![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/yz-image5\/0022-kabardey.GIF\")
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\u00c7a\u011fla C\u00f6mert<\/b><\/p>\n
Sava\u015f tasvirlerinin y\u00fczy\u0131llar boyunca sanat\u0131n ba\u015fl\u0131ca konular\u0131ndan biri oldu\u011fu bilinir. Antik \u00e7a\u011fdan beri sanat konu a\u00e7\u0131s\u0131ndan sava\u015f\u00e7\u0131ya, sava\u015f\u00e7\u0131 ise Platoncu anlay\u0131\u015fla \u2018ger\u00e7ekli\u011fin g\u00f6rkemi\u2019 i\u00e7in sanat\u00e7\u0131ya ba\u011f\u0131ml\u0131yd\u0131. Benjamin\u2019in \u00fcnl\u00fc deyi\u015fiyle, t\u00fcm uygarl\u0131k \u00e7at\u0131\u015fmalar\u0131 asl\u0131nda barbarl\u0131k \u00e7at\u0131\u015fmalar\u0131yd\u0131, barbarl\u0131k belgelerinin uygarl\u0131k belgelerine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi ise s\u00f6m\u00fcrgeci bir alan olarak sanata kal\u0131yordu. Modern \u00e7a\u011fda ise k\u0131r\u0131lma ya\u015fand\u0131, sanat\u00e7\u0131n\u0131n derdi bu kez iktidarlayd\u0131, David\u2019in Marat\u2019\u0131n \u00d6l\u00fcm\u00fc\u2019nden Goya\u2019n\u0131n fresklerine, Picasso\u2019nun Guernica\u2019s\u0131na, sanat\u00e7\u0131lar antik \u00e7a\u011f gelene\u011fine ba\u015fkald\u0131r\u0131yor, sanat ve iktidar\u0131n evlili\u011fini bozuyorlard\u0131. Andre Breton, 1929 tarihli S\u00fcrrealist Manifesto\u2019da \u201cHuzurlu bir toplulu\u011funa ate\u015f a\u00e7mak s\u00fcrrealist bir sanat eylemidir,\u201d diyerek sanat\u0131n politik hedefine dolays\u0131z i\u015faret ediyordu. Reklam ve medyan\u0131n g\u00fcndelik hayata egemen oldu\u011fu, sanat\u0131n temsil g\u00fcc\u00fcn\u00fc yitirdi\u011fi 1960\u2019larda do\u011fan Situasyonist ak\u0131m ise, Debord\u2019un deyi\u015fiyle, pop sanat\u0131n getirisi olan \u201ctamamen normal ve s\u0131radan \u015feyleri, \u00f6rne\u011fin bir araba, ayakkab\u0131, sosyoloji doktoras\u0131n\u0131, ola\u011fan\u00fcst\u00fc e\u015fyalar gibi, \u00fcst\u00fcn ve belki de elitist bir varolu\u015fun anahtar\u0131 gibi sunmas\u0131\u201d (1) anlay\u0131\u015f\u0131na kar\u015f\u0131 \u00e7\u0131karak toplumu d\u00f6n\u00fc\u015ft\u00fcrmenin yollar\u0131n\u0131 ar\u0131yordu. Raoul Vageigem\u2019in deyi\u015fiyle, \u201cG\u00fcndelik hayat\u0131n laf\u0131n\u0131 etmeden devrim ve s\u0131n\u0131f m\u00fccadelesinden s\u00f6z eden insanlar, a\u015fk\u0131n y\u0131k\u0131c\u0131 g\u00fcc\u00fc bask\u0131y\u0131 reddetmenin olumsall\u0131\u011f\u0131n\u0131 tan\u0131mazlar, b\u00f6yle insanlar a\u011f\u0131zlar\u0131nda bir cesetle dola\u015f\u0131r.\u201d<\/p>\n
20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda emperyalizmin y\u00fckseli\u015fi, Almanya, \u0130talya ve Sovyetler Birli\u011fi\u2019nde otoriter rejimlerin ba\u015f g\u00f6stermesiyle canlan\u0131p altm\u0131\u015flara k\u0131r\u0131lmaya u\u011frayan iktidar ve sanat ili\u015fkisi g\u00fcn\u00fcm\u00fcz\u00fcn imparatorlu\u011funda tekrar canland\u0131. \u00d6rne\u011fin, \u2018ter\u00f6r\u2019 ve \u2018sanat\u2019 aras\u0131ndaki ili\u015fkiyi irdeleyen Hollandal\u0131 Profes\u00f6r Bob de Graaf, ter\u00f6r sorununun ekonomik ve sosyal k\u00f6kenlerinin yan\u0131nda, sanatla ili\u015fkisinin kurulmas\u0131n\u0131n \u00f6nemini belirtirken, K\u0131z\u0131l Tugaylar, K\u0131z\u0131l ordu Fraksiyonu gibi gruplar\u0131n sanat hareketleri olarak ba\u015flad\u0131\u011f\u0131n\u0131 iddia ediyor. (2) Altm\u0131\u015flar\u0131n \u015fiddet eylemlerini Situasyonist ak\u0131ma ba\u011fl\u0131yor. Graaf\u2019a g\u00f6re \u2018ter\u00f6ristler\u2019 t\u0131pk\u0131 bir sanat\u00e7\u0131 gibi kendilerini ifade etme, medyan\u0131n y\u00f6nlendirmesiyle \u2018on be\u015f dakikal\u0131\u011f\u0131na \u00fcnl\u00fc olma\u2019 g\u00fcd\u00fcs\u00fcyle hareket ediyor.<\/p>\n
Wikipedia kayna\u011f\u0131nda, k\u00f6keni Latince \u2018korkutmak\u2019 fiiline dayanan ter\u00f6r s\u00f6zc\u00fc\u011f\u00fcn\u00fc a\u00e7\u0131mlarken, duygusal ve politik olarak y\u00fckl\u00fc olan s\u00f6zc\u00fc\u011f\u00fcn net bir anlam\u0131n \u00e7\u0131kar\u0131lmas\u0131n\u0131n neredeyse imk\u00e2ns\u0131z oldu\u011fu belirtiliyor. Yak\u0131n zamanda yap\u0131lan bir ara\u015ft\u0131rma, s\u00f6zc\u00fc\u011f\u00fcn \u015fiddet eylemlerine g\u00f6nderme yapan, y\u00fcz dokuz farkl\u0131 anlam\u0131 bulundu\u011funu a\u00e7\u0131\u011fa seriyor, anlam bak\u0131\u015f a\u00e7\u0131s\u0131na g\u00f6re de\u011fi\u015fiyor, birisi i\u00e7in ter\u00f6rist olan bir ba\u015fkas\u0131 i\u00e7in \u00f6zg\u00fcrl\u00fck sava\u015f\u00e7\u0131s\u0131 olabiliyor. Ter\u00f6rizm \u00fczerine \u00e7al\u0131\u015fan bir ba\u015fka profes\u00f6r olan Bruce Hoffman, \u2018Inside Terorism\u2019 adl\u0131 kitab\u0131nda, s\u00f6zc\u00fc\u011f\u00fcn anlam\u0131n\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131na g\u00f6ren de\u011fi\u015fti\u011fini vurgulayarak, ter\u00f6r\u00fcn \u00f6z\u00fcnde bir ahlak yarg\u0131s\u0131 bar\u0131nd\u0131rd\u0131\u011f\u0131n\u0131, s\u00f6zc\u00fc\u011f\u00fcn kar\u015f\u0131dakine ahlaki bir yapt\u0131r\u0131m uygulama amac\u0131yla kullan\u0131ld\u0131\u011f\u0131n\u0131, \u00f6rne\u011fin bir \u015fiddet olay\u0131n\u0131n kurbanlar\u0131yla kendisini \u00f6zde\u015fle\u015ftiren birinin \u015fiddetin uygulay\u0131c\u0131s\u0131n\u0131 ter\u00f6rist olarak nitelendirdi\u011fini s\u00f6yl\u00fcyor. Hoffman\u2019\u0131n a\u00e7\u0131klamas\u0131na dayanarak, iktidar taraf\u0131ndan \u00e7ok\u00e7a kullan\u0131lan \u2018ter\u00f6re kar\u015f\u0131 sava\u015f\u2019 deyimi hi\u00e7bir anlam bar\u0131nd\u0131rm\u0131yor.<\/p>\n
Ter\u00f6r s\u00f6zc\u00fc\u011f\u00fcn\u00fcn anlam belirsizli\u011fini bir yana b\u0131rak\u0131rsak, \u015fiddet olaylar\u0131n\u0131 Warholcu bir \u00fcn aray\u0131\u015f\u0131na dayand\u0131rarak, medyan\u0131n g\u00fcd\u00fcm\u00fcndeki g\u00f6steri toplumuna tepki olarak do\u011fan Situasyonist ak\u0131ma ba\u011flamak ancak vasat akl\u0131n kurnazl\u0131\u011f\u0131 deyimiyle a\u00e7\u0131klanabilir. Bat\u0131n\u0131n paranoya boyutlar\u0131n\u0131 alm\u0131\u015f \u2018ter\u00f6rizm\u2019 korkusu, Zizek\u2019in \u2018Ger\u00e7e\u011fin \u00c7\u00f6l\u00fcne Ho\u015f geldiniz\u2019 adl\u0131 metninde s\u00f6yledi\u011fi gibi, \u2018bombalar\u0131n yaratt\u0131\u011f\u0131 parampar\u00e7a edici etki, dijitalle\u015fmi\u015f birinci d\u00fcnyay\u0131 \u00fc\u00e7\u00fcnc\u00fc d\u00fcnyadaki ger\u00e7e\u011fin \u00e7\u00f6l\u00fcnden ay\u0131ran s\u0131n\u0131r \u00e7izgisi\u2019 g\u00f6z \u00f6n\u00fcnde bulunarak a\u00e7\u0131klanabilir. U\u011fursuz bir failin bat\u0131y\u0131 s\u00fcrekli imha etmek i\u00e7in tehdit etti\u011fi d\u00fc\u015f\u00fcncesini do\u011furan \u015fey, Bat\u0131n\u0131n yal\u0131t\u0131lm\u0131\u015f, yapay bir evrende ya\u015fad\u0131\u011f\u0131n\u0131n fark\u0131nda olmas\u0131d\u0131r.\u2019 (3) Ayn\u0131 zamanda, Bat\u0131n\u0131n ahlaki sorumlulu\u011fundan ka\u00e7mas\u0131d\u0131r. \u015eiddet eylemlerini yaln\u0131zca g\u00f6r\u00fcn\u00fcr olmaya indirgeyen ak\u0131l, yine Zizek\u2019in belirtti\u011fi gibi birinci d\u00fcnya ve \u00fc\u00e7\u00fcnc\u00fc d\u00fcnya aras\u0131ndaki yar\u0131lman\u0131n as\u0131l \u00f6z\u00fcne i\u015faret eder. Bu yar\u0131lma sosyo-ekonomik ko\u015fullar\u0131n etkisiyle \u2018Bat\u0131l\u0131n\u0131n gittik\u00e7e daha \u00e7ok uzun, tatmink\u00e2r bir hayat s\u00fcrmek ile \u00fc\u00e7\u00fcnc\u00fc d\u00fcnyal\u0131n\u0131n kendi hayat\u0131n\u0131 a\u015fk\u0131n bir davaya adamas\u0131 aras\u0131ndaki kar\u015f\u0131tl\u0131k\u2019 (4) \u00fczerinden geli\u015fiyor olmas\u0131d\u0131r.<\/p>\n
Situasyonizm, medya ve reklam k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6rtt\u00fc\u011f\u00fc d\u00fcnya vah\u015fetine, \u2018imaj haline gelmi\u015f olan sermaye\u2019ye (5) kar\u015f\u0131 bir ba\u015fkald\u0131r\u0131yd\u0131. G\u00fcn\u00fcm\u00fczde ise Boris Groys\u2019un \u2018Ter\u00f6r \u00e7a\u011f\u0131nda Sanat\u0131n Kaderi\u2019 adl\u0131 metninde deyi\u015fiyle, \u2018\u00e7a\u011f\u0131n sava\u015f\u00e7\u0131lar\u0131\u2019 g\u00fcncel sanat\u00e7\u0131lar gibi foto\u011fraf ve video malzemelerini kullanarak kendileri bir sanat\u00e7\u0131 gibi davranmaktad\u0131r. (6) Usama bin Ladin, her \u015feyden \u00f6nce bir video sanat\u00e7\u0131s\u0131 olarak g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Groys\u2019un dikkati \u00e7ekti\u011fi durumun \u00f6z\u00fc, g\u00fcn\u00fcm\u00fcz \u00e7a\u011fda\u015f Bat\u0131 sanat\u0131n\u0131n k\u00f6keni pop sanata dayanan bir sorununda, esteti\u011fin g\u00fcc\u00fcn\u00fc yitirmesiyle, politikan\u0131n estetikle\u015ftirilmesi ve esteti\u011fin politikle\u015ftirilmesi aras\u0131ndaki ayr\u0131m\u0131n belirsizle\u015fmesinde aranabilir.<\/p>\n
Sovyet Novy Lef dergisinin bir say\u0131s\u0131nda Rodchenko ve Kushner aras\u0131nda foto\u011fraf\u0131n ideolojik \u00fczerine bir tart\u0131\u015fma ba\u015flar. Rodchenko, dergiden birka\u00e7 yolda\u015f\u0131n onu foto\u011frafa deneysel ve formsal yakla\u015f\u0131m\u0131 y\u00fcz\u00fcnden uyard\u0131\u011f\u0131n\u0131 s\u00f6yler, onlara g\u00f6re \u00f6nemli olan neyin g\u00f6sterildi\u011fidir, nas\u0131l g\u00f6sterildi\u011fi de\u011fil. Rodchenko ise devrimin, eski rejimin ya da Bat\u0131 sanat\u0131n\u0131n tekniklerini kullanarak, generaller yerine i\u015f\u00e7ilerin foto\u011fraf\u0131n\u0131 \u00e7ekmekle olmayaca\u011f\u0131n\u0131 savunur. Erkek bir i\u015f\u00e7iyi \u0130sa, kad\u0131n\u0131 ise bakire Meryem gibi \u00e7ekmek devrim demek de\u011fildir. Kushner ise, foto\u011fraf\u0131n propaganda g\u00fcc\u00fcne dikkat \u00e7ekerek, devrimin tam anlam\u0131yla bu oldu\u011funu s\u00f6yler. Novy Lef edit\u00f6rleri, Rodchenko\u2019yu devrimi yaln\u0131zca yeni bir estetik aray\u0131\u015f\u0131 olarak g\u00f6rd\u00fc\u011f\u00fc i\u00e7in ele\u015ftirirken, Kushner\u2019i foto\u011fraf\u0131 yaln\u0131zca kaydetmek olarak g\u00f6rd\u00fc\u011f\u00fc, sorunu yeni ger\u00e7eklerin temsiline indirgedi\u011fi i\u00e7in ele\u015ftirirler. Bu durumda, foto\u011fraf yoluyla mekanik olarak, \u2018eski, otoriter, feti\u015fist psikoloji\u2019 bir hastal\u0131k gibi yeni sisteme bula\u015facakt\u0131r. Novy Lef dergisindeki tart\u0131\u015fma sonu\u00e7suz kal\u0131r, Victor Burgin\u2019e g\u00f6re, tart\u0131\u015fman\u0131n \u00f6z\u00fc asl\u0131nda bak\u0131\u015f\u0131n do\u011fas\u0131na dayan\u0131r. Freud, 1905\u2019te cinsellik teorisi \u00fczerine yazd\u0131\u011f\u0131 metinlerinde, ba\u011f\u0131ms\u0131z bir g\u00fcd\u00fc olarak bakman\u0131n, aktif ve pasif olarak geli\u015fti\u011finden bahseder. Bakma ve bak\u0131lma bir al\u0131\u015fveri\u015ftir. Yeti\u015fkinlerin sosyal d\u00fcnyas\u0131nda, bu bir i\u015f b\u00f6l\u00fcm\u00fc gibi payla\u015f\u0131lm\u0131\u015ft\u0131r, erkek genellikle bakarken, kad\u0131n bak\u0131land\u0131r. Bak\u0131\u015f, kar\u015f\u0131dakini nesnele\u015ftirmek \u00fczerine kuruludur. Ancak, Freud\u2019a g\u00f6re \u00f6z\u00fcnde oto erotiktir, nesnele\u015ftirilen ayn\u0131 zamanda bakan\u0131n bir par\u00e7as\u0131 haline gelir, nesne \u00f6znenin bedenidir. Bu ba\u011flamda, iktidardan ba\u011f\u0131ms\u0131z yaln\u0131zca bakmak diye bir \u015fey d\u00fc\u015f\u00fcn\u00fclemez. Foto\u011fraf, Victor Burgin\u2019in ifadesiyle, bir feti\u015f gibi, anl\u0131k olu\u015funda sonsuz, donmu\u015f bir bak\u0131\u015f\u0131n \u00fcr\u00fcn\u00fcd\u00fcr. Bir foto\u011frafa bakarken, sunulan olumsuz ger\u00e7e\u011fin bir yan\u0131lsama olmad\u0131\u011f\u0131n\u0131 biliriz, yine de, g\u00f6z\u00fcm\u00fcz, bask\u0131n\u0131n g\u00fczelli\u011finde ya da kompozisyonun esteti\u011finde kalm\u0131\u015ft\u0131r. Bir foto\u011frafa uzun s\u00fcre bakma ise hayal k\u0131r\u0131kl\u0131\u011f\u0131 getirir, ilk bak\u0131\u015fta zevk veren g\u00f6r\u00fcnt\u00fc, bir s\u00fcre sonra bir pe\u00e7e gibi g\u00f6rmek istedi\u011fimizi \u00f6rter, g\u00f6r\u00fcnt\u00fc bizim bak\u0131\u015f\u0131m\u0131z\u0131 reddeder, o kameran\u0131n arkas\u0131ndakinin bak\u0131\u015f\u0131d\u0131r. Bakman\u0131n iktidarla ili\u015fkisi, ba\u015fka bir k\u00fclt\u00fcr\u00fcn reddi olarak, Ebu Garip foto\u011fraflar\u0131nda g\u00f6r\u00fclebilir.<\/p>\n
Boris Groys, Ebu Garip i\u015fkence foto\u011fraflar\u0131n\u0131 incelerken, \u00f6ncelikle foto\u011fraflar ile yetmi\u015flerin sanat\u0131 aras\u0131ndaki estetik benzerlik \u00fczerinde duruyor. Ona kal\u0131rsa, Ebu Garip foto\u011fraflar\u0131 bir Viyana aksiyonistinin kameras\u0131ndan \u00e7\u0131km\u0131\u015f gibidir. Altm\u0131\u015flarda do\u011fan Viyana aksiyonist ak\u0131m\u0131, \u015fiddet i\u00e7eren imgeler ve toplumu sarsan eylemleriyle toplumun de\u011ferlerini sorgulamak, bast\u0131r\u0131lm\u0131\u015f toplumsal vah\u015feti g\u00f6r\u00fcn\u00fcr k\u0131lmay\u0131 ama\u00e7l\u0131yordu. Ba\u015fka bir deyi\u015fle, Benjamin\u2019in, 1940\u2019ta Nazizim\u2019den ka\u00e7arken kaleme ald\u0131\u011f\u0131 \u2018Tarih Felsefesi \u00dczerine Tezler\u2019inde belirtti\u011fi gibi \u2018\u00e7evrelerini saran barbarl\u0131ktan ba\u011f\u0131ms\u0131z olmayan k\u00fclt\u00fcrel \u00fcr\u00fcnlerin nesilden nesile, bir sahipten \u00f6tekine ge\u00e7melerini sa\u011flayan gelenek\u2019e (7) kar\u015f\u0131 duru\u015ftu. Viyana Aksiyonist ak\u0131m\u0131n \u00f6nde gelen sanat\u00e7\u0131lar\u0131ndan Otto M\u00fchl\u2019\u00fcn 1968 tarihli \u2018Sanat ve Devrim\u2019 eyleminde dedi\u011fi gibi, \u201cg\u00fcn\u00fcm\u00fczde, t\u00fcketim k\u00fclt\u00fcr\u00fc sanat\u00e7\u0131ya r\u00fc\u015fvet vermektedir, b\u00f6ylece devrimci sanat\u0131 rehabilite etmekte, iktidar\u0131 destekleyen bir sanat haline getirmek istemektedir. Fakat rehabilite olmu\u015f sanat, sanat de\u011fildir. Ger\u00e7ek sanat politik oland\u0131r, yeni ileti\u015fim bi\u00e7imleri ortaya koyand\u0131r.\u201d (8)<\/p>\n
Sanki Facebook\u2019ta sergilenmek istenircesine, \u2018masum\u2019 an\u0131 foto\u011fraf\u0131 esteti\u011fiyle \u00e7ekilen Ebu Garip i\u015fkence foto\u011fraflar\u0131n\u0131n ise yeni bir ileti\u015fim bi\u00e7imi koymak ister gibi bir tavr\u0131 yok, emperyalist bir alay etme g\u00fcd\u00fcyle olu\u015fturulan g\u00f6r\u00fcnt\u00fcler, itaatin i\u00e7selle\u015ftirilmesinin, insanl\u0131k d\u0131\u015f\u0131 bir anlay\u0131\u015f\u0131n belgeleri. An\u0131 foto\u011fraf\u0131 esteti\u011fi ise, \u00f6yle olmad\u0131\u011f\u0131n\u0131 askerlerin a\u00e7\u0131klamalar\u0131ndan \u00f6\u011frensek bile, insanda k\u00fclt\u00fcrel bir hastal\u0131\u011f\u0131 normalle\u015ftirmek istercesine niyetli olarak se\u00e7ildi\u011fi izlenimi uyand\u0131r\u0131yor. Foto\u011fraflar\u0131, Alman sanat tarih\u00e7isi Aby Walburg taraf\u0131ndan ilkel toplumlarda ve k\u00fclt\u00fcrlerde s\u0131kl\u0131kla rastlan\u0131ld\u0131\u011f\u0131 \u00f6ne s\u00fcr\u00fclen mistik bir motif olan, bedeni kendisine zulmedenin hazz\u0131 ya da y\u00fccelmesi i\u00e7in kurban\u0131n bilin\u00e7li olarak yabanc\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131 bir \u015fey olarak betimleyen Pathos form\u00fcl\u00fc \u00fczerinden inceleyen Eisenmann, bu foto\u011fraflar\u0131n paradoksal olarak Bat\u0131 sanat tarihi gelene\u011finin merkezinde yer ald\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. Ebu Graib foto\u011fraflar\u0131 \u2018askeri anlamda zafer kazananlar\u0131 yaln\u0131zca g\u00fc\u00e7l\u00fc de\u011fil, ayn\u0131 zamanda Kadir-i Mutlak olarak, kaybedenleri ise yaln\u0131zca g\u00fc\u00e7s\u00fcz de\u011fil, ayn\u0131 zamanda sefil, hatta insandan \u00e7ok hayvana yak\u0131n g\u00f6steren hastal\u0131kl\u0131 bir bak\u0131\u015f\u0131n g\u00f6r\u00fcnt\u00fcleri\u2019dir. (9)<\/p>\n
Foto\u011fraflar ilk yay\u0131nland\u0131\u011f\u0131nda, George Bush\u2019un a\u00e7\u0131klamas\u0131, Amerikan askerlerinin su\u00e7lar\u0131n\u0131n \u2018demokrasi\u2019 ve \u2018\u00f6zg\u00fcrl\u00fck\u2019 gibi Amerikan de\u011ferleriyle bir alakas\u0131 olmad\u0131\u011f\u0131 y\u00f6n\u00fcndeydi. Slovaj Zizek, \u2018Politik K\u00f6t\u00fcden Radikal K\u00f6t\u00fcye\u2019 adl\u0131 metninde Bush\u2019a \u015fu soruyu y\u00f6neltiyor; eski Saddam rejiminin gizlilik i\u00e7inde ger\u00e7ekle\u015fen i\u015fkence tarz\u0131yla Amerikan g\u00fc\u00e7lerinin tarz\u0131 aras\u0131ndaki a\u00e7\u0131k kar\u015f\u0131tl\u0131\u011f\u0131 nas\u0131l a\u00e7\u0131klayacaks\u0131n\u0131z? (10) Saddam rejiminde, i\u015fkence fiziksel ac\u0131 \u00fczerine kuruluyken, Zizek\u2019e g\u00f6re, Amerikan askerleri \u00f6ncelikli olarak psikolojik a\u015fa\u011f\u0131lamaya odaklan\u0131yor. A\u015fa\u011f\u0131laman\u0131n te\u015fhir edilmesini, i\u015fkencecilerin kurbanlar\u0131n \u00e7arp\u0131lm\u0131\u015f \u00e7\u0131plak bedenleri yan\u0131nda y\u00fczlerinde aptalca bir s\u0131r\u0131tmayla poz vermelerini, Zizek, Amerikan i\u015fkence tarz\u0131n\u0131n en \u00f6nemli \u00f6zelli\u011fi olarak nitelendiriyor. Yine benzer bir \u015fekilde, \u2018The Porning of America\u2019 adl\u0131 kitab\u0131n yazarlar\u0131, foto\u011fraflar\u0131n i\u015fkenceyi kay\u0131t etmek i\u00e7in \u00e7ekilmediklerini, aksine i\u00e7inde komedi, porno ve korku filmlerinden \u00f6\u011feler bar\u0131nd\u0131ran bu foto\u011fraflar\u0131n i\u015fkencenin ta kendisi olduklar\u0131n\u0131 yaz\u0131yor. (11)<\/p>\n
Zizek, \u00e7\u0131plak bir mahk\u00fbmu bir sandalye \u00fczerinde, ba\u015f\u0131nda siyah bir \u00f6rt\u00fc ile elektrik kablolar\u0131na ba\u011fl\u0131, tuhaf, teatral bir pozda tasvir eden foto\u011fraf\u0131 g\u00f6rd\u00fc\u011f\u00fcnde, bunu A\u015fa\u011f\u0131 Manhattan\u2019da sergilenen bir performans g\u00f6sterisi sand\u0131\u011f\u0131n\u0131 yaz\u0131yor. Amerikan ya\u015fam tarz\u0131na al\u0131\u015fk\u0131n, herhangi birinin kolayca fark edebilece\u011fi gibi, foto\u011fraflar, Amerikan pop k\u00fclt\u00fcr\u00fcn\u00fcn bir \u00fcr\u00fcn\u00fcd\u00fcr, diyor, \u00f6z\u00fc, ordu ya da okullardaki gizli topluluklar gibi, kapal\u0131 bir topluma kabul edilmek i\u00e7in a\u015f\u0131lmas\u0131 gereken i\u015fkence ve a\u015fa\u011f\u0131lama rit\u00fcellerine dayanan bir k\u00fclt\u00fcrd\u00fcr bu. Zizek\u2019in bu tan\u0131mlamas\u0131, ak\u0131llara Oliver Stone\u2019nun G.Bush\u2019un hayat\u0131n\u0131 anlatt\u0131\u011f\u0131 W. adl\u0131 filmi getiriyor; gen\u00e7 Bush okuldayken \u2018\u00d6l\u00fcm ve Kafatas\u0131\u2019 toplulu\u011funa kat\u0131lmak i\u00e7in \u00e7e\u015fitli a\u015fa\u011f\u0131lamalardan ge\u00e7iyordu. Zizek, Ebu Garip olay\u0131n\u0131n yaln\u0131zca Amerikal\u0131n\u0131n \u00fc\u00e7\u00fcnc\u00fc d\u00fcnyal\u0131ya kar\u015f\u0131 sergiledi\u011fi basit bir ukalal\u0131k olmad\u0131\u011f\u0131n\u0131 yaz\u0131yor, ona g\u00f6re, bu olay, Irak\u2019\u0131n Amerikan k\u00fclt\u00fcr\u00fcne, Bush\u2019un s\u00f6z\u00fcn\u00fc etti\u011fi demokrasi ve \u00f6zg\u00fcrl\u00fck gibi s\u00f6z\u00fcm ona Amerikan de\u011ferlerinin alt\u0131nda yatan m\u00fcstehcen yap\u0131ya dahil edildiklerinin, sindirildiklerinin a\u00e7\u0131k bir g\u00f6stergesidir. Zizek, Bush yalan s\u00f6yledi, diyerek s\u00f6zlerini bitiriyor, Ebu Garip foto\u011fraflar\u0131 Amerikan k\u00fclt\u00fcr\u00fcn\u00fcn ta kendisidir. Amerikan medyas\u0131, ter\u00f6rizm paranoyas\u0131n\u0131 yaymay\u0131 s\u00fcrd\u00fcrerek, \u0131srarla foto\u011fraflar\u0131n Irakl\u0131larda intikam duygusu uyand\u0131raca\u011f\u0131n\u0131 yazarken, Irakl\u0131lar\u0131n foto\u011fraflar\u0131 sessizlikle kar\u015f\u0131lamas\u0131, i\u015fkenceci askerlerden birinin, hapishaneyi \u2018Wild, Wild West\u2019 diye nitelendirmesi, Zizek\u2019in g\u00f6r\u00fc\u015fleriyle \u00f6rt\u00fc\u015f\u00fcyor.<\/p>\n
\u0130mparatorlu\u011fun ideolojik s\u00f6yleminin m\u00fcstehcen alt metni olan foto\u011fraflar, Groys\u2019a g\u00f6re, iktidar\u0131n yeni bir reklam stratejisidir. Foto\u011fraflar\u0131n, kartpostallara, oyuncaklara, \u00e7e\u015fit \u00e7e\u015fit \u00fcr\u00fcne, tasar\u0131ma d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeleri, i\u00e7erdikleri vah\u015fet \u00f6\u011felerine ra\u011fmen, do\u011fall\u0131kla Bat\u0131 g\u00f6steri d\u00fcnyas\u0131nca benimsenmeleri d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, Groys\u2019un s\u00f6zleri anlam kazan\u0131yor. Reklam\u0131n iyisi k\u00f6t\u00fcs\u00fc olmaz mant\u0131\u011f\u0131yla, \u00e7a\u011f\u0131n iktidarlar\u0131 iktidarlar\u0131n\u0131 sa\u011flamla\u015ft\u0131racak en korkun\u00e7 g\u00f6r\u00fcnt\u00fclerin pe\u015finde, Groys bu durumu, Nazi Almanya\u2019s\u0131n\u0131n Auschwitz foto\u011fraflar\u0131yla reklam yapmas\u0131 gibi tuhaf bir durum olarak nitelendiriyor.<\/p>\n
Ebu Garip foto\u011fraflar\u0131n\u0131n kolektif belle\u011fimizde, herhangi bir g\u00fcncel sanat\u00e7\u0131n\u0131n i\u015flerine k\u0131yasla \u00e7ok daha fazla yerle\u015fmi\u015f olmas\u0131, g\u00f6rsel k\u00fclt\u00fcre etkisinin tart\u0131\u015fmayacak denli b\u00fcy\u00fck olmas\u0131, g\u00fcn\u00fcm\u00fcz sanat\u0131n\u0131n yetersizli\u011fine i\u015faret eder. G\u00fcn\u00fcm\u00fcz\u00fcn ter\u00f6r imgeleri bir\u00e7ok teorisyen taraf\u0131ndan \u2018ger\u00e7e\u011fin d\u00f6n\u00fc\u015f\u00fc\u2019 olarak nitelendirilmi\u015ftir, bu ise g\u00f6rsel k\u00fclt\u00fcr ele\u015ftirisinin sonuna i\u015faret etmektedir. Ebu Garip foto\u011fraflar\u0131, g\u00fcn\u00fcm\u00fcz sisteminin totaliter akl\u0131n\u0131n bir yans\u0131mas\u0131d\u0131r. Bu ak\u0131l kendi radikal k\u00f6t\u00fcs\u00fcn\u00fcn reddi i\u00e7indeki bir ak\u0131ld\u0131r, evrensel etik de\u011ferleriyle de\u011fil ama hastal\u0131klar\u0131yla y\u00f6nlenir. Foto\u011fraflar, ayn\u0131 zamanda, \u2018Her \u015fey politiktir\u2019 deyi\u015finin bir olumsuzlamas\u0131d\u0131r, \u00e7\u00fcnk\u00fc Foucoult\u2019un dedi\u011fi gibi her \u015feyin politik olmas\u0131, yeni politik \u015femalar\u0131n\u0131n hayal edilmesi ve ger\u00e7e\u011fe d\u00f6k\u00fclmesi anlam\u0131na gelir.<\/p>\n
D\u0130PNOTLAR: Çağla Cömert Savaş tasvirlerinin yüzyıllar boyunca sanatın başlıca konularından biri olduğu bilinir. Antik çağdan beri sanat konu açısından savaşçıya, savaşçı ise Platoncu anlayışla ‘gerçekliğin görkemi’ için sanatçıya bağımlıydı. Benjamin’in ünlü deyişiyle, tüm uygarlık çatışmaları aslında barbarlık çatışmalarıydı, barbarlık belgelerinin uygarlık belgelerine dönüştürülmesi ise sömürgeci bir alan olarak sanata kalıyordu. Modern çağda ise kırılma yaşandı, sanatçının […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[56],"tags":[],"class_list":["post-5703","post","type-post","status-publish","format-standard","hentry","category-fotograf-sanati","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=5703"}],"version-history":[{"count":1,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5703\/revisions"}],"predecessor-version":[{"id":5704,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5703\/revisions\/5704"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=5703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=5703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=5703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n1) <\/strong>Debord Guy, G\u00f6steri Toplumu, \u00e7eviri: Ay\u015fen Ekmek\u00e7i,Ok\u015fan Ta\u015fkent. (Ayr\u0131nt\u0131 Yay\u0131nlar\u0131, \u0130stanbul,1996),31.
\n2)<\/strong> Terrorism as Artform, 2007 http:\/\/www.leidenuniv.nl\/en\/researcharchive\/index.php3-c=365.htm. (giri\u015f: 9,29,2009)
\n3)<\/strong> Slavoj Zizek, K\u0131r\u0131lgan Temas, \u00e7eviri: Tuncay Birkan. (Metis Se\u00e7kileri,\u0130stanbul, 2002), 295.
\n4) <\/strong>Slavoj Zizek, K\u0131r\u0131lgan Temas, 298.
\n5) <\/strong>Guy Debord, G\u00f6steri Toplumu, \u00e7eviri: Ay\u015fen Ekmek\u00e7i, Ok\u015fan Ta\u015fkent. (Ayr\u0131nt\u0131, \u0130stanbul,1996),48.
\n6) <\/strong>Boris Groys, \u2018The Fate of Art in the Age of Terror\u2019 www.unitednationsplaza.org\/readingroom\/Groys_ArtAndTerror.pdf. ( giri\u015f: 10,6,2009)
\n7) <\/strong>Stephen F. Eisenmann, Ebu Graib Etkisi, \u00e7eviri: I\u015f\u0131l \u00d6zbek.( Versus Yay\u0131nlar\u0131, \u0130stanbul, 2007), 41.
\n8) <\/strong>http:\/\/de.wikipedia.org\/wiki\/Otto_Muehl. (Giri\u015f: 5,Eyl\u00fcl,2009).
\n9) <\/strong>Eisenmann, Ebu Graib Etkisi,13.
\n10) <\/strong>Slovaj Zizek, \u2018From Political to Radical Evil\u2019, http:\/\/www.lacan.com\/zizlovevigilantes.html (giri\u015f:14.01.2010)
\n11) <\/strong>Carmine Sarraccio, Kevin M. Scott, \u2018The Porning of America\u2019, (Beacon Press, Boston, 2008), 145.<\/p>\n","protected":false},"excerpt":{"rendered":"