kreatif direktör miti

iddiası Ne? Videonun en belirgin iddiası, "yaratıcı dahi" veya "kreatif direktör" kavramının bir efsane (mit) olduğudur. Sitüasyonistler, sanatın sadece seçkin bir azınlığa değil, günlük yaşama ait olduğunu ve herkesin sanat üretebileceğini savunarak, bireysel deha fikrini reddederler. Hareket, sanatın kapitalizm tarafından metalaştırılmasını engellemek için yaratım sürecini tamamen reddetme noktasına gelir; onlara göre "Sitüasyonist sanat yoktur, sadece sanatın Sitüasyonist kullanımı vardır".

Ayrıca video, günümüzde markaların ve sosyal medya algoritmalarının bize sunduğu estetiğin özgün bir "zevk" (taste) yaratmadığını iddia eder. Tıpkı emeğin sömürülmesi gibi, aşk, arzu ve kimlik gibi en doğal insan hislerinin bile kapitalizm tarafından alınıp satılabilen ürünlere dönüştürüldüğünü (metalaştırıldığını) savunur.

Ne Çıkarım Yapıyor? Video şu temel çıkarımla son bulur: Sitüasyonizmi sadece bir "sanat akımı" olarak etiketlemek veya sindirilebilir bir konsepte indirgemek, hareketin özüne aykırıdır ve bizzat kapitalist bir metalaştırma eylemidir. Bu hareketin amacı kolayca anlaşılmak veya çerçevelenmek değil; "ölü zaman olmadan yaşamak" (live without dead time) sloganıyla, sadece sanata değil, günlük yaşamın kendisine devrimci bir müdahalede bulunmaktır. Sitüasyonizm, günümüzde de kapitalizmin öznelliğimizi nasıl sömürdüğüne dair kolektif bir uyanış çağrısı yapmaya devam etmektedir.

"hello everyone and welcome back to another day of my winter break and I'm not going to lie I feel like I have really been lacking the time to actually sit down and process and think about what I wanted this video to be since I do post and make videos on this channel purely for fun and out of my own interest I really want to avoid ever putting myself on a rigid time or schedule of producing content because I think that would really ruin the joy out of it for me and it would feel really inauthentic to produce something without feeling genuinely inspired and wanting to make something as opposed to being on a schedule however towards the end I did end up getting inspired as I did recently finished this book leaving the 20th century by McKenzie Bor and it was a really good read and this is something I actually picked up in New York while I was visiting and I always go to this one bookstore called spoon Bill and Sugar Town books in Brooklyn and this is somewhere I really recommend going if you are in the New York area because I think they curate their selections very well and have very Niche artists usually specific to New York because I do believe McKenzie work teaches at an institution somewhere in the city and I did end up picking this up because I do recognize this author and I thought it was really interesting that she touched on what can be considered a very significant theoretical art movement where I have read her previous books that really focused on on Marxist analyses of political economy and capital as opposed to to Art her previous book I read was capital is dead which is also a really good read I really highly recommend it if you're interested in theoretical political economy but her previous book I read was capital is dead which is also a very good read if you're interested in theoretical political economy I really recommend it but in that one she goes over the commodification of data being more critical in the present age as opposed to the commodification of Labor which is traditionally read in Orthodox Marxist text but this book specifically leaving the 20th century really still goes into depth about the political economic theories that provide a foundation for why the situationist movement arose and what their purpose really signified in the context of the political environment they were living in I also want this to be somewhat of a followup to my previous video on found object art and my somewhat critique of duchamp's process of the readymade and godism because I did touch on some aspects of this process that could be interpretated as elitist and an ironic interplay of the exact broa or Elite Class that he attempts to critique within his own work but the situationist movement is a very much more radical and out say Jacobin extension of the dada and surrealist movement and I found this really interesting and profound because especially considering a majority of the members weren't even actually self acclaimed artists or produce what can be considered art despite this being significantly considered an art movement although towards the end it was more so considered a very revolutionary political Theory movement but before I get started I did want to share the tea that I'm bringing today which is a very nice white oolong from Blue Willow tea so if you're in the Bay Area I really recommend going there for loose slea tea also I wanted to show everyone this beautiful teacup that my dear friend Hazel who is visiting gifted me so to kind of set a basic context for what this book was about and what the movement actually was the official situationist International was fully formed in the year of 1956 and its preceding parent organization which was the letterist movement was kind of broken off into multiple different segments that developed extremely Niche nuanced critiques of capitalism based on a mixture of Marxism and surrealism and dadaism and as opposed to the letterist movement this specific subsect the situationist international was paris-based with some of its major founding members being names you recognize such as dor Asar Jour and Pier Sando who were all forly also part of letterist movement situationist International can also be seen in texts or interpreted as situationism and situationism is a name that reflects the group's emphasis on kind of this idea of the construction of situations they departed from the general mission of the letterist movement towards more so focusing on the creation of physical surrounding environments that they believed were the main component in facilitating revolutionary change this one specifically combined satire Scandal and performance to critique consumer society and build upon the original movements I think they did this in irony of its own feedback loop routine that work discusses that I don't think I actually fully understood because this book was a little bit complex in jargon to read but from what I understand it was an irony of its own feedback loop routine It produced of trying to negate everything around it and trying to negate everything being able to be contained within a singular sphere of knowledge or label but in itself like being called the situationist international is putting themselves under a label so was like this weird irony but basically the situationists emphasize this idea of misappropriation and taking texts and images from mass media to create collages posters and brochures as well as misappropriating immature academic paintings for very disruptive and attempted revolutionary effect the situation has put a very very huge emphasis on the idea of collaboration within art and really reflects this view that art in itself belongs to everyday life and any individual could produce art because it was the process of making it that was important to emphasize as opposed to this singular individualized conception of the artist which really departs from duam it really should also be noticed that situationism as an art movement did not really actually produce too many physical artworks as a matter of fact besides asgar Jor the Danish painter I'm sure you're familiar known for Neo Romanticism the movement's physical output was without his work was honestly like kind of nothing which I think is really profound especially in the idea that it really critiqued commodification as opposed to other movements who have done so in the past and always have still ended up producing material or something physical as opposed to situationism is way more credited with providing some of the most revolutionary political theories at the time and Concepts that still really heavily impact the art scene today and for decades and as the movement states there is no situationist art only situationist uses of Art and this huge emphasis upon misappropriation really informed their emphasis upon col in artworks and in the group's many many posters brochures and graffiti most of which were always produced anonymously and collaboratively really challenging the notion of the singular all knowing creative Elite artist I think it would best explain the situationist as a group really pushing art to the extreme and seeing duchamp's ideas which were considered incredibly revolutionary and contrarian to its time as quote old hat for for attempting to ridicule Modern Art and instead push to reject art and the traditional idea of producing art entirely and I really think du's ready made inherently tied still to authorship of his own process or rather if you're familiar lack of process and understanding the ridicul of modernist Theory applied to the creation of art but I think the situationists really took it a step entirely forward in rejecting any process of creation at all specifically for the sake of being able to reject the ability of capital to create and produce a culture in its own image and viewing labor as private property even within the creative class I think the situationists were so radical and jacoban and extreme that even duchamp's lack of process and the readymade could still be considered a process of Art in their eyes since their impact and the subjects they cover are so broad I'm going to try try to like divide it into the specific subjects and sectors that I find really interesting that they impacted starting off with urbanism and within this they really come up and seek this term called psycho geography and basically it refers to the study of how a geographical environment like a city really influences in an individual's emotions and behaviors and really explores the psychological impact of exploring a place and is a practice that really encourages people to actively explore their surroundings subjectively they really really strongly urged people to take long walks which they coin this term der to uncover hidden meetings and really challenge the conventional ways of experiencing a city and I think this was an attempt to really disrupt the established societal Norms through creative intervention of daily life with these walks um and really opposing like the idea of a rigid pre-planned route dictated by capitalist or bureaucratic urban planning since they were paris-based this critique at the time really only applied to their own understanding of Paris as a city but they really saw the modern city as somewhere where movement was really only dictated by Commerce work and efficiency as opposed to curiosity and subjective exploration and joran and deor both really bonded over sharing an intense love for creating their own subjective view of Paris city maps in opposition to traditional maps that really imposed order and tell you the correct way to navigate a city following roads or districts or defined planed routes by the city and one of their most famous Dayton Maps is the Naked City in 1957 and it is a very collage likee map of Paris where the traditional streets are cut up and reassembled and connected by red arrows to suggest random chaotic movement as opposed to structured planned navigation a pretty significant artist who is influenced by this specifically is Mark dvo who in the 21st century represents both movements of the profu and the saio art movement and as you can see in examples of his art is really like projecting this idea of urban interventionism within subjectivity this also kind of reminds me of another book I previously read by Jeff Speck if you know him who is a very famous urban planner and wrote this wonderful book called walkable cities that I highly recommend you read in which he argues that cities really need to provide and PR prioritize walkability within their urban planning not just for convenience but also for economic health and social Community benefits I think though where the situationists saw rigid City Planning as a form of social control spec sees car dependent cities as the form of social control and is extremely harmful to the idea of what is now considered public life Jane Jacobs in economy of cities also discusses this idea and in her book death of Great American cities walkable City being so essential to the well-being of the city and community and connectivity of its citizens and livelihoods and that stable and successful Urban economies really grow organically from diverse small scale mixed use organization and public space both of these authors are very well past the time of deor or the situationist movement which I think is so interesting because it really shows that this emphasis of the importance of walkability or walking in a city is even way before or and way preceeding of car Centrics or the emergence of personal vehicles like walking has just always been so important to the human Spirit now I'm going to be shifting more towards like political thought like I said the situation is international was kind of like birth lovech child of all these already pre-existing political leftist groups and like those groups it was extremely anti- capitalist very Jacobin very radically left but it was also very committed to the disruption of H Dem monic politics of Europe in the late 20th century through artistic practice and the way work puts it is really interesting because she says situationism can be described as a strain of Marxism but specifically in the hegelian variety and this is in the sense that she thinks specifically situationists see history culture and Consciousness as very deeply interconnected with material struggles and as opposed to Orthodox Marxism it doesn't really just focus on the economy and the super structure through contradictions and negations and situationism really valued the idea of the decentralization of Creation with artists always working in collaboration or under shared names to really undermine the notion of a single genius or a single Visionary and has gone on to be one of the most enduring aspects of their legacy in accordance to the pendulum Theory which I think is really interesting in modern context how this idea of the memeification of the creative genius has a rose which I think is very true because yes there's this whole like economic backside to the meme suggesting oh creative director isn't a real job but it's true creative director is not a real job there should never be a single genius or single artistic Visionary who thinks that they have the strongest enough Vision to be able to call themselves a creative director this huge Vibe shift on social media like I don't know if you've noticed at all no yeah it's super interesting so like the popular itic for a while was this sort of I'm not trying disaffected energy that was championed by Emma Chamberlain of course cuz it's super authentic oh wow but now people are sort of realizing that this disaffected the board have this concept of determent or in French DMO which really emphasizes the superimposing Revolutionary content on mainstream images and text to subvert commodity Capital culture and dumo is an active act against capitalist commodification culture and refers to the practice in taking existing art and images or text and very creatively reconstructing them to subvert their original meanings and expose their underlying ideology essentially basically hijacking the material to convey a completely new politically charged message and is like a technique of repurposing existing cultural elements to critique consumer society and at the same time promote revolutionary ideas but as opposed to just reclaiming Visual artart deor and Jord took it a step further to also literary media as well claiming that the concept of plagiarization is actually a rigid oversight that totally overlooks the ability to repurpose text and able to charge it with a new meeting despite not really changing anything within the text which you can hold your own opinions about especially regarding plagiarizing and academic institutions if you've read Society of the spectacle by debor he has this very overarching main theory that under modern capitalism people are basically alienated from life itself and he claims that every experience is always mediated by what he calls the spectacle which is advertising media entertainment and it always really shapes people's desires and perceptions which totally Cuts them off from any authentic or unmediated existence on a more personal note I think this book really resonated with me when I read it when I was a young teen and was very malleable but this is why I don't really use Pinterest or if you follow me on any other social media platforms I don't consume retail branded clothing I never buy clothing firsthand because I really personally have found a moral struggle with having very cherished parts of my identity and the way I dress and passion serve to me on a platter that is secretly cloaked in the incentive of capital and served to me by a corporate brand which in my opinion totally disbands any perspective or Genuine what people call Taste or style and I think the idea of brand culture especially in taste and fashion and style today is something that really destroys the idea of someone being able to wear something or buy something because they truly find it beautiful because you find it beautiful I think it's impossible for you to ever achieve this if you buy something firsthand or buy something from a brand even if you like it because it's beautiful because you've basically still only seen it due to a broader corporate algorithmic branding marketing scheme or because you seek searching specific material items to dress yourself based on an app literally built on identity commodity Aesthetics that has no concern for logical reasoning and taste Beyond visual inspiration on how to build a commodified identity that's just kind of me and I think I'm someone who gets very paranoid about introspection but you know this doesn't really apply to anyone beyond my own logic because if you choose to do so that's you and if you've learned anything about the situation is so far subjectivity is very very important for the last topic that I want to discuss which that they impact on the idea of love I really wanted to emphasize work's own understanding of it and the situationist movement because one of the key situationist goals was the abolition of work as we know it and the creation of a society where life is lived freely without economic coercion basically for work she really builds a upon this idea and as a transfem for her this critique very heavily applies to sex work and other forms of emotional labor where human intimacy is essentially commodified and structured by capital in leaving the 20th century she aligns with the situationist view that modern society transforms everything including desire and pleasure which are inherently natural human things into Commodities and this also extends Beyond just physical labor to include how people sell their personalities emotions and identities and service based economies from Hospitality to social media and she really really touches and goes into depth about this idea about the transformation of in De board's time they were called night cafes and today what can be interpreted as the modern night club become this distinctively horrifying hot spot of commodifying Desire into a psycho geographical rigid Urban structure planning of a club being a socially acceptable physical space to be drunk and be loud and be promiscuous because these are the social customs of the nightclub and this really resonated with the book I read right before it which I also got from the same bookstore in Brooklyn the agony of arrows by B chhan in which he argues that capitalism has flattened the idea of desire and it has basically reduced what he calls this term Aros like our natural human responsitivity to passion and intimacy that is natural with a very transactional optimized and predictable form of pleasure so instead of very deep transformative longing and Twitter as we know as yearning we pursue frictionless conception where even relationships are subject to economic or algorithmic logic such as dating apps or influencer culture and especially the idea of neoliberal work culture where you are basically incentivized to self-destruct in the sacrifice of self-optimization both war and Han agree that capitalism doesn't just exploit labor but also colonizes subjectivity the whole idea of the situation is a movement and transforms love desire and identity into marketable or consumable assets and yes this movement is technically coined as an art movement but I think now upon further reflection honestly even trying to identify it or label it as an art movement is a commodification of it in itself of trying to turn it into something digestible or something easily accessible or understandable and this sounds like I'm bsing or I'm genuinely not making sense or I'm saying nothing but I do think the situation is movement the whole purpose of it is that you're not actually supposed to understand it it's such a broad subject and movement because it's not supposed to be this singular digested concept because it's not it's a movement in itself to kind of conclude it I think their slogan live without dead time is very particularly interesting and fitting for their cataly of starting a revolution of the way we view not just art in the artist but rather everyday life I think that's really why War decided to title this book leaving the 20th century because because rather than leaving a certain movement in the past or providing any acknowledgement to its preceding popular thought or Theory preceding the situationist movement she is kind of suggesting with this title that the situationist movement is still interconnected with all of its preceding theories within Marxism surrealism and dadaism in the 20th century and all of them speak together because the situationist movement still continues to heavily impact the way we view collectives and artists through spaces and Anarchist political revolutionary Theory this book was a very good read and honestly I struggled with it myself but like I said in the beginning if you are interested in political economic literary Theory you go through all of her books because she is a very wonderful and profound author I think a lot of my video essays have been a lot more inspired by the books I've been reading rather than the actual visual or artistic media that I consume and I'm not not sure if this is a positive turning point for most of the people who watch these which I think I find a little bit more personally fulfilling for me as opposed to scientifically sterilizing an art or an artist's art but please let me know if anyone actually ends up reading her book because of this video and if you end up agreeing or disagreeing with what I have to say because even if it's in opposition to what I think I think it's really important for me to hear and I really like reading everyone's comments and I really think opposition is how you grow as a person to yourself and learn and with that being said I do hope you took something away from this video I hope you learned and I hope to read a lot more and be more inspired this semester as I have the time and make more essays I hope everyone has a wonderful day and a wonderful start to 2025 and thank you so much for watching"