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Sanat aşkına - John Berger - Görme Biçimleri Türkçe Alt yazı — Transcript

by Fatima Yıldız · 3,545 words · 606 segments · language en · Watch on YouTube

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0:06this is the first of four programs in
0:09which I want to question some of the
0:11assumptions usually made about the
0:13tradition of European painting that
0:16tradition which was born about 1400 died
0:19about
0:191900 tonight it isn't so much the
0:22paintings themselves which I want to
0:24consider as the way we now see them now
0:27in the second half of the 20th century
0:30because we see these paintings as nobody
0:32saw them
0:34before if we discover why this is so we
0:38shall also discover something about
0:40ourselves and the situation in which we
0:42are
0:47[Music]
0:58living
1:02the process of seeing paintings or
1:04seeing anything else is less spontaneous
1:06and natural than we tend to
1:08believe a large part of seeing depends
1:11upon habit and
1:13Convention all the paintings of the
1:15tradition used the convention of
1:18perspective which is unique to European
1:20art now perspective centers everything
1:24on the eye of the beholder it is like a
1:26a beam from a lighthouse only instead of
1:29light traveling outwards appearances
1:32travel in and our tradition of art
1:34called those appearances reality
1:37perspective makes the eye the center of
1:40the visible
1:41world but the human eye can only be in
1:44one place at a time it takes its visible
1:46world with it as it
1:48walks with the invention of the camera
1:51everything changed we could see things
1:53which were not there in front of us
1:55appearances could travel across the
1:56world it was no longer so easy to think
1:59of appearan is always traveling
2:01regularly to a single
2:04Center I am an eye a mechanical eye I
2:08the machine show you a world the way
2:09only I can see it I free myself for
2:12today and forever from Human immobility
2:15I'm in constant movement I approach and
2:17pull away from objects I creep under
2:19them I move alongside a running horse's
2:22mouth I fall and rise with the falling
2:24and Rising bodies this is I the machine
2:27maneuvering in the chaotic movements
2:30recording one movement after another in
2:32the most complex
2:33combinations freed from the boundaries
2:35of time and space I coordinate any and
2:38all points of the universe wherever I
2:40want them to be my way leads towards the
2:43creation of a fresh perception of the
2:45world thus I explain in a new way the
2:48world unknown to
2:53you those words are from a Manifesto
2:55written in 1923 by ziga verto the
2:58Russian film director and and the images
3:00are from a film he made in 1928 called
3:02the man with a movie
3:07camera the invention of the camera has
3:10changed not only what we see but how we
3:12see it and in a crucial but quite simple
3:15way it has even changed paintings
3:17painted long before it was
3:21invented the painting on the wall like a
3:24human eye can only be in one place at
3:26one time the camera reproduces it
3:30making it available in any size anywhere
3:33for any
3:37purpose belli's Venus and Mars used to
3:41be a unique image which it was only
3:44possible to see in the room where it was
3:46actually
3:47hanging now its image or detail of it or
3:51the image of any other painting which is
3:53reproduced can be seen in a million
3:55different places at the same
3:58time as you look at them now on your
4:02screen your wallpaper is around them
4:06your window is opposite them your carpet
4:09is below them at this same moment they
4:12are on many other screens surrounded by
4:15different objects different colors
4:17different
4:18sounds you are seeing them in the
4:21context of your own life they are
4:23surrounded not by guilt frames but by
4:26the familiarity of the room you are in
4:29and the people people around
4:30you once all these paintings belong to
4:33their own place some were alter pieces
4:37in
4:39churches originally paintings were an
4:42integral part of the building for which
4:44they were
4:46designed sometimes when you go into a
4:48Renaissance church or Chapel you have
4:50the feeling that the images on the wall
4:52are records of the building's interior
4:55life together they make up the
4:56building's memory so much are are they
4:59part of the life and individuality of
5:01the
5:04building everything around the image is
5:07part of its meaning its uniqueness is
5:10part of the uniqueness of the single
5:12place where it
5:14is everything around it confirms and
5:17consolidates its
5:22[Music]
5:28meaning
5:30[Music]
5:35the extreme example is the
5:40[Music]
5:50icon worshippers converge upon
5:52[Music]
5:58it
5:59[Music]
6:09behind its image is God before it
6:12Believers close their eyes they do not
6:14need to go on looking at it they know
6:17that it marks the place of
6:23meaning now it belongs to no place and
6:27you can see such an icon in your home
6:30the images come to you you do not go to
6:32them the days of pilgrimage are over it
6:36is the image of the painting which
6:37travels now just as the image of me
6:40standing here in this studio travels to
6:42you and appears on your screen the
6:45meaning of a painting no longer resides
6:47in its unique painted surface which it
6:50is only possible to see in one place at
6:52one
6:53time its meaning or a large part of it
6:56has become transmittable it comes to you
6:59this meaning like the news of an event
7:02it has become information of a
7:07sort the faces of paintings become
7:10messages pieces of information to be
7:12used even used to persuade us to help
7:15purchase more of The Originals which
7:18these very reproductions have in many
7:20ways
7:22replaced but you may say original
7:26paintings are still unique they look
7:28different from how they look on the
7:30television screen or on
7:33postcards reproductions distort only a
7:37few F similes
7:39don't take this original painting in the
7:43National Gallery only what you are
7:45seeing is still not the
7:48original I'm in front of it I can see
7:52it this painting by
7:56Leonardo is unlike any other in the
7:59world
8:01the National Gallery has the real one it
8:04isn't a fake it's
8:06authentic if I go to the National
8:08Gallery and look at this painting
8:10somehow I should be able to feel this
8:13authenticity the virgin of the rocks by
8:16Leonardo da Vinci it is beautiful for
8:19that
8:21alone nearly everything that we learn or
8:24read about art encourages an attitude an
8:27expectation rather like
8:30that the National Gallery catalog is for
8:33art experts the entry on this painting
8:36is about 14 pages long densely
8:39written they are about who commissioned
8:41the painting legal squabbles who owned
8:43it its likely date the pedigree of its
8:45owners behind this information lie years
8:48of
8:49research what for to prove Beyond any
8:52Shadow of Doubt that it is a genuine
8:55Leonardo and to prove that an almost
8:58identical painting in the L Pro is in
9:00fact a
9:01replica French art historians try to
9:04prove the
9:09opposite for this drawing by Leonardo
9:12the Americans wanted to pay2 and5
9:14million now it hangs in a room by itself
9:19like a chapel behind Bulletproof
9:22perspects the lights are kept low so as
9:25to prevent the drawing from
9:28fading but why is it so important to
9:30preserve and display this
9:33drawing it's acquired a kind of new
9:36impressiveness but not because of what
9:38it shows not because of the meaning of
9:40its image it's become mysterious
9:44again because of its market value and
9:47this market value depends upon it being
9:50genuine and now it is here like a relic
9:54in a holy
9:57Shrine I don't want to suggest that
10:00there is nothing left to experience
10:02before original works of art except a
10:04certain sense of awe because they have
10:07survived because they're genuine because
10:09they are absurdly
10:11valuable a lot more is possible but only
10:15if art is stripped of the false mystery
10:18and the false religiosity which
10:20surrounds it this religiosity usually
10:24linked with cash value but always
10:25invoked in the name of culture and
10:27civilization is in fact act a substitute
10:32for what paintings lost when the camera
10:34made them
10:36[Music]
10:47reproducible the National Gallery sell
10:49more reproductions of this Leonardo
10:51cartoon than of any other picture but
10:55what are the meanings these
10:56reproductions acquire in each home when
10:59they hung or pinned to the wall and how
11:02different are all these meanings from
11:03its original one when Leonardo first
11:06worked on it to work out an idea for a
11:10painting the camera by making the work
11:13of art transmittable has multiplied its
11:16possible meanings and destroyed its
11:19unique original
11:20meaning have works of art gained
11:23anything by
11:24this they have lost and gained let me
11:27try to explain how
11:30the most important thing about paintings
11:32themselves is that their images are
11:36silent
11:37still I can't demonstrate the Stillness
11:40for the lines on your screen are never
11:41still and in a sense the pages of a book
11:43are never
11:44still but I can demonstrate the
11:55silence occasionally this uninterrupted
11:59silence and the Stillness of a painting
12:01can be very
12:27striking
12:42the experience of this has almost
12:43nothing to do with what anybody teaches
12:45about
12:46art it's as if the painting absolutely
12:49still
12:51soundless becomes a coridor connecting
12:54the moment it represents with the moment
12:57at which you are looking at it
12:59and something travels down that Corridor
13:02at a speed greater than light throwing
13:04into question our way of measuring time
13:09itself because paintings are silent and
13:11still and because their meaning is no
13:13longer attached to them but has become
13:15transmittable paintings lend themselves
13:17to easy
13:19manipulation they can be used to make
13:21arguments or points which may be
13:23different very different from their
13:24original
13:26meaning and because paintings are
13:28essential
13:29silent and still the most obvious way of
13:33manipulating them is by using movement
13:36and
13:37sound the camera moves in to remove a
13:40detail of a painting from the
13:43hole its meaning changes an allegorical
13:47figure becomes a pretty girl
13:50anywhere from being part of a strange
13:53poetical world of
13:55metamorphosis a dog can be turned into a
13:58pet not unlike the dog of his master's
14:02voice the meaning of a painting shown on
14:05film or television can be changed even
14:07more
14:08radically this is a painting by boal or
14:11rather A reproduction of a painting by
14:13brle of the road to
14:15Calvary if you look at the whole
14:17painting bal's intention is fairly clear
14:20in the right foreground are Mary and
14:22John and the mourners of Christ Christ
14:24carrying the cross is in the middle
14:26distance carried forward by the crowd
14:29which is making its way to the place of
14:30the crucifixes far away on the right
14:33where a circle of onlookers has already
14:37gathered if you look at the whole
14:38picture you see that it is about grief
14:41about torture and above all about the
14:43callousness the eager inquisitiveness
14:46the superstitious Drive of the crowd if
14:50it sets out to be a religious painting
14:52it is an oddly secular one but the
14:55difficulty is that on a screen if you
14:58keep the whole painting in view you
15:00don't see very
15:01much you have been waiting impatiently
15:04for the camera to go in to examine
15:07details yet as soon as this happens the
15:09comprehensive effect of the painting can
15:11be changed for example it is possible to
15:14isolate and show the details in a way
15:16that makes the painting look like a
15:17fairly straightforward devotional
15:23picture with a different camera movement
15:25again it can be shown as an example of
15:28landscape
15:30painting or details can present it to
15:33you in terms of the history of costume
15:36or social
15:38Customs most easily it can be presented
15:41as a
15:42story the two thieves being carted to
15:45the place of crucifixion Christ carrying
15:48the
15:51cross in a film sequence the details
15:54have to be selected and rearranged into
15:57a narrative which depends on unfolding
16:01time yet in the painting as a whole all
16:05these elements are there
16:07simultaneously in paintings there is no
16:09unfolding
16:11time as well as by the movements of the
16:13camera paintings are modified and
16:15changed by the sounds you hear when
16:17looking at them here is a
16:20landscape a corn field with birds flying
16:22out of
16:24it look at it for a moment in
16:27silence
16:30now supposing I say whil you look at it
16:33this is the last picture vanoff painted
16:35before he killed
16:46[Music]
16:57himself words you notice consciously
17:01music is subtler it can work almost
17:03without your noticing
17:04it how often do you consciously notice
17:07the music played over paintings on
17:10television yet music and Rhythm change
17:13the significance of a picture here's a
17:15painting by
17:19Caravaggio here are details of this
17:21painting cut to music from an Italian
17:27opera
17:30[Music]
17:46foreign
17:47[Music]
17:57speee
17:59now cut to a religious
18:07[Music]
18:21[Music]
18:27Coral
18:41I've said that as soon as the meaning of
18:42a painting becomes
18:44transmittable this meaning is liable to
18:46be manipulated and
18:48transformed it's no longer a constant
18:52it's changed by the camera which moves
18:54by words put around it by music played
18:57over it now lastly paintings can be
18:59changed in another way when paintings
19:02are reproduced they become a form of
19:04information which is being continually
19:06transmitted and so there they have to
19:07hold their own against all the other
19:09information which is jostling around
19:11them to appear on the same page or the
19:13same
19:26screen the meaning of an image can be
19:29changed according to what you see beside
19:32it or what comes after it let's try a
19:36last
19:37experiment we put the image of this
19:39well-known painting by Goya on your
19:41screen you look at it in the context of
19:44what I'm saying in the context of my
19:47image in relation to
19:51it but supposing you had just turned
19:54onto this channel from one of the other
19:56two then you might see something like
19:59[Music]
20:05this inside
20:08a he was there going to be aown
20:13[Music]
20:19with and supposing now you turn off from
20:22the our Channel onto one of the
20:27others
20:48each time the impact of the Goya is
20:55modified I've now emphasized the ways in
20:58which reproduction makes the meaning of
21:00works of art ambiguous this is not as
21:03negative as it necessarily sounds if we
21:05realize what is happening what it means
21:08in theory is that reproduction of works
21:10of art can be used by anybody for their
21:13own purposes images can be used like
21:15words we can talk with them reproduction
21:19should make it easier to connect our
21:21experience of art directly with other
21:23experiences you can sometimes see how
21:26naturally this begins to happen
21:28when for instance children or adults pin
21:31up reproductions alongside snapshots or
21:34their own drawings or pages from
21:46magazines there everything belongs to
21:49the same visual language used for
21:52describing or recreating
21:57experience
22:04what so often inhibits such a
22:06spontaneous process is the false
22:08mystification which surrounds
22:11art for instance the art book depends
22:13upon
22:14reproductions yet often what the
22:17reproductions make accessible a text
22:21begins to make inaccessible what might
22:23become part of our language is jealously
22:25guarded and kept within the narrow
22:28preserves of the Art
22:30Expert these last two great paintings by
22:33France HS portray the governors and the
22:36governesses of an arms house for old
22:38popers in the Dutch 17th century city of
22:43Harlem House an old man of over 80 was
22:47destitute most of his life he had been
22:50in Deb during the winter of 1664 the
22:53year he began painting these pictures he
22:55obtained three loads of Pete on on
22:58public charity otherwise he would have
23:00frozen to
23:02death here he Paints the official
23:04portraits of the administrators of such
23:07public
23:20charity reproductions in color or in
23:22black and white showing the whole or
23:24showing details make these two paintings
23:27easily accessible
23:29ible yet this is how these images are
23:34introduced each woman stands out with
23:36equal Clarity against the enormous dark
23:38surface yet they are linked by a firm
23:41rhythmical Arrangement and the subdued
23:43diagonal pattern formed by their heads
23:45and hands subtle modulations of the deep
23:48glowing blacks contribute to the
23:50harmonious Fusion of the whole and form
23:52an unforgettable contrast with the
23:54powerful whites and Vivid flesh tones
23:56where the detached Strokes reach a peak
23:58of breadth and
24:01strength in The Portrait of the men
24:03House's old tendency of creating an
24:05impression of casual informality and the
24:08instantaneousness
24:09recurs but the pictorial Unity appears
24:12less successful than in earlier works
24:15the intense light areas of the flesh
24:17tones the great expanses of white linen
24:19and the daringly broad red touch on the
24:21knee of the man on the right tend to
24:23jump and are not fully integrated into a
24:26coherent design
24:28that is a quotation from the most
24:30comprehensive book on house in English
24:32it was published last
24:34year it's as though the author wants to
24:37mask the images as though he fears their
24:39directness and
24:42accessibility as in so many other
24:44pictures by house the penetrating
24:46characterizations almost seduce us into
24:48believing that we know the personality
24:49traits and even the habits of the men
24:51and women
24:52portrayed and in the case of some
24:54critics the seduction has been a total
24:57success
24:58he speaks of Seduction
25:00disparagingly yet what is this seduction
25:02it's nothing less than the painting
25:04working on
25:06us if the characterization is as he says
25:09penetrating it penetrates to reveal
25:12something it's as though he doesn't want
25:15us to make sense of it in our terms and
25:19when he sums up he resorts to
25:22meaningless
25:24generalizations we attempt to control
25:26the powerful impact his paintings make
25:28Upon Us by considering the tradition in
25:30which he worked and the range of
25:31possibilities open to him the effort
25:34only increases our admiration for
25:36House's unwavering commitment to his
25:38personal Vision which enriches our
25:40consciousness of our fellow men and
25:42heightens our awe for the ever
25:43increasing power of the mighty impulses
25:46that enabled him to give us a close view
25:48of life's vital
25:50forces this is
25:53mystification children until they are
25:55educated out of it and are forced to
25:56accept the mys ifications look at images
26:00and interpret them very directly they
26:03connect any image whether from a comic
26:04or from the National Gallery directly
26:06with their own
26:08experience I showed a reproduction of
26:10the Caravaggio to a group of school
26:13children I think it couldn't been they
26:16stole a food met one of them saying I'm
26:19not going to eat it stolen food he's
26:22going why not something you think he
26:25wants to get up he if he's a bit
26:28[Music]
26:30romantic do
26:34something what makes you think it might
26:36be Jesus well he's in the center of the
26:39table and he looks like he might be a
26:41leader of some kind look like a she me
26:45and they've got they've got the um food
26:47on the table there even yes but they
26:49haven't got bread all
26:51wi what do what do the rest of you think
26:54about him saying that that it might be
26:56Jesus I I don't think it's he's
27:00got could some of you think it's a man
27:03and some of you think it's a woman I
27:05think woman
27:09she's it looks as though they're all
27:12going to jum having a kiss her cuz she
27:14just and he's got his arm out a cuddler
27:16and he's jumping up the WR R I think
27:19it's a man it's a woman it's a woman
27:22there's no bristles even yes but he
27:24hasn't got any bristles he got a
27:26mustache PR
27:28any all of all of no not quite all but
27:31most of the boys thought that he was a
27:32man and most of the girls you saw she
27:36was a woman not sure and you said she
27:38was she was perhaps both because they
27:40were really looking and really relating
27:42what they saw to their own
27:44experience they recognized something
27:46that most adults wouldn't without
27:48knowing the artist's name let alone
27:50anything about kio's life or the fact
27:52that he was a homosexual they
27:54immediately saw how sexually ambivalent
27:57the principal figure
27:59was I can't pretend to the Clairvoyance
28:02of children but in the next three
28:04programs I'm going to try to relate the
28:07experience of art directly to other
28:09experiences and to use the means of
28:11reproduction as though they offered a
28:14language as though pictures were like
28:16words rather than holy
28:26relics
28:28how we see women possessions
28:31advertisements and their promises which
28:33surround us on every
28:39side but remember that I am controlling
28:42and using for my own purposes the means
28:44of reproduction needed for these
28:47programs the images may be like words
28:51but there is no dialogue yet you cannot
28:54reply to
28:55me for that to become possible in the
28:58modern media of
29:00communication access to television must
29:03be extended Beyond its present narrow
29:06limits meanwhile with this program as
29:09with all programs you receive images and
29:13meanings which are
29:16arranged I hope you will consider what I
29:19arrange but be skeptical of
29:26it
29:28[Music]
29:40and ways of seeing is right back here
29:41tomorrow night at halfast 7 next tonight
29:44we have a whole stack of monitors for
29:45you beginning with a chat with one of
29:47the most iconic film directors and
29:49actors of all
29:53[Music]
29:56time
30:03Welcome to the

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