Simülasyon evreninde gerçeklik sorunu ve estetik tartışmaları

Abstract

Estetik, güzel nedir? sorusuna cevap verirken, modernitenin parçaladığı dünyayı yeniden bir araya getirmeye çalışır ve bunun için de modern gerçeklikle yakından ilişkili, tartışmalı bir kavramdır. Estetik, modern gerçekliği inşa eden burjuva bireyin, bilen öznenin, mutlak bilmenin esrikliği ile kendi tikelliğinden hareketle yaratmak istediği ve hiçbir zaman mümkün olamayacak tümelin arayışıdır. Oysa bu arayışın boşuna olduğu görülür; çünkü bilen özneden hareketle kurulan böyle bir gerçeklikten, herkesin önünde saygıyla eğileceği genel geçer bir standardın ortaya çıkması mümkün değildir. Estetiğin, Tanrısal bir serzenişle moderniteye karşı şekillendirilmiş simülasyon evreninde işe yaraması olası değildir. Bugün, estetik kavramlarının aynı anda, yan yana ve yaygın biçimde kullanılabiliyor olmasının; nedeni de budur. Ancak modern felsefe, özellikle estetik yoluyla bunu denemiştir. Kavramın ilk kez dillendirildiği Almanya özelinde, Baumgarten’dan ve Kant’dan Hegel’e birçok modern filozof, estetiği kendi felsefelerinin temel konusu haline getirmiş; estetik ile bu yeni dünyanın çelişkilerini aşmanın yollarını önermiştir. Bu makalede, simülasyon evreninin gerçekliği içinde, estetiğin tartışmalı durumu konu edilmektedir. Böyle bir evrenin gerçekliği içinde estetiğin, onu ortaya çıkaran temel amaç doğrultusunda işlevini yerine getirmesinin mümkün olup olmadığı, sorusuna cevap aramaya çalışmakta ve modern gerçekliğin neden olduğu parçalanmayı aşmaya yönelik çabaların da izini sürerek, Baudrillard’ın simülasyon ile açıkladığı günümüz gerçekliğinin içinde estetiğin işlevsel olarak yerini ortaya koymayı amaçlamaktadır. Bu doğrultuda öncelikle gerçek, gerçeklik, modern gerçeklik ve estetik ilişkisi incelenmekte ve sonrasında ise, modern gerçekliğin üzerine inşa olmuş, onun yeniden üretimi ya da karşıtı, nasıl tanımlanırsa tanımlansın simülasyon evreninde ortaya çıkmış gerçekliğin, estetik ile ilişkisi tartışılmaktadır. Verilerin literatür taraması yöntemi ile elde edildiği bu makale, nitel bir araştırma makalesidir.

While answering the question of what is the beautiful, aesthetics tries to reassemble the world shattered by modernity, and for this reason, it is a controversial concept closely related to the modern reality. In this article, the controversial status of aesthetics within the reality of the simulation universe is discussed. It seeks to answer the question of whether it is possible for aesthetics to fulfill its function in the reality of such a universe in line with the basic purpose that brought it into being, and aims to reveal the functional place of aesthetics in today's reality, which Baudrillard explains with simulation, by tracing the efforts to overcome the fragmentation caused by modern reality. In this study which discusses the functional place of aesthetics in today's reality which Baudrillard explains with simulation, the literature was reviewed in order to design the discussion in question. Traditional literature review is a method that considers the information, concept or phenomenon, which is irregularly included in the relevant literature, in a sequential manner and as a whole, and which allows the opportunity to create context or synthesis from the discussions subject to the study. In this context, the contradictory situation of the aesthetics within the reality of the simulation universe and the problem of whether it is possible for it to fulfill its function in the reality of such a universe in line with the basic purpose that brought it into being are discussed under two main headings. First, the relationship between the real, the reality, the modern reality, and the aesthetics is examined; and then the relationship between the aesthetics and the reality that is built upon modern reality, its reproduction or its opposite, however it is defined, has emerged in the simulation universe is discussed. Aesthetics as a concept emerged as a result of the effort to overcome the fragmentation of modernity, which Cartesian reality had separated in such a way that it could never be put back together again. and in fact, it was suggested as a way to reconstruct the lost universal whole. However, it is also a victim of the modernity that gave birth to it. Because aesthetics is the search for the universal that the bourgeois individual, the knowing subject, who constructs the modern reality, wants to set up with moving from its particularity with the ecstasy of absolute knowing, and which will never be possible. However, this search is in vain, because it is not possible for an universal valid standard to emerge from such a reality based on the knowing subject which everyone would bow with respect to. Even if such a standard emerges, it is doomed to collapse very quickly. This is because the origin of the standard is the modern man, who changes in parallel with social change, whose source of all his knowledge is himself, who knows, who thinks that he knows everything and therefore can control it. Therefore, even from the standpoint of philosophy and art alone, the standards put forward are nothing but a series of mutually contradictory assumptions. A close look at the modern philosophy and the art movements will show this, and they do not have the power to transcend the contradictions which the individual has that shape this standarts in this new reality built in opposition to the past by breaking the existing universal contract. Moreover, it is almost impossible to construct a field of the senses in which a generally valid criteria that transcend the relativity of the individual field operate, and to overcome the existing modern fragmentation in this way. However, the modern philosophy has tried to do so, especially through aesthetics. In Germany, where the concept was first articulated, many modern philosophers, from Baumgarten and Kant to Hegel, made aesthetics the central subject of their own philosophies, and proposed ways to overcome the fragmantation of this new world through aesthetics. Simulation is a universe of countless realities based on models, and these realities are continuously but perpetually re-coded and their associated sign-objects are constantly reorganized through the processing of mass data obtained with the help of mass media and new communication technologies. In this system of sign-objects, there are so many realities and these realieties are based upon the models which arranges the simulation universe. In comprasion with the modernity, this means much more fragmantation in the reality than being before, and there is in question much more indivualities than the modernity. Therefore in such a universe, it is much more impossible to talk about an aesthetics concept comprising all indivualities and bringing together them under particular standarts, that is to say, a divine universality. It is impossible for the theoretical and critical approach of aesthetics, shaped as a divine reproach against modernity, to be effective in the simulation universe. Consequently, what is in question now is the realities aligned with the models and aestheticses aligned with these realities. The reason why terms like retro aesthetics, modern aesthetics, post-modern aesthetics, and contemporary aesthetics are used simultaneously, side by side, and widely in everyday language is this very issue. Finally, it is worth noting that all these discussions are related to Western history and thought, and it is appropriate to evaluate everything said within this context.