Heryerdelik Bağlamında Sessizlik ve Gürültü
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In 19th century, objective reality of sound, having separated from the music’s effects to the other fields of art as an abstract expressive form of music, offered new expressive opportunities. Sound, in the beginning of the past century, started echoing in the silent and timeless world of plastic arts. Gaining importance increasingly in the present world, state of simultaneously being at multiple places named conceptually as ubiquity/omnipresence. Despite creating a general reality conception, the state of one thing being at multiplaces carries the ignorance potential of dualistic realities within. The concept of ‘ubiquity’ incorporating many different variables, when associated with concept of ‘nous’ (us, reason, whole) can constitute a simulative present-world reality and thus can be analysed through the noise and silence concepts of present world. These two concepts encapsulate antonymy. While noise of festivals and day-to-day life, can be the noise of kaos or a war at the same time; silence being the sound of peace, tranquility can make feel anxiety and restlessness. Emerged from antinomy these submeanings creates a minor reality within the whole of purpose-driven actions. As a physical fact and form of expression silence and noise put forth single and multiple dilemma of perception within the ubiquity concept and thus embrace ignored/imperceptible many different meaning. Numerous sound such as absolute silence of desert, sound of day-to-day life, noise of city, rattling of teapot and whistle of cattle carries the potential of being subject of art within.