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SCIENTIFIC REALITY / IMAGINARY PROSPECT: EXPANDING THE POTENTIALITIES OF THINKING THROUGH ART PRACTICE

Yıl 2021, Cilt: 11 Sayı: 1, 248 - 259, 09.07.2021
https://doi.org/10.20488/sanattasarim.971376

Öz

Recent debates on art education focus on an agenda that questions the position of arts education within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the concept of artistic research proposes an experimental and process-oriented practice, within a university model with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease of accessing information triggers questions about the function of the university as a medium that provides experience and knowledge transfer. The excessive proliferation of information leads to undermining the access to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and material thinking within the language of art.

Kaynakça

  • • Agamben, G. (1979). Taste. Londra: Seagull Books.
  • • Borgdorff, H. (2012). The Conflict of The Faculties: Perspectives on Artistic Research And Academia. Leiden: Leiden University Press.
  • • Bourdieu, P. (2016 ). Akademik aklın eleştirisi: Pascalca düşünme çabaları. İstanbul: Metis.
  • • Busch, K. (2011). Generating Knowledge in the Arts: A Philosophical Daydream. Texte Zur Kunst. Issue No. 82 / June 2011 “Artistic Research”. (s. 70-78).
  • • Duve, T. D. (1999). When Form Has Become Attitude - And Beyond. Z. Kocur& S. Leung (Editörler) içinde, Theory in Contemporary Art Since 1985 (s. 19-31). Malden: Blackwell.
  • • Elkins, J. (2009). Why art cannot be taught: a handbook for art students. Urbana: University of Illinois Press.
  • • Flach, S. (2012). Through the Looking Glass Art and Science at the Time of the Avantgarde: The Example of Wassily Kandinsky’s Working Method In His Synthetic Art. Experimental Systems: Difference, Graphemacity, Conjuncture. F. Domboise içinde, Intellectual Birdhouse: Artistic practice as research (s. 125-138). Londra: Koenig Books.
  • • Gielen, P. (2013). Artistic Practice and the Neoliberalization of the Educational Space. The Journal of Aesthetic Education, 58-71.
  • • Groys, B. (2013). Sanatın Gücü. İstanbul: Hayalperest.
  • • Hacking, I. (1984). Representing and Intervening Introductory Topics In The Philosophy of Natural Science. Cambridge: Cambridge University Press.
  • • Heartney, E. (2011). Sanat ve Bugün. İstanbul: Akbank.
  • • Heidegger, M. (1951). What is called thinking? New York: Harper Perennial.
  • • Heidegger, M. (1977). The Question Concerning Technology, and Other Essays. New York: HarperCollins.
  • • Hodder, I. (2018). Dolanıklık: Insanlar ile Şeyler Arasındaki Ilişkilerin Arkeolojisi. İstanbul: Alfa.
  • • Holert, T. (2011). Artistic Research: Anatomy of an Ascent. Texte zur Kunst, 70-78.
  • • Ingold, T. (2007). Materials against Materiality. Archaeological Dialogues, 1–16.
  • • Ingold, T. (2013). Making: Anthropology, Archaeology, Art and Architecture. Londra: Routledge.
  • • Latour, B. (1998). From the World of Science to the World of Research?.Science .Vol. 280, Issue 5361, 208-209.
  • • Latour, B. (2004). Politics of Nature: How to bring sciences into Democracy. Cambridge: Harvard University Press.
  • • Le Guin, U. (2015). Kadınlar Rüyalar Ejderhalar: Ursula K. Le Guin’den Seçme Yazılar. İstanbul: Metis Yayınları.
  • • Lyotard, F. (1979). The Postmodern Condition: A Report on Knowledge. Minnesota: University of Minnesota.
  • • Michelkevičius, V. (2018). Mapping Artistic Research. Towards Diagrammatic Knowing. Vilnius: Vilnius Academy of Arts Press.
  • • Rheinberger, H. J. (1994). Experimental Systems: Historiality, Narration, and Deconstruction. Science in Context, 65-81.
  • • Rheinberger, H. J. (2012). Experimental Systems: Difference, Graphemacity, Conjuncture. F. Domboise içinde, Intellectual Birdhouse: Artistic practice as research (s. 89-100). Londra: Koenig Books.
  • • Shapin, S. (2008). The Scientific Life: A Moral History of a Late Modern Vocation. Chicago: University of Chicago Press.
  • • Sheikh. S. (2006). Spaces For Thinking: Perspectives on The Art Academy. Texte zur Kunst 62. 191-196.
  • • Singerman, H. (1999). Art subjects: Making artists in the American university. Londra: University of California Press.
  • • Slager, H. (2012). The Pleasure of Research. Ostfildern: Hatje Cantz.
  • • Tuin, I. v. (2018). Neo/New Materialism. R. B. Hlavajova içinde, Posthuman Glossary (s. 277-278). Londra: Bloomsbury Academic.

BİLİMSEL GERÇEKLİK / İMGESEL İHTİMAL: SANAT PRATİĞİNDE DÜŞÜNCENİN OLASILIKLARINI ÇOĞALTMAK

Yıl 2021, Cilt: 11 Sayı: 1, 248 - 259, 09.07.2021
https://doi.org/10.20488/sanattasarim.971376

Öz

Sanat eğitimi üzerine son zamanlarda yapılan tartışmalar, üniversite yapısı içerisinde sanat eğitiminin konumunu sorgulayan bir gündeme odaklanmaktadır (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). Bu bağlamda, sanatsal araştırma kavramı, sınırlı bir bilgi üretimi ve bu bilginin transferiyle sınırlı bir üniversite modelinin yerine deneysel ve süreç odaklı bir işleyişi öneren bir olasılık olarak öne çıkar. Günümüzde bilgiye ulaşmadaki görece kolaylık, tecrübe ve bilgi aktarımını sağlayan bir mecra olarak üniversitenin işlevine dair soruları tetiklerken, araştırma kavramı epistemolojik bir dönüşümün (Latour, 1998) odak noktalarından biri haline gelir. Enformasyondaki aşırı çoğalma, bu verilerin sınıflandırılması, analiz edilmesi ve yeni imgelemlere zemin oluşturması sürecini başat beceriler olarak belirlemeye başlarken, araştırma kavramı sonlu bilgidense akış halindeki düşünceyi, nesnesiyle hemhal olan deneysel süreci öne çıkarır. Bu metin, sanatsal üretimin deneyime ve deneyselliğe açık düşünce biçimini bu epistemolojik dönüşüm içinde ele alan literatüre odaklanan bir değerlendirme yazısı niteliğindedir. Bu çerçevede sezgi, duygular ve duyumlar alanında değerlendirildiği için geleneksel olarak bilimsel bilgi alanından dışlanan sanatsal düşünme biçimini günümüzün materyal düşünme tartışmaları içinde tartışır, deneysel pratiğin ve materyal düşüncenin potansiyellerini sanatın dili içinde incelemeyi hedefler.

Kaynakça

  • • Agamben, G. (1979). Taste. Londra: Seagull Books.
  • • Borgdorff, H. (2012). The Conflict of The Faculties: Perspectives on Artistic Research And Academia. Leiden: Leiden University Press.
  • • Bourdieu, P. (2016 ). Akademik aklın eleştirisi: Pascalca düşünme çabaları. İstanbul: Metis.
  • • Busch, K. (2011). Generating Knowledge in the Arts: A Philosophical Daydream. Texte Zur Kunst. Issue No. 82 / June 2011 “Artistic Research”. (s. 70-78).
  • • Duve, T. D. (1999). When Form Has Become Attitude - And Beyond. Z. Kocur& S. Leung (Editörler) içinde, Theory in Contemporary Art Since 1985 (s. 19-31). Malden: Blackwell.
  • • Elkins, J. (2009). Why art cannot be taught: a handbook for art students. Urbana: University of Illinois Press.
  • • Flach, S. (2012). Through the Looking Glass Art and Science at the Time of the Avantgarde: The Example of Wassily Kandinsky’s Working Method In His Synthetic Art. Experimental Systems: Difference, Graphemacity, Conjuncture. F. Domboise içinde, Intellectual Birdhouse: Artistic practice as research (s. 125-138). Londra: Koenig Books.
  • • Gielen, P. (2013). Artistic Practice and the Neoliberalization of the Educational Space. The Journal of Aesthetic Education, 58-71.
  • • Groys, B. (2013). Sanatın Gücü. İstanbul: Hayalperest.
  • • Hacking, I. (1984). Representing and Intervening Introductory Topics In The Philosophy of Natural Science. Cambridge: Cambridge University Press.
  • • Heartney, E. (2011). Sanat ve Bugün. İstanbul: Akbank.
  • • Heidegger, M. (1951). What is called thinking? New York: Harper Perennial.
  • • Heidegger, M. (1977). The Question Concerning Technology, and Other Essays. New York: HarperCollins.
  • • Hodder, I. (2018). Dolanıklık: Insanlar ile Şeyler Arasındaki Ilişkilerin Arkeolojisi. İstanbul: Alfa.
  • • Holert, T. (2011). Artistic Research: Anatomy of an Ascent. Texte zur Kunst, 70-78.
  • • Ingold, T. (2007). Materials against Materiality. Archaeological Dialogues, 1–16.
  • • Ingold, T. (2013). Making: Anthropology, Archaeology, Art and Architecture. Londra: Routledge.
  • • Latour, B. (1998). From the World of Science to the World of Research?.Science .Vol. 280, Issue 5361, 208-209.
  • • Latour, B. (2004). Politics of Nature: How to bring sciences into Democracy. Cambridge: Harvard University Press.
  • • Le Guin, U. (2015). Kadınlar Rüyalar Ejderhalar: Ursula K. Le Guin’den Seçme Yazılar. İstanbul: Metis Yayınları.
  • • Lyotard, F. (1979). The Postmodern Condition: A Report on Knowledge. Minnesota: University of Minnesota.
  • • Michelkevičius, V. (2018). Mapping Artistic Research. Towards Diagrammatic Knowing. Vilnius: Vilnius Academy of Arts Press.
  • • Rheinberger, H. J. (1994). Experimental Systems: Historiality, Narration, and Deconstruction. Science in Context, 65-81.
  • • Rheinberger, H. J. (2012). Experimental Systems: Difference, Graphemacity, Conjuncture. F. Domboise içinde, Intellectual Birdhouse: Artistic practice as research (s. 89-100). Londra: Koenig Books.
  • • Shapin, S. (2008). The Scientific Life: A Moral History of a Late Modern Vocation. Chicago: University of Chicago Press.
  • • Sheikh. S. (2006). Spaces For Thinking: Perspectives on The Art Academy. Texte zur Kunst 62. 191-196.
  • • Singerman, H. (1999). Art subjects: Making artists in the American university. Londra: University of California Press.
  • • Slager, H. (2012). The Pleasure of Research. Ostfildern: Hatje Cantz.
  • • Tuin, I. v. (2018). Neo/New Materialism. R. B. Hlavajova içinde, Posthuman Glossary (s. 277-278). Londra: Bloomsbury Academic.
Toplam 29 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

H. Esra Oskay Bu kişi benim 0000-0001-6684-4204

Yayımlanma Tarihi 9 Temmuz 2021
Yayımlandığı Sayı Yıl 2021 Cilt: 11 Sayı: 1

Kaynak Göster

APA Oskay, H. E. (2021). BİLİMSEL GERÇEKLİK / İMGESEL İHTİMAL: SANAT PRATİĞİNDE DÜŞÜNCENİN OLASILIKLARINI ÇOĞALTMAK. Sanat Ve Tasarım Dergisi, 11(1), 248-259. https://doi.org/10.20488/sanattasarim.971376