Publication: Frankfurt okulu: “olumsuzlama” olarak sanat
Abstract
Bu çalışmada amaçlanan, sanat, bilim ve diğerleri, insanın bütün etkinliklerinin bir üst eleştirisi olarak diyalektik yöntemin kaybedilen ya da elinden alınan tacını ona yeniden kazandırmak ve kaybedilenin geri alınması konusunda, onunla iç içe geçmiş, yine bir üst eleştiri olan sanatın bu savaşım içindeki yaratım sürecini incelemektir. Eleştirel Teori ile felsefe ve sanatın kendini gerçekleştirme fırsatı yeniden yaratılmıştır. Eleştirel felsefe Kant’la başlar, Hegel ve Marks’la gelişir, yani yeni üretim şekilleriyle ilişkilendirilerek değişime uğrar. 19. yüzyılda eleştirel felsefenin karşısında esas tehlike olarak gözüken bilim felsefesi anlayışı, yeni üretim ilişkileri döneminde olguları neden-sonuç ilişkisine sıkıştırarak her olguyu kendi başına mutlaklaştırması ile eleştiriyi, bir başka değişle de ‘geist’ ile ‘madde’ ilişkisini pasivize etmektedir. Yönetenler bu doğrultuda yerlerini sağlamlaştırmaya yönelik her türlü manipülatif etkinliğe başvurmaktadır. Eleştirel Teorinin Marksizm’in Hegelci kökenlerine geri dönüşü, bir anlamda ‘geist’in bu sıkışmışlığın içinden kurtarılması yönünde bir düşünceyi ifade ediyordu. (20. yüzyıldaki uygulamalar, Marksizm’i de indirgemeci bir bilim felsefesi anlayışına dönüştürmüştü.) Bu ‘geist’ sıkışma, kapitalist üretim ilişkilerinde, kültürel manipülasyonda, bilimsel üretimde ve en sonunda bloklaşmış bir biçimde tekelci kapitalizmin her türlü manipülatif etkinliğinde gizlidir. Kendisini nesneyle dolayımlamış ‘özgür ruh’ ‘araçsal us’a indirgenmiş ve mevcut sistemin değişmez savunucusu durumuna dönüştürülmüştür. Dışarıdan biçimlendirilen, kendiliğindenliğini tamamen yitirmiş kültür, her türlü yönlendirmeye açık en karanlık dönemlerinde bile, minimalize olmuş, bütünüyle totaliter yapıya karşı merkezi bir konumu teşkil eden muhalif bir yapıyı içinde barındırır. Bu karşı kültürde sanat, her türlü uyum idea’sına karşı saldırıya geçer. Başka bir değişle, en arık ve ödün vermez biçimde, (reel yaşamdaki) tüm tezatları kendi sanat form’unun yapısına alarak, uyum idea’sını negatif bir tarzda ifade eder.
The aim of this study is to bring in lost or bereaved crown of art, science, other scopes and the technique of dialectic which is supposed to be an upper criticism of man’s all acts and with the aim of grasping what is lost is to survey the creative duration of the harmonized and the upper criticism of art in this battle. The opportunity of philosophy and art’s re-existing via critical theory is created again. The critical philosophy originates with Kant, develops with Hegel and Marks in other words its reformed by correlating brand-new producing types. Scientific philosophy approach seen as a fundamental menance towards Critical philosophy in the 19th century which suppress the phenomenons into cause and effect relation in the duration of new productions era. By using the gateway to fasten each phenomenon on its own inactives criticism in other saying ‘geist’ and ‘object’ relationship. Under these circumstances the administors consult to any manipulative activity in order to fortify their position. The return to the roots of critical theory's Marksizm's Hegelist, in other words, was expressing the opinion through the rescue of geist from the this suppressed situation.(the practices in 20. century returned the Marksizm to a reductionist scientific philosphy understanding too)This geist is hidden in the relations of suppressed capitalist production, in cultural manupulative, scientific production and finally in the every kind of manipulative activity of monopolist capitalizm with a blocked shape. The free spirit fitted itself with objects is transformed into situation of invariable defender of the toolness reducedreason and axisting system. The culture shaped by from outside and having lost its spantoneous situation exactly includes an opposition structure that forms a centred site exactly opposed to totalitarian system even in the darkest periods which is open to every directions. The art in such a oppesed culture attacks to every harmony idea. In other words, ıt expresses harmony idea in a negative style by taking all contrasts to its art form by not giving concession in the most scrowny style.
The aim of this study is to bring in lost or bereaved crown of art, science, other scopes and the technique of dialectic which is supposed to be an upper criticism of man’s all acts and with the aim of grasping what is lost is to survey the creative duration of the harmonized and the upper criticism of art in this battle. The opportunity of philosophy and art’s re-existing via critical theory is created again. The critical philosophy originates with Kant, develops with Hegel and Marks in other words its reformed by correlating brand-new producing types. Scientific philosophy approach seen as a fundamental menance towards Critical philosophy in the 19th century which suppress the phenomenons into cause and effect relation in the duration of new productions era. By using the gateway to fasten each phenomenon on its own inactives criticism in other saying ‘geist’ and ‘object’ relationship. Under these circumstances the administors consult to any manipulative activity in order to fortify their position. The return to the roots of critical theory's Marksizm's Hegelist, in other words, was expressing the opinion through the rescue of geist from the this suppressed situation.(the practices in 20. century returned the Marksizm to a reductionist scientific philosphy understanding too)This geist is hidden in the relations of suppressed capitalist production, in cultural manupulative, scientific production and finally in the every kind of manipulative activity of monopolist capitalizm with a blocked shape. The free spirit fitted itself with objects is transformed into situation of invariable defender of the toolness reducedreason and axisting system. The culture shaped by from outside and having lost its spantoneous situation exactly includes an opposition structure that forms a centred site exactly opposed to totalitarian system even in the darkest periods which is open to every directions. The art in such a oppesed culture attacks to every harmony idea. In other words, ıt expresses harmony idea in a negative style by taking all contrasts to its art form by not giving concession in the most scrowny style.