Buradasınız

Anasayfa » Content

İletişimsel Kurumsal Alanlarda Kodların Kriz Denetimi

CONTROL OF THE CRISIS OF CODES IN COMMUNICATIVE INSTITUTIONAL SPACES

Journal Name:

  • İstanbul Üniversitesi İletişim Fakültesi Dergisi

Publication Year:

  • 2010

Key Words:

Keywords (Original Language):

Author NameUniversity of AuthorFaculty of Author
Abstract (2. Language): 
Today codes are appropriated and controlled through the repetition of forms in communicative institutional spaces for the benefit of the capitalist flux. As contemporary capitalism operates with the problem of capturing innovation as well as difference in creative collaborations, the 'unrecognized' is attempted to be inserted into the cycles of production and reproduction as well. The main objective of this paper is to search how codes capture, (dis)order and transform knowledge, forms and the unrecognized so that the same things end up coded differently by repeating the existing dynamics. This is also a query about the production of codes. To construct the link between production, repetition and codes, first, we will make a distinction about the notion of repetition by using the concepts of "bare" and "covered" repetition that Deleuze has proposed. This will also create the imperative link to make a distinction between two interlocking production assemblages, which we conceptualize as "bare production" and "covered production". Control of the crises of codes in communicative institutional spaces will be discussed by focusing on the artworks of Tino Sehgal within The Modern Art Museum of New York, Guggenheim Museum New York and Musee d'Art Moderne de la Ville de Paris.
Bookmark/Search this post with
Abstract (Original Language): 
Günümüzde kodlar, iletişimsel kurumsal alanlarda formların tekrar edilmesiyle kapitalist sermaye akışı yararına mal edilmekte ve denetim altına alınmaktadır. Güncel kapitalizm bir yandan inovasyonu ve farkı yakalama sorunuyla işlerken, öte yandan 'tanınmayan' da üretim ve yeniden üretim döngüsü içine sokulmaya çalışılmaktadır. Bu çalışmanın ana amacı, kodların bilgiyi, formları ve tanınmayanı nasıl yakaladıkları, düzenledikleri, bozdukları ve dönüştürdüklerini ve böylelikle aynı şeylerin tekrar edilmelerine rağmen nasıl farklı bir şekilde kodlanabildiklerini incelemektir. Bu aynı zamanda kodların üretimi ile ilgili de bir sorgulamadır. Üretim, tekrar ve kodlar arasındaki bağlantıyı inşa edebilmek için öncelikle Deleuze'ün önerdiği "basit ve örtülü tekrar" kavramlarını kullanarak tekrar nosyonu ile ilgili bir ayrım yapacağız. Bu aynı zamanda "basit üretim" ve "örtülü üretim" olarak kavramsallaştırdığımız birbirine bağlı iki üretim düzeni arasında yapılması zorunlu olan bağlantıyı da yaratacak. İletişimsel kurumsal alanlarda kodların kriz denetimi, bu bağlamda Tino Sehgal'in The Modern Art Museum of New York, Guggenheim Museum New York ve Musee d'Art Moderne de la Ville de Paris'teki sanat işlerine odaklanılarak tartışılacak.
FULL TEXT (PDF): 
PDF icon arastirmax-iletisimsel-kurumsal-alanlarda-kodlarin-kriz-denetimi.pdf
  • 1
157-181
  • Turkish

REFERENCES

References: 

Alliez, E. (2004). The Difference and Repetition of Gabriel Tarde in Distinktion. Scandinavian Journal of Social Theory, Vol. 9, Special Issue Gabriel Tarde, London: Taylor and Francis,49 - 54.
Balibar, E. (2004). We the People of Europe?: Reflections on Transnational Citizenship. (trans.) Swenson, J. Princeton, Oxford: Princeton University Press.
179
İLETİŞİM FAKÜLTESİ DERGİSİ
/
Control of The Crisis of Codes
in Communicative Institutional Spaces
Bennett, T. (1995). The Birth of the Museum: History, Theory, Politics. London: Routledge Publications.
Coburn, T. (2007). The Artworker of The Week: Tino Sehgal in Kulturflash 192 [internet], 14 February 2007. Available at http://www.kultureflash.net/archive/192/priview.html, [Accessed 27 December 2009]
Crimp, D. (1983). On the Museum's Ruins. The Anti-Aesthetic: Essays in Postmodern Culture, Foster, H. (Ed.), Washington: Bay Press.
Deleuze, G. (1994). Difference and Repetition. New York: Columbia University.
Deleuze, G. (1992). Postscript on the Societies of Control. October, Vol. 59, Winter 1992, Cambridge, Massachusetts: MIT Press, 3-7.
Deleuze, G., Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press
Deleuze, G., Guattari, F. (2004). Anti-Oedipus: Capitalism and Schizophrenia. London: Continuum.
Duncan (1991). 'Art museums and the ritual of citizenship' in Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington: Smithsonian Institution, 88-103
Duncan, C. (1995). Civilizing Rituals: Inside Public Art Museums. London: Routledge Publications
Duncan, C. (1998). 'The Art Museum as Ritual,' in Preziosi, D. (Ed.), The Art of Art History: A Critical Anthology. Oxford, New York: Oxford University Press.
Foucault, M. (1970). The Order of Things. Archaeology of the Human Sciences, London: Tavistock Publications.
Guattari, F. (1995). Chaosmosis: An Ethico-Aesthetic Paradigm. Bains, P. and Pefanis, J. (Trans.), Indianapolis: Indiana University Press.
Hennion, A., Gomart, E. (1999). A Sociology of Attachments: Music Amateurs, Drug Users, The Sociological Review, Blackwell, Oxford: 220 - 247.
Hooper-Greenhill, E. (1989). Initiatives in Museum Education. Leicester: Department of Museum Studies, University of Leicester.
Hooper-Greenhill, E. (1992). Museums and the Shaping of Knowledge. London: Routledge Publications.
Marx, K. (1974). Capital: Critique of Political Economy, Vol. III, Moscow: Progress Publications.
Latour, B. (1999). Factures/fractures: from the concept of network to the concept of attachment. Res: Anthropology and aesthetics, Vol. 36, Massachusetts: Harvard University Press, 20-31.
Lazzarato, M. (1996). Immaterial Labour, Colili, P., Emery, E. (Trans.), Virno, P. and Hardt, M. (Eds.), Radical Thought in Italy, Minneapolis: University of Minnesota Press, 132-146.
180
İLETİŞİM FAKÜLTESİ DERGİSİ
/
Control of The Crisis of Codes
in Communicative Institutional Spaces
Lubow, A. (2010). Live Sculptures? Conceptual Encounters? Tino Sehgal Makes Art That Leaves Behind No Trace. New York Times Magazine, 17. January 2010.
McClellan, A. (2003). Art and its Publics: Museum studies at the Millennium. Oxford: Blackwell Publications.
Pearce, S. (1992). Museums, Objects and Collections: A Cultural Study. Leicester: Leicester University Press.
Robertson, R. (1990). Mapping the global condition: globalization as the central concept, Theory, Culture and Society, Vol. 7, 15-30.
Smith, W. Daniel (2003). Deleuze on Bacon: Three Conceptual Trajectories in The Logic of Sensation.
Francis Bacon: The Logic of Sensation, Gilles Deleuze, University of Minnesota, Available at: http://www.upress.umn.edu/excerpts/Deleuze.html [Accessed: 8 December 2009]
Tarde, G. (1890). Les Lois de limitation.. Paris: Alcan.
The Museum of Modern Art (2009). Eat, Sleep, and Pray: Everyday Rituals and Contemporary Art [online audio] Available at: http://www.moma.org/explore/multimedia/audios/156/1668 [Accessed 22
January 2010]

Thank you for copying data from http://www.arastirmax.com