31 Aralık 2011 Cumartesi
kaplumbağa koltuk
sonra manzaralı bir evde anten olarak bir el feneri. aynı zamanda alıcıymış. uyumadan önce fringe seyredince paralel evrendeki halimle tanışacaktım. gittiği her yere ahşap kolluklu koltuğunu taşıyan. her yere yuruyen. el fenerinden alıcı ve anten yapan ve sahildeki deniz taşlarını uzun uzun seyreden biriydi rüyamdaki.( ayrıca tuvaletlerin girişindeki tatsız manzarayı da heen tuvalet yöneticisine haber verip tuvalete gitmeye eve gitmeyi seçiyordu. )henuz geçemedim bence paralel evrene. en azından bu ruyada değil. ama biriyle karşılaştım ve bana birşeyer anlattı ve çok net iki isim vardı anneannem ile ilgili. anneannemi arayacağım dedim ruyamda uyandığımda ilk telefon ondan geldi. isimleri soyledim. duraksamadan hikayelerini anlattı. şaştım. seviyorum rastlantıları.
bir de ruyamda oturduğum eve bahçeden iniliyordu merdivenlerle aşağı. ve merdivenlerin bir basamağında zaten oraya bırakmış olduğum birşeyin yanında bir de minicik kabuğu kırık bir kaplumbağa vardı.
dün dişimden bir parça kopmuş. akşam farkettim farkettiğimde başak vardı melis vardı barış vardı kaya vardı... arkamızda biri motosikletine biniyodu bir kız feci özendim. barışın spor arabaya nasıl doluştuk ve kısa zamanda ne kadar çok konuştuk. cross conversations.
başakla beyoğlu arka sokağında benim rotamda çok çok yavaş yürüyerek neler neler gördük daha önce yanından geçip de hiç görmediğimiz... sonra protesto, sergi açılışı gibiydi. başında maydanozu ve peleriniyle şahaneydi tayfun.
üzerine sahlep
üzerine fringe
üzerine koltuk ve kaplumbağa
29 Aralık 2011 Perşembe
deeper instinct
rusty words
29 Haziran 2011 Çarşamba
meredith monk: delphine's share from Vienna
15 Mart 2011 Salı
fantastic - uncanny - marvelous
http://www.unc.edu/~bardsley/ghosts/todorov.html
The Fantastic: A Structural Approach to a Literary Genre (1975)
Tzvetan Todorov
"In a world which is indeed our world, the one we know....there occurs an event which cannot be explained by the laws of this same familiar world. The person who experiences the event must opt for one of two possible solutions: either he is the victim of an illusion of the senses, of a product of the imagination-- and the laws of the world then remain what they are; or else the event has indeed taken place, it is an integral part of reality--but then this reality is controlled by laws unknown to us (p. 25)."
"The fantastic occupies the duration of this uncertainty....The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event (p. 25)."
Todorov later comments:
"The fantastic requires the fulfillment of three conditions. First, the text must oblige the reader to consider the world of the characters as a world of living persons and to hesitate between a natural or supernatural explanation of the events described. Second, this hesitation may also be experienced by a character; thus the reader's role is so to speak entrusted to a character, and at the same time the hesitation is represented, it becomes one of the themes of the work--in the case of naive reading, the actual reader identifies himself with the character. Third, the reader must adopt a certain attitude with regard to the text: he will reject allegorical as well as "poetic" interpretations (p. 33)."
Todorov distinguishes the fantastic from two other modes, the uncanny and the marvelous. While these modes have some of the ambiguity of the fantastic, they ultimately offer a resolution governed by natural laws (the uncanny) or the supernatural (the marvelous).
"[In the uncanny], events are related which may be readily accounted for by the laws of reason, but which are, in one way or another, incredible, extraordinary, shocking, singular, disturbing or unexpected, and which thereby provoke in the character and in the reader a reaction similar to that which works of the fantastic have made familiar (p. 46)." Todorov's definition of the uncanny might be applied to stories in which the character realizes s/he is mad or has just awakened from a dream. Thus, the uncanny is an "experience of limits."
"If we move to the other side of that median line which we have called the fantastic, we find ourselves in the fantastic-marvelous, the class of narratives that are presented as fantastic and that end with an acceptance of the supernatural (p. 52)."
the shop for distant realities / ismi tuhafiyeci olmayan tuhafiye
— Gabriel García Márquez
13 Mart 2011 Pazar
"kafadan kontak" / a shot circuit in the head
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003
çatlak / crack (or turkish slang for crazy)
27 Şubat 2011 Pazar
so weird / tuhaf
extremely busy days in İstanbul. Today i saw this metal fence in front of a fountain by the wall of GAlatasaray highschool. on the fence was the remainders from posters. slightly moving in the wind. i saw lots of similar fences on the streets of vienna. especially by the constructions. and specifically on the way to semperdepot. should post parallel photos...
--
as for my thesis a tiny step:
the meaning of the word weird in turkish
tuhaf
sıfat Arapça tu§af
1 . Acayip: "Nahit'in onda hiç görmediği bir tuhaf hâli vardı."- T. Buğra. |
2 . Şaşılacak, garip. |
3 . Güldürücü: "Kibirli, alıngan olmayan, tuhaf ve nükteli bir adammış."- A. Ş. Hisar. |
4 . Gülünç: "Bu kıyafetle tuhaf oluyorsun."- . |
5 . Anlaşılmaz: "Tuhaf çocuk, günü gününe uymuyor."- . |
6 . ünlem Şaşılan bir şey karşısında söylenen söz: "Tuhaf! Her yerde olduğunun aksine, burada şehirden uzaklaştıkça binaların güzelliği artıyor."- A. Haşim. |
20 Şubat 2011 Pazar
back in IStanbul
24 Ocak 2011 Pazartesi
sunny skies over vienna
17 Ocak 2011 Pazartesi
bağ - connection
16 Ocak 2011 Pazar
15 Ocak 2011 Cumartesi
in dreams begin responsibilities
hapşuu: Terunobu Fujimori
kuğu
kuğu açılışı 11
Görüyorsun ki ben çocuk değilim
aşık da değilim
maksadım güzel sözler söylemekten ibarettir.
esiyor
doğudan batıya esiyor,
onların düşmesini engellemeye çalıştım."
14 Ocak 2011 Cuma
fantastik
linz - vienna - istanbul
13 Ocak 2011 Perşembe
fotoFilm: hollis frampton's nostalgia in 4 parts
"In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton's comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience." - Bill Simon
viva fotofilm
http://www.amazon.co.uk/Viva-Fotofilm-unbewegt-Katja-Pratschke/dp/3894726792
Klappentext zu: Viva Fotofilm! - Bewegt/unbewegt
Originalbeiträge von: Hubertus von Amelunxen, Raymond Bellour, Christa Blümlinger, Nathalie David, Stefanie Diekmann, Ole Frahm, Gusztav Hamos & Katja Pratschke, Daniel Kothenschulte, Verena Kuni, Michaela Oft, Gerd Röscher, Gerhard Schumm und
Thomas Tode.
Gespräche mit Praktikern: Sirkka-Liisa Konttinen & Peter Roberts, Leonore Mau, Elfi Mikesch, Katja Pratschke, Gusztäv Hämos & Siegfried Zielinski, Agnes Varda, Franz Winzentsen.
Programme Five: The Photo Novel
Elfi Mikesch Execution: A Study of Mary 1979 © Elfi Mikesch, Berlin 2009 |
The narrative photofilms in this programme are time crystals in which different worlds appear next to, or even inside each other. Films by Raul Ruiz, Elfi Mikesch, Katja Pratschke and Gusztáv Hámos are photo novels that quote the history of cinema and experiment with narrative forms.
utopia & reality / land of quotes
— Ursula K. Le Guin (The Dispossessed: An Ambiguous Utopia)
— Martin Buber (Paths in Utopia)
— Milan Kundera (The Book of Laughter and Forgetting)
— Kurt Vonnegut
— Ursula K. Le Guin (The Dispossessed: An Ambiguous Utopia)
— Robert Silverberg
— Ursula K. Le Guin (The Dispossessed: An Ambiguous Utopia)
— Ursula K. Le Guin (The Dispossessed: An Ambiguous Utopia)
— Italo Calvino (Invisible Cities)
— Anaïs Nin
— Philip K. Dick (I Hope I Shall Arrive Soon)
— Douglas Adams (The Restaurant at the End of the Universe)
— Anaïs Nin
— George Lucas
— Laozi
— Haruki Murakami
10 Ocak 2011 Pazartesi
esnek kalp ya da kalp bükülmesi / how much can a heart bend
Bob Marley
Oscar Wilde
7 Ocak 2011 Cuma
take a ride take a shot now: excellent soup
We've got a war to fight,
Never found our way,
Regardless of what they say.
How can it feel, this wrong,
From this moment,
How can it feel, this wrong.
Can anybody see the light,
Where the morn meets the dew,
And the tide rises,
Did you realise no one can see inside your view,
Did you realise forwhy this sight belongs to you.
http://www.youtube.com/watch?v=AvQ-3uVX63c&feature=autoplay&list=QL&index=4&playnext=1
Just set aside your fears of life,
With the sole desire
Done it warning,
Done in now,
This ain't real,
On in this side,
...
Oh can anybody see the light,
Where the morn meets the dew,
And the tide rises,
Did you realise no one can see inside your view
Did you realise, forwhy this sight belongs to you
snow topped waves / vienna - north sea connection
— Richard Bach (Jonathan Livingston Seagull)
time machine
disappearing stone
snow topped beer
metro moments
christmas dinner & a night's walk before chrsitmas
some kind of a nightDrifter diary
http://www.youtube.com/watch?v
=8IdKz9lGaEI&feature=related www.youtube.comSu çatlağını buldu... Hrant Dink İstanbul Kültür Sanat Fuarında - Hrant Dink in Istanbul Culture & Arts Fair (in Turkish)- "Abdullah Efendi, ömürlerinin sonuna kadar kendileri olmaktan kurtulamayan, nefislerini bir ân bile unutamayan, etrafındaki havaya kendilerini en fazla bıraktıkları zamanda bile, içlerinde, tıpkı alt katta geçen bütün şeyleri merakla takip eden bir üst kat kiracısı gibi köşelerinde gizl...By: Evrim Kavcar
http://filucusu.blogspot.com/2
011/01/narmanl-han-ne-olacak.h tml filucusu.blogspot.comdünyanın bütün kentleri birbirine benzetilmeye çalışılıyor,görsel hafızamız hergün yavaş yavaş siliniyor..o küçücük hanın bize ne ifade ettiğini anlayamazlar,onların tek düşüncesi bir yerden rant elde edilirmi edilmez mi..bizde her tünele gittiğimizde narmanlı hana girmiyoruz ama önünden geçerken ku- RECENT ACTIVITY
Evrim likes Ahmet Hamdi Tanpınar.
http://www.youtube.com/watch?v
=yOeILd5bQDo&feature=related
http://www.youtube.com/watch?v=f5gXWUDoUF8 www.youtube.comFor the first time in the UK, William Kentridge's anamorphic film 'What Will Come' was shown at the Regency Town House, Brighton during the William Kentridge Exhibition mounted at the University of Brighton from 7th November to 31st December 2007. This projection onto a table of an animated narrlapa
- RECENT ACTIVITY
Evrim likes DJ S-MAX | Sw/tch on sw-tch.com.
http://www.youtube.com/watch?v
=gt9j80Jkc_A www.youtube.comMoss gives the General Public a true insight into the workings of a dynamic IT department- Değerli Arkadaşlar, Bilgi yönetiminin son olaylar karşısındaki tavrını kabul edilemez bulduğumu açıklamak zorunluluğunu hissediyorum. Bitirme ...By: Can Pekdemir