statement 154 / ifade 154

on time-steeping

Steeping or being steeped, in the context of time, could be conceived as a literal response to the way of production because it gives us the opportunity to make a clear distinction between two concepts; duration and process, these are mistakenly conceptualized in the same tub of today's art scene.

Process introduces itself more on the time determined by the performed action. Here, in this case time is not the determinant but the action defines and labels the time. Even though I found racing is not a good example to imagine the true differences between duration and process, it might be helpful to identify the notion of process. The story of "turtle and rabbit" might be, at some point, analogous to this case. What has caused the rabbit to lose the race is not his self admiration or boasting. The rabbit took a nap and slept more because the rabbit tried to define racing time in accordance with the action of turtle. On the other hand, turtle thinks that rabbit considers racing in accordance with the action of turtle. Therefore, turtle kept walking without concerning about the time because he knows that the process does not an internal gradient of time. It is more related with the action itself. Process, in this respect, results in continues actions, most commonly mathematical and calculated with no intervals, pause or gap. Action may be slowed down but not completely stopped. In this sense, the notion of process is more familiarize with a progressive conception of time assuming an advancement or improvement in action and time.

Duration, on the contrary, is immanent to the notion of time. It introduces us actions in different times with possibly different results. It leads us to consider time with intervals and silence, resting or pause. This interval between different times possibly gives us the opportunity to grasp intuitively the relations between actions. Duration may also contain different processes in itself whereas it does not necessarily become mathematical or rhythmic or harmonious. It conjures up time in a nonlinear and fragmented way because the way that we get an idea, information or knowledge about things in daily life is realized in multiple ways. Therefore, duration escapes both practically and literally from a consideration or a comprehension of time which has a beginning or an end. It is the sum of different times. If we consider steeping and being steeped in this sense, it invokes duration to comprehend the actual relations between things.


zamana dair, demlenmek

Zaman kavrami baglaminda, demlemek ya da demlenmek mefhumlari uretim yontemine dair bir aciklama niteliginde ele alinabilir. Bu noktada demlenmek terimi, gunumuz sanat dunyasinda yanlis bir sekilde kullanilan ve siklikla biribirine karistirilan, zamana ait iki kavramin ayristirilmasi ile aciklanabilir: sure ve surec.

Gozden kacan ilk nokta surecin daha ziyade aksiyon tarafindan belirlenen bir zamani isaret ettigi gercegini gormemek. Burada belirlenen zaman iken, belirleyen aksiyon olmakta. Maraton yarislari, sure ve surec arasinda ki ayrimi cok fazla aciklayici gorunmemekle birlikte, en azindan surecin dogasina dair bizlere ipuclari verebilmektedir. Bu anlamda, tavsan ve kaplumbaganin hikayesinin durumu izah etmede bir benzerlik kurabilecegini dusunuyorum. Hikayede, tavsanin kaybetmesinin sebebi, kendisini oven boburlenen konusmalar yapmasi degildir elbette-her ne kadar anlaticisi tarafindan buraya vurgu yapilsa da. Tavsan yolun yarisinda biraz uyuklamak istemis ve uyuya kalmistir. Uyuma sebebi ise bir hesap hatasidır. Çunku, tavsan yarisin zamanini kaplumbaganin hareketine göre belirlemistir. Kaplumbaga ise, tavsanin yaris surecini kendisinin hareketine gore ayarlayacagini ongorebilmistir. Yani surecin zamana degil, harekete icsel bir degisken oldugunu halihazirda bilir. Dolayisiyla, kaplumbaga sadece eylemi, aksiyonu ile ilgili bir dusunce uretir ve yurumeye devam eder. Tavsanin hata yapmasini kollar. Bu anlamda surec surekli bir hareketi ongorur. Matematiksel, hesaplanabilir ve ritmik olanla is gorur. Kesintiler, ara vermeler, duraganliklar yoktur. Eylem yavaslasa dahi tamamen durmaz. Bu baglamda surec zamani ilerlemeci, gelismeci bir algi ile kavradigi one surulebilir.

Diger tarfta, sure ya da muhlet vardir. Sure harekete degil zamana ickin bir kavramdir. Bir eylemin gerceklestigi zaman araligini degil, farkli zamanlarda ki aksiyon ya da eylemlerin iliskilerini acıga çikarir. Dolayisiyla, zamani araliklarda, bosluklarda, sessizlikte ya da durgunluklarda sezmeye calisir. Cunku, iliskiler ve aglar tam da bu araliklarda, bosluklarda kurulur. Surecler mühletin icerisinde dolasabilirler ama hareket hicbir zaman matematiksel, harmonik ya da ritmik olmak zorunda degildir. Bu sekilde, zamanin dogrusal ya da gelismeci bir algisi yerine, sure zamani dogrusal-olamayan, parcali bir bicimde ele alır. Çunku, gundeligin akisi icerisinde, bir bilgiyi ya da duygulanisi coklu yollardan, parcalarinın bizlere carpmasi sonucu elde edeceğimizi varsayar. Boylece, surenin baslangic ve bitislere dair bir zaman algisindan uzaklastigi varsayilabilir. O farkli zamanlarin bir yekunudur. Iste demlenmek mefhumunu surecten ziyade, sure ile is goren ve seylar arasi iliskileri aciga cikaran bu anlamiyla ele aliyorum.