. Ki deneyim b\u00fct\u00fcnsel olma hevesindedir, g\u00f6z ve kulaktan beyne, beyin sinyalleri ya da elektri\u011fiyle t\u00fcm v\u00fccuda yay\u0131l\u0131r, bedenselle\u015fir. Bu ilk karenin ba\u015fkala\u015fm\u0131\u015f bir formda gece r\u00fcyaya girmesi sadece ilk sembolle\u015ftirmeyi do\u011furmaz, art\u0131k insan olan primata soyluya b\u00fct\u00fcnsel do\u011fa ile ba\u011flant\u0131sall\u0131k i\u00e7inde oldu\u011funu da hissettirir. Primitif insan t\u0131pk\u0131 bir \u00e7ocuk gibi insanla hayvan, canl\u0131 ile cans\u0131z aras\u0131nda s\u0131n\u0131rlar koymaz; b\u00fcy\u00fck ihtimalle hepsiyle bir \u015fekil konu\u015fur. Bunun sonucu insan bu ilk g\u00f6r\u00fcnt\u00fc (ve onun yeniden kurgulanarak \u00fcretimi r\u00fcya) vas\u0131tas\u0131yla, yani zihninde canlanan bilin\u00e7d\u0131\u015f\u0131 arketipler arac\u0131l\u0131\u011f\u0131yla do\u011fa ile bir fark\u0131ndal\u0131k, hissiyat ili\u015fkisi ya\u015far.<\/p>\n\n\n\n

Su, leopar, a\u011fa\u00e7…<\/p>\n\n\n\n

Bu fark\u0131ndal\u0131klar ve onlar\u0131n yaratt\u0131\u011f\u0131 yeni hissiyatlar nesilden nesile \u00f6nce s\u00f6zel, sonra g\u00f6rsel (sanat) hik\u00e2yelerle aktar\u0131l\u0131p, depoland\u0131k\u00e7a; ayn\u0131 zamanda insan\u0131n mana \u00e2lemini de bir str\u00fckt\u00fcr olarak in\u015fa ediliyordu. Bu y\u00fczden avc\u0131 toplay\u0131c\u0131lar, g\u00f6\u00e7erler, \u015famanlar ve heterodoks dervi\u015fler su ile konu\u015fur, ku\u015f ile \u015fark\u0131 s\u00f6yler ve leopar gibi s\u0131\u00e7rayarak dans etmeyi bilirlerdi. Mana \u00e2lemi zamanla insan mahsul\u00fc yeni semboller \u00fcretip, yap\u0131ya ve yontuya d\u00f6n\u00fc\u015ft\u00fc. Ba\u015ftaki mana \u00e2lemi mek\u00e2ns\u0131zd\u0131 yani her yerdeydi ve insan i\u00e7in \u00f6zel bir sembol yaratma ihtiyac\u0131 yoktu. \u00c7\u00fcnk\u00fc her \u015fey kutsald\u0131 ve t\u00fcm ya\u015fam sembold\u00fc. Bu konumu Jung \u201cunus mundus\u201d ya da b\u00fct\u00fcnsel d\u00fcnya olarak adland\u0131rd\u0131. Jung, E\u015fzamanl\u0131l\u0131k incelemesi i\u00e7inde Chuang Tzu \u00fczerinden do\u011fadaki Tao kavram\u0131n\u0131 yoklar. Zhuangzi Metinleri \u201ceskinin bilgeleri, ba\u015flang\u0131\u00e7 olarak \u015feylerin var olmad\u0131\u011f\u0131 bir durumu se\u00e7tiler. Bu, \u00f6tesine ge\u00e7emeyece\u011fin en u\u00e7 s\u0131n\u0131rd\u0131r. \u0130kinci varsay\u0131m, \u015feylerin var oldu\u011fu ama ayr\u0131lmad\u0131\u011f\u0131 durumdur. Sonraki, \u015feylerin bir anlamda ayr\u0131ld\u0131\u011f\u0131 ama do\u011frulama ile yanl\u0131\u015flaman\u0131n ba\u015flamad\u0131\u011f\u0131 durumdu. Do\u011frulama ile yanl\u0131\u015flama ba\u015flad\u0131\u011f\u0131nda Tao soldu. Tao solduktan sonra tek yanl\u0131 ba\u011fl\u0131l\u0131klar geldi.\u201d der.<\/p>\n\n\n\n

Zhuangzi\u2019ye g\u00f6re \u201cd\u0131\u015far\u0131dan duyulan kulaktan \u00f6teye gitmemeli; anlama yetisi ayr\u0131 bir varolu\u015fa yol a\u00e7maya \u00e7al\u0131\u015fmamal\u0131, b\u00f6ylece ruh bo\u015f olabilir b\u00fct\u00fcn d\u00fcnyay\u0131 so\u011furabilir. Bu bo\u015flu\u011fu dolduran Tao\u2019dur.\u201d Yani; do\u011fada bulunan \u201ckendi ba\u015f\u0131na anlam\u201d Tao\u2019dur. Var olmak i\u00e7in insana ve onun logosuna ihtiya\u00e7 duymaz. Jung\u2019a g\u00f6re e\u015fzamanl\u0131l\u0131k fenomenleri vas\u0131tas\u0131yla bug\u00fcn h\u00e2l\u00e2 onunla k\u00fc\u00e7\u00fck ba\u011flant\u0131lar kurabiliyoruz. \u0130nsan anlam\u0131 ararken kendinde olan bir eti\u011fi ya da fikri de\u011fil k\u00e2inatta olan bir \u00f6z\u00fc arar. Bu y\u00fczden anlam aray\u0131\u015f\u0131n\u0131n \u015fu ana dek bulunmu\u015f s\u0131f\u0131r noktas\u0131n\u0131 temsil eden G\u00f6beklitepe ve di\u011fer Ta\u015f Tepeler kaz\u0131lar\u0131ndaki ilk kamusal heykel ve yontularda Tanr\u0131, y\u00fcce rahip, ilahi kral, \u015feytan, melek tasvirleri de\u011fil, salt insan ve hayvan sembolleri olmas\u0131 \u015fa\u015f\u0131rt\u0131c\u0131 de\u011fildir. Hatta baz\u0131 hibrit canl\u0131 fig\u00fcrleri insan ile do\u011fan\u0131n i\u00e7 i\u00e7e olu\u015fu ve bunun kavran\u0131\u015f\u0131n\u0131 sembolize ediyor olabilir. G\u00f6z g\u00f6rd\u00fck\u00e7e, zihin kavrad\u0131k\u00e7a, beden hissedip, ruh \u00fcrperdik\u00e7e bu aray\u0131\u015f s\u00fcrecektir.<\/p>\n\n\n\n

Belki de s\u00fcrrealist Andr\u00e9 Breton\u2019un dedi\u011fi gibi varolu\u015f h\u00e2l\u00e2 ba\u015fka bir yerde.<\/p>\n\n\n\n

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(XXIII) Philip K. Dick\u2019in \u00dc\u00e7 Stigmatas\u0131: Gnosis, Sim\u00fclasyon, Cosmogenesis<\/h1>\n\n\n\n
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\u201cOlas\u0131 her d\u00fcnyada s\u0131radan bir pazartesi g\u00fcn\u00fcyd\u00fc.\u201d <\/em><\/strong>PKD \/ G\u00f6kteki G\u00f6z<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cBunun i\u00e7in dua etmi\u015fti ama buna dua demeye cesaret edememi\u015fti. \u00c7\u00fcnk\u00fc Berkeley\u2019de hi\u00e7 kimse \u2018dua\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fc kullanmazd\u0131.\u201d <\/em><\/strong>PKD \/ Albemuth \u00d6zg\u00fcr Radyo<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201c\u00c7evremizdeki d\u00fcnya, her an bir tiyatro dekoru gibi y\u0131k\u0131lacakm\u0131\u015f hissi veriyor. Dokundu\u011fumuz her \u015fey, arkas\u0131nda bamba\u015fka bir \u015fey saklayan ge\u00e7ici bir maskeden ibaret.\u201d <\/em><\/strong>PKD \/ Ubik<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u00c7o\u011funluk g\u00fcndelik i\u00e7inde akarken, baz\u0131 hassas ruhlar ger\u00e7eklik sahnesi ve kozmik bilmece aras\u0131nda s\u0131k\u0131\u015f\u0131r. S\u00fcrekli olarak var olu\u015fun bilmecesini, arkas\u0131ndaki mant\u0131k, anlam ve nedeni arayan ki\u015fi i\u00e7in g\u00fcndelik hayat\u0131 \u201cnormal\u201d s\u00fcrd\u00fcrebilmek zordur. Amerikal\u0131 yazar PK Dick, bir taraftan romanlar yaz\u0131p hayat\u0131n\u0131 s\u00fcrd\u00fcrmeye \u00e7al\u0131\u015f\u0131rken asli amac\u0131 ise bu b\u00fcy\u00fck s\u0131rr\u0131 \u00e7\u00f6zmekti. Bu y\u00fczden romanlar\u0131nda ger\u00e7ekli\u011fin ne oldu\u011fu, insan do\u011fas\u0131 ve kimli\u011fini neyin ay\u0131rt etti\u011fi sorular\u0131 \u00f6ne \u00e7\u0131kt\u0131. Dick ya\u015fad\u0131\u011f\u0131 \u00f6znel deneyimlerle ba\u015f edebilmek i\u00e7in bir\u00e7ok farkl\u0131 aray\u0131\u015fa (terapi, psikanaliz, I Ching, uyar\u0131c\u0131lar vb.) girse de ana faaliyeti yazd\u0131\u011f\u0131 kadar s\u00fcrekli okumakt\u0131r; ki bu okuma s\u00fcre\u00e7leri ana yaz\u0131m sahas\u0131 olan bilimkurgunun bili\u015fsel mant\u0131\u011f\u0131 ile de i\u00e7 i\u00e7e girer. Bunun sonucu olarak Dick kendini, felsefe, mitoloji, fizik, teoloji, sibernetik, ezoterizm, psikoloji, kozmoloji gibi ba\u015fl\u0131klarda alayl\u0131 bir profesyonele d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Sanki bir hastal\u0131\u011fa sahiptir ama hi\u00e7bir hekim buna \u00e7are bulamay\u0131nca, hasta kendi tedavi y\u00f6ntemini bulmaya hayat\u0131n\u0131 adam\u0131\u015ft\u0131r. Bunun sonucu \u00e7ok geni\u015f bir d\u00fcnya alg\u0131s\u0131, yarat\u0131c\u0131 paranoya ve kendine has bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fcd\u00fcr (bu aray\u0131\u015f\u0131n menziline daha fazla girmek isteyenler Y\u0131k\u0131m\u0131n \u015eafa\u011f\u0131nda – Bir PKD Kaz\u0131s\u0131 (Sub Press) kitab\u0131mdan ilerleyebilir).<\/p>\n\n\n\n

Yarat\u0131c\u0131 paranoya dedik ama bunu \u00e7ok a\u011f\u0131r psiko-patolojiden \u00f6te, kendi varl\u0131\u011f\u0131 d\u00e2hil her \u015feye fiziksel ve metafiziksel bir \u201c\u015f\u00fcpheyle bakma\u201d tavr\u0131 demek daha hakkaniyetli olur. Dick \u201cevrenin var oldu\u011funa inanm\u0131yorum. Var olan tek \u015feyin Tanr\u0131 oldu\u011funa ve O\u2019nun evrenden daha b\u00fcy\u00fck oldu\u011funa inan\u0131yorum\u201d der. Ona g\u00f6re evren, Tanr\u0131\u2019n\u0131n uzay ve zamana uzanm\u0131\u015f h\u00e2lidir. Ya\u015fan\u0131lan \u201cs\u00f6zde ger\u00e7eklik\u201d ise tamamen belirsiz b\u0131rak\u0131lm\u0131\u015f nedenlerle hepimizin inanmas\u0131 gereken kitlesel hal\u00fcsinasyondur. Ger\u00e7ekli\u011fin yan\u0131lt\u0131c\u0131 bi\u00e7imde yay\u0131lmas\u0131n\u0131, Antik Yunan d\u00fc\u015f\u00fcncesinde Doxa ya da dokos, Hint d\u00fc\u015f\u00fcncesindeki \u00f6rt\u00fc Maya ve onun devaml\u0131l\u0131\u011f\u0131n\u0131 sa\u011flayan cehalet a\u011f\u0131 Avidya kavramlar\u0131yla a\u00e7\u0131klar.<\/p>\n\n\n\n

Fakat konu bu \u00f6zetten \u00e7ok karma\u015f\u0131kt\u0131r:<\/p>\n\n\n\n

A – bir de\u011fil iki tanr\u0131 vard\u0131r.<\/p>\n\n\n\n

C – ger\u00e7eklik \u00fcst \u00fcste binmi\u015f iki katmandan olu\u015fur.<\/p>\n\n\n\n

B – ayn\u0131 anda iki zaman \u00e7izgisi ya\u015fan\u0131r.<\/p>\n\n\n\n

\u0130kili tanr\u0131 konusunda Dick, gnostik kozmolojiden yararlan\u0131r. Evreni yaratan ve kusursuz bir taml\u0131k ifade eden g\u00fc\u00e7 ile bu d\u00fcnyay\u0131 yaratan eksik ve kusurlu tanr\u0131y\u0131 (Demiourgos ya da Yaldabaoth) birbirinden ay\u0131r\u0131r. Kusurlu mimar sadece maddi evreni yaratm\u0131\u015f ve ruhlar\u0131 fiziksel bedenlerle orada hapsetmi\u015ftir. Dick\u2019e g\u00f6re ger\u00e7ekte do\u011frusal ya da lineer ilerleyen tek bir zaman yoktur ve bunu a\u00e7\u0131klamak i\u00e7in dikine zaman (orthogonal time) terimini kullan\u0131r. \u0130lk zaman yatay yani do\u011frusal d\u00fcz \u00e7izgide ilerler; bu bildi\u011fimiz olu\u015fun ve yok olu\u015fun ger\u00e7ekle\u015fti\u011fi, takvimsel zamand\u0131r. Onun dikine zaman ad\u0131n\u0131 verdi\u011fi ikincisi ise; ebedi olan\u0131n yatay zamanla kesi\u015fti\u011fi dikey a\u00e7\u0131 ve her an\u0131n i\u00e7inde sakl\u0131 oldu\u011fu kozmik derinliktir. Bu y\u00fczden Dick; Aks\u0131n G\u00f6z Ya\u015flar\u0131n Dedi Polis ve Albemuth \u00d6zg\u00fcr Radyo romanlar\u0131nda M.S. 50\u2019li y\u0131llar\u0131n zalim Roma \u0130mparatorlu\u011fu ile 1970\u2019lerin Nixon Amerika\u2019s\u0131n\u0131n ya da gelece\u011fin polis devletinin dik a\u00e7\u0131l\u0131 bir zaman d\u00fczleminde \u00fcst \u00fcste bini\u015flerini i\u015fler. \u201c\u0130mparatorluk asla bitmedi\u201d diyen Dick, Amerika\u2019n\u0131n Roma \u0130mparatorlu\u011fu\u2019nun devam eden sureti olarak g\u00f6r\u00fcr.<\/p>\n\n\n\n

Bizlerin ger\u00e7eklik diye ya\u015fad\u0131\u011f\u0131m\u0131z \u015fey, Dick i\u00e7in kocaman demir bir hapishanedir. Yani yatay d\u00fczlem bir ilerleme g\u00f6r\u00fcnt\u00fcs\u00fc verirken, dikey hakikat bilin\u00e7d\u0131\u015f\u0131 gibi sabittir. Sadece zaman de\u011fil paralel ger\u00e7eklikler de \u00fcst \u00fcste binmi\u015ftir ve bu y\u00fczden insan bazen bir ger\u00e7eklikten di\u011ferine kayabilir. Bu okuma kuantum fizik\u00e7isi David Bohm\u2019un evreni aktif, kendini ger\u00e7ekle\u015ftiren bir s\u00fcre\u00e7 olarak ele al\u0131rken kulland\u0131\u011f\u0131 iki d\u00fczen \u00f6nermesine benzer. Bohm\u2019a g\u00f6re be\u015f duyumuzla alg\u0131lad\u0131\u011f\u0131m\u0131z, fiziksel A\u00e7\u0131k D\u00fczen ile ger\u00e7ekli\u011fin arkas\u0131ndaki birincil, b\u00f6l\u00fcnmez ve her \u015feyin birbirine katland\u0131\u011f\u0131 derin katman olan Sakl\u0131 D\u00fczen ortak ger\u00e7e\u011fi olu\u015fturur. Dick\u2019in ger\u00e7eklikler aras\u0131nda ya\u015fanan kaymalar d\u00fc\u015f\u00fcncesi de Bohm\u2019un A\u00e7\u0131k D\u00fczen\u2019in asl\u0131nda Sakl\u0131 D\u00fczen\u2019in y\u00fczeye yans\u0131yan ge\u00e7ici dalgac\u0131klar\u0131 oldu\u011fu \u00f6nermesiyle de ilgin\u00e7 bir bi\u00e7imde benze\u015fmektedir. Ama Dick\u2019e g\u00f6re bu ikili evren, bir kuantum \u00e7\u00f6z\u00fcmlemesiyle g\u00f6rebilece\u011fimiz kozmik tekil ak\u0131\u015fta geli\u015fmiyordu. Ortada bir programc\u0131 vard\u0131r, bir de kar\u015f\u0131-programc\u0131.<\/p>\n\n\n\n

\u015eimdilerde \u201chayat sim\u00fclasyon olabilir mi\u201d tart\u0131\u015fmalar\u0131yla yeniden g\u00fcndeme gelen, 1977 Eyl\u00fcl\u2019\u00fcnde Fransa\u2019da yapt\u0131\u011f\u0131 konu\u015fmada Dick, bir \u00e7e\u015fit sim\u00fclasyon d\u00fczleminde yani \u201cbilgisayar programl\u0131 bir ger\u00e7eklikte\u201d ya\u015fad\u0131\u011f\u0131m\u0131z\u0131 s\u00f6ylemi\u015ftir. Olas\u0131 bir \u00e7ok d\u00fcnya hipotezini atan Leibniz ve ger\u00e7ekli\u011fin sadece alg\u0131sal var olabilece\u011fini d\u00fc\u015f\u00fcnen \u0130ngiliz filozof Berkeley\u2019in tezlerine h\u00e2kim olan PKD\u2019nin konu\u015fmas\u0131n\u0131n ba\u015fl\u0131\u011f\u0131 \u015f\u00f6yleydi: \u201cBu d\u00fcnyan\u0131n k\u00f6t\u00fc oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorsan, di\u011ferlerine de bak.\u201d Bu sim\u00fclasyon \u015f\u00fcphesi h\u00e2l\u00e2 aktif ve hatta dijitalle\u015fme artt\u0131k\u00e7a ortaya \u00e7\u0131kan psiko-sosyal s\u00fcre\u00e7lerle derinle\u015fmektedir. Matrix serisinin yaratt\u0131\u011f\u0131 etki ve ard\u0131ndan bug\u00fcn kitlesel boyutta ya\u015fanmaya ba\u015flanan \u201cNPC hissi\u201d veya \u201cNPC gibi hissetmek\u201d tabirinde ifade edilen ruh h\u00e2liyle g\u00fcncellenir. NPC; video oyunlar\u0131nda oyuncu taraf\u0131ndan kontrol edilmeyen (Non-Player Character) karakterlere at\u0131fta bulunarak, ger\u00e7ek hayatta bir insan\u0131n kendi hayat\u0131n\u0131n \u00f6znesi de\u011fil, \u00f6zg\u00fcn olmayan veya ba\u015fkalar\u0131 taraf\u0131ndan y\u00f6nlendirilen bir kopyas\u0131 gibi hissetmesi durumudur. Dick; 1977 konu\u015fmas\u0131nda bu sim\u00fclasyon hissinin, g\u00fcndelik i\u00e7inde dejavu ad\u0131n\u0131 verilen glitch\u2019ler ile \u00e7atlaklar yaratt\u0131\u011f\u0131n\u0131; ger\u00e7ekli\u011fin bir \u00e7e\u015fit er\u00f6r verip ve yeniden yaz\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yler. Bu \u00e7\u00f6z\u00fcmleme de \u0130ngiliz teorik fizik\u00e7i F. David Peat\u2019in \u201cger\u00e7eklik d\u00fczeni ve \u00e7atlaklar\u201d yakla\u015f\u0131m\u0131 ile \u00f6rt\u00fc\u015f\u00fcr. Peat\u2019e g\u00f6re e\u015fzamanl\u0131l\u0131k zihin ve madde aras\u0131ndaki kat\u0131 ayr\u0131m\u0131n \u00e7\u00f6kt\u00fc\u011f\u00fc anlarda ya\u015fan\u0131r, yani evrenin daha derin bir katman\u0131nda \u00f6zne ve nesne tek bir b\u00fct\u00fcnl\u00fcktedir. E\u015fzamanl\u0131l\u0131k anlar\u0131, zihnimizin i\u00e7 d\u00fcnyas\u0131 ile d\u0131\u015fsal fiziksel ger\u00e7eklik aras\u0131nda \u201ck\u00f6pr\u00fc\u201d olu\u015fturur ve bu sayede evrenin b\u00fct\u00fcnl\u00fc\u011f\u00fc do\u011frudan deneyimlenir.<\/p>\n\n\n\n

Peat t\u0131pk\u0131 PKD gibi ger\u00e7ekli\u011fi sabit de\u011fil, de\u011fi\u015fken ve hatta ak\u0131\u015fkan olarak g\u00f6rd\u00fc. Fakat ikisinin bu \u00e7ak\u0131\u015fan g\u00f6r\u00fc\u015fleri yan\u0131nda Peat, ustas\u0131 ve \u00e7al\u0131\u015fma arkada\u015f\u0131 Bohm\u2019dan hareketle evreni s\u00fcrekli akan bir s\u00fcre\u00e7 ve b\u00f6l\u00fcnemez bir b\u00fct\u00fcnl\u00fck olarak tan\u0131mlar (holomovement). Oysa Dick\u2019in hakikat d\u00fczleminde b\u00fct\u00fcnl\u00fck de\u011fil ikilik (d\u00fcalizm) vard\u0131r. Hatta bahsetti\u011fi ikincil ger\u00e7ekli\u011fin yarat\u0131lmas\u0131 ve y\u00fcr\u00fct\u00fclmesinde insanl\u0131\u011f\u0131 ve ya\u015fam\u0131 esir alan karanl\u0131k bir d\u00fczen vard\u0131r. Ba\u015fta s\u00f6yledi\u011fimiz gibi bu sistemi \u00f6rten bir \u00f6rt\u00fc, sim\u00fclasyon benzeri sistem ya da kocaman bir yan\u0131lsama d\u00fczeni vard\u0131r. Dick\u2019e g\u00f6re bu yan\u0131lsamadan kurtulmak i\u00e7in insan\u0131n ilk g\u00f6revi amneziden kurtulmakt\u0131r, bunun yolu idrak s\u00fcrecine girmektir. Gnosis kitabi de\u011fil sezgi ile hissedilen, malum olan, g\u00f6r\u00fclerde, r\u00fcyalarda ve k\u00fc\u00e7\u00fck ayd\u0131nlanma anlar\u0131nda zuhur eden bilgi \u00e7e\u015fididir. Gnosis bilgi oldu\u011fu kadar idrak de oldu\u011fu i\u00e7in s\u0131rf zihinde de\u011fil t\u00fcm bedende hissedilir. Dick gnosisi Platon\u2019un anamnesis (an\u0131msama) kavram\u0131yla birle\u015ftirir. Bu manada \u00f6\u011frenme ayn\u0131 zamanda hat\u0131rlama ve unutmama eylemidir. Nas\u0131l Platon evreninde her ruh geldi\u011fi idealar evrenini do\u011fum an\u0131nda unutuyor ve ya\u015fam i\u00e7inde bunu an\u0131msamay\u0131 arzuluyorsa, Dick\u2019in kahramanlar\u0131 da \u00f6zne ve nesnenin dik zamandaki kadim sabit formunu an\u0131msayarak ayd\u0131nlanma ya\u015farlar.<\/p>\n\n\n\n

Hakikat ve ya\u015fam, sadece \u015fimdi ve buradad\u0131r (omneity); ama\u00e7 ki\u015finin bu b\u00fct\u00fcnl\u00fck ya da \u201cher \u015fey olu\u015f\u201d h\u00e2lini ya\u015famas\u0131d\u0131r. Modern zaman\u0131n ak\u0131\u015f\u0131 bizlerin zihnini, s\u00fcrekli ge\u00e7mi\u015f muhasebesi ve gelece\u011fin umut ve kayg\u0131 dolu d\u00fcnyas\u0131 aras\u0131nda bir asans\u00f6re kilitler. Hayat \u201c\u015fimdi\u201dde akarken biz zihnimizi andaki mevcudiyetimizle senkronize etmeye zorlan\u0131r\u0131z. Ku\u015fkusuz yatay\/do\u011frusal a\u00e7\u0131yla ilerleyen zaman\u0131n icad\u0131, geli\u015fim ve ilerleme merkezli bir uygarl\u0131\u011f\u0131n bilin\u00e7li politikas\u0131d\u0131r. Modern toplumun t\u00fcm hayat\u0131 programlama e\u011filimi ve buna g\u00f6re \u015fekillenen rutinler hi\u00e7 de masum de\u011fildir. Ve ne yaz\u0131k atalete yatk\u0131n do\u011fam\u0131z ve hep en ekonomik bi\u00e7imde ya\u015famaya bedeni zorlayan zihinsel yap\u0131m\u0131z bu ilerlemeci mant\u0131\u011f\u0131n yaratt\u0131\u011f\u0131 \u201coto-pilot\u201d davran\u0131\u015flar\u0131 destekler. Teorik fizik d\u00e2hisi Erwin Schr\u00f6dinger bu durumu \u201cduyular\u0131m\u0131z, alg\u0131lar\u0131m\u0131z ve muhtemelen eylemlerimizle par\u00e7as\u0131 oldu\u011fumuz herhangi bir olaylar dizisi, ayn\u0131 \u015fekilde s\u0131k s\u0131k tekrarland\u0131\u011f\u0131nda bilin\u00e7lilik alan\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131kar\u201d \u015feklinde a\u00e7\u0131klar. Bu \u00f6ng\u00f6r\u00fc 40\u2019l\u0131 y\u0131llarda yani hedonistik adaptasyon s\u00fcrecinin ke\u015ffinden 30 y\u0131l kadar \u00f6nce yap\u0131lm\u0131\u015ft\u0131r. G\u00fcndelik i\u00e7inde; rutin olan de\u011fil ancak yeni deneyimler, farkl\u0131l\u0131klar bilin\u00e7lilik yarat\u0131r ve burada zaman kavram\u0131n\u0131n kullan\u0131l\u0131\u015f bi\u00e7imi kritiktir. Platon\u2019un ya\u015fad\u0131\u011f\u0131 zamanda da iki ayr\u0131 zaman alg\u0131s\u0131 vard\u0131: Kronos ve Kairos. Eski Yunan\u2019da kairos bir eylemin ya da s\u00f6ylemin \u201cen etkili oldu\u011fu tanr\u0131sal an\u0131\u201d temsil ediyordu. Yani bug\u00fcn \u00e7ok pop\u00fcler h\u00e2le gelmi\u015f \u201canda kalmak\u201d fenomenini.<\/p>\n\n\n\n

Fakat ya\u015fam\u0131 otomatikle\u015ftiren kapitalist i\u015fleyi\u015f b\u0131rak\u0131n Dick\u2019in b\u00fct\u00fcnc\u00fcl bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131, g\u00fcndelik i\u00e7inde kairos\u2019a izin vermemek \u00fczerine kuruludur. \u0130\u015fin, okulun, ailenin, toplumun planlanm\u0131\u015f ve s\u00fcrekli ilerleyen ak\u0131\u015f\u0131 i\u00e7inde bireyin zaman\u0131, t\u0131pk\u0131 alg\u0131s\u0131 gibi par\u00e7alan\u0131r. Bu y\u00fczden Dick romanlar\u0131nda ger\u00e7eklik salt maddi de\u011fil, psi\u015fik bir s\u00fcre\u00e7ler olarak da ya\u015fan\u0131r, t\u0131pk\u0131 Jung d\u00fc\u015f\u00fcncesindeki gibi (Dick, Jung\u2019un e\u015fzamanl\u0131l\u0131k, bilin\u00e7d\u0131\u015f\u0131, I Ching \u00fczerine \u00e7al\u0131\u015fmalar\u0131n\u0131 kendince hatmetmi\u015ftir). Dick d\u00fc\u015f\u00fcncesinde tanr\u0131 i\u00e7in zaman\u0131n s\u0131n\u0131rlar\u0131 yoktur (sonsuzluktur). O; ayn\u0131 anda ya\u015fam\u0131\u015f, yaratm\u0131\u015f ve g\u00f6rm\u00fc\u015ft\u00fcr ve onun i\u00e7in her \u015fey bir nefeste olur. Bu d\u00fc\u015f\u00fcnce \u0130bn-i Arabi\u2019nin \u201ck\u0131yamet \u00e7oktan ger\u00e7ekle\u015fti\u201d ve \u201ctek zaman \u015fimdidir\u201d g\u00f6r\u00fc\u015f\u00fcyle \u00f6rt\u00fc\u015f\u00fcr. H\u0131ristiyan mistisizminde ise Meister Eckhart, Thomas Aquinas, Agustine de benzer g\u00f6r\u00fc\u015fleri dile getirmi\u015ftir. Yani bir komplo olan dikey zaman de\u011fil, yatay zamand\u0131r ve bu y\u00fczden ger\u00e7eklik \u00e7elik bir kafestir.<\/p>\n\n\n\n

Dick; 1974 y\u0131l\u0131nda bir dizi a\u00e7\u0131klayamad\u0131\u011f\u0131 deneyimler ya\u015fad\u0131. Her \u015fey; Korintliler \u0130ncilini okudu\u011fu bir d\u00f6nemde, evinin kap\u0131s\u0131n\u0131 \u00e7alan ilk Hristiyanlar\u0131n gizli sembol\u00fc olan alt\u0131n bal\u0131k \u015feklinde kolye takm\u0131\u015f bir kad\u0131n ile ba\u015flar. Bu rastlant\u0131 ard\u0131ndan Dick yo\u011fun g\u00f6r\u00fcler deneyimler. Bu g\u00f6r\u00fclerde s\u0131k s\u0131k H\u0131ristiyanl\u0131\u011f\u0131n ilk d\u00f6nemindeki Roma\u2019ya gitti\u011fini s\u00f6yler. \u00d6ncelikle bir teofani deneyimledi\u011fi yani tanr\u0131n\u0131n onunla direkt temas etti\u011fini d\u00fc\u015f\u00fcn\u00fcr. Fakat sonradan ya\u015fad\u0131\u011f\u0131 deneyimin bundan \u00e7ok farkl\u0131 oldu\u011funu hisseder. Dick ile temasa ge\u00e7en ve Valis diye adland\u0131rd\u0131\u011f\u0131 \u015fey bir \u00e7e\u015fit kozmik bilin\u00e7 formudur. T\u0131pk\u0131 gnostik kozmolojideki di\u015fil \u015fifac\u0131 ilke Sophia gibi uzaktaki \u00e7ocuklar\u0131n\u0131n \u015fefaat ve kurtulu\u015funa yard\u0131m etmek i\u00e7in gelmi\u015ftir. Bu d\u00fcnyadan ve onun ger\u00e7ekli\u011finden sorumlu mimar Demiourgos\u2019un h\u00fckm\u00fcn\u00fc bozmaya, \u0131\u015f\u0131k ile karanl\u0131\u011f\u0131n bitimsiz sava\u015f\u0131nda bir soluk olmaya.<\/p>\n\n\n\n

Tam ad\u0131yla Valis sistem A yani \u201cDev Etkin Canl\u0131 Bilin\u00e7 Sistemi\u201d, asl\u0131nda Dick ile konu\u015fmaz, sadece ona s\u00fcrekli bilgi y\u00fckler. Onun beynini bir \u00e7e\u015fit bilgisayar gibi programlar. Albemuth \u00d6zg\u00fcr Radyo roman\u0131nda hem kendisi yazar PK Dick hem de onun alter-egosu Nicholas Bradley karakterleri \u00fczerinden bu deneyim aktar\u0131l\u0131r. Romanda ge\u00e7en \u201cNicholas\u2019\u0131n bu varl\u0131k taraf\u0131ndan ele ge\u00e7irilmesini a\u00e7\u0131k\u00e7a kabullenmi\u015flerdi\u201d s\u00f6zleri, Dick\u2019in ger\u00e7ek hayatta Charles Platt ile yapt\u0131\u011f\u0131 m\u00fclakattaki ifadeleriyle uyumludur: \u201cZihnimin a\u015fk\u0131n bir ak\u0131l taraf\u0131ndan istila edildi\u011fini hissettim, sanki t\u00fcm hayat\u0131m boyunca deliymi\u015fim ve aniden akl\u0131m ba\u015f\u0131ma gelmi\u015f gibi\u201d. Yani Jung\u2019un bilin\u00e7d\u0131\u015f\u0131 g\u00fc\u00e7ler taraf\u0131ndan ele ge\u00e7irilme dedi\u011fi \u015feyi, Dick kendini kapt\u0131rarak de\u011fil, fark\u0131nda olarak ya\u015fam\u0131\u015f ve hatta onu sahiplenmi\u015ftir.<\/p>\n\n\n\n

Jung\u2019un ve PK Dick\u2019in d\u00fc\u015f\u00fcncelerinden etkilendi\u011fi Pierre Teilhard de Chardin, 20. y\u00fczy\u0131l\u0131n en ilgin\u00e7 d\u00fc\u015f\u00fcn\u00fcrlerinden biriydi. O hem bir bilim insan\u0131 (jeolog ve paleontolog), hem bir teoloji uzman\u0131 ve de var olu\u015funa a\u00e7\u0131klama bulma gayretinde kozmik bir hik\u00e2ye anlat\u0131c\u0131s\u0131yd\u0131. Chardin\u2019e g\u00f6re var olu\u015f \u00fc\u00e7 katmanl\u0131yd\u0131; Jeosfer: Cans\u0131z madde d\u00fcnyas\u0131, Biyosfer: Canl\u0131lar\u0131n alan\u0131, Noosfer: D\u00fc\u015f\u00fcncenin k\u00fcresel a\u011f\u0131. Bu sistematik i\u00e7inde en \u00f6zel rol Noosfer\u2019deydi. \u00c7\u00fcnk\u00fc evren ile zihin aras\u0131nda hem al\u0131c\u0131 hem de verici i\u015flevi olan bir ileti\u015fim hatt\u0131n\u0131 temsil ediyordu. Noosfer tabakas\u0131 insan\u0131n evren ile kurabilece\u011fi g\u00f6r\u00fcnmez ba\u011f, hem de insanl\u0131\u011f\u0131n kolektif bilgi ve bilincinin topland\u0131\u011f\u0131 d\u00fcnyay\u0131 \u00e7evreleyen bir aland\u0131. Noosfer \u00e7ift y\u00f6nl\u00fc \u00e7al\u0131\u015f\u0131r Teilhard\u2019a g\u00f6re insan hem bilgi al\u0131r hem de kolektife katk\u0131 sunar (bir nevi kozmik internet a\u011f\u0131). Onun i\u015flevi; insanl\u0131\u011f\u0131n maddi ve zihinsel kolektif \u00e7abalar\u0131yla Omega Noktas\u0131 olarak adland\u0131rd\u0131\u011f\u0131 y\u00fcksek seviyeye ula\u015f\u0131lmas\u0131yd\u0131. Teilhard\u2019\u0131n zihin anlay\u0131\u015f\u0131n\u0131 Penrose ve Hameroff\u2019un Orch-Or teorisinde geli\u015ftirdi\u011fi beyindeki mikrot\u00fcb\u00fcller yap\u0131lar\u0131n kuantum bilin\u00e7 s\u00fcre\u00e7leri i\u00e7erebilece\u011fine dair g\u00f6r\u00fc\u015fleriyle k\u0131yaslamak bizi ilgin\u00e7 noktalara g\u00f6t\u00fcrebilir. \u00c7\u00fcnk\u00fc bu teori bahsedilen s\u00fcre\u00e7lerin uzay-zaman\u0131n temel yap\u0131s\u0131yla ili\u015fkili olma ihtimalini de g\u00fcndeme getirir.<\/p>\n\n\n\n

Dick\u2019in Valis deneyimiyle, Noosfer d\u00fc\u015f\u00fcncesi aras\u0131nda bir analoji kurmak m\u00fcmk\u00fcn. Keza Dick\u2019in Albemuth \u00d6zg\u00fcr Radyo roman\u0131 tam da bu deneyimin bir \u00e7e\u015fit spek\u00fclatif g\u00fcnl\u00fc\u011f\u00fc gibidir: \u201cBir s\u00fcre i\u00e7in evreni canl\u0131 bir v\u00fccut olarak g\u00f6rd\u00fcm\u201d (PKD, Albemuth \u00d6zg\u00fcr Radyo, 6:45 yay\u0131n). Dick\u2019in roman\u0131n\u0131n \u00f6z\u00fcnde, bilim insan\u0131 Teilhard\u2019\u0131n kozmosu \u201cs\u00fcre\u00e7 i\u00e7inde olan b\u00fct\u00fcnsel bir varl\u0131k\u201d olarak g\u00f6rmesi yatmaktad\u0131r. Teilhard fikirlerini, jeolojik ve biyolojik evrim ilkelerine dayanan bilimsel bir temele dayand\u0131r\u0131yordu. Teolog vasf\u0131 ile de bu evrimsel kozmik kavramlar\u0131 Hristiyan inan\u00e7 teolojisiyle harmanlad\u0131. Genel alg\u0131ya g\u00f6re tuhaf g\u00f6r\u00fcnen bu yenilik\u00e7i \u00e7abalar\u0131 nedeniyle bir\u00e7ok \u00e7evrede y\u0131k\u0131c\u0131 olarak kabul edildi ve bu nedenle yeti\u015fkin ya\u015fam\u0131n\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcnde Vatikan taraf\u0131ndan hedef al\u0131nd\u0131. 1924 ile 1955 y\u0131llar\u0131 aras\u0131nda yazd\u0131\u011f\u0131 eserleri ancak \u00f6l\u00fcm\u00fcnden sonra yay\u0131nlanabildi. Teilhard’\u0131n noosfer fikrine zemin sunan kozmogenezis olarak adland\u0131rd\u0131\u011f\u0131 kavram, s\u00fcrekli, yukar\u0131 do\u011fru e\u011fimli bir evrim y\u00f6r\u00fcngesidir ve evrenin temelinde bulunur. Kozmik evrimin t\u00fcm “devasa psiko-biyolojik operasyonu”, d\u00fcnyan\u0131n t\u00fcm d\u00fc\u015f\u00fcnen unsurlar\u0131n\u0131n “mega-sentezine” i\u015faret ederek, insan t\u00fcr\u00fcn\u00fc s\u00fcper insan alan\u0131na giri\u015f yapmaya zorlar. Teilhard bu insan\u00fcst\u00fc varl\u0131\u011f\u0131 Omega Noktas\u0131 olarak adland\u0131r\u0131r ve ona g\u00f6re bu kozmik evrimin zirvesidir: \u00c7okluk, bilgi, enerji ve onun do\u011furaca\u011f\u0131 yeni insan.<\/p>\n\n\n\n

“Y\u0131ld\u0131zsal d\u00fcnyan\u0131n ke\u015ffinde, kendi varl\u0131\u011f\u0131m\u0131z ile etraf\u0131m\u0131zdaki kozmosun boyutlar\u0131 aras\u0131ndaki t\u00fcm oranlar\u0131 ortadan kald\u0131r\u0131yormu\u015f gibi g\u00f6r\u00fcnen, yaln\u0131zca bir ger\u00e7eklik hayatta kal\u0131yor ve sonsuz k\u00fc\u00e7\u00fck ile muazzam olan\u0131 kapsayabiliyor: Enerji… Her \u015feyin ortaya \u00e7\u0131kt\u0131\u011f\u0131 ve her \u015feyin bir okyanusa d\u00fc\u015fer gibi geri d\u00f6nd\u00fc\u011f\u00fc o y\u00fczen, evrensel varl\u0131k; enerji… Yeni ruh; enerji… Yeni tanr\u0131.” Teilhard, bu s\u00fcre\u00e7te insanl\u0131\u011f\u0131n kendini “beyinle\u015ftirdi\u011fine” ve yava\u015f ama emin ad\u0131mlarla, “muazzam bir d\u00fc\u015f\u00fcnme makinesi” olan Noosferi in\u015fa etti\u011fine inan\u0131yordu. Bu a\u00e7\u0131dan cosmogenesis felsefesi ile PK Dick\u2019in Valis\u2019i i\u00e7 i\u00e7e ge\u00e7er. \u0130leriye, Omega Noktas\u0131na do\u011fru. O zaman bu gezegendeki ya\u015fam art\u0131k “anlams\u0131z bir hapishane” de\u011fil, “birli\u011fimizin \u015fekillendi\u011fi matris” olacakt\u0131r.<\/p>\n\n\n\n

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\u0130mparatorlu\u011fun sonu ve sonsuzlu\u011fun h\u00fck\u00fcmranl\u0131\u011f\u0131 d\u00fc\u015f\u00fc: “\u0130nsanl\u0131k, ancak kolektifle\u015fme (kolektif i\u015f birli\u011fi) yoluyla Noosfer\u2019in bu toplam, gezegensel geli\u015fimini ba\u015farabilir. Sadece kendilerini d\u00fc\u015f\u00fcnen insanlar taraf\u0131ndan in\u015fa edilemez; yine de yery\u00fcz\u00fcndeki her insan kendi i\u00e7inde evrensel bilin\u00e7 y\u00fckseli\u015fine ortak olur.” <\/em><\/strong>Teilhard \/ The Phenomenon of Man<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201c\u0130sterseniz, \u2018Ger\u00e7eklik \u00e7\u00f6k\u00fcyor, her \u015fey bir kaosa d\u00f6n\u00fc\u015f\u00fcyor\u2019 da diyebilirsiniz ya da benimle beraber, \u2018d\u00fc\u015f\u2019\u00fcn yani dokos\u2019un ortadan kalkt\u0131\u011f\u0131n\u0131 hissediyorum; Maya\u2019n\u0131n kayboldu\u011funu hissediyorum, Uyan\u0131yorum, O da uyan\u0131yor: Ben D\u00fc\u015f G\u00f6ren\u2019im Bizler D\u00fc\u015f G\u00f6renleriz\u2019 demek isteyebilirsiniz.\u201d <\/em><\/strong>PKD \/ \u0130nsan, Android ve Makine<\/em><\/p>\n<\/blockquote>\n\n\n\n

Belki de Albemuth Kozmik Radyo h\u00e2l\u00e2 sinyal g\u00f6nderiyor d\u00fcnyam\u0131za.<\/p>\n\n\n\n

PS: Bu metin 2001-2009 y\u0131llar\u0131 aras\u0131 Albemuth Fanzini \u00e7\u0131kar\u0131rken yan\u0131mda olan k\u0131ymetli taifeye ithaf edildi ve h\u00e2l\u00e2 d\u00fc\u015f g\u00f6rebilenlere\u2026<\/em><\/p>\n\n\n\n

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(XXIV) Alet \u00c7antas\u0131 Dizmek: \u00c7\u0131karmalar, Eklemeler, Yanl\u0131\u015f Anlamalar<\/h1>\n\n\n\n
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\u201cArt\u0131k ger\u00e7e\u011fin yerini, ger\u00e7e\u011fin i\u015faretleri alm\u0131\u015ft\u0131r.\u201d <\/em><\/strong>Jean Baudrillard<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201c\u0130drak m\u00fcmk\u00fcnd\u00fcr ama \u00e7aba ister.\u201d <\/em><\/strong>Nat\u0131k Baba<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cIt from Bit.\u201d <\/em><\/strong>John Archibald Wheeler<\/em><\/p>\n<\/blockquote>\n\n\n\n

\u00c7o\u011fulcu bir ontoloji i\u00e7in yola \u00e7\u0131kacaksak insanl\u0131\u011f\u0131n d\u00fc\u015f\u00fcnsel ekin tarihini yeniden ele almaya, okumaya \u00e7al\u0131\u015fmal\u0131y\u0131z. Ve bu \u00e7abada duygusal davranamay\u0131z; ne g\u00fcncellemeye a\u00e7\u0131k, zamana uygun olanlar ve olmayanlar neler, kullan\u0131m tarihi ge\u00e7enler hangileri tespit etmek gerekecek. Sonu\u00e7ta b\u00fct\u00fcn d\u00fc\u015f\u00fcnce tarihi t\u00fcr\u00fcm\u00fcz\u00fcn i\u015flevsel olmay\u0131 bekleyen hazinesi. Kitab\u0131m\u0131z\u0131n \u00e7e\u015fitli pasajlar\u0131nda tekil, indirgemeci form\u00fcllerin logos edimini fikri sabit bir hapishaneye t\u0131kt\u0131\u011f\u0131n\u0131 ele ald\u0131k. Bu konu \u00e7ok hassas. \u00c7\u00fcnk\u00fc art\u0131k d\u00fcnyadaki olu\u015f ser\u00fcvenimizi tek bir k\u0131yafet giyip a\u00e7\u0131klayamayaca\u011f\u0131m\u0131z ger\u00e7e\u011fi \u00e7ok net olarak g\u00f6r\u00fcl\u00fcr h\u00e2le geldi. Zamanla buna alternatif olarak geli\u015fen ikili form\u00fcller ya da tan\u0131mlar da art\u0131k g\u00fcd\u00fck kalmaktad\u0131r. \u201cBen eko-anar\u015fistim, ben otonomist-Marksistim, ben anti-kapitalist M\u00fcsl\u00fcman\u0131m, ben uygarl\u0131k kar\u015f\u0131t\u0131 bir liberterim\u201d gibi a\u00e7\u0131klamalar da hakikatin \u00e7ok y\u00f6nl\u00fcl\u00fc\u011f\u00fcn\u00fc daha bol bir k\u0131yafete sokmaktan \u00f6teye gidemedi.<\/p>\n\n\n\n

Sorun o ya da bu teorinin i\u015fe yaramamas\u0131 de\u011fil; genel olarak teorilerin geli\u015fime, \u00e7oklu\u011fa, mutasyona ve s\u00fcrekli de\u011fi\u015fim ritmine ayak uyduramamas\u0131 ya da uyduranlar\u0131n da, o teoriyi sahiplenen zihinlerin h\u00e2l\u00e2 tek kanall\u0131 d\u00fc\u015f\u00fcnmesinden dolay\u0131 g\u00fcd\u00fck kalmas\u0131d\u0131r. Yani koca bir vaha, bir su makinesi gibi alg\u0131lanmakta ve kullan\u0131lmaktad\u0131r. Tabii bu durum bizi Orta \u00c7a\u011f kontlar\u0131n\u0131n kulland\u0131\u011f\u0131 uzun unvan, isim ve lakaplardan olu\u015fan adlar\u0131 gibi tuhaf tan\u0131mlamalar yapmaya g\u00f6t\u00fcrmemeli. \u00c7e\u015fitlilik g\u00f6r\u00fclende de\u011fil i\u00e7erikte ve onun duyumsanma olas\u0131l\u0131\u011f\u0131nda a\u00e7\u0131\u011fa \u00e7\u0131kmal\u0131. Zaten a\u015f\u0131r\u0131 doz logosa maruz kalm\u0131\u015f\u0131z, zaten ortal\u0131kta gezinen y\u00fczlerce kavram var ve herkesin kafas\u0131 \u00e7ok kar\u0131\u015f\u0131k. \u0130cada l\u00fczum yok, bunun i\u00e7in metafelsefe bahsini yeniden a\u00e7mal\u0131y\u0131z.<\/p>\n\n\n\n

Walter Benjamin\u2019in Tak\u0131my\u0131ld\u0131z \u00f6nerisi (fenomenler ve idealar aras\u0131nda diyalektik montaj), DG\u2019nin diyagram d\u00fc\u015f\u00fcnce ve rizom modellemeleri, Fredric Jameson\u2019\u0131n bili\u015fsel harita \u00e7al\u0131\u015fmalar\u0131, Graeber ve Wengrow\u2019un olas\u0131l\u0131klar matrisi olarak insan tarihi, Marc Aug\u00e9\u2019nin non-place kavramlar\u0131n\u0131 akl\u0131m\u0131zda tutup; d\u00fc\u015f\u00fcnsel bir f\u00fczyon yakla\u015f\u0131m\u0131n\u0131n k\u00f6ksel temelleri \u00fczerine d\u00fc\u015f\u00fcnelim. Fakat bunun i\u00e7in sa\u011fl\u0131kl\u0131 ve sa\u011fl\u0131ks\u0131z fikirleri, anlaml\u0131 olan ve anlams\u0131z olan\u0131, do\u011fru ya da yanl\u0131\u015f kabulleri, de\u011fer ta\u015f\u0131yan ve ta\u015f\u0131mayanlar\u0131, sahte ve hakiki bilgiyi ay\u0131rabiliyor olmam\u0131z gerekli (etik \u00fczerine tart\u0131\u015fma). \u00d6zellikle internet sonras\u0131 bulanan zemini yeniden \u015fekillendirmek, bunun i\u00e7in \u00f6ncelikle yanl\u0131\u015f bilgi ya da \u00f6n yarg\u0131l\u0131 d\u00fc\u015f\u00fcnce tarzlar\u0131n\u0131 ayr\u0131\u015ft\u0131r\u0131p, do\u011fruyu g\u00f6r\u00fcn\u00fcr k\u0131lmaya azami dikkat etmeliyiz. A\u011f\u0131n nabz\u0131n\u0131 tutan \u00e7a\u011fda\u015f felsefecilerden Regina Rini\u2019nin i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fcm\u00fcz durumun vahametini g\u00f6zler \u00f6n\u00fcne seriyor: \u201cDeepfake\u2019lerin as\u0131l tehlikesi, bizi sahte \u015feylere inand\u0131rmalar\u0131 de\u011fil; aksine bizi ger\u00e7ek olan her \u015feyden \u015f\u00fcphe etmeye zorlamalar\u0131d\u0131r. G\u00f6r\u00fcnt\u00fcl\u00fc kan\u0131tlar\u0131n \u00e7\u00f6k\u00fc\u015f\u00fc, toplumsal ortak bir ger\u00e7eklik zemininde bulu\u015fmam\u0131z\u0131 imk\u00e2ns\u0131z h\u00e2le getirir.\u201d Ku\u015fkusuz bu \u201csahte ger\u00e7eklikler\u201d sadece hareketli g\u00f6r\u00fcnt\u00fc, video ya da sesi de\u011fil metni de i\u00e7ine al\u0131p, yutar. Bu yolun sonu Baudrillard\u2019\u0131n ger\u00e7ek ile sahteyi ay\u0131rt edemeyece\u011fimiz bir sim\u00fclasyon evreni dedi\u011fi \u015feye kilitlenmektir. Belki tam olarak orada de\u011filiz ama tuzak kuruludur ve kullan\u0131c\u0131 g\u00f6n\u00fcll\u00fc olarak h\u0131zla tuza\u011fa y\u00f6nelmektedir (Baudrillard k\u0131\u015fk\u0131rtmak i\u00e7in olguyu en u\u00e7 noktas\u0131nda sunmay\u0131, saati h\u0131zland\u0131rmay\u0131 sever; s\u00fcrrealistlerden punk\u2019a \u015fok\u2019un etkisi).<\/p>\n\n\n\n

\u015eimdi; internetin da\u011f\u0131tt\u0131\u011f\u0131 bilgiler \u00fczerine bir test yapmay\u0131 deneyece\u011fim; ki sahada so\u011fan ile sar\u0131msak nas\u0131l kar\u0131\u015f\u0131yor g\u00f6rebilelim. Minik saha ara\u015ft\u0131rmam dijital \u00e7a\u011f\u0131n, bilgi ve enformasyon bombard\u0131man\u0131na e\u015flik eden \u201cinternette s\u00fcrekli yanl\u0131\u015f bilgilerin dola\u015ft\u0131\u011f\u0131na\u201d dair \u015f\u00fcpheyi, salt g\u00f6rsellik \u00fczerinden de\u011fil bilgi ak\u0131\u015f\u0131 \u00fczerinden yoklama denemesidir. Yanl\u0131\u015f, kendisiyle \u00e7eli\u015fik, ba\u011flam yoksunu ya da anlam ifade etmeyen bilgileri s\u0131namak i\u00e7in \u201cbir kavramla ilk kez kar\u015f\u0131la\u015fan\u201d bir \u00f6\u011frencinin takip edece\u011fi yolu izledim. Se\u00e7ti\u011fim kavram entelekt\u00fcel kesimin s\u00f6ylem d\u00fcnyas\u0131nda yayg\u0131n olmu\u015f post-yap\u0131salc\u0131l\u0131k. \u00d6nce Wikipedia\u2019daki post-yap\u0131salc\u0131l\u0131k maddesine bakt\u0131m. Bu sayfan\u0131n ba\u015f\u0131nda s\u0131ralanm\u0131\u015f isimlere \u015f\u00f6yle bir g\u00f6z att\u0131m: Bu madde \u201cgenel olarak Roland Barthes, Jacques Lacan, Jean-Fran\u00e7ois Lyotard, Michel Foucault, Jacques Derrida, Jean Baudrillard, Gilles Deleuze, F\u00e9lix Guattari gibi isimlerle\u201d diye ba\u015flay\u0131p, devam ediyordu. 14 ya\u015f\u0131ndan beri kitaplarla ha\u015f\u0131r ne\u015fir olmu\u015f, ana teorik g\u0131das\u0131n\u0131 bas\u0131l\u0131 kaynaklardan alan ve 2000 y\u0131l\u0131 sonras\u0131 da buna yan bir pratik olarak internet search\u2019lerini eklemi\u015f biri olarak verilen yan\u0131ta biraz \u015fa\u015f\u0131rd\u0131m ve ayn\u0131 zamanda tebess\u00fcm ettim.<\/p>\n\n\n\n

\n\n\n\n

(XXV) Emin miyiz Wikipedia?<\/h2>\n\n\n\n

\u00c7\u00fcnk\u00fc sayd\u0131\u011f\u0131 baz\u0131 isimler post-yap\u0131salc\u0131dan \u00f6te yap\u0131salc\u0131, baz\u0131lar\u0131 ise bu iki kavram\u0131n d\u0131\u015f\u0131nda konumlanm\u0131\u015f d\u00fc\u015f\u00fcn\u00fcrlerdi. Hatta Roland Barthes gibi uzun y\u0131llar yap\u0131salc\u0131l\u0131\u011f\u0131n bel kemi\u011fi olmu\u015f (g\u00f6stergebilim misal), ama son y\u0131llar\u0131nda \u201cyazar\u0131n \u00f6l\u00fcm\u00fc\u201d gibi fikirlerle post-yap\u0131salc\u0131l\u0131\u011fa da ge\u00e7i\u015f yapm\u0131\u015f isimler vard\u0131. Ya da b\u0131rak\u0131n yap\u0131 ya da kavram\u0131, ger\u00e7ekli\u011fin kendisinin \u00e7oktan sim\u00fclasyon i\u00e7inde kayboldu\u011fu \u00fczerine kuram\u0131n\u0131 geli\u015ftiren Baudrillard\u2019\u0131 Wikipedia\u2019n\u0131n sayd\u0131\u011f\u0131 isimlerin d\u0131\u015f\u0131nda ele almal\u0131. Akl\u0131ma Adorno\u2019nun \u201cb\u00fct\u00fcn yanl\u0131\u015ft\u0131r\u201d uyar\u0131s\u0131 gelerek.<\/p>\n\n\n\n

\u0130lk elden ula\u015ft\u0131\u011f\u0131m bilginin mu\u011flakl\u0131\u011f\u0131 kar\u015f\u0131s\u0131nda, yine bir \u00f6\u011frencinin izleyece\u011fi ikinci yola ba\u015fvurup AI bot a\u00e7\u0131p, ona \u201cWikipedia bana bu a\u00e7\u0131klamay\u0131 verdi ama ben tutars\u0131z buldum, bu isimler necidir bir yaz\u201d dedim. Yan\u0131t \u015f\u00f6yle ba\u015fl\u0131yordu: \u201cBu liste ger\u00e7ekten Wikipedia\u2019n\u0131n biraz \u2018torba kategori\u2019 yapmas\u0131n\u0131n tipik bir \u00f6rne\u011fi. D\u00fczeltelim: Bu isimler ayn\u0131 ak\u0131m\u0131n de\u011fil, birbirine temas eden farkl\u0131 y\u00f6nlere a\u00e7\u0131lan d\u00fc\u015f\u00fcnce hatlar\u0131n\u0131n i\u00e7inde duruyorlar\u201d deyip, bana a\u015fa\u011f\u0131s\u0131nda bamba\u015fka bir yorum \u00e7\u0131kartt\u0131. Verdi\u011fi yan\u0131t ku\u015fkusuz Wikipedia\u2019n\u0131n verdi\u011finden daha geni\u015f ve a\u00e7\u0131klay\u0131c\u0131yd\u0131. Fakat bu sefer de AI\u2019\u0131n algoritmas\u0131 bu d\u00fc\u015f\u00fcn\u00fcrlerin \u00e7o\u011funu, bence alakas\u0131z bir bi\u00e7imde post-modernizm \u015femsiyesi alt\u0131nda toplad\u0131.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcn\u00fcn, \u015fu an binlerce gen\u00e7, bu tip kaynaklarla ya da kitap \u00f6zeti oldu\u011fu s\u00f6ylenen PDF dosyalar\u0131yla \u00f6dev yaz\u0131yor; hatta internette gezen makaleler olu\u015fturuyor, daha k\u00f6t\u00fcs\u00fc derme \u00e7atma ve toplama bu bilgilerle videolar haz\u0131rlay\u0131p YouTube\u2019a y\u00fckl\u00fcyorlar. Logosun \u00e7ilesi burada bitmiyor, daha sonra bu videolar\u0131 k\u0131rp\u0131p k\u0131rp\u0131p Instagram ya da Twitter\/X i\u00e7in mini videolar ya da caps\u2019ler haz\u0131rl\u0131yorlar. \u0130\u015fte burada istismar edilmeye m\u00fcsait, g\u00fcndelik g\u00f6steriye kat\u0131k edilmi\u015f geni\u015f bir kavram karga\u015fas\u0131 var. Bug\u00fcn internetin kendisi yanl\u0131\u015f bilginin deposu h\u00e2line gelmi\u015ftir. Ki az \u00f6nce \u00f6rnekledi\u011fim \u015fey olduk\u00e7a masumca i\u015flenen bir ki\u015fisel kabahat. \u00c7\u00fcnk\u00fc art\u0131k herkes s\u00f6zde bilgi ve onun arkas\u0131n\u0131 dolduran g\u00f6rsellikle ilgiyi \u00fcst\u00fcnde toplamak, onaylanmak, be\u011fenilmek, pop\u00fcler olmak ve m\u00fcmk\u00fcnse bu u\u011fra\u015flardan para kazanmak derdine d\u00fc\u015fm\u00fc\u015f vaziyette. Ama bu bilgiyi sa\u011flayan a\u011f\u0131n mant\u0131\u011f\u0131n\u0131 dizayn ve kontrol ederken hi\u00e7bir etik ilke ta\u015f\u0131mayan \u015firketler ve onlar\u0131n ba\u015f\u0131ndaki silikon oligar\u015fisi y\u00f6neticilerinin niyeti masum de\u011fildir. Burada sadece YZ taraf\u0131ndan \u00fcretilen i\u00e7eri\u011fin yol a\u00e7t\u0131\u011f\u0131 tuhaf durumlar kadar genel internetin \u201ca\u00e7\u0131k kaynaklar\u0131n\u0131n da (open source ya da OSINT) kullan\u0131m s\u00fcre\u00e7leri \u00fczerine de kafa yormak. Veri biliminde kullan\u0131lan \u201cgarbage in\/garbage out\u201d kavram\u0131 sistemlerin kulland\u0131klar\u0131 verilerin; netlik, do\u011fruluk, a\u00e7\u0131kl\u0131k yani kalitesi kadar; kapasite \u00fcretebilece\u011fine i\u015faret ediyor. E\u011fer girdi ya da veri hatal\u0131, eksik, anlams\u0131z ya da manip\u00fclatif ise \u00e7\u0131kt\u0131s\u0131 yani \u00f6zg\u00fcr kaynakta dola\u015f\u0131m\u0131 da \u00e7\u00f6p olacakt\u0131r.<\/p>\n\n\n\n

\u015eimdi a\u011f\u0131n bu genel a\u00e7\u0131klar\u0131n\u0131 d\u00fc\u015f\u00fcnmeyi \u201c\u00f6l\u00fc internet teorisine\u201d b\u0131rak\u0131p, test alan\u0131m\u0131z\u0131 zoom yaparak geni\u015fletelim. Gerek Wikipedia gerekse AI\u2019nin post-yap\u0131salc\u0131 olarak tan\u0131mlad\u0131\u011f\u0131 bir ismi oradan \u00e7ekip, daha geni\u015f alg\u0131da nas\u0131l sunulduklar\u0131na bakal\u0131m. Bunu yaparken yine bilin\u00e7li ya da bilin\u00e7siz bi\u00e7imde yap\u0131lan bir yanl\u0131\u015f yorumlama bi\u00e7imlerini g\u00f6r\u00fcn\u00fcr k\u0131lmak hevesim. Unutmayal\u0131m, maket b\u0131\u00e7a\u011f\u0131 ile kap\u0131 kilidi a\u00e7\u0131lmaz, anahtar neyse onu bulmal\u0131y\u0131z. D\u00fc\u015f\u00fcnceyi olamad\u0131\u011f\u0131 bir \u015feye zorlamak, onu hakikatten koparmakt\u0131r. S\u00f6z\u00fcn b\u00fcy\u00fcs\u00fcn\u00fc, Arthur Rimbaud\u2019nun deyi\u015fiyle s\u00f6z\u00fcn simyas\u0131n\u0131 bozmayal\u0131m. Ne neyse o olsun.<\/p>\n\n\n\n

Se\u00e7ti\u011fim isim Michel Foucault. \u0130lk konu \u00f6rne\u011fim ise \u00e7ok sevdi\u011fim baz\u0131 kitaplara da katalo\u011funda yer vermi\u015f bir yay\u0131nevinin zaman\u0131nda yayd\u0131\u011f\u0131 bir afi\u015f. Foucault\u2019nun bir s\u00f6z\u00fc metninden \u00e7ekilmi\u015f ve ondan isyank\u00e2r bir slogana d\u00f6n\u00fc\u015fm\u00fc\u015f, bir afi\u015f t\u00fcretilmi\u015fti; \u201ciktidar her yerdedir, direni\u015f de\u201d s\u00f6z\u00fc \u00fczerinden. Afi\u015fte Foucault kitaplar\u0131n\u0131n yan\u0131nda gerili sapan\u0131yla ta\u015f\u0131 atmak \u00fczere olan, y\u00fcz\u00fc po\u015fu ile \u00f6rg\u00fcl\u00fc bir eylemci var. Foucault a\u015fa\u011f\u0131da k\u0131saca \u00f6zetleyece\u011fimiz gibi \u00e7e\u015fitli siyasal pratiklere d\u00e2hil olsa da san\u0131r\u0131m po\u015fu ile \u00f6rt\u00fcnmek ve sapan kullanmak ona uyan \u015feyler gibi durmuyordu.<\/p>\n\n\n\n

Burada amac\u0131m g\u00f6rselin tasar\u0131m\u0131n\u0131 ya da yay\u0131nc\u0131 arkada\u015flar\u0131 ele\u015ftirmek de\u011fil. Fakat \u00f6zellikle 2000\u2019ler sonras\u0131nda, 68 ku\u015fa\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcrlerinin \u00e7al\u0131\u015fmalar\u0131ndan bir \u00e7e\u015fit aktivistin el kitab\u0131, direni\u015f stratejileri ve isyanc\u0131 \u00f6rg\u00fctlenme bi\u00e7imleri araman\u0131n \u00e7ok cool bir davran\u0131\u015f h\u00e2line gelmesi realitesiyle kar\u015f\u0131 kar\u015f\u0131yay\u0131z. Sadece Foucault de\u011fil Wikipedia\u2019n\u0131n post-yap\u0131salc\u0131 \u015femsiyesine ald\u0131\u011f\u0131 di\u011fer d\u00fc\u015f\u00fcn\u00fcrler de, ge\u00e7mi\u015fte Blanqui, Bakunin, Lenin, Che \u00f6rneklerinde g\u00f6r\u00fclece\u011fi gibi birer eylem adam\u0131 ya da yazd\u0131klar\u0131n\u0131 devrimci hareketlerin \u00f6rg\u00fctlenmesi ve eyleme ge\u00e7mesi motivasyonuyla yazm\u0131\u015f ki\u015filer de\u011filler. \u00d6yle okunma \u015fans\u0131 olsa da direkt siyasal alanda olmayan Derrida, Lacan, Lyotard\u2019\u0131 ba\u015ftan d\u0131\u015far\u0131da tutmak gerekli. Biraz yorumla, DG\u2019nin her t\u00fcrl\u00fc verili yap\u0131 fikrini y\u0131k\u0131p, olas\u0131 bir d\u00fc\u015f\u00fcnsel ve tinsel ayaklanma i\u00e7in uygun haritalar\u0131 vermeye y\u00f6nelik \u00f6zel bir kayg\u0131 ta\u015f\u0131d\u0131klar\u0131n\u0131 s\u00f6yleyebiliriz.<\/p>\n\n\n\n

Foucault ise; bilgi arkeolojisi ve soyk\u00fct\u00fck \u00e7\u0131kartma gibi y\u00f6ntemlerle \u00f6znenin \u00e7\u00f6z\u00fclmesi, ger\u00e7ekli\u011fin tarihsel in\u015fas\u0131, kapatma rejimleri, bedenin biyo-politik hatt\u0131, do\u011fruyu s\u00f6yleme prati\u011fi, iktidar-bilgi ili\u015fkisi \u00fczerine \u00f6nemli kaz\u0131lar yapm\u0131\u015ft\u0131r. Ve bu kaz\u0131lar nesnel kullan\u0131mda \u00f6zg\u00fcrle\u015fme \u00e7abas\u0131na dair verimli alanlar sunar. Keza onun heterotopya kavram\u0131 da g\u00fcndelik hayata s\u0131zm\u0131\u015f \u00fctopyan\u0131n pek girilmek istenmeyen arka sokaklar\u0131na dair haritalar\u0131 d\u00fc\u015f\u00fcnmemizi sa\u011flar. Ama \u015funu unutmamak gerekir, Foucault \u00f6zenle herhangi bir d\u00fc\u015f\u00fcnsel okul ile ba\u011fda\u015fmaktan sak\u0131nm\u0131\u015ft\u0131r. Ve bir teorisyen olmad\u0131\u011f\u0131n\u0131n alt\u0131n\u0131 kal\u0131nca \u00e7izip, yapt\u0131\u011f\u0131 i\u015fin analiz ya da tarih\u00e7ilik oldu\u011funu da net olarak ifade eder. Ona g\u00f6re yazd\u0131klar\u0131 birer hakikat belgesi de\u011fil, payla\u015f\u0131ma a\u00e7\u0131lan deneyimlerdir: \u201cBen bir teori in\u015fa etmiyorum. Benim yapt\u0131\u011f\u0131m \u015fey, iktidar\u0131n ve bilginin nas\u0131l i\u015fledi\u011fine dair k\u00fc\u00e7\u00fck \u00f6l\u00e7ekli analizler sunmakt\u0131r. E\u011fer insanlar bu ara\u00e7lar\u0131 al\u0131p kendi m\u00fccadelelerinde kullanmak isterlerse, buyursunlar.\u201d<\/p>\n\n\n\n

Her ne kadar birey olarak baz\u0131 politik yorumlara kat\u0131lm\u0131\u015f olsa da kendi ara\u015ft\u0131rmas\u0131yla her t\u00fcr teori\/ideoloji aras\u0131na bir mesafe koymu\u015ftur. \u0130lk yola \u00e7\u0131karken yap\u0131salc\u0131l\u0131\u011f\u0131n baz\u0131 metotlar\u0131ndan faydalanm\u0131\u015fsa da zaman i\u00e7inde kendi tan\u0131mlar\u0131 ve kavramlar\u0131 ile an\u0131lmay\u0131 se\u00e7mi\u015ftir. Kat\u0131ld\u0131\u011f\u0131 bir\u00e7ok m\u00fclakat sorular\u0131na yan\u0131t olarak \u201cyap\u0131salc\u0131 ya da post-yap\u0131salc\u0131 olmad\u0131\u011f\u0131n\u0131\u201d da a\u00e7\u0131k\u00e7a ifade etmi\u015ftir. Foucault; kendini genel olarak sa\u011fc\u0131 ya da solcu olarak da tan\u0131mlamam\u0131\u015ft\u0131r ama Hapishaneler Bilgilendirme Grubunun (GIP) kurulu\u015funda yer alm\u0131\u015f, Polonya\u2019daki bask\u0131c\u0131 b\u00fcrokratik devlete kar\u015f\u0131 \u00e7\u0131kan anti-kom\u00fcnist Dayan\u0131\u015fma Sendikas\u0131na deste\u011fini sunmu\u015f, g\u00f6\u00e7men haklar\u0131 ve \u0131rk\u00e7\u0131l\u0131k kar\u015f\u0131t\u0131 bir\u00e7ok g\u00f6steride bizzat yer alm\u0131\u015f; soka\u011fa \u00e7\u0131km\u0131\u015ft\u0131r. Bu pratiklerin yan\u0131nda Foucault; Paris s\u00fcrg\u00fcn\u00fcndeki Ayetullah Humeyni\u2019yi destekledi, \u0130ran \u0130slam Devrimi\u2019ni 1978\u2019de bizzat ziyaret etti ve orada yepyeni bir \u201csiyasal tinsellik\u201d g\u00f6rd\u00fc\u011f\u00fcn\u00fc yazd\u0131. Foucault ad\u0131 bu y\u00fczden, bir\u00e7ok \u0130ranl\u0131 entelekt\u00fcel ve sanat\u00e7\u0131y\u0131 h\u00e2len \u00f6fkelendirmektedir.<\/p>\n\n\n\n

Can s\u0131kan durumsa 1977 y\u0131l\u0131nda aralar\u0131nda Deleuze, Guattari, Althusser, Barthes, Simone de Beauvoir, Sartre ve Derrida\u2019n\u0131n bulundu\u011fu bir grup entelekt\u00fcelle birlikte, re\u015fit olmayanlarla cinsel ili\u015fkiyi su\u00e7 olmaktan \u00e7\u0131kar\u0131lmas\u0131n\u0131 ve r\u0131za ya\u015f\u0131 kanununun (o d\u00f6nem Fransa\u2019da bu on be\u015f idi) kald\u0131r\u0131lmas\u0131n\u0131 talep eden bildiriye de imza atm\u0131\u015f olmas\u0131yd\u0131. Bu bildiri ne ona ne de Sartre, Derrida ve di\u011ferlerine kar\u015f\u0131 \u201ccancel\u201d ya da silme eylemine kalk\u0131\u015fmaya neden olmaz, olamaz. E\u011fer herkes \u201cb\u00f6yle a\u00e7\u0131ktan\u201d g\u00f6r\u00fc\u015flerini a\u00e7\u0131kl\u0131yor olsa zaten elenmemi\u015f bir insan evlad\u0131 bulmakta zor olurdu. Ger\u00e7ek d\u00fcnyada b\u00fct\u00fcn\u00fcyle aklar ya da karalar yok, d\u00fc\u015f\u00fcnen ki\u015fi de t\u0131pk\u0131 sanat\u00e7\u0131 gibi alacakaranl\u0131\u011f\u0131n s\u0131n\u0131r \u00e7izgileri \u00fczerinde seyahat edendir (keza herkesin bir g\u00f6lge taraf\u0131 vard\u0131r). Ayr\u0131ca \u201ciptal k\u00fclt\u00fcr\u00fcn\u00fc\u201d g\u00fcndeme getiren bu yeni ahlak\u00e7\u0131l\u0131k kendi i\u00e7inde net tan\u0131mlanm\u0131\u015f kapsay\u0131c\u0131 normlardan, k\u0131vr\u0131mlardan ve ince detaylardan mahrumdur. \u00d6rne\u011fin; bu tip bir eylemi yapan ki\u015fi, bu konuyu i\u00e7eren metne imza atan entelekt\u00fcel veya bu konuyu roman\u0131nda ahlaki formlara ba\u011fl\u0131 kalmadan i\u015flemek isteyen bir yazar ayn\u0131 kazana konulur.<\/p>\n\n\n\n

Bu i\u015fin di\u011fer y\u00fcz\u00fc siyasal ve etik mevhumudur; yani bir eylem ya da aktivist y\u00f6ntem olarak ahlaki g\u00f6z\u00fcken bir yarg\u0131 yaratmak s\u00f6z konusudur. Fakat her motivasyon gibi bu gibi tav\u0131rlar\u0131n da \u00f6nce geni\u015f bir kavram setine, yani etik \u00fczerinden bir anlam d\u00fcnyas\u0131na sahip olmas\u0131 gerekir. Aksi h\u00e2lde bir de\u011fer de\u011fil, sadece yarg\u0131s\u0131n\u0131 yarat\u0131r\u0131z, \u00e7\u00fcnk\u00fc \u00f6nce bunlar\u0131 yaratmak i\u00e7in de\u011feri var eden insan eti\u011fine ihtiya\u00e7 var. Ne yaz\u0131k y\u0131llard\u0131r bu mevhumlara kafa patlat\u0131p, okullarda mecburi bir de\u011fer e\u011fitimi verilmesi \u015fart diyen \u0130oanna Ku\u00e7uradi\u2019ye kimse kulak vermedi; o y\u0131llard\u0131r de\u011fer kavram\u0131 ile de\u011fer yarg\u0131lar\u0131n\u0131n kar\u0131\u015ft\u0131r\u0131lmas\u0131n\u0131n \u00e7ok b\u00fcy\u00fck kabahat oldu\u011funu s\u00f6yler. Tabii bunlar\u0131 kavramak i\u00e7in \u00f6nce \u00fczerine d\u00fc\u015f\u00fcnmek, uygun bir bi\u00e7imde d\u00fc\u015f\u00fcnmek gerekir. Woke kelime k\u00f6k\u00fc olarak duyarl\u0131dan gelse de s\u0131k s\u0131k sosyal a\u011f i\u00e7inde duyar kasma tavr\u0131na denk gelir. Her internet kullan\u0131c\u0131s\u0131n\u0131n ayn\u0131 zamanda bir vitrin, bir dijital emtiaya d\u00f6nd\u00fc\u011f\u00fc g\u00fcn\u00fcm\u00fczde duyar kasmak, ayn\u0131 zamanda etkile\u015fim de kasmakt\u0131r. Yani kendi dijital varl\u0131\u011f\u0131n\u0131 p\u00fcr pak g\u00f6sterme, temize \u00e7\u0131kartma arac\u0131d\u0131r; ben ve \u00f6teki. Bu a\u00e7\u0131k bir G\u00fcnah Ke\u00e7isi sembolizmidir, antropoloji, sosyoloji, inan\u00e7 tarihinde \u00e7ok\u00e7a \u00f6rnekleri bulunur (lin\u00e7 ve katharsis i\u00e7 i\u00e7e girer). Bu a\u00e7\u0131dan woke, inan\u00e7 \u00e2leminin bile gerisinde bir ahlak\u00e7\u0131l\u0131k t\u00fcretilir; ben\/biz ve ah o g\u00fcnah ke\u00e7isi- yakla\u015f\u0131m\u0131 \u00fczerinden rahatlama hissi ve \u00f6teki olana h\u0131n\u00e7 \u00fcst\u00fcne kurulur. Ve bu \u00f6teki tan\u0131m\u0131 proaktiftir, s\u00fcrekli \u00e7o\u011fal\u0131p, g\u00fcncellenir (bak\u0131n\u0131z Lacanc\u0131 psikanalizde \u00f6teki kavram\u0131 ve B\u00fcy\u00fck \u00d6teki).<\/p>\n\n\n\n

Yeni Ahit\u2019te ge\u00e7en \u0130sa\u2019n\u0131n ta\u015flayarak \u00f6ld\u00fcr\u00fclmek istenen topluluktaki \u201ciffetsiz\u201d kad\u0131n\u0131 \u00f6n\u00fcne siper olup, ilk ta\u015f\u0131 g\u00fcnahs\u0131z olan\u0131n\u0131z ats\u0131n; alarm\u0131 h\u00e2l\u00e2 \u00e7almaktad\u0131r. Kur\u2019an-\u0131 Kerim\u2019de insan\u0131n kendi i\u00e7 d\u00fcnyas\u0131na, sorumluluklar\u0131na y\u00f6nelmesini temellendiren en \u00f6nemli ifade \u201cSiz kendinize bak\u0131n\u201d (aleyk\u00fcm enfusek\u00fcm) uyar\u0131s\u0131d\u0131r. Ku\u015fkusuz bu tav\u0131rlar \u00e7o\u011fu zaman d\u00fc\u015f\u00fcnsel bir sorgulama ile de\u011fil otomatik-pilotta ger\u00e7ekle\u015fir, d\u00fcn\u00fcn modas\u0131 bug\u00fcn\u00fcn vibe kavram\u0131d\u0131r, d\u00e2hil olmak arzusu yarat\u0131l\u0131r, uygun bulmad\u0131\u011f\u0131 i\u00e7in kat\u0131lmamak dalgada olmaman\u0131n bile bir cancel riski vard\u0131r. Bu noktada her toplumsal olgu gibi \u201cduyar kasma politikas\u0131\u201d da, as\u0131l siyasal olan\u0131n alan\u0131nda s\u0131nan\u0131r. Walter Benjamin k\u00f6t\u00fcmser tavr\u0131n devrimci y\u00f6n\u00fcn\u00fc a\u00e7\u0131klarken \u015fu uyar\u0131da bulunur; ilk \u00f6nce ahlaki metaforu politikadan kap\u0131 d\u0131\u015far\u0131 etmek gerekir (bak\u0131n\u0131z S\u00fcrrealizm denemesi). Vibe oldu diye duyargal\u0131 olma tavr\u0131n\u0131n panzehiri \u00f6nce kendini bilmek ve omurgal\u0131 olmakt\u0131r.<\/p>\n\n\n\n

Fakat \u00f6te taraftan bu tip her durum, bize entelekt\u00fcelin ayd\u0131n sorumlulu\u011fu vasf\u0131n\u0131n da olu\u015fturdu\u011fu s\u0131n\u0131rlar\u0131 tart\u0131\u015fmaya a\u00e7ar. 68 sonras\u0131n\u0131n yenilgi psikozuyla liberter de\u011fil liberal bir ufukta ilerleyen d\u00f6nemin \u00f6zg\u00fcrl\u00fck anlay\u0131\u015f\u0131 zaman zaman bir istismar zeminine d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr (s\u0131n\u0131rs\u0131z yapma h\u00fcrriyetini bir tek kapitalizm teklif eder). Oysa bahsi ge\u00e7en imza metninde tart\u0131\u015f\u0131lan \u015fey ne Fourier\u2019in \u00f6zg\u00fcrle\u015fmeci pedagojisi ne Wilhelm Reich\u2019\u0131n \u00e7ocuk cinselli\u011finin bast\u0131r\u0131lmas\u0131n\u0131n hastal\u0131k yarataca\u011f\u0131 uyar\u0131s\u0131 ne de 68 sonras\u0131 Almanya ve \u0130talya\u2019da hayat bulan \u00f6zg\u00fcr kre\u015f ve okul denemeleriydi. Ve i\u015fin tuhaf\u0131 sadizmin isim babas\u0131 Marki de Sade da romanlar\u0131nda g\u00f6r\u00fclece\u011fi \u00fczere 15 ya\u015f\u0131ndan k\u00fc\u00e7\u00fck ki\u015filerle a\u00e7\u0131k cinsel birle\u015fmeye mesafeliydi.<\/p>\n\n\n\n

\u015eu an\u0131n mant\u0131\u011f\u0131 ile analoji kurar isek, \u00fclkemizde de yasal r\u0131za ya\u015f\u0131 18 olsa da sahadaki durum pek \u00f6yle de\u011fil. 2000\u2019lerin ba\u015f\u0131ndan beri d\u00fcnya \u00e7ap\u0131nda cinsel deneyimin ya\u015f\u0131n\u0131n pratikte 13\u2019e inmi\u015f olmas\u0131n\u0131n riskleri \u00fczerine tart\u0131\u015f\u0131l\u0131yor. Fransa\u2019da bu s\u0131n\u0131r h\u00e2l\u00e2 15 ya\u015f ve Danimarka, Yunanistan, Romanya gibi bir\u00e7ok Avrupa \u00fclkesinde de bu ge\u00e7erli. Bu a\u00e7\u0131dan toplumumuzda da bu s\u0131n\u0131r\u0131 kabul\u00fc makul duruyor. Tabii, bu zihin cimlasti\u011fini de akran ya\u015f ku\u015faklar\u0131 aras\u0131nda d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz\u00fc s\u00f6yleyerek. Burada alt\u0131n\u0131 \u00e7izmek istedi\u011fim \u015fey; ahlaki bir yarg\u0131 bulma motivasyonu de\u011fil. Fakat yeni bir medeniyeti tart\u0131\u015facaksak, etik kavram\u0131ndan yola \u00e7\u0131karak baz\u0131 yeni kurallar aramak da gereklidir. K\u00fcresel neo-liberal model sadece t\u00fcketimde de\u011fil, ya\u015famda da u\u00e7larda olmay\u0131, s\u0131n\u0131rs\u0131z ya\u015famay\u0131 te\u015fvik ediyor. Ana ak\u0131m k\u00fclt\u00fcrlerin da\u011f\u0131lmas\u0131, y\u00fckselen egoizm k\u00fclt\u00fc, internet ile d\u00fcn\u00fcn alt k\u00fclt\u00fcrel e\u011filimlerinin kitleselle\u015fmesi olgusunun ya\u015fand\u0131\u011f\u0131 ama bu durumlara kar\u015f\u0131l\u0131k gelecek yeni normlar\u0131nsa hen\u00fcz belirlenmedi\u011fi ger\u00e7ekli\u011fiyle kar\u015f\u0131 kar\u015f\u0131yay\u0131z.<\/p>\n\n\n\n

Buna 90\u2019lardan sonra do\u011fan ku\u015faklar\u0131n yo\u011fun psikiyatrik ila\u00e7 kullan\u0131m\u0131 ve her ge\u00e7en an \u00e7\u0131\u011f gibi b\u00fcy\u00fcyen k\u00fcresel uyu\u015fturucu madde ekonomisini de eklersek, vaat edilen s\u0131n\u0131rs\u0131z \u00f6zg\u00fcrl\u00fc\u011f\u00fc de idrak ve vicdan ad\u0131na sorgulamam\u0131z gerekir. Bilin\u00e7li se\u00e7im ve kat\u0131l\u0131m yapacak ya\u015fta olmayan \u00e7ocuklara, hayvanlara ve do\u011faya kar\u015f\u0131 i\u015flenen su\u00e7lar, ahlaktan \u00f6te evrensel bir ya\u015fam eti\u011fini yaralamakta. Bu tip tats\u0131z tarihsel \u00f6rnekler bize teorinin ya\u015fama dair ve ya\u015fam i\u00e7in bir kavram seti oldu\u011fu ger\u00e7e\u011fini hat\u0131rlat\u0131r. Fakat modern toplumun eski normlar\u0131n\u0131n da yeni normalde i\u015fe yarad\u0131\u011f\u0131n\u0131 s\u00f6ylemek de imk\u00e2ns\u0131z. Art\u0131k ne tek bir teori ne de tek bir d\u00fc\u015f\u00fcn\u00fcrle kendi d\u00fcnya g\u00f6r\u00fc\u015f\u00fcm\u00fcz\u00fc ifade edemiyoruz. O y\u00fczden bir d\u00fc\u015f\u00fcnce ya da d\u00fc\u015f\u00fcn\u00fcr\u00fcn teorisi ve prati\u011fi i\u00e7inden gerekli kavramlar\u0131 al\u0131p, hayat\u0131m\u0131za dair kullanaca\u011f\u0131z ve bunu yaparken de kimseyi kahramanla\u015ft\u0131rmayaca\u011f\u0131z. Jung\u2019un hakl\u0131 uyar\u0131s\u0131ndaki gibi, \u00f6nce kahraman ilan edilen sonra kurban edilir (bak\u0131n\u0131z \u0130sa).<\/p>\n\n\n\n

Ayd\u0131nlanma d\u00fc\u015f\u00fcncesindeki i\u00e7ten \u00e7atlaklar ya da Frans\u0131z Devrimi sonras\u0131 olu\u015fan sistem kar\u015f\u0131t\u0131 hareketlerin birer sisteme d\u00f6n\u00fc\u015fmesi sorunsal\u0131, Kom\u00fcnist oldu\u011funu s\u00f6yleyen b\u00fcrokratik devlet sistemlerinin \u00e7\u00f6k\u00fc\u015f\u00fc kapitalizmden mutsuz insanlar\u0131n yeni form\u00fcller aramas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. D\u00fcn\u00fcn ben Leninistim yakla\u015f\u0131mlar\u0131 kadar, bug\u00fcn\u00fcn ben Foucault\u00e7uyum, ben Deleuzc\u00fcy\u00fcm yakla\u015f\u0131mlar\u0131 da sorunlar\u0131m\u0131za \u00e7are olmaz, b\u00f6yle yaparak sadece isimleri yeniliyoruz. Bu y\u00fczden kahramanlara ihtiya\u00e7 yok ve bu karma\u015fada her \u015feyi \u00e7\u00f6zebilecek sihirli iksire sahip kahraman da yok. Yeni bir hayat i\u00e7in yeni bir ya\u015fam eti\u011fi gerek.<\/p>\n\n\n\n

Ve teori bunu yapamazken; sokakta ya da sanal \u00e2lemde geni\u015f kitleler \u00f6tekile\u015ftirmenin, ayr\u0131l\u0131\u011f\u0131n ve tek\u00e7ili\u011fin t\u00fcrk\u00fcs\u00fcn\u00fc s\u00f6ylenmeye devam ediyor. \u201cYa o ya bu, ya bizden ya \u00f6tekilerden, bunu yapt\u0131ysa o benim i\u00e7in art\u0131k bitmi\u015ftir, \u015fu benim k\u0131rm\u0131z\u0131 \u00e7izgimdir ve o konu tart\u0131\u015fma kapal\u0131\u201d \u015feklinde \u00f6zetleyebilece\u011fimiz yakla\u015f\u0131mlar\u0131n hepsi; art\u0131k k\u00fcresel olarak t\u00fcr\u00fcm\u00fcz\u00fcn idrak, ak\u0131l, izan ve \u015fuur s\u0131n\u0131r\u0131ndan uzakta ya\u015fad\u0131\u011f\u0131n\u0131n delilleridir. \u00c7\u00fcnk\u00fc bu yorumlar; insan\u0131n de\u011fi\u015febilen, d\u00f6n\u00fc\u015febilen, tersinir y\u00f6n\u00fcne kar\u015f\u0131 k\u00f6rd\u00fcr. Tek boyutlu alg\u0131 her \u015feyi iyiye ya da k\u00f6t\u00fcye sabitler, sanki insan ruhundaki dinamizmi yok saymaya programlanm\u0131\u015ft\u0131r. Yani daha makine zihinsel b\u00fct\u00fcnle\u015fme ya\u015famadan hayat\u0131n ak\u0131\u015f\u0131n\u0131 01 01 01 d\u00fczene\u011fine s\u0131k\u0131\u015ft\u0131rma hastal\u0131\u011f\u0131na yakalanm\u0131\u015ft\u0131r insan.<\/p>\n\n\n\n

Fakat her ger\u00e7eklik d\u00fczleminde oldu\u011fu gibi burada da \u00e7aresiz oldu\u011fumuzu d\u00fc\u015f\u00fcnmemeliyiz; eti\u011fe, \u00f6zg\u00fcr bilince, insanca ya\u015famaya dair tav\u0131r internetin ke\u015ffinden beri vard\u0131r. \u0130dealize etti\u011fimiz pozisyonlara, kal\u0131plara uymayabilse de vard\u0131rlar. \u0130talyan cyberpunk eylemci ve kuramc\u0131 Daniele Brolli daha yolun ba\u015flar\u0131nda (90\u2019l\u0131 y\u0131llarda) dijital \u00e7a\u011f\u0131n as\u0131l meselesinin teknolojisi de\u011fil, onun yaratt\u0131\u011f\u0131 etik k\u0131r\u0131lma oldu\u011funa dikkat \u00e7ekmi\u015fti. D\u00fcn\u00fcn hacker eti\u011fi, CCC Hamburg, Ictata\u201989, bilginin serbest dola\u015f\u0131m\u0131na y\u00f6nelik siber aktivist gruplar, medya arkeolojisi olarak Babil denemeleri, dijital haklar hareketi, dead internet theory, data\u2019n\u0131n a\u011f\u0131n genel i\u015fleyi\u015fi d\u0131\u015f\u0131nda tan\u0131m\u0131, payla\u015f\u0131m\u0131, birle\u015fimi, ayr\u0131m\u0131, d\u00f6n\u00fc\u015f\u00fcm\u00fc ve yeniden resmiyet kazanmas\u0131 \u00e7abas\u0131 olarak DAO olu\u015fumu anlatt\u0131\u011f\u0131m yakla\u015f\u0131ma dair ilk akla gelen \u00f6rnekler. K\u00fcre genelinde, Arthur Kroker, McKenzie Wark, Alexander Galloway, Wendy Hui Kyong Chun, H\u00e2kim Bey, Donna Haraway; \u00fclkemizde tek say\u0131 \u00e7\u0131km\u0131\u015f H.A.T.T. dergisi, \u00d6zg\u00fcr U\u00e7kan, Gediz Akdeniz gibi isimlerin teorik \u00e7abalar\u0131 \u00f6nemlidir.<\/p>\n\n\n\n

Arthur Rimbaud\u2019un s\u00f6z\u00fcn simyas\u0131na dair yapt\u0131\u011f\u0131 vurguyu yeniden hat\u0131rlayal\u0131m. Simya i\u015flemi bir\u00e7ok farkl\u0131 unsurun, par\u00e7an\u0131n, s\u00fcrecin bir \u00e7e\u015fit f\u00fczyona giri\u015fiyle olur. Me\u015fakkat yan\u0131nda azami dikkat ve \u00f6zen de ister. Ama\u00e7 alt\u0131n \u00e7\u0131karmak de\u011fil, yine Rimbaud\u2019un deyi\u015fiyle ruhu ejder k\u0131lmakt\u0131r.<\/p>\n\n\n\n

De\u011fi\u015ftirilecek olan sistemler de\u011fil hayatt\u0131r.<\/p>\n\n\n\n

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(XXVI) Ate\u015f H\u0131rs\u0131zlar\u0131 ve Devrimin Firarileri<\/h1>\n\n\n\n
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\u201cGer\u00e7ek devrimciyi y\u00f6neten \u015fey b\u00fcy\u00fck bir sevgi duygusudur. Bu nitelikten yoksun bir ger\u00e7ek devrimci d\u00fc\u015f\u00fcnmek imk\u00e2ns\u0131zd\u0131r.\u201d <\/em><\/strong>Ernesto Che Guevara \/ K\u00fcba\u2019da Sosyalizm ve \u0130nsan<\/em><\/p>\n<\/blockquote>\n\n\n\n

Devrimleri \u00f6nc\u00fcler yapar. E\u011fer bir devrim ger\u00e7ekle\u015fiyorsa \u00f6nc\u00fcler mutlaka kitlelerin kalbinde ve ya\u015fam\u0131nda bir yerlere dokunmu\u015f demektir. Fakat ayn\u0131 zamanda tarihsel ko\u015fullar, hesaplanamaz durumlar ya da kitlelerin \u00e7oktan miad\u0131 dolmu\u015f sabr\u0131n s\u0131n\u0131rlar\u0131n\u0131 a\u015fma psikolojisi de ayn\u0131 anda devrededir. Frans\u0131z Devrimi\u2019nden \u00f6rnek verirsek, kitlelerin a\u00e7l\u0131kla ya\u015fam sava\u015f\u0131 ve monar\u015fi taraf\u0131ndan bask\u0131lanmas\u0131 \u00f6yle bir noktaya y\u00fckselmi\u015ftir ki, kitleler sadece bir k\u0131v\u0131lc\u0131m bekler. Tabii, devrim yapanlar, yapabilenler m\u00fcthi\u015f taktik ustalar\u0131d\u0131r. Bir a\u00e7\u0131dan ger\u00e7ek devrimciler toplumsal iklimin meteoroloji uzmanlar\u0131 gibidirler (kairos ilmi). Lenin\u2019in \u201cbir g\u00fcn \u00f6nce erken, bir g\u00fcn sonra ge\u00e7\u201d uyar\u0131s\u0131 ya da do\u011fru zamanda do\u011fru \u00e7\u0131k\u0131\u015f, yani mevcudiyet hayatidir (Granma yat\u0131yla K\u00fcba\u2019ya \u00e7\u0131kartma yapmak).<\/p>\n\n\n\n

Kitleler devrime kat\u0131l\u0131r, onun i\u00e7in d\u00f6v\u00fc\u015f\u00fcr ve hatta s\u0131k s\u0131k o u\u011furda \u00f6l\u00fcr. Alain Badiou\u2019nun alt\u0131n\u0131 \u00e7izdi\u011fi \u201colay\u201d an\u0131n\u0131n psikolojisi ve enerjisi bamba\u015fkad\u0131r. Ya da y\u00fcz binlerin ayn\u0131 anda ve yerde \u201c\u015fimdiyi\u201d a\u015fk gibi deneyimlerler. Fakat kitleler bir ay \u00f6nce neyse h\u00e2l\u00e2 odur, yani kitleler devrime kat\u0131lm\u0131\u015flar ama Ursula K. Le Guin\u2019in deyi\u015fiyle \u201cdevrimin kendisi\u201d olamam\u0131\u015flard\u0131r; ki olamazlar. Bunun i\u00e7in sadece g\u00fcndelik ak\u0131\u015f\u0131n de\u011fil dilin, d\u00fc\u015f\u00fcn\u00fc\u015f\u00fcn, zaman\u0131n ve bunlara ba\u011fl\u0131 ya\u015fay\u0131\u015f\u0131n t\u00fcm kodlar\u0131n\u0131n k\u0131r\u0131lmas\u0131 ve temelden d\u00f6n\u00fc\u015fmesi gereklidir. Fakat devrimcilerin genel olarak devrim pratikleri d\u00e2hilindeki y\u00f6netim bi\u00e7imi ya da \u00fcretim ve da\u011f\u0131t\u0131m ara\u00e7lar\u0131 \u00fczerindeki pratik de\u011fi\u015fim programlar\u0131 i\u00e7inde; arzunun gizil ekonomisi, ahlaka kar\u015f\u0131n etik, kozmik bir b\u00fct\u00fcnl\u00fck kavray\u0131\u015f\u0131, herkesin yok saymay\u0131 se\u00e7ti\u011fi bilin\u00e7d\u0131\u015f\u0131 kategorileri yer almaz. Yeni bir d\u00fcnya i\u00e7in yeni bir insan\u0131n olu\u015fmas\u0131 gerekti\u011fini s\u00f6yleyen Che Guevara gibi yalva\u00e7lar\u0131 saymazsak.<\/p>\n\n\n\n

Bunun durumun nedenlerini kavramak i\u00e7in tarih denen \u015feyin \u00f6tesine, tarih \u00f6ncesi modellere bakmak laz\u0131m. Devrimci sembolizminde bilinen ilk \u00f6rnek arketip Prometheus\u2019tur. Onun insan k\u00fclt\u00fcr\u00fcne kaz\u0131nm\u0131\u015f \u00f6nemli eylemleri olmu\u015ftur. Bu y\u00fczden Jung\u2019un terminolojisinde an\u0131lan \u201cPrometheus Kompleksi\u201d diye bir kavram var ve Jung geli\u015ftirdi\u011fi bu kavram\u0131 Faust\u2019un yazar\u0131 Goethe, Nietzsche ve 20. y\u00fczy\u0131l\u0131n sert ideolojik deneyleri i\u00e7in kullanm\u0131\u015ft\u0131r. Faust \u00e7\u0131lg\u0131n bilim adam\u0131nda belirginle\u015fecek, \u00fcst\u00fcn akl\u0131yla deliren bir sembol yarat\u0131rken; Nietzsche de post-h\u00fcmanizmin atas\u0131 \u201c\u00fcst-insan\u201d say\u0131labilecek form\u00fcl\u00fcnde Prometheus mitinin g\u00fcncellenmi\u015f versiyonlar\u0131n\u0131 ortaya koyarlar.<\/p>\n\n\n\n

K\u00f6kte, yani Yunan mitolojisinde ise Prometheus biri olumlu, di\u011feri olumsuz iki farkl\u0131 temsil ile boy g\u00f6sterir. Olumlu olan portre hep Olimpos Tanr\u0131lar\u0131na kar\u015f\u0131 gelmi\u015f, insan\u0131 yaratm\u0131\u015f ve onu desteklemi\u015f ve sonucunda cezaland\u0131r\u0131lm\u0131\u015ft\u0131r. Olumsuz olan portrede ise Prometheus insanlarla tanr\u0131lar aras\u0131ndaki ortak ileti\u015fim alan\u0131n\u0131n yok olmas\u0131n\u0131, gerginlik olu\u015fmas\u0131n\u0131, k\u00f6t\u00fcl\u00fc\u011f\u00fcn, u\u011fursuzlu\u011fun ve hastal\u0131klar\u0131n yery\u00fcz\u00fcne yay\u0131lmas\u0131n\u0131n sorumlusudur. Bu iki yorumda da tanr\u0131lara ya da g\u00fcce kar\u015f\u0131 isyan itkisinin sonu\u00e7lar\u0131 olumlu ve olumsuz y\u00f6nlerden ele al\u0131n\u0131r. Keza \u201cate\u015f h\u0131rs\u0131z\u0131\u201d olarak devrimcinin kaderi de. Titanlar, Olimpos tanr\u0131lar\u0131ndan \u00f6nceki nesildir ve onlara kar\u015f\u0131 a\u00e7t\u0131klar\u0131 sava\u015f\u0131 kaybettikten sonra a\u011f\u0131r cezalara maruz kalm\u0131\u015flard\u0131r. En a\u011f\u0131r cezay\u0131 alan Prometheus\u2019un karde\u015fi Atlas, d\u00fcnyay\u0131 s\u0131rt\u0131nda ta\u015f\u0131maya mahk\u00fbm edilirken, Kronos, Menoetius, \u0130apetos ise Tartaros \u00c7ukuru\u2019na ya da \u201cilk cehennem tasviri\u201d olan alana s\u00fcrg\u00fcn edilmi\u015flerdir. Kanl\u0131 ve ba\u015far\u0131s\u0131z bu sava\u015f\u0131n ard\u0131ndan Titan Prometheus, ba\u015fta Zeus olmak \u00fczere Olimpos\u2019a kar\u015f\u0131 \u00e7\u0131kmay\u0131 s\u00fcrd\u00fcren tek isimdir.<\/p>\n\n\n\n

Hesiodos\u2019un aktard\u0131\u011f\u0131 olumsuz senaryoda, Prometheus insan\u0131 eliyle, bal\u00e7\u0131ktan yo\u011furarak yarat\u0131r. Bu insan t\u00fcr\u00fc i\u00e7in mitologya erkek ya da androjen der. Ama onlar\u0131n \u00fcrediklerini hesaba katarsak hermafrodit bir t\u00fcr olduklar\u0131n\u0131 da d\u00fc\u015f\u00fcnebiliriz. S\u00f6ylencede \u00f6nemli bir yere sahip Mekone \u00e7ay\u0131r\u0131, Alt\u0131n \u00c7a\u011flarda insanlar ve tanr\u0131lar\u0131n beraber vakit ge\u00e7irdikleri bir ortak aland\u0131r. Fakat Prometheus bu alanda bir \u00f6k\u00fcz \u00f6ld\u00fcr\u00fcr ve bunu Zeus\u2019a kar\u015f\u0131 bir hilenin arac\u0131 yapar. Prometheus \u00f6ld\u00fcrd\u00fc\u011f\u00fc \u00f6k\u00fcz\u00fc iki par\u00e7aya ay\u0131rd\u0131; kemiklerinin \u00fcst\u00fcn\u00fc ya\u011f ile, etin \u00fcst\u00fcn\u00fc ise ba\u011f\u0131rsaklar ile \u00f6rtt\u00fc. Zeus ya\u011f\u0131n \u00e7ekicili\u011fine kap\u0131l\u0131p alt\u0131ndaki kemikleri bilmeden se\u00e7ti. Titan\u2019\u0131n, Zeus\u2019a kar\u015f\u0131 yapt\u0131\u011f\u0131 hile bu ortak alan\u0131n da\u011f\u0131lmas\u0131na yol a\u00e7t\u0131 ve ayn\u0131 zamanda tanr\u0131lar\u0131n g\u00fcndelik hayattan \u00e7ekili\u015fini do\u011furdu. Bu eylemin tek sonucu Zeus\u2019un \u00e7ok k\u0131zmas\u0131 de\u011fildi, ayr\u0131ca o d\u00f6neme kadar vejetaryen olan insanl\u0131\u011f\u0131n da bu eylemle etoburlu\u011fa ge\u00e7i\u015fi olur. Ayr\u0131ca insan toplulu\u011fu, Zeus\u2019un k\u0131zg\u0131nl\u0131\u011f\u0131 ge\u00e7sin diye olay\u0131n pe\u015fi s\u0131ra s\u00fcrekli devam eden adaklar\u0131yla, tanr\u0131lara kurban verme gelene\u011fini de ba\u015flat\u0131r.<\/p>\n\n\n\n

Hik\u00e2yede, Zeus\u2019un hiddeti Prometheus\u2019u durdurmaz, bir sonraki eylemi tanr\u0131lar da\u011f\u0131 Olimpos\u2019taki ate\u015fi bir kam\u0131\u015f i\u00e7inde gizleyerek insanlar\u0131n d\u00fcnyas\u0131na g\u00f6t\u00fcrmektir. Yani ate\u015f h\u0131rs\u0131zl\u0131\u011f\u0131. Fakat bu sefer Zeus\u2019un gazab\u0131 sert olur, h\u0131rs\u0131z bir kayaya zincirlenir ve her g\u00fcn dev bir kartal gelip ci\u011ferini yer. Ama Zeus\u2019un hiddeti bununla s\u0131n\u0131rl\u0131 kalmaz, asinin i\u015fbirlik\u00e7isi olarak g\u00f6rd\u00fc\u011f\u00fc insana da y\u00f6nelir. Zeus, Prometheus\u2019un karde\u015fi Epimetheus\u2019u oyuna getirip ona ilk kad\u0131n olan Pandora\u2019y\u0131 sunar. Tanr\u0131 ayr\u0131ca Pandora\u2019ya d\u00fc\u011f\u00fcn hediyesi olarak bir sand\u0131k vermi\u015ftir. Meraklan\u0131p onu a\u00e7an kad\u0131n, fark\u0131nda olmaks\u0131z\u0131n kutuya gizlenmi\u015f kayg\u0131, hastal\u0131k, umutsuzluk, k\u00f6t\u00fcl\u00fck ve felaketlerin yery\u00fcz\u00fcne sa\u00e7\u0131lmas\u0131na yol a\u00e7ar. Sand\u0131kta sadece umut kalm\u0131\u015ft\u0131r; Hesiodos\u2019un yorumunda.<\/p>\n\n\n\n

Aiskhylos\u2019un aktard\u0131\u011f\u0131 hik\u00e2yede ise Prometheus insanl\u0131\u011f\u0131 uygarl\u0131\u011fa g\u00f6t\u00fcren bir kahramand\u0131r. T\u00fcm meslekleri ve bilimi \u00f6\u011freterek, insanlar\u0131n yer alt\u0131nda karanl\u0131k ma\u011faralarda s\u00fcren ilkel ya\u015fant\u0131s\u0131na son verir. Onun ta\u015f\u0131d\u0131\u011f\u0131 ate\u015f, \u0131\u015f\u0131kt\u0131r, bilgidir. Bu anlat\u0131da Pandora ve Mekone\u2019de ge\u00e7en olaylar yer almaz. Ama di\u011ferinden farkl\u0131 olarak; Prometheus annesi Themis\u2019ten Zeus\u2019un \u201cer ya da ge\u00e7 tahtan d\u00fc\u015fece\u011fi\u201d kehanetini ald\u0131\u011f\u0131 i\u00e7in cezaland\u0131r\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yler. Ama bu tehdit ayn\u0131 zamanda \u00e7areyi de i\u00e7inde bar\u0131nd\u0131rmaktad\u0131r. Uyar\u0131y\u0131 alan Zeus onu yok etmek yerine cezaland\u0131rmakla yetinir ve kendisi taht\u0131 i\u00e7in \u00f6nlemler al\u0131r. Ama t\u00fcm bu ya\u015fananlara ra\u011fmen Prometheus, ilaha pi\u015fmanl\u0131k getirmez.<\/p>\n\n\n\n

Prometheus\u2019un ser\u00fcveni uzun y\u0131llar insanl\u0131\u011f\u0131n imgesinde m\u00fchim bir yer edinir. \u00d6nce R\u00f6nesans\u2019ta ve de sonra 18. y\u00fczy\u0131l ba\u015f\u0131nda Romantizm Ak\u0131m\u0131yla birlikte Prometheus arketipi yeniden y\u00fckselir. Bu d\u00f6nem i\u00e7erisinde ak\u0131lc\u0131l\u0131k, ke\u015fif, bilime verilen \u00f6nem, ilerleme nosyonuyla b\u00fcy\u00fcyen sermaye art\u0131k kilise merkezli eski toplumun ba\u011flar\u0131ndan kurtulmak istiyordu. Yeni kurulan b\u00fcy\u00fck kentler ve makinele\u015fmeyle at ba\u015f\u0131 giden end\u00fcstriyel uygarl\u0131k kilise de\u011ferlerinin basit d\u00fcnyas\u0131n\u0131 alt \u00fcst etmi\u015f, bireyin de atomize olma s\u00fcrecini de ba\u015flatm\u0131\u015ft\u0131. End\u00fcstri Devrimi ile Romantizm ak\u0131m\u0131n\u0131n e\u015fzamanl\u0131 patlak vermesi bir rastlant\u0131 de\u011fildi. Romantikler yeni d\u00fcnyan\u0131n yaratt\u0131\u011f\u0131 yabanc\u0131la\u015fma ve insan tininde b\u00fcy\u00fcyen yang\u0131n\u0131n ilk umac\u0131lar\u0131 oldular. Onlar devrimsiz isyanc\u0131lard\u0131r, hayata ve topluma \u00f6fkeleri s\u0131k s\u0131k intihar ya da ak\u0131l hastal\u0131\u011f\u0131 gibi \u00f6z y\u0131k\u0131m formlar\u0131na b\u00fcr\u00fcn\u00fcr. Percy Bysshe Shelley, Lord Byron, Goethe\u2019nin yazd\u0131klar\u0131 \u015fiirlerde Prometheus\u2019un hik\u00e2yesini birer modern manifestoya d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n\n\n\n

Mary Shelley\u2019in \u201cModern Prometheus\u201d alt ba\u015fl\u0131\u011f\u0131 ta\u015f\u0131yan Frankenstein<\/em> roman\u0131nda ise ate\u015fi \u00e7al\u0131p tanr\u0131lara kar\u015f\u0131 gelme eylemi, T. Adorno\u2019nun \u201cen b\u00fcy\u00fck \u00fctopya\u201d olarak adland\u0131rd\u0131\u011f\u0131 \u00f6l\u00fcms\u00fczl\u00fc\u011fe kavu\u015fma \u00e7abas\u0131na evrilir. Tanr\u0131lara ait \u00f6l\u00fcms\u00fczl\u00fck ayr\u0131cal\u0131\u011f\u0131na, art\u0131k bilim insan\u0131 da taliptir. Ku\u015fkusuz bu do\u011faya kar\u015f\u0131 en b\u00fcy\u00fck isyand\u0131r. Romantizm ve Ayd\u0131nlanma\u2019n\u0131n idealleri Frans\u0131z Devrimi\u2019nin tetikleyicisi olmu\u015ftur. Fakat Frans\u0131z Devrimi kendi \u015fiar\u0131nda ortaya koydu\u011fu ve yaratmak istedi\u011fi konsens\u00fcs\u00fcn\u00fc daha devrim anlar\u0131nda yitirmi\u015ftir. Bunun sonucu olarak \u00f6nc\u00fcleri kendi aralar\u0131nda b\u00f6l\u00fcnm\u00fc\u015f ve devrimin baz\u0131 has evlatlar\u0131 kurban edilmi\u015ftir. Devrim sonras\u0131 olu\u015fturulan parlamentoda bu ayr\u0131m sa\u011fda ve solda oturmak olarak nesnelle\u015fmi\u015fti. Yani devrim birlik hedefi ile yola \u00e7\u0131k\u0131p ayr\u0131l\u0131kla sonu\u00e7lanm\u0131\u015ft\u0131. Kazanan ise, \u00e7ok seslilik de\u011fil teknik ak\u0131l ve onun geli\u015ftirdi\u011fi ideolojiler olmu\u015ftur. Sonu\u00e7 ne e\u015fitlik ne \u00f6zg\u00fcrl\u00fck ne de karde\u015fliktir.<\/p>\n\n\n\n

Burjuvazinin dayatt\u0131\u011f\u0131 yeni d\u00fczene kar\u015f\u0131 da h\u0131zl\u0131ca yeni ate\u015f h\u0131rs\u0131zlar\u0131 yeti\u015fir. Fakat muhalefetin teorik \u00e7e\u015fitlili\u011fi, prati\u011fe d\u00f6k\u00fcld\u00fc\u011f\u00fcnde yine tek kanall\u0131 formlara d\u00f6n\u00fc\u015fme e\u011filimindedir. Marks de\u011fil Marksistler, Proudhon de\u011fil Proudhoncular kuramlar\u0131 \u00e7oklu\u011fu d\u0131\u015flayan birer ideolojiye d\u00f6n\u00fc\u015ft\u00fcr\u00fcrler. Yani devrimci fikirler dogmaya d\u00f6n\u00fc\u015ft\u00fck\u00e7e, ta\u015f\u0131d\u0131klar\u0131 ate\u015f kendisini yakmaya ba\u015flar. B\u00f6yle bir tavr\u0131n sonucunda yeni ate\u015f h\u0131rs\u0131zlar\u0131 da t\u0131pk\u0131 Frans\u0131z devrimcileri gibi s\u00fcrekli b\u00f6l\u00fcnd\u00fcler. \u00c7e\u015fitlilik de\u011fil ideolojik kakofoni, \u00e7ok seslilik de\u011fil lider, \u00f6nc\u00fc, parti ya da kanaat \u00f6nderleri \u00f6ne \u00e7\u0131kt\u0131. Belki de kurtar\u0131c\u0131lar\u0131n ilk \u00f6nce kendi ruhlar\u0131n\u0131 kurtarmalar\u0131 gerekiyordu. Kurtar\u0131c\u0131lar\u0131n kurtarma \u00e7abas\u0131, sadece kendi ba\u015flar\u0131n\u0131 derde sokmaz, kurtarmaya soyunduklar\u0131 insanl\u0131\u011f\u0131n da ba\u015f\u0131 hep belaya girer. Unutmay\u0131n; P. Sollers\u2019in dedi\u011fi gibi \u201cdevrimde bir arzu haftas\u0131 yirmi y\u0131la bedeldir; gerileme d\u00f6neminde ise bir y\u0131ll\u0131k bunal\u0131m bir y\u00fcz y\u0131la yay\u0131l\u0131r\u201d. Prometheus; Zeus\u2019a kar\u015f\u0131 gelip, onun d\u00fczenini y\u0131kmaya ant i\u00e7se de devrim \u00e7abas\u0131n\u0131n sonu\u00e7lar\u0131na maruz kalanlar, ne onun gibi bir \u00f6znelik misyonuna sahiptir ne de b\u00f6yle bir konumu se\u00e7mi\u015flerdir. Jean Baudrillard\u2019\u0131n deyi\u015fiyle onlar \u201ckendilerinden esirgenen\u201d ayd\u0131nlanma ve bilin\u00e7lenme s\u00fcrecine d\u00e2hil olmazlar; onlar\u0131n se\u00e7imleri ise rasyonellik de\u011fil mittir. Jung\u2019un bahsetti\u011fi \u201cPrometheus Kompleksi\u201d de, Titan\u2019\u0131n kendi hik\u00e2yesinden \u00e7ok tarih i\u00e7inde devam eden arketipsel kal\u0131ba y\u00f6nelir ve onu kavramsalla\u015ft\u0131r\u0131r.<\/p>\n\n\n\n

Bu kavram\u0131 Prometheus hik\u00e2yesi \u00fczerinden geni\u015fletip, kuramsal bir \u00e7abaya girenler ise Gaston Bachelard ve Herbert Marcuse olmu\u015ftur. Bachelard\u2019\u0131n kulland\u0131\u011f\u0131 \u015fekliyle \u201cPrometheus Kompleksi\u201d, insan\u0131n ate\u015f elementiyle girdi\u011fi ili\u015fkiyle olu\u015fturdu\u011fu entelekt\u00fcel kibri temsil eder. Bachelard, Ate\u015fin Psikanalizi<\/em> incelemesinde insan\u0131n s\u0131n\u0131rs\u0131z bilme, nesnelere h\u00fckmetme, s\u0131n\u0131rlar\u0131 a\u015fma, otoriteye kar\u015f\u0131 \u00e7\u0131kma h\u0131rs\u0131n\u0131n yaratt\u0131\u011f\u0131 ve \u201ckendi kendini vuran\u201d e\u011filimleri if\u015fa eder. Bu s\u0131n\u0131r a\u015fma eylemi antik Yunan\u2019da kullan\u0131lan hubris kavram\u0131yla beraber okunmaya m\u00fcsaittir. Ve ele ge\u00e7irilen g\u00fcc\u00fcn zehirleyici olan g\u00f6lge yan\u0131n\u0131 da i\u00e7inde bar\u0131nd\u0131r\u0131r.<\/p>\n\n\n\n

Herbert Marcuse ise Eros ve Uygarl\u0131k<\/em> yap\u0131t\u0131nda bu ele\u015ftiriyi Bat\u0131 d\u00fcnyas\u0131na egemen olan performans ilkesi olarak form\u00fclle\u015ftirir. Ve bunu; s\u00fcrekli \u00e7al\u0131\u015fmay\u0131, gelece\u011fe yat\u0131r\u0131m yapmay\u0131 ve hazz\u0131 ertelemeyi dayatan toplumsal d\u00fczenin ba\u015fat ilkesi olarak g\u00f6r\u00fcr. Bunun kar\u015f\u0131l\u0131\u011f\u0131nda kurban edilen \u015fey ise; estetik, oyun, haz yani bo\u015f zaman\u0131n yabanc\u0131la\u015ft\u0131r\u0131lmad\u0131\u011f\u0131, insan\u0131n tek boyutlu de\u011fil de tinindeki olanca \u00e7e\u015fitlilikle ya\u015fayabildi\u011fi bir ya\u015famd\u0131r. \u0130\u015fin di\u011fer bir boyutu ise; ilahlara kar\u015f\u0131 gelme refleksinin getirdi\u011fi ate\u015fin g\u00f6lgede kalan di\u011fer k\u0131sm\u0131d\u0131r. Ayd\u0131nlanma \u0130deali; bat\u0131l olan\u0131 yok etme, her \u015feyi ak\u0131lc\u0131la\u015ft\u0131rma hedefiyle yola \u00e7\u0131km\u0131\u015ft\u0131r. Karanl\u0131k \u00e7a\u011flara son verilecek, \u0131\u015f\u0131k h\u00e2kim k\u0131l\u0131nacakt\u0131r. Fakat ge\u00e7en 250 y\u0131l i\u00e7inde ne fal ne astroloji ne de ruh \u00e7a\u011f\u0131rma gibi ekstrem inan\u00e7lar g\u00fc\u00e7 kaybetmemi\u015ftir. Keza, kiliseler, papal\u0131k, din b\u00fcrokrasisinin de sistemi h\u00e2l\u00e2 i\u015finde-g\u00fcc\u00fcndedir. Olan insan ruhunda ya\u015fayan naif Tanr\u0131\u2019ya olmu\u015ftur. \u0130lk o \u00f6ld\u00fcr\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

Ya\u015fad\u0131\u011f\u0131m\u0131z sosyal a\u011f\u0131n dijital a\u015famas\u0131nda ise Marcuse\u2019un ortaya koydu\u011fu Prometyen performans ilkesi t\u00fcm d\u00fcnyay\u0131 saran bir \u00e7\u0131lg\u0131nl\u0131k h\u00e2lini alm\u0131\u015ft\u0131r. Bu kal\u0131p sanal\u0131n persona evreninden ta\u015fm\u0131\u015f ve g\u00fcndelik hayattaki her anlaml\u0131 ili\u015fkiyi bir sim\u00fclasyon vodviline \u00e7evirir a\u015famaya gelmi\u015ftir. Bug\u00fcn\u00fcn d\u00fcnyas\u0131nda Zeus ve Olimpos Da\u011f\u0131 art\u0131k Silikon Vadisi\u2019ne ta\u015f\u0131nm\u0131\u015f durumda. Ve kendilerini \u201ctanr\u0131 olarak ilan etmeye\u201d haz\u0131rlananlar Palantir, Elon Musk, Jeff Bezos, Bill Gates gibi Silikon Vadisi multi-milyarderleridir. Ve onlar art\u0131k zihinlerini yaz\u0131l\u0131ma, bedenlerini sentetik et ile b\u00fct\u00fcnle\u015fti\u011fi bir sayborga d\u00f6n\u00fc\u015ft\u00fcr\u00fcp \u00f6l\u00fcms\u00fcz olma iradesindeler. Olimpos bu karanl\u0131k d\u00fc\u015flere milyarlar\u0131 yat\u0131r\u0131rken kitlelere Elysium<\/em> filmindeki gibi tekno-serf hayat\u0131 vaat ediliyor.<\/p>\n\n\n\n

Tekno-feodalizmden \u00f6nce ya\u015fanan tekno-fa\u015fizm \u00e7a\u011f\u0131nday\u0131z ve deste h\u00e2l\u00e2 kar\u0131lmaya devam ediyor. Dipten harlamaya devam eden ate\u015fse, yeniden \u00e7al\u0131nmay\u0131 bekliyor. Belki de yeniden oyun, yeniden a\u015fk ve yeniden hakikate dair umudu yakmak i\u00e7in; \u00f6nce yeniden bilin\u00e7li birer \u00f6zne olu\u015f s\u00fcrecinde olmak. Baudrillard\u2019\u0131n dedi\u011fi gibi \u201cd\u00fcnyan\u0131n ironisi, sistemlerin kendi m\u00fckemmelliklerinin a\u011f\u0131rl\u0131\u011f\u0131 alt\u0131nda ters y\u00fcz olmalar\u0131nda yatar.\u201d Gerisi zamand\u0131r.<\/p>\n\n\n\n

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(XXVII) Baz\u0131 Yanl\u0131\u015f Bilinen Do\u011frular (ve baz\u0131 do\u011fru bilinen yanl\u0131\u015flar)<\/h1>\n\n\n\n

Ak\u0131lc\u0131l\u0131k:<\/h2>\n\n\n\n

Kendini do\u011fan\u0131n kutsal ve b\u00fcy\u00fcl\u00fc ak\u0131\u015f\u0131ndan; zihin\/dil ve teknik\/toplumsalla\u015fma s\u00fcre\u00e7leriyle koparan insan t\u00fcr\u00fc, bunun yerine ikame edece\u011fi kendi ger\u00e7eklik sahnesini in\u015fa etmek zorundad\u0131r. Onun semboller, imgesel ya da simgesel kodlar \u00fcreten bili\u015fsel yeteneklerinin k\u00f6k\u00fc, belki de bir \u00e7e\u015fit mutasyon olan ikinci evrimde; do\u011faya kar\u015f\u0131 akl\u0131n yaratt\u0131\u011f\u0131 k\u00fclt\u00fcrde somutla\u015f\u0131r. Bir nevi do\u011fal se\u00e7ilim ilkesiyle oynanm\u0131\u015f, do\u011faya de\u011fil salt t\u00fcr\u00fcn geli\u015fimine y\u00f6nelik m\u00fcdahale imk\u00e2nlar\u0131n\u0131 aram\u0131\u015ft\u0131r.<\/p>\n\n\n\n

T\u00fcr\u00fcn devam\u0131 i\u00e7in, do\u011fadan onu ay\u0131ran anomalinin ya da bilin\u00e7li zihnin vazifesi, ya\u015fam\u0131 her alanda ak\u0131lc\u0131la\u015ft\u0131rmak ve onun sa\u011fl\u0131kl\u0131 devaml\u0131l\u0131\u011f\u0131n\u0131n \u00f6n ko\u015fulu olarak ger\u00e7eklik kategorileri in\u015fa etmektir (sistemler ve onlar\u0131 ayakta tutan ideolojik yap\u0131lar). O y\u00fczden farkl\u0131 d\u00f6nemde, birbiriyle z\u0131t g\u00f6r\u00fclen kavramla\u015ft\u0131rmalar, yakla\u015f\u0131mlar ya da kabuller asl\u0131nda ortak bir s\u00fcrecin farkl\u0131 anlar\u0131na tekab\u00fcl eder. Yani ilerleme, geli\u015fme, geni\u015fleme ak\u0131l merkezcili\u011fin temel fonksiyonlar\u0131d\u0131r. Bu y\u00fczden \u201ciyi ve k\u00f6t\u00fc\u201d kavramlar\u0131n\u0131n k\u00f6klerinin insan do\u011fas\u0131 denilen \u015feyde aranmas\u0131 bu k\u00fclt\u00fcr\u00fcn yaratt\u0131\u011f\u0131 bir \u015fa\u015f\u0131rtmad\u0131r; \u00e7\u00fcnk\u00fc do\u011fada iyi-k\u00f6t\u00fc, su\u00e7 ya da g\u00fcnah bulunmaz.<\/p>\n\n\n\n

\u201cTarif edilmi\u015f kutsal\u201d olarak dinin ke\u015ffi, do\u011fal olan kutsala kar\u015f\u0131 akl\u0131n ilk hamlesidir. Bu mantalitenin yetersiz, \u00e7eli\u015fik, a\u00e7\u0131klayamaz kald\u0131\u011f\u0131 karanl\u0131kta kalan b\u00f6lgeye kar\u015f\u0131 akl\u0131n h\u00fck\u00fcmranl\u0131\u011f\u0131n\u0131n devam\u0131 i\u00e7in felsefe ve bilim ikilisi devreye girer.<\/p>\n\n\n\n

Ak\u0131lc\u0131l\u0131\u011f\u0131n \u00f6yk\u00fcs\u00fc i\u015fte b\u00f6yle ba\u015flad\u0131…<\/p>\n\n\n\n

H\u00fcmanizm:<\/h2>\n\n\n\n

H\u00fcmanizm; insan merkezli evren anlay\u0131\u015f\u0131n\u0131 yaratmaktan \u00e7ok ona yol a\u00e7m\u0131\u015ft\u0131r. Fakat insan merkezli uygarl\u0131k anlay\u0131\u015f\u0131n\u0131n bug\u00fcnk\u00fc kullan\u0131mlar\u0131ndan (antroposen vb.) h\u00fcmanistleri sorumlu tutmak uygunsuzdur. Rebelais, \u0130bn-i Arabi, Erasmus, Montaigne gibi h\u00fcmanistlerin de\u011ferleriyle iktidar makamlar\u0131n\u0131 te\u015fkil eden soylu, burjuva ya da kilise y\u00f6neticilerinin icraatlar\u0131 apayr\u0131 \u015feylerdir.<\/p>\n\n\n\n

Bizzat Montaigne, Raimond Sebond\u2019un Savunmas\u0131<\/em> yap\u0131t\u0131nda \u201cd\u00fcnyan\u0131n t\u00fcm\u00fcne h\u00e2kim olmak bir yana, en k\u00fc\u00e7\u00fck par\u00e7as\u0131n\u0131 bile bilme g\u00fcc\u00fc olmayan; kendi kendisinin efendisi olaca\u011f\u0131na, her \u015feyin zararlar\u0131na maruz kalan, hata yapabilen bu zavall\u0131 yarat\u0131\u011f\u0131n kendini d\u00fcnyan\u0131n efendisi ve imparatoru diye adland\u0131rmas\u0131ndan daha g\u00fcl\u00fcn\u00e7 bir \u015fey d\u00fc\u015f\u00fcnebilir mi?\u201d diye sorar. Yani insan merkezli evren kavran\u0131\u015f\u0131na kar\u015f\u0131 ilk g\u00fc\u00e7l\u00fc ele\u015ftiriler postmodern, antroposen tart\u0131\u015fmalar\u0131 ya da post-h\u00fcmanizmden \u00e7ok \u00f6nce h\u00fcmanist d\u00fc\u015f\u00fcnce i\u00e7inden \u00e7\u0131kar.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcnceler bir \u00e7a\u011f\u0131n ufkunu a\u00e7ar, ona yollar g\u00f6sterir ama gidilecek yolun tayinini belirleyen felsefe de\u011fil g\u00fc\u00e7 ve tahakk\u00fcm problemidir. H\u00fcmanizm insana \u00f6zne olma \u015fans\u0131 verme \u00fclk\u00fcs\u00fcd\u00fcr; ona do\u011fay\u0131 ve t\u00fcrleri yok etme hakk\u0131n\u0131 vermemi\u015ftir. \u201c\u0130nsan kimdir, kim de\u011fildir\u201d tart\u0131\u015fmas\u0131 h\u00fcmanistlerin de\u011fil, g\u00fc\u00e7 sahiplerinin retori\u011fidir. Keza Avrupa\u2019dan d\u00fcnyan\u0131n farkl\u0131 k\u00f6\u015felerine uzanan s\u00f6m\u00fcrgeci \u00e7irkin g\u00fc\u00e7, ilkel g\u00f6rd\u00fc\u011f\u00fc toplumlar\u0131 \u201cinsan olamam\u0131\u015f\u201d stat\u00fcs\u00fcnde de\u011ferlendirip yok etmi\u015ftir. Bu k\u0131y\u0131c\u0131l\u0131k toplama kamplar\u0131ndan Gazze\u2019ye de\u011fin s\u00fcrer. Bu, h\u00fcmanizmin de\u011fil Marki de Sade\u2019\u0131n do\u011fa hiyerar\u015fisine ba\u011fl\u0131ym\u0131\u015f gibi sundu\u011fu, k\u0131y\u0131c\u0131 egoizm d\u00fc\u015f\u00fcncesinin eyleme ge\u00e7irilmesidir. Yani \u201ckimin \u00f6zne, kimin kullan\u0131lacak nesne oldu\u011funu\u201d belirleme hakk\u0131n\u0131 kendinde bulan kibrin; ya\u015fam\u0131 se\u00e7kinler ve onlar\u0131n kurbanlar\u0131 \u00fczerine me\u015frula\u015ft\u0131r\u0131lan bir manyakl\u0131\u011f\u0131n tarihi. Gladyat\u00f6r arenalar\u0131ndan Epstein dosyalar\u0131na de\u011fin.<\/p>\n\n\n\n

Art\u0131k, yeni bir kozmik h\u00fcmanizm alg\u0131s\u0131na; insan var olu\u015funun tini ve t\u00fcm ya\u015fam\u0131 kapsayan kozmik bilince a\u00e7\u0131lmas\u0131 ve d\u00fcnyadaki ya\u015fam\u0131 bu noktadan yeniden kurmay\u0131 d\u00fc\u015flemesine ihtiya\u00e7 var.<\/p>\n\n\n\n

\u0130drak eksik\u2026<\/p>\n\n\n\n

Sosyalizm:<\/h2>\n\n\n\n

Sosyalizm ideali Karl Marx ile ba\u015flamam\u0131\u015ft\u0131r, hatta tarihi \u00e7ok daha eskiye dayan\u0131r. K\u00f6keninde teorik ve pratik \u00fctopya taslaklar\u0131 vard\u0131r. Avrupa\u2019da 13. y\u00fczy\u0131lda Bogomil ve Kathar ayaklanmalar\u0131nda ortaya \u00e7\u0131kan \u00fclk\u00fc, siyasi manifestosunu Anadolu\u2019da 1416\u2019da ba\u015flayan \u015eeyh Bedreddin ayaklanmas\u0131nda netle\u015ftirerek bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc olu\u015fturur. Pe\u015flerinden 1516\u2019da yay\u0131nlanan Thomas More\u2019un \u00dctopya<\/em> tahayy\u00fcl\u00fc ve modern devrimcilerin teorik ve pratik tutkular\u0131 gelir. Marx bu s\u00fcrecin tarihi ve ehemmiyetli ba\u015f akt\u00f6r\u00fcd\u00fcr. Fakat sosyalizm ille de Marksist olmak durumunda de\u011fildir; farkl\u0131 \u00fctopyac\u0131, liberter, romantik, anar\u015fist ya da heterodoks sosyalizm anlay\u0131\u015flar\u0131 vard\u0131r. Ayr\u0131ca sosyalizm gelene\u011fi i\u00e7inde ateist tav\u0131r yan\u0131nda panteist, deist, mistik ve ezoterik ak\u0131mlar da bulunur (konunun merakl\u0131lar\u0131na Michel L\u00f6wy\u2019nin kuramsal ara\u015ft\u0131rmalar\u0131n\u0131 tavsiye ederim).<\/p>\n\n\n\n

Sovyet Blo\u011fu\u2019nun \u00e7\u00f6k\u00fc\u015f\u00fc ard\u0131ndan neo-liberal ideologlar Marx\u2019\u0131n sosyalizm anlay\u0131\u015f\u0131n\u0131, 20. y\u00fczy\u0131lda denenen sosyalist y\u00f6netim bi\u00e7imleriyle bir tutmaya ya da e\u015fitlemeye y\u00f6nelik bilin\u00e7li bir \u00e7aba i\u00e7ine girdiler. Burada niyet, devrilen sistemle birlikte Marx\u2019\u0131n itibar\u0131 ve ke\u015ffinin yaratt\u0131\u011f\u0131 ayd\u0131nlatmay\u0131 da tarihe g\u00f6mmekti. \u00d6mr\u00fcn\u00fcn son d\u00f6nemlerinde Marx kendi teorisinin dogmatik \u015femalara \u00e7evrilmeye, \u00e7arp\u0131t\u0131lmaya, indirgemecili\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeye \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131n\u0131 o tarihte anlam\u0131\u015f ve uyarm\u0131\u015ft\u0131: Moi, je ne suis pas Marxiste<\/em>, yani \u201cben Marksist de\u011filim\u201d. Marx\u2019\u0131n co\u015fkun hevesi, kapitalizmin tarihsel geli\u015fimini \u00e7\u00f6z\u00fcmlemek; onun insan toplulu\u011funda ve ruhunda (bak\u0131n\u0131z meta-feti\u015fizmi kavram\u0131) yaratt\u0131\u011f\u0131 tahribat\u0131, bilimsel y\u00f6ntem yard\u0131m\u0131yla g\u00f6r\u00fcl\u00fcr k\u0131lmakt\u0131. Belki de Marx h\u00e2l\u00e2 Marksistlerden kurtar\u0131lmay\u0131 bekliyor\u2026<\/p>\n\n\n\n

Ayd\u0131nlanma:<\/h2>\n\n\n\n

Ayd\u0131nlanma nedir? Ayd\u0131nlanma tek bir proje midir? Hay\u0131r, de\u011fildir. Radikal ayd\u0131nlanma, liberal ayd\u0131nlanma, muhafazak\u00e2r ayd\u0131nlanma, deist ayd\u0131nlanma, materyalist ayd\u0131nlanma, kozmik ayd\u0131nlanma gibi bir\u00e7ok farkl\u0131 ideolojinin ayd\u0131nlanma modelleri olmu\u015ftur. G\u00fcn\u00fcm\u00fczde \u0130ll\u00fcminati olarak karikat\u00fcrle\u015ftirilip komplo teorilerine meze yap\u0131lan \u0130ll\u00fcminasyon felsefesi de bu s\u00fcrece d\u00e2hildir. Ayd\u0131nlanma, yek bir yap\u0131ya, anlay\u0131\u015fa ya da ideolojiye indirgenemez. Misal, Kant ile Rousseau\u2019yu, Locke ile Voltaire\u2019i ayn\u0131 kefeye koymak \u00e7ok zordur. Fakat genel olarak bir tan\u0131mlama yaparsak, kilise ve monar\u015fi sistemlerinin birlikte g\u00fc\u00e7lendirdi\u011fi dogma ve hurafelerin yaratt\u0131\u011f\u0131 toplumsal ger\u00e7eklik d\u00fczlemine kar\u015f\u0131 ak\u0131l, bilgi, deney ve g\u00f6zlem merkezli bir ger\u00e7eklik olu\u015fturma giri\u015fimi oldu\u011fu s\u00f6ylenebilir. Bu d\u00fc\u015f\u00fcnsel bagaj; art\u0131k milad\u0131n\u0131 doldurmu\u015f kilise merkezli toplum, mutlak monar\u015fi sistemi ve h\u00e2l\u00e2 kurutulamam\u0131\u015f feodal d\u00fczenin tasfiyesi i\u00e7in gerekli yak\u0131tt\u0131r.<\/p>\n\n\n\n

Fakat logos olarak ak\u0131l merkezcili\u011fin, ayd\u0131nlanmac\u0131lar\u0131n da \u00fczerinde netle\u015fmekte zorland\u0131\u011f\u0131 bir kavramd\u0131r. Salt akla dayanan uygarl\u0131k s\u00fcrekli ak\u0131l d\u0131\u015f\u0131yla, farkl\u0131 bi\u00e7imlerle (dinsel, \u0131rksal ya da sek\u00fcler) y\u00fczle\u015fmi\u015ftir. \u0130nsan\u0131n buna kar\u015f\u0131 ayd\u0131nlanma \u00e7abas\u0131 \u00e7ok eskidir; \u00e7al\u0131nan ve elden ele iletilen ate\u015fle (bilgi, bilim, sanat, teknik, felsefe) Ayd\u0131nlanma \u00c7a\u011f\u0131\u2019na dek gelmi\u015ftir. Albert Camus\u2019n\u00fcn Ba\u015fkald\u0131ran \u0130nsan<\/em> ba\u015fl\u0131kl\u0131 incelemesinde Prometheus mitinden devrimlere, varolu\u015f\u00e7uluktan ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fc\u011fe (ya da 20. y\u00fczy\u0131la) de\u011fin bu ate\u015fin izini s\u00fcrer. \u0130nsan karanl\u0131ktan \u00e7\u0131kmak i\u00e7in dili, k\u00fclt\u00fcr\u00fc ve kutsal\u0131 yaratm\u0131\u015ft\u0131r. Tanr\u0131lar Da\u011f\u0131 insan\u0131n geli\u015fimine engel oldu\u011funda kendi akl\u0131n\u0131n yaratt\u0131\u011f\u0131 tanr\u0131lar ile \u00e7at\u0131\u015fmaya girmekten \u00e7ekinmemi\u015ftir. \u00c7ok farkl\u0131 bi\u00e7imde, ge\u00e7 Heidegger d\u00fc\u015f\u00fcncesi, \u00f6zellikle Anaksimandros ve Yunan felsefesi \u00fczerinden, insan\u0131n mitik bilin\u00e7ten zihinsel bilince ge\u00e7ti\u011fini; eskatolojik zaman\u0131n sonuna ilerledi\u011fini yazm\u0131\u015ft\u0131r (Holzwege<\/em>, 1946).<\/p>\n\n\n\n

Yani insan t\u00fcr\u00fc ilk mitleri \u00fcretti\u011finden beri bir ayd\u0131nlanma projesi i\u00e7indedir. Fakat mitik olarak kategorile\u015ftirilip g\u00f6z ard\u0131 edilen, insan\u0131n bilin\u00e7d\u0131\u015f\u0131 rezervleri ve onlar\u0131 zamans\u0131z var eden kozmosun enerji d\u00fczene\u011fi \u00fczerine yo\u011funla\u015fmadan, yani karanl\u0131k dehlizlere me\u015fale ile girmeye cesaret etmeden bu \u00e7aba hep g\u00fcd\u00fck kalm\u0131\u015ft\u0131r. Oysa ak\u0131l ak\u0131ld\u0131\u015f\u0131na, bilin\u00e7 bilin\u00e7d\u0131\u015f\u0131na i\u00e7kindir. Yani ayd\u0131nlat\u0131lacak menzilin h\u00e2l\u00e2 ba\u015f\u0131nday\u0131z\u2026<\/p>\n\n\n\n

Modern Teslis<\/h2>\n\n\n\n

Burjuvazinin kendi tarihsel plan\u0131n\u0131 ger\u00e7ekle\u015ftirmesi i\u00e7in kesin bir alt\u00fcst olu\u015fa ihtiyac\u0131 vard\u0131 ve Marx\u2019\u0131n o d\u00f6nem (k\u0131sa bir d\u00f6nem) ilerici addetti\u011fi burjuvazi, Frans\u0131z halk\u0131n\u0131n ger\u00e7ekle\u015ftirdi\u011fi devrimi \u00e7ald\u0131 (\u00fcst\u00fcne oturdu). \u015eahsi kanaatime g\u00f6re burjuvazi hep gericiydi; ne d\u00fcn ne de bug\u00fcn d\u00e2hil hi\u00e7bir zaman ilerici olmad\u0131; s\u00fcrekli ilerleme hedefine kilitlenmi\u015fti ve sadece kendi operasyon sahalar\u0131 d\u00e2hilinde Marx\u2019\u0131n dedi\u011fi \u015fekilde \u201cdevrim yapmadan durmad\u0131\u201d. Ama burjuvazi hep ak\u0131ll\u0131yd\u0131 ve o akl\u0131 hep bir silah gibi kulland\u0131. Topluluklar\u0131 kontrol ve manip\u00fcle etmek i\u00e7in yeni kontratlar, toplum s\u00f6zle\u015fmeleri, sa\u011fl\u0131k protokolleri, ak\u0131l kriterleri ortaya att\u0131.<\/p>\n\n\n\n

Burjuva akl\u0131n; Katolik Kilisesi\u2019nin temelini olu\u015fturan Teslis inanc\u0131 ya da \u201cbaba, o\u011ful, kutsal ruh\u201d \u015fiar\u0131 yerine yeni bir ger\u00e7eklik d\u00fczlemine ihtiyac\u0131 vard\u0131. \u00dc\u00e7 renk ya da e\u015fitlik, \u00f6zg\u00fcrl\u00fck, karde\u015flik slogan\u0131 b\u00f6yle do\u011fdu. Frans\u0131z Devrimi\u2019nin ne menem \u015fey oldu\u011fu, hep m\u00fcphem kalm\u0131\u015f \u201ckarde\u015flik\u201d \u015fiar\u0131 d\u0131\u015f\u0131nda, \u201ce\u015fitlik ve \u00f6zg\u00fcrl\u00fck\u201d tan\u0131mlar\u0131 kanunlar ve ilk kez yaz\u0131lan insan haklar\u0131 beyannamesi ile tescillendi. B\u00f6ylece burjuvazi istedi\u011fi geli\u015fme, verimlilik ve s\u00fcrekli at\u0131l\u0131m pahas\u0131na b\u00fct\u00fcn toplumun dinamizmini kabullerin ve kontratlar\u0131n donuk alan\u0131na kilitlemeyi ba\u015fard\u0131.<\/p>\n\n\n\n

Ama bu varolu\u015f insan tabiat\u0131na ayk\u0131r\u0131 oldu\u011fu i\u00e7in ilkin \u00fctopyac\u0131 sosyalistler, sonra Blanqui, Paris Kom\u00fcn\u00fc, Marx ve Bakunin\u2019in anti-kapitalist \u00f6zg\u00fcrl\u00fck felsefeleri geldi ve kontratlara kar\u015f\u0131 maraz \u00e7\u0131kartt\u0131. Fakat ya\u015fanan her \u015feye ra\u011fmen burjuva devrimin kontrat\u0131 iptal edilemedi; onun g\u00fcndelik i\u00e7ine s\u0131k\u0131\u015ft\u0131rd\u0131\u011f\u0131 tek kanall\u0131 ger\u00e7eklik ve normal anlay\u0131\u015f\u0131 y\u0131k\u0131lamad\u0131 (Sovyet deneyi d\u00e2hil). Sistem elindeki her imk\u00e2n ve f\u0131rsat\u0131 kullanarak devam etti. Ta ki 20. y\u00fczy\u0131l\u0131n sonuna dek. Bu tarihten sonra Frans\u0131z Devrimi\u2019nden o g\u00fcne dek devam edebilmi\u015f ger\u00e7eklik sahnesi, art\u0131k tamamen da\u011f\u0131ld\u0131. T\u0131pk\u0131 zaman i\u00e7inde imparatorluk, feodalizm, monar\u015fi sistemlerinin de y\u0131k\u0131lm\u0131\u015f oldu\u011fu gibi. Art\u0131k dijital \u00e7a\u011f, a\u011f\u0131n mant\u0131\u011f\u0131 olarak algoritma ve yeni logos paketinde Yapay Zek\u00e2 vard\u0131.<\/p>\n\n\n\n

Kom\u00fcnizm:<\/h2>\n\n\n\n

\u201cKom\u00fcnizm sistemi uyguland\u0131 ve yenildi.\u201d Hay\u0131r, bu m\u00fcmk\u00fcn de\u011fildir, \u00e7\u00fcnk\u00fc kom\u00fcnizm \u201colmayan bir sistem\u201d ya da \u00fctopik bir tahayy\u00fcld\u00fcr. Kendi radikal savunucular\u0131 bile onun belli a\u015famalar kat edildikten sonra var\u0131lacak bir menzil \u00fczerinden kurgular. D\u00fcnya tarihinde hen\u00fcz paras\u0131z, s\u0131n\u0131rs\u0131z, s\u0131n\u0131fs\u0131z ve devletsiz bir toplum olmam\u0131\u015ft\u0131r. Sovyet Devrimi ile ba\u015flay\u0131p 20. y\u00fczy\u0131l boyunca yay\u0131lan deneyimlere kom\u00fcnizm de\u011fil reel sosyalizm denilir. Zaten Marx\u2019a g\u00f6re tek \u00fclkede kom\u00fcnizm kurmak m\u00fcmk\u00fcn de\u011fildir. Kom\u00fcnizm a\u015famas\u0131na ge\u00e7i\u015f i\u00e7in \u00f6ncelikle devlet ad\u0131n\u0131 verdi\u011fimiz bask\u0131 ayg\u0131t\u0131n\u0131n s\u00f6nmesi \u015fartt\u0131r. Marx i\u00e7in bununla \u201cinsan toplumunun tarih \u00f6ncesi (prehistoryas\u0131)\u201d d\u00f6nemi kapan\u0131r. \u0130nsan\u0131n ilk kez kendi kaderini, toplumsal \u00fcretimini bilin\u00e7li ve \u00f6zg\u00fcrce y\u00f6netti\u011fi ger\u00e7ek tarih ba\u015flar. Ve bu deneyim hi\u00e7 ya\u015fanmam\u0131\u015ft\u0131r\u2026<\/p>\n\n\n\n

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(XXVIII) S\u0131n\u0131f Sava\u015f\u0131m\u0131 Tarih mi oldu?<\/h1>\n\n\n\n

Hay\u0131r olmad\u0131, hatta bilinen en \u015fiddetli raddesine geldi. Kavram\u0131n k\u00f6k\u00fcne bakarsak, insan toplumu i\u00e7inde ilk zor \u00fczerinden \u00fcretilen kutupluluk sonucu olu\u015ftu\u011funu g\u00f6r\u00fcr\u00fcz; yani birilerinin kendini elit, di\u011ferlerini vasat insan ya da k\u00f6le olarak toplumsal ger\u00e7ekli\u011fi kurgulamas\u0131nda. Bu a\u00e7\u0131dan en bilinen \u00f6rne\u011fi Spartak\u00fcs olan k\u00f6le ayaklanmalar\u0131, s\u0131n\u0131f sava\u015f\u0131m\u0131n\u0131n hayata ge\u00e7mesine yol a\u00e7m\u0131\u015ft\u0131r. Spartak\u00fcs ve arkada\u015flar\u0131 bir sava\u015f ba\u015flatmam\u0131\u015ft\u0131r, onlar kendilerine a\u00e7\u0131lan sava\u015f\u0131n \u00e7a\u011fr\u0131s\u0131n\u0131 kabul edip, m\u00fccadeleyi se\u00e7en insanlard\u0131r. Marx, 1854 y\u0131l\u0131nda yazd\u0131\u011f\u0131 bir mektupta ilk kez kulland\u0131\u011f\u0131 kavram\u0131n \u00f6ncesinde, s\u0131n\u0131flar\u0131n sava\u015f\u0131m\u0131n\u0131 olanca \u00e7arp\u0131c\u0131l\u0131\u011f\u0131yla aktaran Charles Dickens olmu\u015ftur, onun romanlar\u0131 \u00fccretli k\u00f6le d\u00fcnyas\u0131n\u0131n b\u00fcy\u00fck sefaletinin resmidir.<\/p>\n\n\n\n

Marx; meta-feti\u015fizmi kavram\u0131n\u0131 a\u00e7\u0131klarken i\u015f\u00e7ilerin \u00fcretim s\u00fcreci i\u00e7inde kendileri ve \u00fcrettikleri kar\u015f\u0131s\u0131nda ya\u015fad\u0131klar\u0131 yabanc\u0131la\u015fmay\u0131 end\u00fcstriyel devrimin makine sistemiyle birlikte okumu\u015ftu. Yani i\u015f\u00e7i makinele\u015fmeyle bir \u00e7e\u015fit otomata d\u00f6n\u00fc\u015fmeye ba\u015flam\u0131\u015ft\u0131. Kay\u0131npederi Marx ile aras\u0131 pek limoni olan damad\u0131 Paul Lafargue, onun yapt\u0131\u011f\u0131 kavramsalla\u015ft\u0131rmadan 30 sene sonra, \u00fcretimin makinelere aktar\u0131laca\u011f\u0131 ve insanlar\u0131n \u201ctembellik hakk\u0131n\u0131\u201d kulland\u0131klar\u0131 bir \u00fctopya tasla\u011f\u0131 kaleme al\u0131r. Fakat d\u00f6nemin s\u00f6m\u00fcr\u00fc d\u00fczeni ve s\u0131n\u0131fsal gerilimi o kadar y\u00fckselmi\u015ftir ki \u00fctopya tek biletli bir tatile g\u00f6nderilmi\u015ftir. Bu a\u011f\u0131r ger\u00e7ek\u00e7i toplumsal krizlerin en \u00e7\u0131plak izle\u011fini Gorki, Jack London, Howard Fast, John Steinbeck romanlar\u0131nda g\u00f6rebiliriz.<\/p>\n\n\n\n

\u0130\u015f\u00e7i yerine ge\u00e7en makine hayali, Karel \u010capek\u2019in 1920\u2019de yazd\u0131\u011f\u0131 R.U.R.<\/em> adl\u0131 piyeste ilk kez kullan\u0131lan robot kelimesini icat etmesiyle bamba\u015fka bir i\u00e7eri\u011fe b\u00fcr\u00fcn\u00fcr. \u010capek, \u00c7ek\u00e7e bir k\u00f6lelik metaforu olan \u201ca\u011f\u0131r angarya\u201d anlam\u0131na gelen robota<\/em> kelimesinden organik ve sentetik etten yap\u0131lm\u0131\u015f ve yap\u0131m ama\u00e7lar\u0131 insanlara s\u0131n\u0131rs\u0131z ve ko\u015fulsuz hizmet olan insans\u0131lar\u0131n isyan\u0131n\u0131 anlat\u0131r. Robot i\u015f\u00e7iler, kendilerine y\u00fcklenen \u201cs\u0131n\u0131rl\u0131 ac\u0131 hissi\u201d \u00f6zelli\u011fi \u00fczerinden bilin\u00e7lenerek kanl\u0131 bir ayaklanmaya giri\u015fir ve insanl\u0131\u011f\u0131 yok ederler. Fakat bu sava\u015f sonras\u0131nda gitgide insanile\u015fmeye ba\u015flarlar. Hik\u00e2yede iki robot aras\u0131nda a\u015fk ba\u015flar ve hayatta kalm\u0131\u015f son insan onlar\u0131 yeni \u00c2dem ve Havva olarak ilan eder, d\u00f6ng\u00fc yeni bir formda s\u0131f\u0131rdan ya da yeniden ba\u015flayacakt\u0131r.<\/p>\n\n\n\n

20. y\u00fczy\u0131l\u0131n sonunda reel sosyalizmin \u00e7\u00f6k\u00fc\u015f\u00fc, k\u00fcreselle\u015fme ve ileti\u015fim devrimiyle tarihin yan\u0131nda s\u0131n\u0131f sava\u015f\u0131m\u0131n\u0131n da biti\u015fi kutlanmaya ba\u015flan\u0131r. Fakat i\u015fin asl\u0131 \u00f6yle de\u011fildi; ya\u015fananlardan 30 sene sonra Covid-19 pandemisinin g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131 yeni normal, 21. y\u00fczy\u0131lda s\u0131n\u0131f sava\u015f\u0131m\u0131n\u0131n t\u0131rmanma e\u011frisinin robot resmini verdi. Art\u0131k k\u00fcresel toplum; evde \u00fcr\u00fcn bekleyen t\u00fcketiciler ve o \u00fcr\u00fcnleri \u00fcreten i\u015f\u00e7iler, da\u011f\u0131t\u0131m a\u011flar\u0131nda \u00e7al\u0131\u015fanlar ve evlere servis eden kuryeler a\u011f\u0131 olarak; tam ortadan ikiye b\u00f6l\u00fcnm\u00fc\u015ft\u00fc. Bu sert tablo YZ ve robotik teknolojilerinde k\u0131sa s\u00fcrede g\u00f6r\u00fcn\u00fcr olan s\u0131\u00e7ramayla, makinenin yine insan\u0131n i\u015fine talip oldu\u011fu bir mantaliteye geldi ve ge\u00e7iyor.<\/p>\n\n\n\n

Di\u011fer bir u\u00e7ta ise asl\u0131nda uzun s\u00fcredir cereyan edip yeni g\u00f6r\u00fcl\u00fcr olan dev \u015firketler aras\u0131 pazar, enerji ve teknoloji sava\u015f\u0131 bu duruma eklenmi\u015f durumda. Sonu\u00e7ta \u00e7okuluslu ve post-h\u00fcmanist motivasyonlu siber sermaye de devletlerden idareyi almaya ya da devletleri yutmaya da taliptir. Bu sefer kimin kime kar\u015f\u0131 nas\u0131l ayaklanaca\u011f\u0131n\u0131 ya da tersini gelecek g\u00f6sterecek. Tarihin ya da insanl\u0131\u011f\u0131n sonu ve yahut bilinmez kaos \u00e7a\u011f\u0131 kap\u0131ya dayand\u0131.<\/p>\n\n\n\n

Ve biz talihsiz nesiller; tam da bu \u00e7ok kutuplu, ac\u0131mas\u0131z, kaotik ve yok edici potansiyeli gitgide b\u00fcy\u00fcyen sava\u015flar\u0131n arifesinde d\u00fcnyaya geldik. \ud83d\ude0a<\/p>\n\n\n\n

Tarihin Sonu:<\/h1>\n\n\n\n

Hegel felsefesinde \u201cmutlak tin\u201d fikri ayn\u0131 zamanda tarihin kendi \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc tam olarak kavrama s\u00fcrecidir. \u0130nsan bilincinin \u00f6zg\u00fcrle\u015fmesi demek; ideolojik \u00e7at\u0131\u015fmalar\u0131n bitmesi, rasyonel-liberal devletin \u201cevrenselle\u015ferek mutlak bir uyuma ula\u015fmas\u0131\u201d a\u015famas\u0131, yani tarihin sonudur. Fakat reel d\u00fcnyada \u201ctarihin sonunu\u201d ilan eden Hegelciler de\u011fil, postmodern altl\u0131ktan nemalanan neo-liberal d\u00fc\u015f\u00fcnce olmu\u015ftur. So\u011fuk Sava\u015f\u2019\u0131n bitimi ya da reel sosyalizmin \u00e7\u00f6k\u00fc\u015f\u00fcyle Francis Fukuyama, Bat\u0131 ak\u0131lc\u0131l\u0131\u011f\u0131n\u0131n yaratt\u0131\u011f\u0131 liberal-demokrasinin zaferiyle tarihin nihai y\u00f6netim bi\u00e7imine kavu\u015ftu\u011funu s\u00f6yler. Fakat k\u0131sa s\u00fcre i\u00e7inde ya\u015fanan Bosna katliam\u0131, Irak i\u015fgali, 11 Eyl\u00fcl, Guantanamo zindan\u0131 gibi vakalarla \u201cbildi\u011fimiz\u201d tarihin bitmedi\u011fi ortaya \u00e7\u0131kar. Ve mikrofonu bu kez Samuel Huntington al\u0131r ve \u201cmedeniyetler \u00e7at\u0131\u015fmas\u0131\u201d \u00e7a\u011f\u0131n\u0131n ba\u015flang\u0131c\u0131n\u0131 ilan eder. Art\u0131k Bat\u0131 medeniyeti; Do\u011fu ve G\u00fcney ile b\u00fcy\u00fck bir var olu\u015f-yok olu\u015f sava\u015f\u0131na giri\u015fmi\u015ftir (s\u0131n\u0131fl\u0131 toplumsal mekanizma s\u00fcrekli d\u00fc\u015fman, \u015feytan, \u00f6teki ya da g\u00fcnah ke\u00e7ileri yaratmadan duramaz). Fakat tarih inat\u00e7\u0131d\u0131r, kolay kolay sahay\u0131 terk etmemeye niyetlidir\u2026<\/p>\n\n\n\n

\u0130nsan Tarihine – \u00d6n Giri\u015f:<\/h1>\n\n\n\n

\u201cBa\u015fka bir deyi\u015fle, mutluluk imgemiz ayr\u0131lmaz bi\u00e7imde kurtarma ve kurtar\u0131lma imgemizle birliktedir. Tarihin konusu olan ge\u00e7mi\u015f imgemiz i\u00e7in de b\u00f6yledir bu. Ge\u00e7mi\u015f, gizli bir zaman dizini ta\u015f\u0131r; ona kurtulma kap\u0131s\u0131n\u0131 a\u00e7an budur. Eskileri ku\u015fatm\u0131\u015f olan havan\u0131n solu\u011fu bize de\u011fip ge\u00e7mez mi? Kulak verdi\u011fimiz seslerde, art\u0131k susmu\u015f olanlar\u0131n yank\u0131s\u0131 yok mudur? Kur yapt\u0131\u011f\u0131m\u0131z kad\u0131nlar\u0131n tan\u0131mad\u0131\u011f\u0131m\u0131z k\u0131z karde\u015fleri olmam\u0131\u015f m\u0131d\u0131r? B\u00f6yleyse e\u011fer, bizimle ge\u00e7mi\u015f ku\u015faklar aras\u0131nda gizli bir anla\u015fma var demektir: Bu d\u00fcnyada bekleniyorduk biz.<\/p>\n\n\n\n

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Daha \u00f6nceki her ku\u015fak gibi biz de zay\u0131f bir Mesiyanik g\u00fc\u00e7le donat\u0131lm\u0131\u015f\u0131z, ge\u00e7mi\u015fin \u00fcst\u00fcnde hak iddia etti\u011fi bir g\u00fc\u00e7… Bu iddian\u0131n kar\u015f\u0131l\u0131\u011f\u0131n\u0131 vermek kolay de\u011fildir. Tarihsel maddeci bunun fark\u0131ndad\u0131r.\u201d <\/em><\/strong>Walter Benjamin \/ Tarih Kavram\u0131 \u00dcst\u00fcne (Son Bak\u0131\u015fta A\u015fk, Metis Yay\u0131nlar\u0131)<\/em><\/p>\n<\/blockquote>\n\n\n\n

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(XXIX) Kapan\u0131\u015f Yerine<\/h1>\n\n\n\n
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\u201cBen; zaman bi\u00e7iminde \u00f6l\u00fcm, d\u00fcnyalar\u0131n yok edicisiyim.\u201d <\/em><\/strong>Bhagavad Gita, 11:32<\/em><\/p>\n<\/blockquote>\n\n\n\n

Arthur C. Clarke\u2019\u0131n \u201cTanr\u0131\u2019n\u0131n 9 Milyar Ad\u0131\u201d ba\u015fl\u0131kl\u0131 bir \u00f6yk\u00fcs\u00fc var.<\/p>\n\n\n\n

Hik\u00e2ye Tibetli ke\u015fi\u015flerin aras\u0131nda ge\u00e7er. Onlara Tanr\u0131\u2019n\u0131n t\u00fcm isimlerini bulma ve evrenin var olu\u015f amac\u0131n\u0131 tamamlama g\u00f6revi verilmi\u015ftir. Alfabetik bir liste haz\u0131rlamaya soyunurlar. Lamaist rahipler ku\u015faktan ku\u015fa\u011fa tam \u00fc\u00e7 y\u00fcz y\u0131l boyunca bu g\u00f6revi devam ettirirler. Fakat bu listeyi insan zihni ve eme\u011fiyle tamamlaman\u0131n imk\u00e2ns\u0131z oldu\u011funu kabul ettiklerinde, ke\u015fi\u015fler iki Amerikal\u0131 m\u00fchendisten bilgisayar deste\u011fiyle s\u00fcreci h\u0131zland\u0131rmalar\u0131n\u0131 isterler. Ama\u00e7, harflerin farkl\u0131 kombinasyonlar\u0131n\u0131 otomatik olarak \u00fcreten bir sistem kurmakt\u0131r. M\u00fchendisler, bu i\u015fin alt\u0131nda yatan mistik nedeni g\u00fcl\u00fcn\u00e7 bulsalar da i\u015flerini yaparlar. Yani insan\u0131n anlam s\u0131n\u0131r\u0131, insan \u00e7abas\u0131 ve onun yaratt\u0131\u011f\u0131 bilgisayar\u0131n da deste\u011fiyle 9 milyar tan\u0131m bulmaya yol a\u00e7m\u0131\u015ft\u0131r. Bu evrenin kozmik bilmecesidir ve bilmece \u00e7\u00f6z\u00fcld\u00fc\u011f\u00fcnde y\u0131ld\u0131zlar d\u00fc\u015fer, evrenin \u0131\u015f\u0131klar\u0131 s\u00f6ner.<\/p>\n\n\n\n

Bu \u00f6yk\u00fcde metafizik bir metafor kullanarak anlat\u0131lmak istenen \u015feyin \u00f6z\u00fc, \u0130ngiliz d\u00fc\u015f\u00fcn\u00fcr L. Wittgenstein\u2019\u0131n \u201cdilimin s\u0131n\u0131rlar\u0131 d\u00fcnyam\u0131n s\u0131n\u0131rlar\u0131d\u0131r\u201d tespitine benzer. Ayr\u0131ca, Aziz Yuhanna\u2019n\u0131n \u201cba\u015flang\u0131\u00e7ta s\u00f6z (logos) vard\u0131\u201d yakla\u015f\u0131m\u0131ndan yola \u00e7\u0131karak, Arthur C. Clarke\u2019\u0131n \u00f6yk\u00fcs\u00fcn\u00fc \u201cba\u015fta oldu\u011fu gibi sonda da s\u00f6z olacakt\u0131r\u201d ve s\u00f6z\u00fcn (logos) bitiminde \u201cevren de bitecektir\u201d motivasyonuyla yazd\u0131\u011f\u0131n\u0131 da d\u00fc\u015f\u00fcnmek m\u00fcmk\u00fcn.<\/p>\n\n\n\n

Oysa insan t\u00fcr\u00fc var olmaya devam ettik\u00e7e d\u00fc\u015f\u00fcnmeye, hissetmeye, anlam bulmaya ve bu sayede dili geli\u015ftirmeye devam edecektir. Tanr\u0131, bir isimlendirme ya da s\u00f6z toplam\u0131ndan \u00f6te, tan\u0131mlanamayan sonsuzu ifade eden bir anlamd\u0131r. Logos kavram\u0131 Antik Yunan\u2019da sadece insan\u0131n s\u00f6z\u00fc ve bilgisi \u00f6tesinde kadim anlamlar da ta\u015f\u0131yordu. Antik toplumda logosun \u00f6z\u00fc, Herakleitos\u2019un s\u00f6yledi\u011fi \u015fekliyle \u201ckozmik ak\u0131l\u201d ya da evrensel yasad\u0131r. Herakleitos\u2019a g\u00f6re insan, kendi yaratt\u0131\u011f\u0131 sanr\u0131lara de\u011fil, evrenin (do\u011fan\u0131n) sesine kulak vererek ya\u015fanmal\u0131 ve akl\u0131n\u0131 bu y\u00f6nde kullanmal\u0131d\u0131r. Bu y\u00fczden ate\u015f metaforunu kullan\u0131r; koca Herakleitos.<\/p>\n\n\n\n

Ate\u015f s\u00fcrekli ya\u015far, enerji daimdir, hi\u00e7bir \u015fey kapanmaz, d\u00f6ner, d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n

Belki de, ba\u015ftan sona yaz\u0131l\u0131p indekse d\u00f6k\u00fclse bile s\u0131n\u0131rs\u0131z kalacak, yok olmayacak \u015fey s\u00f6zc\u00fckler de\u011fil, rakamlard\u0131r: 1\/137-<\/p>\n\n\n\n

\u015e\u00fck\u00fcr ki bilinmeyen h\u00e2l\u00e2 t\u00fcketilmedi, \u015f\u00fck\u00fcr ki y\u0131ld\u0131zlar h\u00e2l\u00e2 g\u00f6kte ve kozmik dansta Shiva heykeli h\u00e2l\u00e2 CERN\u2019\u00fcn bah\u00e7esinde.<\/p>\n\n\n\n

D\u00f6ng\u00fcsel Denemeler de devam edecektir; haddince.<\/p>\n\n\n\n

Rafet ARSLAN<\/a><\/strong>
31 May\u0131s\/1 Haziran 2026 \u2013 \u0130zmir<\/em><\/p>\n\n\n\n

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Rafet Arslan<\/strong>‘un Upas Yay\u0131n kapsam\u0131ndaki t\u00fcm eserleri https:\/\/upas.evvel.org\/?tag=rafet-arslan<\/a> adresinde bulunuyor.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,5,1],"tags":[40],"class_list":["post-3539","post","type-post","status-publish","format-standard","hentry","category-gorungu","category-yayinlar","category-uncategorized","tag-rafet-arslan","comments-off"],"_links":{"self":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/3539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3539"}],"version-history":[{"count":19,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/3539\/revisions"}],"predecessor-version":[{"id":3566,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/3539\/revisions\/3566"}],"wp:attachment":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}