{"id":850,"date":"2019-06-18T22:04:24","date_gmt":"2019-06-18T19:04:24","guid":{"rendered":"https:\/\/upas.evvel.org\/?p=850"},"modified":"2021-08-05T22:38:38","modified_gmt":"2021-08-05T19:38:38","slug":"inceleme-siir-teknolojisi-emrah-sonmezisik","status":"publish","type":"post","link":"https:\/\/upas.evvel.org\/?p=850","title":{"rendered":"\u0130nceleme: “\u015e\u0130\u0130R TEKNOLOJ\u0130S\u0130” (Emrah S\u00f6nmez\u0131\u015f\u0131k)"},"content":{"rendered":"\n
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Ayn\u0131 duyulara sahip olsak da, baz\u0131lar\u0131m\u0131z\u0131n mavi ve\nsiyah g\u00f6rd\u00fc\u011f\u00fc bir elbiseyi, baz\u0131lar\u0131m\u0131z buz mavisi ve alt\u0131n sar\u0131s\u0131 olarak\ng\u00f6rebilmekte; yani, duyu organlar\u0131m\u0131z\u0131n geli\u015fmi\u015flik d\u00fczeyleri farkl\u0131l\u0131k\ng\u00f6sterebilmektedir. Bu sormacan\u0131n baz\u0131 internet sitelerinde ele al\u0131n\u0131\u015f bi\u00e7imi\nkonuyu her ne kadar suland\u0131rsa da, optik yan\u0131lsamadan kaynakl\u0131 s\u00f6z konusu elbisenin\nger\u00e7ek renginden ba\u015fka bir renkte g\u00f6r\u00fcn\u00fcyor olmas\u0131 bizi \u015fu noktaya ta\u015f\u0131r: g\u00f6z\u00fcm\u00fczdeki\nalg\u0131lay\u0131c\u0131lar\u0131n ki\u015fiselli\u011fi. <\/p>\n\n\n\n

Ayn\u0131 duyulara sahip olsak da, baz\u0131lar\u0131m\u0131z\u0131n mavi ve siyah g\u00f6rd\u00fc\u011f\u00fc bir elbiseyi, baz\u0131lar\u0131m\u0131z buz mavisi ve alt\u0131n sar\u0131s\u0131 olarak g\u00f6rebilmekte; yani, duyu organlar\u0131m\u0131z\u0131n geli\u015fmi\u015flik d\u00fczeyleri farkl\u0131l\u0131k g\u00f6sterebilmektedir. Bu sormacan\u0131n baz\u0131 internet sitelerinde ele al\u0131n\u0131\u015f bi\u00e7imi konuyu her ne kadar suland\u0131rsa da, optik yan\u0131lsamadan kaynakl\u0131 s\u00f6z konusu elbisenin ger\u00e7ek renginden ba\u015fka bir renkte g\u00f6r\u00fcn\u00fcyor olmas\u0131 bizi \u015fu noktaya ta\u015f\u0131r: g\u00f6z\u00fcm\u00fczdeki alg\u0131lay\u0131c\u0131lar\u0131n ki\u015fiselli\u011fi. <\/p>\n\n\n\n

Varl\u0131k\u2019\u0131, zihinsel ve fiziksel olarak ikiye ay\u0131r\u0131r\u0131z\nama nesnenin fiziksel varl\u0131\u011f\u0131n\u0131n bir \u00f6zne taraf\u0131ndan ortaya konulmas\u0131, nesnel\nger\u00e7ekli\u011fin \u00f6znellik bar\u0131nd\u0131rd\u0131\u011f\u0131n\u0131 kabul etmeyi gerektirir. Aksi durum ise\nnesnenin nesne taraf\u0131ndan alg\u0131lan\u0131\u015f\u0131yla ilgilidir. Buradaki alg\u0131lama maddenin\ndi\u011fer maddelerle olan ba\u011f\u0131 ve tepkimesini ifade etmektedir. Ba\u011flar ile\ntepkimeler, belirli veya belirsiz \u015fartlar alt\u0131nda bir yap\u0131n\u0131n tan\u0131m alan\u0131n\u0131 \u00e7izer.\nYap\u0131 denildi\u011finde, bir kurguya sahip en k\u00fc\u00e7\u00fck halkadan en b\u00fcy\u00fc\u011f\u00fcne uzanan bir\nyap\u0131 anla\u015f\u0131lmal\u0131d\u0131r. Di\u011fer t\u00fcrl\u00fc, par\u00e7alar\u0131n uyumsuzlu\u011fu kar\u015f\u0131s\u0131nda t\u00fcmel\nbak\u0131mdan anlams\u0131zl\u0131kla y\u00fcz y\u00fczeyizdir. \u015eiir \u00fczerine yaz\u0131lan her de\u011ferlendirme\nyaz\u0131s\u0131nda \u015fiirin tan\u0131m alan\u0131na ba\u011fl\u0131 kal\u0131nmal\u0131yken, yaz\u0131lan her \u015fiir i\u00e7in b\u00f6yle\nbir zorunluk yoktur. Hatta tan\u0131m alan\u0131 g\u00f6zetilerek yaz\u0131lan \u015fiir, yenilik\nyarat\u0131m\u0131 a\u00e7\u0131s\u0131ndan elveri\u015fli de\u011fildir.<\/p>\n\n\n\n

G\u00f6rme yetisi geli\u015fen bir bebek, hareket\nkabiliyetinin de k\u0131s\u0131tl\u0131 olmas\u0131ndan \u00f6t\u00fcr\u00fc g\u00fcnlerce tavana bakar. Siz de ayn\u0131\n\u015fekilde yo\u011funla\u015f\u0131rsan\u0131z; tavan\u0131n d\u00fcz bir zeminden ibaret olmad\u0131\u011f\u0131n\u0131 ve binlerce\nnoktadan olu\u015ftu\u011funu kavrars\u0131n\u0131z. Tavan\u0131n nesnel varl\u0131\u011f\u0131n\u0131n bu a\u015famada herhangi\nbir \u00e7a\u011fr\u0131\u015f\u0131m\u0131 yoktur. Duyu organlar\u0131m\u0131zla alg\u0131lad\u0131\u011f\u0131m\u0131z her nesneyi bu\n\u00f6rnekteki gibi \u00f6ncelikle nesnel ger\u00e7eklikleriyle \u00f6z\u00fcmseriz. Horst Redeker, Edebiyat\nEsteti\u011fi isimli kitab\u0131nda, \u201cEdebiyat\nal\u0131mlanmak i\u00e7in \u00fcretilir, \u00fcretildi\u011fi i\u00e7in de al\u0131mlan\u0131r<\/em>\u201d der. Asl\u0131nda var\nolan her \u015fey, duyu organlar\u0131m\u0131z\u0131 engellemedi\u011fimiz s\u00fcrece bizden ba\u011f\u0131ms\u0131z bir\n\u015fekilde al\u0131mlan\u0131r. \u015eair, nesnel ger\u00e7ekli\u011fi \u00f6znel ger\u00e7eklikle yo\u011furarak \u015fiirini\nolu\u015fturur; okurun \u00f6n\u00fcnde yeni bir nesne olarak duran \u015fiirse, yeni bir \u00f6zne\ntaraf\u0131ndan nesnel hakikat noktas\u0131na ta\u015f\u0131n\u0131r. Nesnel ger\u00e7eklikle ba\u015flayan\nyolculuk, nesnel hakikat dura\u011f\u0131nda sonlan\u0131rken nesnel hakikat, nesnel ger\u00e7eklik\nile \u00f6znel ger\u00e7ekli\u011fin uygunlu\u011funu ifade etmektedir. Bir \u015fey ne kadar uygun\nolursa olsun, ayn\u0131 olmad\u0131\u011f\u0131 s\u00fcrece uygunsuzlu\u011fu da bar\u0131nd\u0131r\u0131r. Uygunsuzlu\u011fun nedeni\nfarkl\u0131 bilin\u00e7 d\u00fczeylerine sahip olu\u015fumuzla, mek\u00e2n ile nesnenin durdurulamaz\nde\u011fi\u015fimiyle ilgilidir.  <\/p>\n\n\n\n

Nas\u0131l olur da masal, fantastik edebiyat,  bilimkurgu vb. t\u00fcrler, nesnel ger\u00e7eklikle\nzay\u0131f ba\u011flara sahip olmas\u0131na kar\u015f\u0131n bizi i\u00e7ine \u00e7eker? Bunun haz ile ilgisi\noldu\u011funu d\u00fc\u015f\u00fcnebilirsiniz; \u00e7\u00fcnk\u00fc imge zihnin besin kaynaklar\u0131ndand\u0131r. Amac\u0131n,\nsalt haz in\u015fa etmek olmad\u0131\u011f\u0131 vurgulanmal\u0131d\u0131r; \u00e7\u00fcnk\u00fc temel ama\u00e7 yeninin\nke\u015ffedilme s\u00fcrecidir. Az \u00f6nce y\u00f6neltilen sorunun nesnel ger\u00e7eklikle ilintisi\nhen\u00fcz kan\u0131tlanmam\u0131\u015f diye d\u00fczeltilmesi gerekmektedir. Yakla\u015f\u0131k d\u00f6rt y\u00fczy\u0131l \u00f6nce\nBruno r\u00fcyas\u0131nda g\u00f6rd\u00fc\u011f\u00fc imgelerden yola \u00e7\u0131karak ortaya att\u0131\u011f\u0131 d\u00fc\u015f\u00fcncelerden vaz\nge\u00e7memi\u015f ve \u00f6l\u00fcmle cezaland\u0131r\u0131lm\u0131\u015fken Bruno\u2019nun imgeleri bilimin konusu olmu\u015f\nve d\u00fc\u015f\u00fcncelerinin do\u011frulu\u011fu uzaya ilk kez teleskopla bakan Galileo taraf\u0131ndan\nk\u0131sa bir zaman sonra kan\u0131tlanm\u0131\u015ft\u0131r. Zihinsel ger\u00e7eklik, yans\u0131lanm\u0131\u015f bir nesnel\nger\u00e7eklikle ba\u011f\u0131 bulunmaks\u0131z\u0131n ortaya \u00e7\u0131kabilir. Bunu m\u00fcmk\u00fcn k\u0131lan \u015fey imgedir,\nzihinsel nesne her zaman fiziksel bir ger\u00e7eklikten do\u011fmad\u0131\u011f\u0131 gibi her zaman\nfiziksel bir ger\u00e7e\u011fi de i\u015faret etmemektedir.  <\/p>\n\n\n\n

Nesneler, yans\u0131lar\u0131yla zihnimizde \u015fekillenirler. Nesnel\nolan\u0131n d\u00f6n\u00fc\u015fmedi\u011fi yerde \u00f6zneden s\u00f6z edilemez. \u00d6znenin, bu d\u00f6n\u00fc\u015f\u00fcmle edilgen ve\netkin birlikteli\u011fi vard\u0131r. Var olan\u0131n birebir yans\u0131s\u0131 m\u00fcmk\u00fcn olsayd\u0131, sanat\u0131\naktar\u0131m arac\u0131 \u015feklinde tan\u0131mlamam\u0131z gerekirdi. An\u2019\u0131n ve mek\u00e2n\u0131n aktar\u0131m\u0131n\u0131n,\nayn\u0131 ki\u015fi taraf\u0131ndan tekrar al\u0131mlanmas\u0131yla nostaljiye dair bir sonu\u00e7 olu\u015furken ba\u015fkalar\u0131\ntaraf\u0131ndan al\u0131mlanmas\u0131yla \u00e7a\u011fr\u0131\u015f\u0131msal nitelik elde edilebilir. Hi\u00e7bir nesne var\noldu\u011fu \u015fekliyle zihinde yans\u0131lanamaz. Alg\u0131lay\u0131c\u0131lar\u0131n, al\u0131mlama yetenekleriyle,\nzaman ve mek\u00e2nda biriktirdiklerinin ba\u015fka ba\u015fkal\u0131\u011f\u0131ndan dolay\u0131 yans\u0131lar\nde\u011fi\u015fkendir. Hi\u00e7bir \u015fey yeni anda eski haliyle varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcremeyece\u011finden\ndolay\u0131 ayn\u0131 ki\u015fi i\u00e7in bile nostaljik olan\u0131n \u00e7a\u011fr\u0131\u015f\u0131msal etkisi s\u00f6z konusudur. \u0130mge temelli sanatta \u00f6z\u00fcn tamam\u0131yla kavranmas\u0131 g\u00fc\u00e7t\u00fcr,\nayr\u0131ca ki\u015filerin ortak bir paydada toplanma y\u00fczdesi d\u00fc\u015f\u00fckt\u00fcr. \u00d6znel ger\u00e7ekli\u011fin\nbiricikli\u011fine de\u011finirken nesnel olan\u0131n kitlesel oldu\u011funu belirtmek gerekir. Alg\u0131lay\u0131c\u0131lar\u0131m\u0131zdaki\nfarkl\u0131l\u0131k \u00f6znel farkl\u0131l\u0131klara sebepken, alg\u0131lay\u0131c\u0131lar\u0131m\u0131zdaki ayn\u0131l\u0131k nesnel\nhakikatin kitlesel birli\u011fini sa\u011flar. G\u00f6rme yetisi olmayan bir canl\u0131, ses veya\nelektromanyetik dalgalarla \u00e7evresini alg\u0131l\u0131yorsa d\u00fcnya onun i\u00e7in iki boyutlu bir\nd\u00fczlemden ibarettir. Y\u00fckseklik ancak engelin arkas\u0131ndaki matematiksel bir\nili\u015fkidir. Bu matematiksel ili\u015fkiyi yorumlayamayacak bir beyin i\u00e7in \u00fc\u00e7\u00fcnc\u00fc\nboyut yoktur. Bundan dolay\u0131d\u0131r ki nesnel ger\u00e7eklik, \u00f6zne taraf\u0131ndan alg\u0131lan\u0131p\nyans\u0131land\u0131\u011f\u0131 s\u00fcrece ayn\u0131 yetkinli\u011fe sahip \u00f6znelerin kitlesel birli\u011finin\nsonucudur. <\/p>\n\n\n\n

\u00d6zneyi ortadan kald\u0131rd\u0131\u011f\u0131n\u0131zda yans\u0131y\u0131 da yok edersiniz. B\u00f6ylelikle fiziksel nesnenin alg\u0131lanan bi\u00e7imi ortadan kaybolur. Mevcut ba\u011f, \u015fiirin bi\u00e7imi ile \u00f6z\u00fc aras\u0131nda da vard\u0131r. Sanat, verili bi\u00e7imin yeniden d\u00fczenlenmesi, k\u00f6k bi\u00e7imin veya yeni bi\u00e7imin yeni \u00f6ze kavu\u015fturulmas\u0131yla yap\u0131l\u0131r. Hi\u00e7bir nesne \u00e7evresinden yal\u0131t\u0131k bir \u015fekilde bulunamayaca\u011f\u0131na g\u00f6re \u00e7evresel ilintilerden ba\u011f\u0131ms\u0131z bir bi\u00e7im d\u00fc\u015f\u00fcn\u00fclemez. Aksi olsayd\u0131, bi\u00e7im ile \u00f6z aras\u0131nda bir ba\u011f\u0131nt\u0131 kurulamazd\u0131. O takdirde verili bi\u00e7im ifadesi, \u00e7evresel ilintiden ba\u011f\u0131ms\u0131z olarak nesnenin verili bir bi\u00e7imde oldu\u011funun kabul\u00fcn\u00fc imlemektedir. Verili bi\u00e7im d\u00f6n\u00fc\u015f\u00fcp de\u011fi\u015ftik\u00e7e veya verili haliyle \u00e7evresel ili\u015fkiler kurduk\u00e7a anlam kazanmaktad\u0131r. Hem bu y\u00fczden, hem de yans\u0131ya de\u011ferlendirme fonksiyonu eklemlendi\u011finden dolay\u0131, zihindeki yans\u0131 her zaman nesnel ger\u00e7eklikten fazlad\u0131r. Yans\u0131lama ve de\u011ferlendirme \u00f6zne-nesne ili\u015fkileridir, ama yans\u0131laman\u0131n i\u00e7eri\u011fine kar\u015f\u0131t, de\u011ferlendirme i\u00e7eri\u011finin a\u011f\u0131rl\u0131kl\u0131 olarak \u00f6zneyle, onun gereksinimleri, \u00e7\u0131karlar\u0131yla, vs. belirlenir. T\u00fcm de\u011ferlendirmeler i\u00e7in oldu\u011fu gibi, edebiyattaki de\u011ferlendirme u\u011fra\u011f\u0131 i\u00e7in de ge\u00e7erlidir bu. Buradan da, yans\u0131lamaya kar\u015f\u0131t, de\u011ferlendirme i\u00e7eri\u011finin a\u011f\u0131rl\u0131kl\u0131 olarak \u00f6znel yoldan belirlendi\u011fi ortaya \u00e7\u0131kar*.<\/em> Bir sanat eserinde ger\u00e7ekli\u011fin de\u011ferlendiri\u015fi \u00fc\u00e7 farkl\u0131 \u00f6znenin birlikteli\u011fiyle yap\u0131l\u0131r: edebi canland\u0131rmada de\u011ferlendirme, edebi canland\u0131rman\u0131n tasar\u0131m karma\u015f\u0131kl\u0131\u011f\u0131 yoluyla, yani yazar-\u00f6zne \/ canland\u0131rmadaki \u00f6zne \/ okuyucu-\u00f6zne\u2019nin, bu \u201cki\u015filiklerin \u00fc\u00e7 birlikteli\u011fi\u201dnin temsil etti\u011fi ve kendi nesnesi olarak ger\u00e7eklikle aras\u0131nda de\u011ferlendirici bir ilintinin bulundu\u011fu \u201ckollektif \u00f6zne\u201d yoluyla, ger\u00e7ekli\u011fin de\u011ferlendirili\u015fi haline gelir*.<\/em><\/p>\n\n\n\n

\u201cVerili bi\u00e7imi ba\u015fkala\u015ft\u0131ran nedir?\u201d sorusunun cevab\u0131\n\u201c\u00f6znedir\u201d. Peki, \u201cVerili bi\u00e7im nerede ba\u015fkala\u015fmaktad\u0131r?\u201d sorusunun cevab\u0131 nedir?\nHer sanat dal\u0131n\u0131n, kendi tan\u0131m alan\u0131nda ba\u015fkala\u015fmaktad\u0131r verili bi\u00e7im. Bi\u00e7imi,\nverili olmaktan \u00e7\u0131karan \u015feyse kurgudur. Verili olan, ya yeniden kurgulanarak yeni\nbi\u00e7imine evrilirken bir plan\u0131n amac\u0131; ya da do\u011frudan di\u011fer nesnelerle etkile\u015fime\ngirerek bir plan\u0131n arac\u0131 olur. Her iki durumda da yans\u0131 de\u011fi\u015fmi\u015f, yeni \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n\nkap\u0131s\u0131 aralanm\u0131\u015ft\u0131r. Yeni bi\u00e7imin yans\u0131s\u0131 ne eski bi\u00e7imle, ne de yeni bi\u00e7imle\nbirebir de\u011fildir; \u00e7\u00fcnk\u00fc ilk haline ve yeni haline olan benzemezlik hem nesnel\nhem de \u00f6znel bir sonu\u00e7tur. Yeni bi\u00e7imin yans\u0131s\u0131 b\u00fcy\u00fck oranda \u00f6znel ger\u00e7eklik\ni\u00e7erecek \u015fekilde kurguland\u0131ysa yans\u0131lar biricikle\u015fmeye ba\u015flar, i\u00e7ermiyorsa\nkitleselle\u015femeye\u2026 <\/p>\n\n\n\n

\u00d6z, bi\u00e7imin yans\u0131s\u0131ysa; alg\u0131 da kurgunun yans\u0131s\u0131d\u0131r.\nFiziksel varl\u0131\u011f\u0131 olmayan zihinsel nesne, d\u0131\u015fa vuruldu\u011fu andan itibaren nesneye\nd\u00f6n\u00fc\u015ft\u00fcr\u00fclerek veya nesneye ba\u011f\u0131ml\u0131 olarak aktar\u0131l\u0131r. Zihinsel nesne, nesnel\nger\u00e7eklikten ba\u011f\u0131ms\u0131zla\u015ft\u0131k\u00e7a sanalla\u015f\u0131r. \u015eiir de zihinsel nesnenin yans\u0131s\u0131n\u0131\ni\u00e7erir ki buna kar\u0131\u015ft\u0131r\u0131lmamas\u0131 i\u00e7in ters y\u00f6nl\u00fc yans\u0131 demek daha do\u011frudur. Ters\ny\u00f6nl\u00fc yans\u0131, nesne olarak v\u00fccut bulduktan sonra \u015fairin aktarmak istedi\u011fi \u015feyler\nikinci ki\u015fi taraf\u0131ndan, kolayl\u0131kla al\u0131mlanarak yans\u0131lanabiliyorsa benzetme temelli\nili\u015fki s\u00f6z konusudur; al\u0131mlanam\u0131yor veya yans\u0131lar belirsizlik bar\u0131nd\u0131r\u0131yorsa (\u015fiirin\nili\u015fkilendi\u011fi sanal d\u00fcnya b\u00fcy\u00fck oranda sanal olarak kal\u0131r) imge temelli aktar\u0131m\ns\u00f6z konusudur. Ters y\u00f6nl\u00fc yans\u0131n\u0131n nesnel ger\u00e7eklikle ba\u011f\u0131 ne kadar zay\u0131fsa, o\nkadar anla\u015f\u0131lamaz ve bilinemezdir. Bu \u00e7er\u00e7eveyle \u00e7izilen anla\u015f\u0131lmazl\u0131k, \u015fiirin\nu\u00e7 noktalarda unsuru oldu\u011fu s\u00fcrece, \u015fiiri nesnel kar\u015f\u0131l\u0131ks\u0131zl\u0131\u011fa yakla\u015ft\u0131r\u0131r.<\/p>\n\n\n\n

Televizyon ve \u015eiir? San\u0131r\u0131m, televizyonun olumsuz y\u00f6nde en az etkileyece\u011fi sanat \u015fiir sanat\u0131 olacakt\u0131r. \u00c7\u00fcnk\u00fc \u015fiir kendi yap\u0131s\u0131 d\u0131\u015f\u0131nda bir yap\u0131ya, diyelim g\u00f6r\u00fcnt\u00fcye, kolay kolay d\u00f6n\u00fc\u015ft\u00fcr\u00fclemez. D\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc\u011f\u00fc zaman o art\u0131k \u015fiir de\u011fil ba\u015fka bir \u015fey olacakt\u0131r.<\/em> \/\u2026\/ Televizyonun \u015fiirde iki de\u011fi\u015fiklik yaratmas\u0131 beklenebilir: \u015fiirin yayg\u0131nl\u0131\u011f\u0131n\u0131 artt\u0131rmas\u0131, bir; bunun bir sonucu olarak \u015fairi y\u00fcreklendirip onu s\u00f6zel (oral) bir yap\u0131 kurmaya itebilir, iki. Ki\u015fi, filmini g\u00f6rd\u00fc\u011f\u00fc bir roman\u0131 okumaktan cayabiliyor. Ama televizyonda dinledi\u011fi bir \u015fiiri okumak, yeniden okumak ona \u00e7ekici gelebilecektir. Bu bak\u0131mdan televizyonun uzun d\u00f6nemde \u015fiir sanat\u0131na yarar\u0131 olaca\u011f\u0131 kan\u0131s\u0131nday\u0131m**.<\/em> Televizyonun \u00f6b\u00fcr sanatlar kadar \u015fiire zarar\u0131 olmayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnen Cemal S\u00fcreya\u2019y\u0131, ge\u00e7en zaman haks\u0131z \u00e7\u0131karm\u0131\u015ft\u0131r; \u00e7\u00fcnk\u00fc \u015fiir televizyonda var olamam\u0131\u015ft\u0131r hi\u00e7bir zaman. \u00dcst\u00fcne \u00fcstl\u00fck en \u00e7ok zarar\u0131 da \u015fiir g\u00f6rm\u00fc\u015ft\u00fcr. E\u011fer \u015fairler kanal sahibi olabilseydi, belki de \u015fiirin televizyonla evirilmesi sa\u011flanabilirdi. Neden mi televizyondan en \u00e7ok zarar\u0131 \u015fiir g\u00f6rd\u00fc? \u00c7\u00fcnk\u00fc \u015fiirin g\u00f6r\u00fcnt\u00fcye d\u00f6n\u00fc\u015ft\u00fcr\u00fclemeyece\u011fine inan\u0131ld\u0131. Televizyon d\u0131\u015f\u0131ndaki ekranlara da bu bak\u0131\u015fla yakla\u015f\u0131ld\u0131\u011f\u0131 i\u00e7indir ki teknoloji \u015fiire i\u00e7kin hale getirilemedi. Sonu\u00e7 olarak ekranlar sayesinde \u015fiirin yayg\u0131nl\u0131\u011f\u0131n\u0131n artmas\u0131 beklenirken \u015fairlerin(!) say\u0131s\u0131nda b\u00fcy\u00fck bir art\u0131\u015f sa\u011fland\u0131. Yaz\u0131ld\u0131\u011f\u0131 d\u00f6nem itibariyle S\u00fcreya\u2019n\u0131n d\u00fc\u015f\u00fcncelerinde tutars\u0131zl\u0131k yok tabi ki. Ama \u00fc\u00e7 boyutlu yaz\u0131c\u0131, hologram vb. teknolojilerden haberdar olan birinin halen \u015fiirin g\u00f6r\u00fcnt\u00fcye d\u00f6n\u00fc\u015ft\u00fcr\u00fclemeyece\u011fini d\u00fc\u015f\u00fcnmesi, i\u00e7inde bulundu\u011fu \u00e7a\u011f ile tutars\u0131zl\u0131k i\u00e7inde oldu\u011funu g\u00f6sterir. <\/p>\n\n\n\n

Teknik, insan\u0131n bilgi ve becerisinin pratik bir sonucu olarak tan\u0131mlan\u0131r. Teknoloji ise bilgi ve becerinin bilimsel sonucudur. Sanat\u00e7\u0131 prati\u011finin yoklu\u011fu, sanat\u00e7\u0131n\u0131n yoklu\u011fu anlam\u0131na gelir.  Israrla vurgulanmas\u0131 gereken nokta, teknoloji ile sanat\u00e7\u0131 prati\u011finin ili\u015fkilendirilmesinin zorunlulu\u011fudur. \u00c7o\u011funlu\u011fumuz fiziksel olandansa, dijital olandan daha fazla haz duyuyoruz. \u0130nternet zihinsel varl\u0131\u011fa dayal\u0131 bir d\u00fcnyan\u0131n kap\u0131lar\u0131n\u0131 aralarken internet ortam\u0131nda dola\u015fan bir \u015feyin yarat\u0131c\u0131s\u0131n\u0131n kim oldu\u011fuyla ilgilenmiyoruz; hatta yarat\u0131c\u0131s\u0131 da kendisinin kim oldu\u011fuyla ilgilenmiyor. \u015eiire duyulan ilgi azl\u0131\u011f\u0131ndan veya \u015fiirin art\u0131k okunmad\u0131\u011f\u0131ndan bahsetmek yerine, klasik anlay\u0131\u015fla ve mevcut tan\u0131m alan\u0131na sad\u0131k kal\u0131narak \u00fcretilen \u015fiirin konumundan bahsedilmelidir. Sorun bizce, sanat\u0131n insandan kopuk olmas\u0131nda de\u011fil sanat\u00e7\u0131s\u0131ndan kopuk olmas\u0131ndad\u0131r. Teknik yerini, teknolojiye b\u0131rakm\u0131\u015f ama sanat\u00e7\u0131 prati\u011fi bu teknolojik alanlarda hen\u00fcz var olamam\u0131\u015ft\u0131r. \u015eiirin teknoloji kar\u015f\u0131s\u0131ndaki s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131, teknolojiyi tan\u0131m alan\u0131n\u0131n i\u00e7ine almas\u0131yla a\u015f\u0131labilir. Ayn\u0131 malzemenin eski teknikle i\u015flenmesinden yeni bir sonu\u00e7 elde edilemeyece\u011finden dolay\u0131 \u015fiir hem eskiden oldu\u011fu gibi dinlenebilir, hem de eskiden olmad\u0131\u011f\u0131 gibi g\u00f6r\u00fclebilir olmal\u0131d\u0131r. Sinema tarihine mercek tutuldu\u011funda, sinema tekni\u011finin nas\u0131l sinema teknolojisine evirildi\u011fi rahatl\u0131kla g\u00f6zlemlenebilir ve buradan yola \u00e7\u0131karak \u015fiir i\u00e7in \u00e7\u0131karsamalarda bulunulabilir. \u015eiir tekni\u011fini ki\u015fi kendi ba\u015f\u0131na \u00f6\u011frenip geli\u015ftirebilecekken \u015fiir teknolojisinin pratik d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fc bireysel \u00e7abayla ba\u015farmak g\u00fc\u00e7t\u00fcr. \u015eair hem bu yolda \u015fimdilik yaln\u0131z; hem de teknolojiye kar\u015f\u0131 duyars\u0131zd\u0131r. <\/p>\n\n\n\n

Emrah S\u00f6nmez\u0131\u015f\u0131k<\/a>
18 Haziran 2019<\/strong><\/p>\n\n\n\n

\n\n\n\n

Kaynaklar: <\/strong><\/p>\n\n\n\n

(*)\nRedeker Horst, Edebiyat Esteti\u011fi, Kuzey Yay\u0131nlar\u0131, Ankara,1986.<\/p>\n\n\n\n

(**) S\u00fcreya Cemal, \nTelevizyon ve \u015eiir, \u201cG\u00fcn\u00fcbirlik\u201dler, YKY, 2005<\/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":[24,1],"tags":[],"class_list":["post-850","post","type-post","status-publish","format-standard","hentry","category-gorungu","category-uncategorized","comments-off"],"_links":{"self":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/850","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=850"}],"version-history":[{"count":3,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/850\/revisions"}],"predecessor-version":[{"id":1738,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=\/wp\/v2\/posts\/850\/revisions\/1738"}],"wp:attachment":[{"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=850"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=850"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/upas.evvel.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=850"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}