BİLİMSEL GERÇEKLİK / İMGESEL İHTİMAL: SANAT PRATİĞİNDE DÜŞÜNCENİN OLASILIKLARINI ÇOĞALTMAK

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.

Anahtar Kelimeler:

Deneysel Pratik, Materyal Düşünce, Sanatsal Düşünce

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

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.

Keywords:

Experimental Practice, Material Thinking, Art Practice,

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