[vc_row][vc_column][vc_column_text]20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda Avrupa\u2019da ortaya \u00e7\u0131kan f\u00fct\u00fcrizm, k\u00fclt\u00fcrel miras\u0131m\u0131za pek \u00e7ok eser ve fikir b\u0131rak\u0131r. Sanayi Devrimi, buhar enerjisi, makineler ve h\u0131zla geli\u015fen yeni teknolojiler; insanlar\u0131n y\u00fczy\u0131llard\u0131r pek de de\u011fi\u015fmeyen d\u00fcnyas\u0131n\u0131n farkl\u0131 bir y\u00f6ne do\u011fru gidece\u011finin sinyallerini verir. Yeni icatlar\u0131n ve ke\u015fiflerin sonucu de\u011fi\u015fen g\u00fcndelik hayat, fikir d\u00fcnyas\u0131nda da yeni bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131n ye\u015fermesine olanak sa\u011flar. \u0130\u015fte bu noktada \u0130talya\u2019da filizlenen bir ak\u0131m h\u0131zla t\u00fcm d\u00fcnyan\u0131n sanat ve d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131na etki eder. Yaz\u0131m\u0131zda f\u00fct\u00fcrizmin ortaya \u00e7\u0131k\u0131\u015f\u0131n\u0131 ve ard\u0131nda b\u0131rakt\u0131\u011f\u0131 etkileri okuyabilirsiniz.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”1#” title_font_size=”13″][vc_single_image image=”26169″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n
T\u00fcrk\u00e7eye \u201cgelecek\u00e7ilik\u201d olarak \u00e7evrilen f\u00fct\u00fcrizm, 1909\u2019da \u0130talya\u2019da ortaya \u00e7\u0131kar. \u0130lk olarak resim sanat\u0131nda belirginle\u015fen bu ak\u0131m; \u0130talyan \u015fair, sanat y\u00f6netmeni, roman ve oyun yazar\u0131 Filippo Tommaso Marinetti\u2018nin Fransa\u2019da yay\u0131n yapan g\u00fcnl\u00fck bir gazetede \u201cManifesto Futurisita\u201d yani \u201cF\u00fct\u00fcrizm Bildirgesi\u201dni yay\u0131mlamas\u0131 ile h\u0131zla farkl\u0131 disiplinlerdeki sanat dallar\u0131nda da yans\u0131mas\u0131n\u0131 bulur. Ge\u00e7mi\u015f ve geleneksel estetik de\u011ferleri reddederek, yeni ve modern bir bak\u0131\u015f a\u00e7\u0131s\u0131 getirmeyi hedefleyen bu ak\u0131m\u0131n savundu\u011fu en \u00f6nemli arg\u00fcman ise evrendeki hareketin bir an\u0131n\u0131 tespit etmek de\u011fil, hareketin kendini izleyiciye aktarmakt\u0131r.<\/p>\n
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Marinetti, modern teknolojik ara\u00e7lar\u0131n, otomobil ve u\u00e7ak ile sanayi \u015fehrinin, insanl\u0131\u011f\u0131n do\u011faya kar\u015f\u0131 zaferi oldu\u011funu savundu\u011fu manifestosunda ge\u00e7mi\u015f de\u011ferlerden ar\u0131narak y\u00f6n\u00fcm\u00fcz\u00fc gelece\u011fe \u00e7evirmemizi a\u00e7\u0131klar. 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda geli\u015fen teknolojiler, h\u0131zla b\u00fcy\u00fcyen kent ya\u015fam\u0131n\u0131 olduk\u00e7a kolayla\u015ft\u0131r\u0131r ve bu ak\u0131m h\u0131zla takip\u00e7i kazan\u0131r. S\u00fcratin ve teknolojinin \u00f6nemini ve \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc iddial\u0131 bir \u015fekilde savunan Marinetti, bir yar\u0131\u015f arabas\u0131n\u0131n, klasik Yunan heykellerinden \u00e7ok daha g\u00fczel ve estetik oldu\u011funu iddia eder. Elbette ki o d\u00f6nemin \u015fartlar\u0131nda, yeni ye\u015fermeye ba\u015flayan bu teknolojiler y\u00fczy\u0131llard\u0131r al\u0131\u015f\u0131lagelen eser, d\u00fc\u015f\u00fcnce kal\u0131plar\u0131 ve teknolojik \u00fcr\u00fcnlerle k\u0131yasland\u0131\u011f\u0131nda olduk\u00e7a yenilik\u00e7i ve \u015fa\u015f\u0131rt\u0131c\u0131 olur.<\/p>\n
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Resim sanat\u0131nda etkilerini hemen hissettiren f\u00fct\u00fcrizm ak\u0131m\u0131n\u0131n takip\u00e7ileri savunduklar\u0131 bu yeni g\u00f6r\u00fc\u015f\u00fc \u201cEvrensel Dinamizm\u201d prensibi ile a\u00e7\u0131klamaya \u00e7al\u0131\u015f\u0131r ve \u015f\u00f6yle bir metin yay\u0131mlarlar: \u201c<\/em>Ger\u00e7ekte bulunan nesneler birbirlerinden ve etraf\u0131ndaki \u00e7evrelerden ayr\u0131lm\u0131\u015f de\u011fildir ve resim, bu birli\u011fi yans\u0131tmal\u0131d\u0131r\u2026 Otob\u00fcs hareket halinde oldu\u011fu i\u00e7in, yol kenar\u0131ndaki evler aras\u0131ndaki hareket dinamik de\u011fi\u015fme halindedir. Evlerin kenar\u0131ndan ge\u00e7erken otob\u00fcsle birlikte harekete ge\u00e7ip sanki kendilerini f\u0131rlat\u0131p otob\u00fcsle birle\u015fir. Bu dinamizm de resimde tasvir edilmelidir.\u201d R\u00f6nesans d\u00f6nemi eserlerinde s\u0131k\u00e7a kar\u015f\u0131m\u0131za \u00e7\u0131kan do\u011fay\u0131 dura\u011fan h\u00e2li ile resmetme fikrine kar\u015f\u0131 \u00e7\u0131kan f\u00fct\u00fcristler; ge\u00e7mi\u015fe, \u015fimdiki zamana, gelece\u011fe ait duyumlar\u0131 ayn\u0131 anda anlatmaya \u00e7al\u0131\u015f\u0131r. Di\u011fer \u00fclkelerde de yank\u0131 bulmaya ba\u015flayan bu yeni ak\u0131m\u0131n temsilcileri; canl\u0131, ak\u0131\u015fkan, h\u0131zl\u0131 eserler \u00fcretirler. Makinelerin y\u00fckselmeye ba\u015flad\u0131\u011f\u0131 bir d\u00f6nemde tam da \u00e7a\u011f\u0131n ruhuna uygun eserler ortaya \u00e7\u0131kar.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”4#” title_font_size=”13″][vc_single_image image=”26172″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n Ak\u0131m k\u0131sa bir s\u00fcre sonra Rusya\u2019da Velemir Hlebinikov ve Mayakovski sayesinde etki alan\u0131n\u0131 geni\u015fletmeyi ba\u015far\u0131r. Mayakovski, \u015fiirleri ve resimleri ile f\u00fct\u00fcrizmi \u00fclkesinde tan\u0131t\u0131rken Rus f\u00fct\u00fcristler kendi manifestolar\u0131n\u0131 bile yay\u0131mlarlar: Pu\u015fkin, Tolstoy, Dostoyevski reddedilir, \u015fiirde sokak dilinin kullan\u0131lmas\u0131 hedeflenir. 1917 Ekim Devrimi\u2019nden sonra da ak\u0131m giderek g\u00fc\u00e7lenir. Zamanla radikal bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015ftan \u2018gelece\u011fin tasarlanmas\u0131\u2019 \u00e7abas\u0131na d\u00f6n\u00fc\u015fen ak\u0131m, Avrupa\u2019daki bilim ve sanat d\u00fcnyas\u0131n\u0131 da etkisi alt\u0131na al\u0131r. Ak\u0131m\u0131n \u00f6nc\u00fc savunucular\u0131 aras\u0131nda Luigi Russolo, Umberto Boccioni yer al\u0131rken, Gino Severini, Marcel Duchamp, Francis Picabia, Fernard L\u00e9ger gibi sanat\u00e7\u0131lar k\u00fcbist ve f\u00fct\u00fcrist ak\u0131m\u0131n\u0131 harmanlayarak resim ve heykel alan\u0131nda eserler \u00fcretirler. Boccioni\u2019nin \u201cElastiklik\u201d, Severini\u2019nin \u201cUzayda K\u00fcre \u015eeklinde Geni\u015fleme\u201d tablolar\u0131 f\u00fct\u00fcrizm ak\u0131m\u0131n\u0131n en \u00f6nemli eserleri aras\u0131nda kabul edilir.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”5#” title_font_size=”13″][vc_single_image image=”26173″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n \u00d6zellikle resim, heykel, seramik, grafik tasar\u0131m, i\u00e7 mimarl\u0131k, end\u00fcstriyel tasar\u0131m, edebiyat, m\u00fczik, sinema, tiyatro, moda, mimarl\u0131k ve gastronomi alan\u0131nda etkisini belli eden f\u00fct\u00fcrizm, mimaride de hareketlilik ve dinamizm ilkesinden yola \u00e7\u0131karak olduk\u00e7a ilgin\u00e7 yap\u0131lar\u0131n in\u015fas\u0131na vesile olur. Al\u0131\u015f\u0131lagelen sade ve d\u00fcz tasar\u0131mlar\u0131n aksine, formlar\u0131n k\u0131vr\u0131ml\u0131 hatlara ula\u015ft\u0131\u011f\u0131 tasar\u0131mlar ve hareketli formlarla f\u00fct\u00fcrizmin mottosuna uygun yap\u0131lar in\u015fa edilir. Teknoloji ve bilimden fazlas\u0131yla beslenen ve desteklenen f\u00fct\u00fcrist mimariyi temsil eden yap\u0131lar\u0131n ba\u015f\u0131nda ise \u0130spanya\u2019daki Guggenheim M\u00fczesi gelir. Di\u011fer bir \u00f6rnek olarak \u00c7in\u2019in ba\u015fkenti Pekin\u2019de yer alan Galaxy Soho g\u00f6sterilebilir. D\u00fcnyaca \u00fcnl\u00fc mimar Zaha Hadid taraf\u0131ndan tasarlanan bu yap\u0131, \u201csonsuz k\u0131vr\u0131m\u201d mant\u0131\u011f\u0131ndan esinlenilerek in\u015fa edilir. Bilim kurgu filmlerindeki uzay \u00fcslerini and\u0131ran bu yap\u0131n\u0131n ak\u0131\u015fkan k\u00f6pr\u00fcleri ve koridorlar\u0131, f\u00fct\u00fcrizmin ruhuna uygun bir \u015fekilde ziyaret\u00e7ilerini bir uzay yolculu\u011funda hissettirmeyi ba\u015far\u0131r.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”6#” title_font_size=”13″][vc_single_image image=”26174″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]20. y\u00fczy\u0131lda geli\u015fen sinema end\u00fcstrisi de f\u00fct\u00fcrizmden beslenen filmlerin \u00e7ekilmesini sa\u011flar. Bu tarz filmler genel olarak temalar\u0131nda; zaman yolculuklar\u0131na, uzay ya da uzayl\u0131 konular\u0131na, imk\u00e2ns\u0131z icatlara, y\u00fcksek g\u00f6kdelenler ile yenilmez araba ve u\u00e7abilen ara\u00e7lara yer verir. Bilim kurgu filmleri, senaryolar\u0131nda f\u00fct\u00fcrizmin ideallerinden s\u0131k\u00e7a beslenirken, izleyicilere gelece\u011fin refah toplumlar\u0131n\u0131 izletir ve sorgulat\u0131r. 1914 y\u0131l\u0131 f\u00fct\u00fcrist sinema a\u00e7\u0131s\u0131ndan olduk\u00e7a verimli ge\u00e7er. Bilim kurgu mant\u0131\u011f\u0131n\u0131n temel anlat\u0131 yap\u0131s\u0131n\u0131 ele alan sanat\u00e7\u0131lar bu d\u00f6nemde arka arkaya \u00e7ektikleri filmler ile f\u00fct\u00fcrizm ak\u0131m\u0131n\u0131n temsilcileri olurken, konuyla alakas\u0131 olmayan izleyicilere bile gelece\u011fi arzulatmay\u0131 ba\u015far\u0131r. Steven Spielberg taraf\u0131ndan \u00e7ekilen, T\u00fcrk\u00e7e \u201cAz\u0131nl\u0131k Raporu\u201d olarak g\u00f6sterime giren \u201cMinority Report\u201d ise hepimizin bilebilece\u011fi f\u00fct\u00fcrist filmler aras\u0131nda yer al\u0131r.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column][vc_column_text]20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda Avrupa\u2019da ortaya \u00e7\u0131kan f\u00fct\u00fcrizm, k\u00fclt\u00fcrel miras\u0131m\u0131za pek \u00e7ok eser ve fikir b\u0131rak\u0131r. Sanayi Devrimi, buhar enerjisi, makineler ve h\u0131zla geli\u015fen yeni teknolojiler; insanlar\u0131n y\u00fczy\u0131llard\u0131r pek de de\u011fi\u015fmeyen d\u00fcnyas\u0131n\u0131n farkl\u0131 bir y\u00f6ne do\u011fru gidece\u011finin sinyallerini verir. Yeni icatlar\u0131n ve ke\u015fiflerin sonucu de\u011fi\u015fen g\u00fcndelik hayat, fikir d\u00fcnyas\u0131nda da yeni bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131n ye\u015fermesine olanak sa\u011flar. […]<\/p>\n","protected":false},"author":1,"featured_media":26168,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[1478,2972,92,985],"class_list":["post-26167","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-dusunce","tag-futurizm","tag-sanat","tag-sanat-akimi"],"_links":{"self":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/26167","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=26167"}],"version-history":[{"count":0,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/26167\/revisions"}],"wp:attachment":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=26167"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=26167"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=26167"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}