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MEKANİK
Özhan ŞenayRelated Papers
MEKÂNDA ALEVİLİK
MEKÂNDA ALEVİLİK2018 •
Göç, kentleşme, modernite gibi faktörlerin Alevi kurumlarında yaratmış olduğu işlev kaybı başta olmak üzere, 80 darbesi gibi faktörler nedeniyle kentlerde Alevi dernekleri, cemevleri gibi yeni kurumlar ortaya çıkmış ve bu durum gelenek adına bir değişim ve dönüşümü de beraberinde getirmiştir: Alevilerin kent koşullarında ne aylarca, günlerce ya da sabahlara kadar cem yapmak gibi bir şansları ne de bunu gerçekleştirebilecek bir yerleri vardır, olmamıştır da. Günümüzde ise Alevilerin çoğu (farklı farklı nedenlerden ötürü) ne en uzunu dört saat süren cemlere katılmakta ne de bunun için “cemevi” adıyla özel olarak inşa edilen yerlere gitmektedirler. O zaman da şu soru akla takılmaktadır: Bu çoğunluğun dışında kalan Aleviler bu yolu nasıl sürmektedirler? İşte tam da bu noktada mekân devreye girmektedir; çünkü bugün Aleviler bu yolu tam da mekânın ürettiği biçimde sürmektedirler. Bu çalışmada Henri Lefebvre’nin mekân, Pierre Bourdieu’nun alan üzerine tezlerinden yararlanılarak mekânda bu üretimin izi sürülmüştür. Dolayısıyla bu çalışma günümüzde üretimin hem koşulu hem sonucu hem de gücü haline gelen mekânın ve mekândaki ilişkilerin, (özel anlamda) Alevilik üzerinden bir incelemesi niteliğindedir.
Recent discursive talks and writings on space that question whether or not globalization is transforming space into virtual reality, and that, therefore there might be no need for designers to analyze and organize it meticulously in the very near future; or those that imply that we should surrender to the concept of “non-space” rather than pushing our capabilities to the limits, in order to ameliorate the spaces in which we live, oblige us to discuss space further in these pages from various perspectives. In these consecutive series of articles divided into three sections I will further clarify architectural space from the standpoints of virtuality/reality; production/consumption and time-boundedness. First of all, the English word “cyberspace” loads space with meanings in favor of reason, and robs it of its cultural connotations. Therefore, we should translate it into Turkish as “siber alan” or “siber uzay” in order to discern “mekan” from “uzay”. Secondly, since the cyberspace is a derivative copy of the reality, and that, it cannot reflect our perceptualizations and emotions fully we should use the term “virtual medium” rather than “virtual reality”. Virtual reality is a paradoxical term: If something is virtual it can not be real. Some of those philosophers who praise globalization conceive of it as an economic process led by technology. Yet, some see it as an acculturation process, which shorten distances between cultures. But if we see it via its effects on the international monitory flow dominated by the most industrialized countries, it is clear that the education, health, communication, information and the capital will be coursed as they demand. That is, the big fish will swallow the little. Besides, if the goods are to flow directly from the producer to the consumer through the virtual medium many a building investment is to be obsolete in not so far a future. To name a few, shopping centers, transportation centers, may be, schools, etc. The future of the 33.000 museums of the world is not so bright either. Other things candidate to be obsolete is the 443 languages, that is, cultures of the world, while others might follow. We are exercising abbreviations in the virtual medium and talking through minor gestures in real life. A group of people who deem they foresee the future better than us believe that many solutions will be possible, now that the digital medium has replaced the analogue medium. Under this devout evangelism lies the attempt to cover up the chaotic state of the real world. To consider high technology as the prime dynamic of cultural changes and metamorphoses help endure the technological illusions. Modern vision technologies employ images for collective anesthesia, which aggravate this situation. A world that refuses society as a whole as well as the subjective value systems of its components can not be real. Those either rejected or severed consciously in the virtual medium make up the foundation of the cultural field. Since the architects of the so-called virtual reality have not yet been able to turn their space into real space, the architects of the real good Old World need not bother. Child psychologists recognize the value of the final moment of play, and define it as the “potential field” where one can leap into creative thoughts and transfer the experiences gained from play into real life situations. In this sense those hyperreal spaces, which are created in real geographies, surrounded by real world can be termed as potential spaces that interrelate the past with the future, the conscious with the subconscious. In such places users experience synergetic interactions collectively. The target of both the virtual media and the hyperreal space is not to confound a society but to establish a community on some degree of bonds. A community is a social system, where person to institution relations are determined by bonds, which is abided by a group of people who share common interests, who settle in a place for s specific duration. It is a special society with personal attachments, commitments, and sense of belonging and warmth. In this sense Disneyland can be said to form a flexible and modern community and the space provides quite a potential for creativity and minor socialities. Its architecture is based on a perfect scenario and does not deny the consumption economy upon which it rests. Compared to our national televisions, protection projects and touristic complexes the images are more powerfully studied and do not cover up the reality they stand for: Consumption for pleasure. Disneyland, as well as the quality of its multi-media shows, and the overall entertainment areas, creates a strong sense of space and has phantasmagoric properties no one can deny. Here our subconscious is moved. There are possible moments to retreat to memories. It releases us of the dead weight of traditions and offers new, short and non-boring social interactions. No joking, it is a serious job. Production and consumption trends have always been the major force in the evolution of cities. Toady’s cities are transforming into sites of collective consumption and tend to be dominated more and more by the working classes. Planning has turned into an act of class policy. Urbanism is viewed as consumption, local political processes and spatial accessibility. Whereas, place (context) is the phenomenon of processes practiced in space, of immediacy, of urban-rural interdependencies, of geographical properties and the phenomenon of uniqueness character, of symbolism and meaning. International division of labor as a new theory added to this already complex phenomenon loads it with a paramount value in the organization of space, of architectural space, especially. Architectural space molds into forms accordingly. However, as societies develop from human memory based cultures to expert systems; as the concept of immediacy and punctuality gain importance in societies, the space liberates itself from the place and abides with the laws of the time. Thus, architectural spaces can be classified on a horizontal line where at the one end lies the most place-grounded spaces and on the opposite end lies the time-bounded spaces. From this perspective one can speak of; 1) placed spaces 2) place producing spaces 3) place consuming spaces 4) time bounded spaces Above all these lies the potential space, which is anytime, anywhere. Inside, outside. Placed spaces and place producing spaces have more potentials and aphorisms to turn into potential spaces. But the forerunners of our architectural age are pushing their chances hard with both space consuming spaces and the time-bounded spaces as well. Potential spaces have certain qualities among which we can cite the following; 1) qualities, which carry one into creativity and sociability 2) qualities, which have transforming and praxeological value 3) design precedents to realize the above two Instead of deterring from the realities embodied in the real world, the architects should be after potential spaces. Virtual community is an hallucination. And the future of the real world is dim. We better touch the ground strongly.
In this study, which is placed in the framework of the ethnographic field, experience and music, the basic approaches are revealed by making use of the methodological and theoretical knowledge of ethnomusicology, anthropology and social sciences. The decisiveness of the meanings attributed to the ethnographic field on the cultural analysis has been presented with an interdisciplinary approach, and the scientific perspectives that differ and change in the historical process are emphasized. In the field studies, the changing aspects of the ethnographic field according to the aims and conditions are explained both through music studies and the techniques adopted in qualitative research. During the course of the study, many sources based on the theoretical and methodological ethnographic researches are scanned and the data obtained are interpreted with a descriptive character.
Bu çalışmada, “mefkûre” kelimesinin kavramlaştırıcısı Ziya Gökalp’ın fikirlerinden hareketle Mehmet Akif Ersoy ve başlıca fikirleri ele alınacaktır. Çalışmada öncelikle kuramsal açıklama yapılmıştır. Daha sonra mefkûre kavramını destekleyici nitelikteki örneklere yer verilmiştir. Çalışma boyunca Mehmet Akif, Ziya Gökalp, Babanzâde Ahmet Naim, Mehmet Şemsettin Günaltay, Nurettin Topçu gibi isimler ve eserlerine atıflar yapılarak konu genişletilmiştir. Son olarak Mehmet Âkif’in “mefkûrecilik” kavramı Safahat’ adlı şiirlerinin toplandığı kitabından hareketle somutlaştırılmıştır.
Herhangi bir X kavramını ele aldığımızda, X kavramı üzerine bir şey söylemek ne demektir? sorusuyla başlanan bu yolculuğa, mekan bilgisinin üretimine paralel olarak düşünülen, X ile kurulan ilişkinin yapısı nasıldır? X ile kurduğumuz bu ilişkide X’e dair söylediğimiz bir şey X’e mi aittir, bize mi? Yoksa her ikisi de birbirini dönüştüren bir süreç olarak mı okunmalıdır? soruları ile devam edilmiştir. Bu doğrultuda X ile kurulan ilişki, X’in bilgisinin üretimi olarak düşünülerek, bilginin nasıl üretildiğine ilişkin yaklaşımlar özne ve nesneyi konumlandırma biçimleri bakımından irdelenmiştir. Bu yaklaşımlardan biri olarak merkezde konumlandırılan öznenin, nesne üzerindeki tahakkümünün doğurduğu dikeyliğin bir ifadesi olan “X...’dır” statik ve değişmez bir varlık düşüncesini barındırdığından sorunsallaştırılmış, buna karşın varlık bir oluş olarak düşünülerek, ve...ve...ve... bağlantılarıyla yatayda kurulan bir çokluk olarak öznelerarasılık fikri olumlanmıştır. Bu bağlamda kurulan bu ilişkilerin yapısına ilişkin kavramlaştırmaların, monolog ve diyalog kavramları üzerinden yapıldığı bu tezde, Kartezyen düşüncenin mutlak mekanı ve mekandan ölçüler vasıtasıyla soyutladığı bedeni arasındaki ilişki monolog kavramıyla karşılanırken, buna karşın oluş düşüncesi üzerinden eş zamanlı üretimler olarak kavranan beden mekan ilişkisi, beden mekân kavramıyla ifade edilerek; (diyaloğun asimetrik yapısına vurgu yapmak amacıyla asimetrinin özellikle vurgulandığı) asimetrik diyalog kavramı üzerinden açımlanmıştır. Tezde bu doğrultuda, monolog kavramıyla ifade edilen; bedeni salt fiziksellik ve ölçüler olarak ele alan bir yaklaşımın, mekanı da yine aynı şekilde tanımlayışı sorunsallaştırırken, diğer taraftan bu durumun bedeni, mekanı ve mekanda gerçekleşmesi olası potansiyelleri kontrol altına alarak iktidar vazifesi gördüğünün vurgusu yapılmıştır. Bu sebeple bedenmekan kavramı bu duruma ilişkin geliştirilmiş bir karşı strateji olarakta okunabilir. Bu bağlamda bedenmekan, bedeni ve dolayısıyla mekanı birbiri üzerinden yeniden, olası çerçeveler ve kodlamaların dışına çıkarak - onlara mesafe alarak - düşünmeyi önerir. Sonuç olarak bedenmekan kavramı üzerinden bedenin ve mekanın eş zamanlı üretimler olduğu fikrinin vurgulandığı bu tezde, bedenmekanın kavram olarak bir neden-sonuç ilişkisinden ziyade bir süreci tariflediği ortaya konulmuş ve bu durumun tasarım pratiğine yansıması bitmemişlik ve belirsizlik kavramları ile ifade edilmiştir.
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