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Vilém Flusser, kültür tarihinin ilerleyişini somuttan soyuta doğru bir yabancılaşma süreci olarak kavrayan beş seviyeli bir model önerir: 1) Dört boyutlu bir uzay-zaman sürekliliğinin somut deneyimi, 2) kavranabilir nesneleri içeren üç boyutlu durum, 3) geleneksel imgelerle karakterize iki boyutlu gözlem ve imgelem seviyesi, 4) doğrusal metinlerle karakterize tek boyutlu tarihsel seviye ve 5) teknik imgelerle karakterize boyutsuz hesaplama ve veri-işlem seviyesi. Teknik imgeler ve geleneksel imgeler, somut deneyimden yabancılaşmanın tamamen farklı türleridir. Teknik imgelerin ‘gerçekçiliği’, teknik imge üreticilerinin niyetlerine bağlı olarak yanıltıcıdır. Geleneksel imgeler, dünyanın soyutlamalarıdır teknik imgeler ise, evreni ve bilinci somutlaştırmaktadır. Flusser’in modelinden yola çıkarsak, sinematografik imge, soyutlamanın tersine işleyen somutlama sürecinin fenomenolojik tamamlayıcısıdır: Soyutlanan dört boyut, yeniden somutlanmıştır. Bu da onu, dil ötesi bir düşünce biçimi olarak en yetkin arabuluculardan biri kılar. Deleuze’ün imge taksonomisi ve Flusser’in medya kuramı birlikte okunduğunda sinematografik imgenin dil ötesi bir düşünce biçimi olarak imkanları daha güçlü bir temelde düşünülebilir hale gelmektedir. Vilém Flusser suggested a five-step model that grasps the process of cultural history as an alienation from the concrete to the abstract: 1) Concrete experience of four-dimensional space-time continuum, 2) three-dimensional situation comprising graspable objects, 3) two-dimensional observation and imagination level characterized by traditional images 4) one-dimensional historical level characterized by linear text and 5) dimensionless calculation and computation level characterized by technical images. Technical images and traditional images arise from completely different kinds of distancing from concrete experience. The ‘realism’ of technical images is misleading depending on the intentions of the producers of technical images. Traditional images are abstractions of world, but technical images makes the universe and consciousness concrete. If we based on Flusser’s model, since the cinematographic image make four dimensions concrete, it is the phenomenological complement of the concretisation process. This makes it one of the most competent medium as a way of thinking, beyond language. When Deleuze's image taxonomy and the media theory of Flusser are read together, the possibilities of cinematographic image as an out-of-language thinking way are becoming more conceivable.
Vilém Flusser proposes a five-level model that perceives the progress of cultural history as a process of alienation from material to abstract: 1) the concrete experience of a four-dimensional space-time continuity, 2) the three-dimensional state containing comprehensible objects, 3) the two-dimensional observation and image level characterized by traditional images, 4) the one-dimensional historical level characterized by linear texts, and 5) the non-dimensional calculation and data processing level characterized by technical images. Technical images and traditional images are completely different types of alienation from the concrete experience. The ‘reality’ of technical images is misleading depending on the intentions of the technical image producers. Traditional images are the abstraction of the world; and technical images are the materialization of the universe and consciousness. Starting from Flusser's model, the cinematographic image is the phenomenological complement of the formulation process that works opposite to the abstraction: the four-dimensions that are derived are re-formed. This makes him one of the mediators of a trans-language form of thought. When Deleuze's image taxonomy and Flusser's media theory are read together, the possibilities of the cinematographic image as an transliterary form of thinking become considered on a stronger basis. Vilém Flusser suggested a five-step model that grasps the process of cultural history as an alienation from the concrete to the abstract: 1) Concrete experience of four-dimensional space-time continuum, 2) three-dimensional situation comprising graspable objects, 3) two-dimensional observation and imagination level characterized by traditional images 4) one-dimensional historical level characterized by linear text and 5) dimensionless calculation and computation level characterized by technical images. Technical images and traditional images arise from completely different kinds of distancing from concrete experience. The 'realism' of technical images is misleading depending on the intentions of the producers of technical images. Traditional images are abstractions of the world, but technical images make the universe and consciousness concrete. If we based on Flusser's model, since the cinematographic image makes four dimensions concrete, it is the phenomenological complement of the concretisation process. This makes it one of the most competent medium as a way of thinking, beyond language. When Deleuze’s image taxonomy and the media theory of Flusser are read together, the possibilities of cinematographic image as an out-of-language way of thinking are becoming more conceivable.
Alan : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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