Çizginin arkeolojisi ve Levent Vadisi mağarlarında güncel sanata yönelik sezgisel algoritmalar: Mağara 2.0
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Tarih
2025
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Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sanat, insanın varoluşunu anlamlandırma çabalarının en etkili araçlarından biri olarak tüm yaşanmış zamanlar boyunca insan kaderine eşlik etmiş güçlü bir insan etkinliğidir. Aslında bu çaba insanın, varlık ve yokluk bilinciyle hesaplaşmasının somut bir tezahürü olarak değerlendirilmelidir. Yaşanmış zamanlar boyunca çizgi, insan zihninin yaratıcı potansiyelinin ve dünyayı kavrama çabasının önemli bir göstergesi olarak öne çıkmaktadır. İnsan kendini, var olan doğal ifade biçimleri dışında bilgi birikimleri, etkileşim içinde olduğu kültürel çevre, yer ve zaman, ekonomi, iklim siyaset gibi onlarca etkenin biçimlendirdiği ve tüm içselliği ile kişiselleştirdiği ifade biçimleri ile ortaya koyar. Tarih boyunca bu ortaya koyuşun en önemli araçlarından biri sanat olmuştur. Sanat, doğasında var olan geniş arka plan ile tüm uyarıcılara kendi diliyle cevap verme kabiliyeti sağladığından, anlamlı bir var oluş zemini olarak hep tercih edile gelmiştir. İlk sanatçılar, doğanın kendi başına var olan düzenine yaratıcı bir müdahalede bulunarak, ona varoluşlarının izlerini taşıyan anlamlar eklemiş ve düşlerinden yeni bir evren inşa etme iddiasını ilk önce çizgi ile somutlaştırmıştır. İnsan, sezgilerinin ve yaratıcı zihninin olanaklarını kullanarak yeryüzündeki varlık iddiasını güçlendirmeyi başarmıştır. Bu araştırma, Paleolitik Çağın yaratıcı zihinleriyle empati kurarak ve güncel sanatın imkanlarını kullanarak yaratıcı zihnin doğasını anlamaya çalışmaktadır. Bu nedenle düşünce deneyleri yapmak ve sanat eserleri üretmek için Paleolitik çağ sanatının üretildiği doğal çevreye benzerliği nedeniyle Levent Vadisi ve mağaraları kullanılmıştır. Levent Vadisi'nde gerçekleştirilen düşünce deneyleri, bu yaratıcı sürecin ardındaki zihinsel ve duygusal dinamikleri anlamak için değerli verilere ulaşılmasını sağlamıştır. Mağaraların derin sessizliği ve karanlığı, insanın içine yönelmesine ve özü ile düşünsel bağlar kurmasına olanak tanımıştır. Bu ortamda üretilen çizgiler, estetik bir arayışın ötesinde, insanın varoluşsal sorularına yanıt bulma çabasını anlamaya yöneliktir. İlk sanatçılar için çizginin, bir düşünce biçimi ve bir anlam yaratma pratiği olduğu değerlendirilmektedir. Araştırma süresince çizginin hem teknik hem de kavramsal olarak insanın yaratıcı eylemleriyle nasıl bütünleştiğini görme imkânı ortaya çıkmıştır. Araştırma sürecinde birtakım hipotezler ortaya konmuş ve bu hipotezler bir bilimsel metot olarak fenomenolojinin imkanları ile bilimsel bir zemine oturtulmaya çalışılmıştır. Varılan en önemli sonuçlardan biri, çizginin icadına dair rüyalar, gölgeler ve yansımalar hipotezidir. Bu hipoteze göre çizginin icadı, insanın merak ve anlam arayışına dayanmaktadır. Yaratıcı zihinler, gördükleri rüyalardan, gözlemledikleri gölgeler ve yansımalardan doğanın anlamlı bir alternatifini çizgi ile yaratabileceklerini düşünmüş olmalıdırlar. Bu şekilde Zihinlerin yarattığı imgeler ile mimetik bir tavır geliştirmiş ve yeryüzündeki ilk anlamlı tasvirleri yaratmış olabilirler. Bu süreçte çizgi, ontolojik olarak bir şeyi diğer her şeyden ayırarak algılamamızın ve biçim tayin etmemizin bir aracı olmaktan çıkıp imgelerin varlığını görünür kılmaya yarayan, insanın yaratıcı tavrının en önemli aracına dönüşmüştür. Çizginin arkeolojisi yapılıp tabaka tabaka tüm yaşanmış zamanların yaratıcı tavırları irdelendiğinde, ulaşılan bu sonucun haklılığı daha da pekişmektedir. Yani ontolojik olarak sanatın özü çizgidir, denilebilir. Bu araştırma, sanat alan yazınının genelinde Paleolitik Çağ sanatçısının çizgilerini saf aklın ürünü olarak göremeyen anlatıları bilimsel zeminde eleştirerek, bu sanat örneklerinin, insan dehasının yeryüzündeki en eski parıltıları olarak bilinmesine katkı sağlamak istemektedir. Kendilerine özgü estetik ve plastik kavrayışlarıyla bugünün dünyasını yaratmamız için bize yol açan Paleolitik Çağın sanatçılarının yaratıcı zihinlerini anlamak için sıra dışı gayret gösteren bu araştırma, bu yolla geleceğin sanatının inşasına anlamlı bir katkı yapma niyetindedir. Sonuç olarak; çizgi, ister insanın varoluş iddiasının bir kanıtı olarak ele alınsın, ister, bir iz bırakma eğiliminin tezahürü olarak yaşamı anlama ve anlamlandırmanın bir aracı ya da isterse bir enformasyon biçimi olarak adlandırılsın; insanoğlu kendi öyküsünü anlatmak için çizgiyi kullanmaya devam edecektir. Belki de yaratıcı zihinlerin en saplantılı tutkusu başka zihinleri kendi gerçekliğine ikna etmek istemesidir. Anahtar Kelimeler: Çizgi, Yaratıcı zihin, Güncel Sanat, Fenomenoloji, Sanat Felsefesi, Sanat.
Art is a powerful human activity that has accompanied human destiny throughout all times as one of the most effective tools of human efforts to make sense of existence. In fact, this effort should be evaluated as a concrete manifestation of human coming to terms with the consciousness of existence and non-existence. Throughout times, line stands out as an important indicator of the creative potential of the human mind and its effort to comprehend the world. Humans reveal themselves with their accumulation of knowledge, cultural environment they interact with, place and time, economy, climate and politics, and with their forms of expression that they personalize with all their inwardness, in addition to existing natural forms of expression. Throughout history, art has been one of the most important tools of this manifestation. Since art provides the ability to respond to all stimuli with its own language with the broad background inherent in its nature, it has always been preferred as a meaningful ground for existence. The first artists made a creative intervention in the order of nature that existed on its own, added meanings that carried the traces of their existence to it and first embodied the claim of building a new universe from their dreams with line. Man has succeeded in strengthening his claim to existence on earth by using the possibilities of his intuition and creative mind. This research attempts to understand the nature of the creative mind by empathizing with the creative minds of the Paleolithic age and using the possibilities of contemporary art. For this reason, the Levent Valley and caves were used to conduct thought experiments and produce works of art due to their similarity to the natural environment in which the Paleolithic art was produced. The experiments conducted in the Levent Valley provided valuable data to understand the mental and emotional dynamics behind this creative process. The deep silence and darkness of the caves allowed people to turn inward and establish an intellectual connection with their essence. The lines produced in this environment, beyond an aesthetic search, are aimed at understanding the effort of people to find answers to their existential questions. It is considered that for the first artists, lines were a way of thinking and a practice of creating meaning. During the research, it became possible to see how lines were integrated with the creative actions of people both technically and conceptually. During the research process, a number of hypotheses were put forward and these hypotheses were tried to be placed on a scientific basis with the possibilities of phenomenology as a scientific method. One of the most important conclusions reached is the hypothesis of dreams, shadows and reflections regarding the invention of line. According to this hypothesis, the invention of line is based on human curiosity and search for meaning. Creative minds must have thought that they could create a meaningful alternative to nature with line from the dreams they saw, shadows and reflections they observed. In this way, they may have developed a mimetic attitude with the images created by minds and created the first meaningful depictions on earth. In this process, line has transformed from being a tool for us to perceive and determine form by ontologically separating something from everything else, to the most important tool of human creative attitude that serves to make the existence of images visible. When the archaeology of line is made and the creative attitudes of all lived times are examined layer by layer, the legitimacy of this conclusion is further strengthened. In other words, it can be said that the essence of art is line ontologically. This research aims to contribute to the recognition of these examples of art as the oldest flashes of human genius on earth by scientifically criticizing the narratives in the art literature that fail to see the lines of the Paleolithic artist as the product of pure reason. This research, which makes an extraordinary effort to understand the creative minds of the Paleolithic artists who paved the way for us to create today's world with their unique aesthetic and plastic perceptions, intends to make a meaningful contribution to the construction of the art of the future. As a result; whether the line is considered as a proof of man's claim to existence, or as a tool for understanding and making sense of life as a manifestation of a tendency to leave a mark, or as a form of information; mankind will continue to use the line to tell its own story. Perhaps the most obsessive passion of creative minds is to convince other minds of their own reality. Keywords: Line, Creative mind, Contemporary Art, Phenomenology, Philosophy of Art, Art.
Art is a powerful human activity that has accompanied human destiny throughout all times as one of the most effective tools of human efforts to make sense of existence. In fact, this effort should be evaluated as a concrete manifestation of human coming to terms with the consciousness of existence and non-existence. Throughout times, line stands out as an important indicator of the creative potential of the human mind and its effort to comprehend the world. Humans reveal themselves with their accumulation of knowledge, cultural environment they interact with, place and time, economy, climate and politics, and with their forms of expression that they personalize with all their inwardness, in addition to existing natural forms of expression. Throughout history, art has been one of the most important tools of this manifestation. Since art provides the ability to respond to all stimuli with its own language with the broad background inherent in its nature, it has always been preferred as a meaningful ground for existence. The first artists made a creative intervention in the order of nature that existed on its own, added meanings that carried the traces of their existence to it and first embodied the claim of building a new universe from their dreams with line. Man has succeeded in strengthening his claim to existence on earth by using the possibilities of his intuition and creative mind. This research attempts to understand the nature of the creative mind by empathizing with the creative minds of the Paleolithic age and using the possibilities of contemporary art. For this reason, the Levent Valley and caves were used to conduct thought experiments and produce works of art due to their similarity to the natural environment in which the Paleolithic art was produced. The experiments conducted in the Levent Valley provided valuable data to understand the mental and emotional dynamics behind this creative process. The deep silence and darkness of the caves allowed people to turn inward and establish an intellectual connection with their essence. The lines produced in this environment, beyond an aesthetic search, are aimed at understanding the effort of people to find answers to their existential questions. It is considered that for the first artists, lines were a way of thinking and a practice of creating meaning. During the research, it became possible to see how lines were integrated with the creative actions of people both technically and conceptually. During the research process, a number of hypotheses were put forward and these hypotheses were tried to be placed on a scientific basis with the possibilities of phenomenology as a scientific method. One of the most important conclusions reached is the hypothesis of dreams, shadows and reflections regarding the invention of line. According to this hypothesis, the invention of line is based on human curiosity and search for meaning. Creative minds must have thought that they could create a meaningful alternative to nature with line from the dreams they saw, shadows and reflections they observed. In this way, they may have developed a mimetic attitude with the images created by minds and created the first meaningful depictions on earth. In this process, line has transformed from being a tool for us to perceive and determine form by ontologically separating something from everything else, to the most important tool of human creative attitude that serves to make the existence of images visible. When the archaeology of line is made and the creative attitudes of all lived times are examined layer by layer, the legitimacy of this conclusion is further strengthened. In other words, it can be said that the essence of art is line ontologically. This research aims to contribute to the recognition of these examples of art as the oldest flashes of human genius on earth by scientifically criticizing the narratives in the art literature that fail to see the lines of the Paleolithic artist as the product of pure reason. This research, which makes an extraordinary effort to understand the creative minds of the Paleolithic artists who paved the way for us to create today's world with their unique aesthetic and plastic perceptions, intends to make a meaningful contribution to the construction of the art of the future. As a result; whether the line is considered as a proof of man's claim to existence, or as a tool for understanding and making sense of life as a manifestation of a tendency to leave a mark, or as a form of information; mankind will continue to use the line to tell its own story. Perhaps the most obsessive passion of creative minds is to convince other minds of their own reality. Keywords: Line, Creative mind, Contemporary Art, Phenomenology, Philosophy of Art, Art.
Açıklama
Anahtar Kelimeler
Güzel Sanatlar, Fine Arts
