Post-fordizm ve küresel çağdaş sanat
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Dosyalar
Tarih
2019-06-30
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Batman Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-ShareAlike 3.0 United States
Attribution-ShareAlike 3.0 United States
Özet
Post-Fordist ekonomi, günümüz dünyasında her alandaki yapıları ve düşünme biçimlerini derinden etkilemekte
ve aynı zamanda kendi ihtiyaçlarına göre şekillendirmektedir. Post-Fordizmin yarattığı ‘yeni emek gücünün’ son
yıllarda artan hareketliliği (yersiz-yurtsuz) ve çok yönlülüğü (mutli-dicipliner) bu açıdan, yaşamın neredeyse
tümüne yayılan ‘çalışma zaman(lar)ını ve mekan(lar)ını’ yeniden ve başka türlü ele almamızı, düşünmemizi
sağlıyor.
Post-Fordist ekonominin, Fordizm’den radikal bir şekilde farklılaşan ve temel üretici güçleri haline gelen,
soyutlama yeteneği zirvede olan ‘zeka’ ve sembolik/gayri maddi -veya maddi olmak zorunda olmayangöstergeler, çağdaş dünyada hemen tüm disiplinleri sermayeye eklemleyip araçsallaştırmıştır. Sanat dünyalarına
ait, zihinsel emek kategorisinin de kültürel-ekonomik süreçlerle piyasaya dahil edildiğinden söz edilebilir. Bu
açıdan iletişim yöntemleriyle, estetik algı operasyonlarının da araçsal bir rol oynadığını belirtebiliriz. Salt sanat
alanına deği; tüm yaşama ilişkin olan ifade etme ve yaratıcılık, Neoliberal-Kültüralist politikalarla günümüz
kapitalizminin merkezlerine oturtulup sömürü süreçlerine dahil edilmiştir. Emek güçleri sadece çalışkan, başarılı
değil, aynı zamanda yaratıcı da olmak zorunda. Her alandan, her kesimin, sürekli ‘yaratıcı çözümler’den söz
etmesi başka türlü nasıl ele alınabilir. Bu durumu Antonio Negri ve Michael Hardt İmparatorluk (2008)
üçlemesinde daha önce belirtmişti; “(…) iletişim ve bilişim teknolojilerinin de gelişimi ile gayri maddi-zihinsel
emeğin, emek sürecinde hegemonik bir konum elde etmesinin, artı-değerin üretiminde doğrudan payı olmuştur”.
Güncel kapitalizmin ilgisine bu kadar mazhar olmuş “yaratıcı ifade’nin, her halde toplumsal bir mesele olarak
da ciddiye alınması gereklidir. Bunun nedeni sadece sermaye ile ilişkili ‘artı değerin üretiminde doğrudan payı
olduğu’ için değil (Bu paya güncel kapitalizm tarafından el konulmuştur), aynı zamanda yine Hardt ve Negri’nin
(2008) belirttiği gibi gayri maddi ‘zihinsel emek’ (…) çokluk için devrimci bir fırsat sunduğu, yepyeni bir direniş
olasılığını barındırdığı için ciddiyetle ele alınması gerekir. Zihinsel emek, bir direniş aralığı açıyor. Bu aralıkta
yaratıcı ifadenin, sanatın denetime direnen gücünün göstergeleri mevcuttur.
In this study, mature seeds of Buttum (Pistacia khinjuk Stocks) cultured in vitro conditions were exposed to The economic model of Post-Fordism deeply influences the structures and ways of thinking in every field in today’s world, and at the same time this model shapes them according to their own needs. The increasing mobility of “new labor power” created by Post-Fordism (deterritorialization) and its versatility (multi-disciplinary dimension) again and differently allows us to embrace the 'working time (s) and space (s)' which spreads almost all fields of the life. The signs of the post-Fordist economy which are radically differentiating from Fordism and becoming fundamental productive forces, being at the peak of abstraction ability, and those that are not symbolic/immaterial or material, have been instrumentalized by almost all the disciplines in the contemporary world. It can be mentioned that the mental labor category, which belongs to the art worlds, is included in the market through cultural-economic processes. In this respect, We could say that aesthetic perception operations also play an instrumental role with communication methods. Not just to the field of art, expression and creativity that are related to all life have been incorporated into the processes of exploitation and exploitation by the neoliberalculturalist policies. Labor forces have to be not only hard-working, successful, but also creative. How can each sector constantly talk about ‘creative solutions’ from every area? Antonio Negri and Michael Hardt have mentioned this before in the trilogy of Empire (2008): “(…) The existence of a hegemonic position in the labor process of informal and mental labor as well as the development of communication and information technologies have been directly involved in the production of surplus-value.”. It is necessary to take seriously “the creative expression” that has been so obsessed with the interest of contemporary capitalism in every situation as a social matter. Not only because it has a ‘direct share in the production of the surplus-value’ associated with capital (this share has been confiscated by current capitalism), but also, as Hardt and Negri (2008) point out, the immaterial ‘mental labor’ (...) must be handled with seriousness because of the possibility of resistance for multiplicity and an revolutionary opportunity. Mental labor opens a range of resistance. In this range, there are indications of the power of creative expression that resists control of art.
In this study, mature seeds of Buttum (Pistacia khinjuk Stocks) cultured in vitro conditions were exposed to The economic model of Post-Fordism deeply influences the structures and ways of thinking in every field in today’s world, and at the same time this model shapes them according to their own needs. The increasing mobility of “new labor power” created by Post-Fordism (deterritorialization) and its versatility (multi-disciplinary dimension) again and differently allows us to embrace the 'working time (s) and space (s)' which spreads almost all fields of the life. The signs of the post-Fordist economy which are radically differentiating from Fordism and becoming fundamental productive forces, being at the peak of abstraction ability, and those that are not symbolic/immaterial or material, have been instrumentalized by almost all the disciplines in the contemporary world. It can be mentioned that the mental labor category, which belongs to the art worlds, is included in the market through cultural-economic processes. In this respect, We could say that aesthetic perception operations also play an instrumental role with communication methods. Not just to the field of art, expression and creativity that are related to all life have been incorporated into the processes of exploitation and exploitation by the neoliberalculturalist policies. Labor forces have to be not only hard-working, successful, but also creative. How can each sector constantly talk about ‘creative solutions’ from every area? Antonio Negri and Michael Hardt have mentioned this before in the trilogy of Empire (2008): “(…) The existence of a hegemonic position in the labor process of informal and mental labor as well as the development of communication and information technologies have been directly involved in the production of surplus-value.”. It is necessary to take seriously “the creative expression” that has been so obsessed with the interest of contemporary capitalism in every situation as a social matter. Not only because it has a ‘direct share in the production of the surplus-value’ associated with capital (this share has been confiscated by current capitalism), but also, as Hardt and Negri (2008) point out, the immaterial ‘mental labor’ (...) must be handled with seriousness because of the possibility of resistance for multiplicity and an revolutionary opportunity. Mental labor opens a range of resistance. In this range, there are indications of the power of creative expression that resists control of art.
Açıklama
Anahtar Kelimeler
Post-Fordizm, Küreselleşme, Çağdaş Sanat, Çokluk, Post-Fordism, Globalization, Contemporary Art, Multitude
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
9
Sayı
1
Künye
Özcan, Ş. (2019). Post-fordizm ve küresel çağdaş sanat. Batman Üniversitesi Yaşam Bilimleri Dergisi, 9 (1), ss. 1-6.
