Heryerdelik Bağlamında Sessizlik ve Gürültü
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Date
2018-08-15Author
Güner, Fırat
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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.