{"id":1362,"date":"2018-05-07T23:00:59","date_gmt":"2018-05-07T20:00:59","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1362"},"modified":"2018-05-07T23:01:57","modified_gmt":"2018-05-07T20:01:57","slug":"harvey-zaman-mekan-sikismasina-tepkiler","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/05\/07\/harvey-zaman-mekan-sikismasina-tepkiler\/","title":{"rendered":"Harvey, Zaman-Mek\u00e2n S\u0131k\u0131\u015fmas\u0131na Tepkiler"},"content":{"rendered":"

Harvey, bu kitapta postmodernite ba\u011flam\u0131nda zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131n\u0131 te\u015fhis ediyor ve etkilerine epey vakit ay\u0131r\u0131yordu. A\u015fa\u011f\u0131da al\u0131nt\u0131lad\u0131\u011f\u0131m k\u0131s\u0131m, bug\u00fcne dek Harvey’den daha \u00e7ok ilgi g\u00f6sterdi\u011fim (her daim hakl\u0131 buldu\u011fum de\u011fil illa ki) Wim Wenders, Jean Baudrillard, Fredric Jameson, Nietzsche (?), F\u00e9lix Guattari ve Gilles Deleuze’\u00fcn \u015fahs\u0131nda, Harvey’nin postmodern d\u00fc\u015f\u00fcnce ve imge \u00fcretimine dair Marksist ele\u015ftirilerini i\u00e7eriyor. \u00dcniversite dersleri de dahil, postmodernizm, postmodernite vb. kavramlar\u0131n, bir veya birka\u00e7 dersin\/saatin \u00f6tesinde, derinlemesine tart\u0131\u015f\u0131ld\u0131\u011f\u0131 bir ortama rastgelemedim. Bana \u00e7ok verimli, d\u00fc\u015f\u00fcnceyi ve onun do\u011fup serpildi\u011fi patikalar\u0131 berrakla\u015ft\u0131r\u0131c\u0131 yol ve yollar (-lar tak\u0131s\u0131,\u00a0bu da bir nevi po-mo’la\u015fma<\/em>) \u00e7izer gibi geliyor uzun soluklu tart\u0131\u015fmalar. Sevgili Paul Fry hoca, edebiyat teorisi dersinde “The Postmodern Psyche<\/a>” haftas\u0131n\u0131 sadece\u00a0\u017di\u017eek ve Deleuze \u00f6rnekleminden tart\u0131\u015f\u0131yordu. Buralardan ilmekler atmak \u00f6\u011fretici olmakla birlikte tekil tespitlerden do\u011fru genel yol ayr\u0131mlar\u0131 \u00fczerine gitmek daha faydal\u0131 oluyor. Gazetedeki haftal\u0131k k\u00f6\u015fe yaz\u0131s\u0131nda postmodernizmi g\u00f6men veya \u00f6ven \u00e7okbilmi\u015f yazarlar gibi rol kesmeden, ger\u00e7ekten d\u00fc\u015f\u00fcncenin pe\u015finde ilerleyerek yani… B\u00f6yle olunca ayn\u0131 anda herkes konu\u015fuyor ve hi\u00e7 kimse konu\u015fmuyor. Ama mesela, H\u00fcseyin K\u0131ran’\u0131n kendi yazd\u0131klar\u0131ndan bahsederken \u00e7ok net -devrimci \u00f6fkeyle mi- “ben modernist bir yazar\u0131m” vurgusunu<\/a> sevmi\u015ftim, onun edebiyat\u0131na yanl\u0131\u015f kap\u0131lardan girme \u00e7abalar\u0131m\u0131n \u00f6n\u00fcne ge\u00e7mi\u015fti. 20. y\u00fczy\u0131l\u0131n ge\u00e7 ikinci yar\u0131s\u0131nda d\u00fc\u015f\u00fcnsel ve sanatsal \u00fcretim yapan bir\u00e7ok ki\u015fiyi belli ba\u011flamlara oturtmak, oradan do\u011fru anlamak a\u00e7\u0131s\u0131ndan, genel perspektifler \u00fcretmeye de katk\u0131s\u0131 olur b\u00f6yle genel tart\u0131\u015fmalar\u0131n. Sezgisel olarak, sinemada daha \u00e7ok modernistlere a\u015finay\u0131m, edebiyatta ise yo\u011funlukla postmodern yazarlar\u0131n etki alan\u0131nday\u0131m, kesin. \u00c7\u00fcnk\u00fc sinemada klasikleri daha iyi biliyorken, edebiyatta onlardan bihaberim. O y\u00fczden burada da farkl\u0131 g\u00f6r\u00fc\u015flerden d\u00fc\u015f\u00fcn\u00fcrlerin postmoder(…) yorumlar\u0131n\u0131 biraraya getirip, \u00fcst \u00fcste, \u00e7arpa \u00e7arpa okusam iyi olur -son paragraftaki \u015fizofreni tart\u0131\u015fmas\u0131 bel alt\u0131 bence.<\/p>\n

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”<\/p>\n

Zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131n\u0131n do\u011furdu\u011fu sanc\u0131lara tepkiler farkl\u0131 olmu\u015ftur. \u0130lk savunma hatt\u0131, yorgun, bitkin, her \u015feyden usanm\u0131\u015f bir sessizli\u011fe \u00e7ekilmek ve her \u015feyin ne kadar engin, kavranamaz ve bireysel ya da kolektif kontrol\u00fcn d\u0131\u015f\u0131nda oldu\u011fu t\u00fcr\u00fcnden ezici bir duygu kar\u015f\u0131s\u0131nda boyun e\u011fmektir. Postmodern edebiyat\u0131n \u00f6zellikleri (“m\u00fcmk\u00fcn olan en basmakal\u0131p karakterlerin m\u00fcmk\u00fcn olan en basmakal\u0131p ortamlar i\u00e7inde m\u00fcmk\u00fcn olan en basmakal\u0131p ifadeyle anlat\u0131lmas\u0131”, bkz. s. 76) tam da bu t\u00fcr bir tepkiyi ifade ediyor. Wenders’in\u00a0Paris, Texas<\/em> filminde tasvir etti\u011fi ki\u015fisel d\u00fcnya da benzer bir \u00f6rnektir.\u00a0Himmel \u00fcber Berlin<\/em> daha iyimser bir film olsa da, yine de Newman’\u0131n sordu\u011fu \u00f6teki soruya olumlu cevap verir: “Son d\u00f6nemdeki de\u011fi\u015fimin h\u0131z\u0131, bunlar\u0131n geli\u015fme hatlar\u0131n\u0131 izleyemeyece\u011fimiz kadar, hi\u00e7bir duyarl\u0131l\u0131\u011f\u0131n, hele hele anlat\u0131n\u0131n bunlar\u0131 dile getiremeyece\u011fi kadar b\u00fcy\u00fck m\u00fc oldu?”<\/p>\n

Postmodernizmin bu ve\u00e7hesi yap\u0131bozumcular\u0131n faaliyeti sonucunda daha da g\u00fc\u00e7lendi. Tutarl\u0131l\u0131\u011f\u0131 hedefleyen her anlat\u0131 kar\u015f\u0131s\u0131ndaki ku\u015fkuculuklar\u0131 ve \u00fcst-teori gibi g\u00f6r\u00fcnen her \u015feyi yap\u0131bozumuna u\u011fratma tela\u015flar\u0131 i\u00e7inde b\u00fct\u00fcn temel \u00f6nermelere meydan okuyorlard\u0131. Ortal\u0131ktaki b\u00fct\u00fcn anlat\u0131 temelli a\u00e7\u0131klamalar gizli varsay\u0131mlar ve basitle\u015ftirmeler i\u00e7erdikleri \u00f6l\u00e7\u00fcde, ele\u015ftirel bir incelemeyi hak ediyorlard\u0131: hi\u00e7 de\u011filse bu ele\u015ftiriden g\u00fc\u00e7lenmi\u015f olarak \u00e7\u0131kmak i\u00e7in. Ama hakikat ve adaletin, etik ve anlam\u0131n mutabakata dayal\u0131 b\u00fct\u00fcn standartlar\u0131na meydan okuyarak, b\u00fct\u00fcn anlat\u0131lar\u0131n ve \u00fcst-teorilerin engin bir dil oyunlar\u0131 evreni i\u00e7inde \u00e7\u00f6z\u00fclmesini sa\u011flamaya \u00e7abalayarak yap\u0131bozumculuk, daha radikal temsilcilerinin b\u00fct\u00fcn iyi niyetine ra\u011fmen, sonunda bilgiyi ve anlam\u0131 g\u00f6stergelerden olu\u015fan bir moloz y\u0131\u011f\u0131n\u0131na indirgedi. B\u00f6ylelikle, zemini karizmatik politikan\u0131n ve yap\u0131bozumuna tabi tutulanlardan da kolayc\u0131 \u00f6nermelerin yeniden ortaya \u00e7\u0131kmas\u0131na haz\u0131r hale getiren bir nihilizm durumu yaratt\u0131.<\/p>\n

\u0130kinci t\u00fcr tepki, sanki hi\u00e7bir engelle kar\u015f\u0131la\u015fmadan yoku\u015f a\u015fa\u011f\u0131 giden bir arac\u0131n rahatl\u0131\u011f\u0131yla d\u00fcnyan\u0131n karma\u015f\u0131kl\u0131\u011f\u0131n\u0131n yads\u0131nmas\u0131 ve son derece basitle\u015ftirilmi\u015f retorik \u00f6nermeler arac\u0131l\u0131\u011f\u0131yla temsil edilmesi e\u011filimidir. Politik yelpazenin solundan sa\u011f\u0131na bol bol slogan imal edilir, karma\u015f\u0131k anlamlar\u0131 kavrayabilmek i\u00e7in derinliksiz imgeler kullan\u0131l\u0131r. Hayali ya da dolayl\u0131 da olsa yolculu\u011fun insana geni\u015f bir ufuk kazand\u0131raca\u011f\u0131 varsay\u0131l\u0131r, oysa yolculuk en az bu ihtimal kadar yayg\u0131n olarak \u00f6nyarg\u0131lar\u0131 g\u00fc\u00e7lendirir.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc bir t\u00fcr tepki, politik ve entelekt\u00fcel hayat a\u00e7\u0131s\u0131ndan bir ara kovuk bulma ve bir yandan b\u00fcy\u00fck anlat\u0131lar\u0131 reddederken bir yandan da s\u0131n\u0131rl\u0131 m\u00fccadelenin olanakl\u0131l\u0131\u011f\u0131n\u0131 savunan bir tav\u0131r benimseme y\u00f6n\u00fcndedir. Postmodernizme ilerici a\u00e7\u0131dan yakla\u015f\u0131md\u0131r: topluluklar\u0131 ve yerelli\u011fi, mahal ve b\u00f6lgeye dayal\u0131 direni\u015fleri, toplumsal hareketleri, \u00f6tekili\u011fe sayg\u0131y\u0131 vb. vurgular (bkz. yukar\u0131da s. 134). Bu, bize herg\u00fcn televizyonda g\u00f6sterilen m\u00fcmk\u00fcn d\u00fcnyalar\u0131n sonsuzlu\u011fu i\u00e7inden hi\u00e7 olmazsa bir tane bilinebilir olan\u0131 \u00e7ekip alma yolunda bir \u00e7abad\u0131r. En iyi \u00f6rneklerinde bu yakla\u015f\u0131m ba\u015fka m\u00fcmk\u00fcn d\u00fcnyalar\u0131n sars\u0131c\u0131 imgelerini \u00fcretir, hatta ger\u00e7ek d\u00fcnyay\u0131 bi\u00e7imlendirmeye bile ba\u015flar. Ama sermayenin dola\u015f\u0131m\u0131n\u0131n evrenselle\u015ftirici g\u00fcc\u00fc kar\u015f\u0131s\u0131nda, ta\u015fral\u0131l\u0131\u011fa, ufuksuzlu\u011fa ve her \u015feyin kendi ekseninde d\u00f6nd\u00fc\u011f\u00fc bir duruma do\u011fru kay\u0131\u015f\u0131 durdurmak g\u00fc\u00e7t\u00fcr. En k\u00f6t\u00fc \u00f6rneklerinde ise, bu yakla\u015f\u0131m bizi, par\u00e7alar\u0131n aras\u0131ndaki rekabetin alevlerinin \u00f6tekiler i\u00e7in sayg\u0131y\u0131 parampar\u00e7a etti\u011fi dar ve sekter politikaya geri g\u00f6t\u00fcr\u00fcr. Ayr\u0131ca, unutulmamal\u0131d\u0131r ki, Heidegger’i Nazizm’le uzla\u015fmaya g\u00f6t\u00fcren ve fa\u015fizmin retori\u011fine h\u00e2l\u00e2 \u0131\u015f\u0131k tutan (\u00f6rne\u011fin Le Pen t\u00fcr\u00fc bir \u00e7a\u011fda\u015f fa\u015fist \u00f6nderin retori\u011fine bak\u0131n) yol budur.<\/p>\n

D\u00f6rd\u00fcnc\u00fc t\u00fcr tepki, zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131 kaplan\u0131n\u0131n s\u0131rt\u0131ndan d\u00fc\u015fmemek i\u00e7in onu yans\u0131tacak ve umulur ki denetim alt\u0131na alacak bir dil ve bir imgeler b\u00fct\u00fcn\u00fc in\u015fa etmektir. Baudrillard ve Virilio’nun co\u015fku dolu yap\u0131tlar\u0131n\u0131 bu kategoriye sokuyorum \u00e7\u00fcnk\u00fc bu yazarlar zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131yla i\u00e7 i\u00e7e ge\u00e7erek onu kendi \u015fa\u015faal\u0131 \u00fcsluplar\u0131yla taklit etmeye azimli g\u00f6r\u00fcn\u00fcyorlar. Bu t\u00fcr tepkiyi daha \u00f6nce de g\u00f6rd\u00fck: \u00f6zellikle Nietzsche’nin\u00a0\u0130ktidar Arzusu<\/em>‘ndaki ola\u011fan\u00fcst\u00fc \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131nda (bkz. yukar\u0131da s. 306). Ama onunla kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda, Baudrillard’\u0131n sanki Nietzsche’nin trajik duygusunu komediye indirgedi\u011fi s\u00f6ylenebilir (ama unutmayal\u0131m ki postmodernizm kendini ciddiye almakta hep g\u00fc\u00e7l\u00fck \u00e7eker). B\u00fct\u00fcn parlakl\u0131\u011f\u0131na ra\u011fmen, Jameson da benzer bi\u00e7imde, nispeten her kal\u0131ba girmeye yatk\u0131n yaz\u0131lar\u0131nda, hem temsil etmeyi ama\u00e7lad\u0131\u011f\u0131 ger\u00e7eklik \u00fczerindeki, hem de bu ger\u00e7ekli\u011fi do\u011fru bi\u00e7imde temsil etmek i\u00e7in kullan\u0131labilecek dil \u00fczerindeki denetimini yitirir.<\/p>\n

Asl\u0131nda postmodern tepkinin bu kanad\u0131n\u0131n a\u015f\u0131r\u0131 retori\u011fi en \u00fcrk\u00fct\u00fcc\u00fc somsuzlu\u011fa d\u00fc\u015febilmektedir. \u00d6rne\u011fin, Jameson’\u0131n \u015fizofreni konusunda anlatt\u0131klar\u0131n\u0131 okurken, y\u00fczeydeki anksiyete ve nevroz g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn ard\u0131nda sarho\u015f edici hallusinasyon n\u00f6beti deneyiminden b\u00fcy\u00fck bir heyecan duydu\u011funu sezmemek m\u00fcmk\u00fcn de\u011fildir. Ama Taylor’\u0131n (1987: 67) i\u015faret etti\u011fi gibi, Jameson’\u0131n \u015fizofrenik bir k\u0131z\u0131n \u00f6zge\u00e7mi\u015f hik\u00e2yesinden yapt\u0131\u011f\u0131 se\u00e7meci al\u0131nt\u0131lar, k\u0131z\u0131n ya\u015fad\u0131\u011f\u0131 ger\u00e7ekd\u0131\u015f\u0131l\u0131k durumlar\u0131na ba\u011fl\u0131 deh\u015feti ortadan kald\u0131r\u0131r, olan biteni su\u00e7luluk, uyu\u015fukluk ve \u00e7aresizlik durumlar\u0131n\u0131n birbirini izledi\u011fi, \u0131st\u0131rapl\u0131 ve zaman zaman f\u0131rt\u0131nal\u0131 bir kendini yitirme duygusuyla el ele giden bir s\u00fcre\u00e7 de\u011filmi\u015f de iyi denetlenmi\u015f bir LSD keyfiymi\u015f gibi g\u00f6sterir. Deleuze ve Guattari, Foucault’nun \u00e7ok be\u011fendi\u011fi bir b\u00f6l\u00fcmde, benzer bi\u00e7imde “kapitalizmin her yerde \u015fizo-ak\u0131mlar\u0131 harekete ge\u00e7irerek, aynen bunlar\u0131n p\u0131ht\u0131la\u015fmas\u0131yla ‘bizim’ hastalar\u0131m\u0131z\u0131, \u015fizofrenleri yaratt\u0131\u011f\u0131 gibi, ‘bizim’ sanatlar\u0131m\u0131za ve ‘bizim’ bilimlerimize ruh kazand\u0131raca\u011f\u0131” fikrine kendimizi al\u0131\u015ft\u0131rmam\u0131z gerekti\u011fini belirtirler. Tavsiyeleri, devrimcilerin “kendi \u00e7abalar\u0131n\u0131 \u015fizo s\u00fcre\u00e7 do\u011frultusunda s\u00fcrd\u00fcrmeleri”dir \u00e7\u00fcnk\u00fc \u015fizofren “toplumsal d\u00fczeni tehdit eden bir arzu ak\u0131m\u0131na kap\u0131lm\u0131\u015ft\u0131r”. Durum ger\u00e7ekten b\u00f6yleyse, o zaman Associated Press’in 27 Aral\u0131k 1987 tarihinde ge\u00e7ti\u011fi \u015fu haberi “bizim” uygarl\u0131\u011f\u0131m\u0131z i\u00e7in yaz\u0131lmas\u0131 m\u00fcmk\u00fcn bir mezar kitabesi olarak d\u00fc\u015f\u00fcnmekten ba\u015fka bir \u015fey gelmiyor elimden:<\/p>\n

Bay Dobben hakk\u0131nda \u015fizofren te\u015fhisi konulmu\u015ftur (…) Polisin anlatt\u0131\u011f\u0131na g\u00f6re, \u015e\u00fckran G\u00fcn\u00fc’nde Bay Dobben iki o\u011flunu, 2 ya\u015f\u0131ndaki Bartley Joel’i ve 15 ayl\u0131k Peter David’i, Cannon-Muskegon \u015eirketi’nin d\u00f6k\u00fcmhanesine g\u00f6t\u00fcrm\u00fc\u015f, burada epeyce u\u011fra\u015farak \u00e7ocuklar\u0131 erimi\u015f metal ta\u015f\u0131makta kullan\u0131lan dev bir kep\u00e7enin i\u00e7ine yerle\u015ftirmi\u015ftir. Sonra kep\u00e7eyi 1300 dereceye kelecek kadar \u0131s\u0131tm\u0131\u015ft\u0131r. B\u00fct\u00fcn bunlar\u0131 yaparken kar\u0131s\u0131, olan bitenden habersiz, d\u0131\u015far\u0131da arabada beklemektedir. Bug\u00fcn, 26 ya\u015f\u0131ndaki Bartley James Dobben intihar etmesini engellemek amac\u0131yla g\u00f6zetim alt\u0131nda tutulmaktad\u0131r.<\/span><\/p>\n

E\u011fer bunun \u00e7ok a\u015f\u0131r\u0131 bir bak\u0131\u015f oldu\u011fu d\u00fc\u015f\u00fcn\u00fcl\u00fcyorsa, o zaman bir East Village “Day-Glo” ressam\u0131 olan Kenny Scharf’tan bir al\u0131nt\u0131 yapar\u0131m. Scharf, yapt\u0131\u011f\u0131 bir dizi resmin ba\u015f ki\u015fisi Estelle’i zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131ndan ka\u00e7mak \u00fczere tek y\u00f6n gidi\u015f biletiyle uzaya yollarken son sahnede kad\u0131n\u0131n “kendi ba\u015f\u0131na e\u011flendi\u011fini, uzayda y\u00fczerken d\u00fcnyan\u0131n patlayarak berhava olmas\u0131n\u0131 seyretti\u011fini” belirtir (Taylor, 1987: 123). Bu da \u00e7ok hayali bulunursa, o zaman Amstrad \u015eirketi’nin gene m\u00fcd\u00fcr\u00fc Alan Sugar’dan bir al\u0131nt\u0131 yapar\u0131m: “E\u011fer kitlesel olarak \u00fcretilmi\u015f portatif n\u00fckleer silahlar i\u00e7in bir pazar olsayd\u0131, onu da pazarlard\u0131k.”<\/p>\n

”<\/p>\n

David Harvey, Postmodernli\u011fin Durumu, \u00e7ev. Sungur Savran, Metis Yay\u0131nlar\u0131, 1997 [1990], s. 383-5.<\/p>\n","protected":false},"excerpt":{"rendered":"

Harvey, bu kitapta postmodernite ba\u011flam\u0131nda zaman-mek\u00e2n s\u0131k\u0131\u015fmas\u0131n\u0131 te\u015fhis ediyor ve etkilerine epey vakit ay\u0131r\u0131yordu. A\u015fa\u011f\u0131da al\u0131nt\u0131lad\u0131\u011f\u0131m k\u0131s\u0131m, bug\u00fcne dek Harvey’den daha \u00e7ok ilgi g\u00f6sterdi\u011fim (her daim hakl\u0131 buldu\u011fum de\u011fil illa ki) Wim Wenders, Jean Baudrillard, Fredric Jameson, Nietzsche (?), F\u00e9lix Guattari ve Gilles Deleuze’\u00fcn \u015fahs\u0131nda, Harvey’nin postmodern d\u00fc\u015f\u00fcnce ve imge \u00fcretimine dair Marksist ele\u015ftirilerini i\u00e7eriyor. … Continue reading Harvey, Zaman-Mek\u00e2n S\u0131k\u0131\u015fmas\u0131na Tepkiler<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[33,133,46],"tags":[371,87,372,375,374,373],"class_list":["post-1362","post","type-post","status-publish","format-standard","hentry","category-alinti","category-postmodernizm","category-siyaset","tag-david-harvey","tag-jean-baudrillard","tag-postmodernligin-durumu","tag-sizofreni","tag-wim-wenders","tag-zaman-mekan-sikismasi"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-lY","jetpack-related-posts":[{"id":579,"url":"https:\/\/yalpertem.com\/blog\/2017\/11\/25\/baudrillard-otomat-ve-robot-uzerine\/","url_meta":{"origin":1362,"position":0},"title":"Baudrillard, Otomat ve Robot \u00dczerine","author":"yalpertem","date":"25 November 2017","format":false,"excerpt":"\"Bu iki yapay varl\u0131\u011f\u0131 birbirinden ay\u0131ran \u015fey iki ayn\u0131 d\u00fc\u015f\u00fcnce evrenidir. Birisi insan\u0131n tiyatral g\u00f6r\u00fcn\u00fcml\u00fc, mekanik ve duvar saatinin i\u00e7yap\u0131s\u0131n\u0131 and\u0131ran bir d\u00fczene sahip kop\u00adyas\u0131d\u0131r. Burada teknik b\u00fct\u00fcn\u00fcyle bir sim\u00fclakr etkisi ve analoji yaratmay\u0131 hedeflemektedir. Di\u011feriyse teknik ilkeler taraf\u0131ndan belirlenmi\u015ftir, bu d\u00fczeyde \u00f6nemli olan makine\u00addir. Oysa makineyle birlikte kar\u015f\u0131m\u0131za bir\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/11\/jean-baudrillard-simgesel-degis-tokus-ve-olum-190x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":534,"url":"https:\/\/yalpertem.com\/blog\/2017\/11\/20\/baudrillard-gosterge-ekonomi-politigi\/","url_meta":{"origin":1362,"position":1},"title":"Baudrillard, G\u00f6sterge Ekonomi Politi\u011fi Ele\u015ftirisi","author":"yalpertem","date":"20 November 2017","format":false,"excerpt":"\"Harcama s\u00fcrecinde paran\u0131n anlam\u0131 de\u011fi\u015fmektedir. M\u00fc\u00adzayede s\u00fcrecinde bir kez tespit edilmi\u015f olan bu olgu bir varsay\u0131ma d\u00f6n\u00fc\u015ft\u00fcr\u00fclerek b\u00fct\u00fcn t\u00fcketim evrenine ta\u015f\u0131na\u00adbilir. T\u00fcketim, yaln\u0131zca (de\u011fi\u015fim de\u011ferine yeni bir kulla\u00adn\u0131m de\u011feri atfedilmesinden) sat\u0131n almaktan ibaret bir ey\u00adlem de\u011fil, ayn\u0131 zamanda (olay\u0131n bu yan\u0131 gerek kapitalizm gerekse Marx taraf\u0131ndan kesinlikle ihmal edilmi\u015ftir) bir\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/11\/gosterge-ekonomi-politigi-hakkinda-bir-elestiri-jean-baudrillard-193x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1846,"url":"https:\/\/yalpertem.com\/blog\/2018\/07\/08\/bauman-turistler-ve-aylaklar\/","url_meta":{"origin":1362,"position":2},"title":"Bauman, Turistler ve Aylaklar","author":"yalpertem","date":"8 July 2018","format":false,"excerpt":"\" Aylak, turistin\u00a0alter ego'sudur [di\u011fer ki\u015filik]. Ayn\u0131 zamanda, turistin en ate\u015fli hayran\u0131d\u0131r; turist hayat\u0131n\u0131n zorluklar\u0131 hakk\u0131nda yeterince konu\u015fulmad\u0131\u011f\u0131 i\u00e7in de\u011fil, daha \u00e7ok, ger\u00e7ek sorunlar\u0131 hakk\u0131nda hi\u00e7bir fikir sahibi olmad\u0131\u011f\u0131 i\u00e7in b\u00f6yledir. Ayla\u011fa, e\u011fer \u00f6zg\u00fcrce se\u00e7me \u015fans\u0131 olsayd\u0131 ne t\u00fcr bir hayat s\u00fcrmek isterdi diye sorun, alaca\u011f\u0131n\u0131z yan\u0131t, bir turist cennetinin\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/07\/zygmunt-bauman-k%C3%BCreselle%C5%9Fme-toplumsal-sonu%C3%A7lar%C4%B1-181x300.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1310,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/01\/baudrillard-anlamin-zedelenmesi\/","url_meta":{"origin":1362,"position":3},"title":"Baudrillard, Anlam\u0131n Zedelenmesi","author":"yalpertem","date":"1 May 2018","format":false,"excerpt":"\" \u0130ster politik, ister e\u011fitici, isterse k\u00fclt\u00fcrel i\u00e7erikli olsun sonu\u00e7ta niyet anlam ileterek kitleleri\u00a0anlam\u0131n egemenli\u011fi alt\u0131nda tutmakt\u0131r. Yani, kendini haberin s\u00fcrekli ahlaksalla\u015ft\u0131r\u0131lmas\u0131 zorunlulu\u011fu bi\u00e7iminde d\u0131\u015favuran anlam \u00fcretimi zorunlulu\u011fu. Daha iyi haber verebilmek i\u00e7in, daha iyi toplumsalla\u015ft\u0131rmak i\u00e7in, kitlelerin k\u00fclt\u00fcrel d\u00fczeylerini y\u00fckseltmeye \u00e7al\u0131\u015fmak i\u00e7in vb. vb. 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Belli bir a\u00e7\u0131dan -mesela, Target'\u0131n reklam tavsiye motoru a\u00e7\u0131s\u0131ndan- bak\u0131ld\u0131\u011f\u0131nda, Google'da yap\u0131lan bir dizi kelime aramas\u0131ndan ya da al\u0131\u015fveri\u015f al\u0131\u015fkanl\u0131klar\u0131ndaki baz\u0131 de\u011fi\u015fimlerden\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/12\/dominic-pettman-sonsuz-dikkat-daginikligi-208x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":304,"url":"https:\/\/yalpertem.com\/blog\/2017\/09\/24\/baudrillard-kulturel-tuketim-uzerine\/","url_meta":{"origin":1362,"position":5},"title":"Baudrillard, K\u00fclt\u00fcrel T\u00fcketim \u00dczerine","author":"yalpertem","date":"24 September 2017","format":false,"excerpt":"\"Science et Vie\u00a0okumak bir t\u00fcr uzla\u015fman\u0131n [compromis] \u00fcr\u00fcn\u00fcd\u00fcr: ayr\u0131cal\u0131kl\u0131 k\u00fclt\u00fcre \u00f6zlem, ama ayr\u0131cal\u0131\u011f\u0131n reddi bi\u00e7imindeki savunmac\u0131 kar\u015f\u0131-g\u00fcd\u00fcyle birlikte (yani hem \u00fcst s\u0131n\u0131fa \u00f6zlem hem de kendi s\u0131n\u0131f konumunun yeniden olumlanmas\u0131). 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