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INTERNATIONAL SEMIOTICS CONFERENCE ABSTRACT BOOKLET 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org INTERNATIONAL SEMIOTICS CONFERENCE ABSTRACT BOOKLET 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE KEY-NOTE SPEAKERS Nüket GÜZ Sequences of Life at Serail Solomon MARCUS Cultural Heritage: Traps and Dramatic Choices Eero TARASTI On the possibility of Existential Semiotic Theroy of culture Vilmos VOIGT A Truly Semiotic Understanding of Cultural Heritage www.iscch2015.org COMMITTEES HONORARY BOARD Mahmut Ak Eero Tarasti Solomon Marcus “in behalf of his 90th anniversary” Sıddık Yarman Mustafa Özkan H. Rıza Güven Nüket Güz Ş. Teoman Duralı H. Şafak Ural CHAIRS Eero Tarasti Sevinç Gülseçen Ayşe Zeynep Onur ORGANIZING COMMITTEE CHAIRS Şevket Dönmez F. Deniz Özden Zerrin Ayvaz Reis ORGANIZING COMMITTEE Sevinç Gülseçen Şevket Dönmez Zeynep Onur F. Deniz Özden Zerrin Ayvaz Reis Murat Gezer Ekin Öyken İsmail Özmen F. Feyza Aksu Hidayet Arslan Teri Sisa Mason Selin Gürses Şanbay INTERNATIONAL SCIENTIFIC COMMITTEE Rimantas Astrauskas, Lithuanian Academy of Music and Theater Krstian Bankov, New Bulgarian University Şevket Dönmez, Istanbul University Çiğdem Dürüşken, Istanbul University Melahat Küçükarslan Emiroğlu, Bahçeşehir University Seher Er, Istanbul University Anuar Galiev, Al-Farabi Kazakh National University Rahilya Geybullaeva, Baku Slavic University Sevinç Gülseçen, İstanbul University V. Doğan Günay, Dokuz Eylül University, İzmir Simten Gündeş, Maltepe University Aki-Mauri Huhtinen, Finnish School of Defense Nazlı İnönü, İstanbul University Jean-Marie Jacono, Université d’Aix-Marseille Seema Khanwalkar, Ahmedabad University Evangelos Kourdis, Aristotle University of Thessaloniki Pirjo Kukkonen, University of Helsinki Altti Kuusamo, University of Turku Rengin Küçükerdoğan, Istanbul Kültür University Massimo Leone, University of Turin Solomon Marcus, Bucharest, Rumania Dario Martinelli, Technological University of Kaunas Jean-Claude Mbarga, Université de Yaoundée, Cameroun Ricardo Monteiro, Universidade Anhembi Morumbi São Paulo Zeynep Onur, Çankaya University, Ankara Ekin Öyken, Istanbul University F. Deniz Özden, Istanbul University İsmail Özmen, Istanbul University Nedret Öztokat, İstanbul University Malgorzata Pankowska, University of Economics in Katowice Maja Angelovska Panova, Institute of National History, Skopje, Republic of Macedonia Zerrin Ayvaz Reis, Istanbul University Nilüfer Sarı Sezer, Istanbul University Hamid Reza Shairi, Université Tarbiat Modares, Teheran Eva Alexandrou Şarlak, Işık University Eila Tarasti, University of Helsinki Daina Teters, Latvian Academy of Culture, Latvia Mieczyslaw Tomaszewski, Cracow Music Academy Igifeneia Vamvakidou, University of Western Macedonia, Greece Patrizia Violi, University of Bologna Vilmos Voigt, Eötvös Loran University, Budapest Zdislaw Wasik, Poznan University Asnu Bilban Yalçın, Istanbul University Melda Yıldız, Kean University 3 Henry Zhao, University of Sichuan, China Semiotics of Cultural Heritages, From Authenticity to Informatics Semiotics of Cultural Heritages is an international research project founded by Professor Eero Tarasti in 2013. It is largely based upon his theory of existential semiotics. All can and have to agree that our global world has undergone enormous changes and crises in many aspects. There is a hypothesis that societies undergo three phases: first: archaic in which people and communities live still nature-bound life with cyclical time and with mythological worldview and traditions; second: socio-semiotic which was the avenue chosen by the Western world in the emergence of modernity, leading to certain stratified social structures, class, industrialization, democratic institutions, enlightenment, humanistic Bildung idea, in one word a certain historic development. The third one is techno-semiotic, the society under modern electronic and computer technology, with internet, increasing communication, the 'extase' of communication, changing radically the previous structures of social organization. If this idea is taken seriously, it certainly means that we should not straight ahead reject the cultural traditions and achievements of the past. Some of them should be preserved which means that we consider some of them to represent such values which are worth to be believed in still in our techno-period and even to serve as a kind of 'lived-in' models as Claude Lévi-Strauss once said. That part of our social practices which we find worthwhile to be maintained we can call a cultural heritage. Such a heritage can be as to its size and scale of whatsoever nature: it can be an entire living form, culture, it can be a nation, it can be a language almost disappearing (like there can be languages spoken only by one or two persons), it can be a certain behaviour, rite, manner, myth, value, object, genre, fest, any type of material or spiritual culture of any quantity. So any sign and particularly its signified, the idea, or value which it represents. For any such type of conduct or material or spiritual thing as cultural heritage we can also distinguish among four modes of 'being' so to say to borrow from the theory of existential semiotics (Tarasti 2012) Body: how single individuals physically carry the heritage, which kind of corporeal activities it presupposes to be functional Identity: which kind of personality or 'habit' is presumed to be enjoying the heritage, which kind of stable or less stable identity is necessary for its living and survival Social practice: how the heritage is shared by members of a certain community, how it is enacted by given social roles within it, how it exists as a routine , almost unnoticeable practice and tradition, and how it is supported by discourse(s) around it, how it is integrated as a part of social life, which profession, which groups exercise it Values, norms: which kind of more abstract value and norm system it is manifesting, from which kind of epistemic ideas it is originating, is it in harmony or in conflict with dominant belief systems of the society Kültürel Mirasın Semiyotiği : Otantikten Enformatiğe Kültürel mirasın göstergebilimi, Eero Tarasti tarafından iki yıl önce başlatılmış ve Tarasti'nin Varoluşcu Göstergebilim teorisinden temellenen uluslararası bir araştırma projesidir. Küreselleşen dünyamızın birçok alanda büyük değişimler ve krizler geçirdiği bir gerçektir. Semiyotik perspektifden bakıldığında toplumların üç aşamadan geçtiği ileri sürülmüştür: Bunlardan ilkini oluşturan arkaik aşamada insanlar ve topluluklar döngüsel zamanın egemen olduğu, mitolojik dediğimiz dünya kavrayışı ve gelenekler çerçevesinde, doğayla iç içe bir yaşam sürdürmektedir; sosyo-semiyotik olarak tanımlanan ikinci aşama ise modernitenin ortaya çıkışıyla Batı dünyasının seçtiği, sınıflı toplum yapılarına, sanayileşmeye, demokratik kurumlara, aydınlanmaya, humanistik olgunlaşma hümanist bir ilerleme düşüncesine ülküsüne kısacası belirli bir tarihsel gelişime yönelen temel çizgidir. Üçüncüsü teknosemiyotik aşamadır; bu aşamada toplum modern elektronik ve bilişim teknolojisinin güdümündedir: Başta internet olmak üzere, giderek çoğalan haberleşme ve 'çılgınlığa' dönüşmüş iletişim olanaklarının etkisiyle toplumsal yapının alışılmış düzenleniş biçimleri kökten değişime uğramaktadır. Bu görüşü kabul ediyorsak geçmişin kültürel gelenek ve kazanımlarını da bütünüyle reddedemeyeceğimizi kabul etmeliyiz. Bu da kültürel miras konusunun önemini ortaya koyar. Toplumsal pratiklerin sürdürülmeye değer bölümünü kültürel miras olarak tanımlayabiliriz. Bu tür bir miras büyüklük ve ölçek açısından farklılık gösterebilir: Başlı başına bir yaşama biçiminden, bir kültürden, bir milletten, yok olma sürecine girmiş bir dilden, belirli bir davranış biçiminden, ayinden, tarzdan, mitostan, değerden, nesneden, üsluptan, şölenden, kısacası maddi ve manevi kültürün herhangi bir öğesinden ibaret olabilir. Bunların her biri birer gösterge dizgesidir. Ne var ki, içinde bulunduğumuz tekno-semiyotik süreçte kimi gelenekler yok olma tehdidi altındadır. Bununla birlikte elektronik ve teknik çağ bize söz konusu geleneklerin korunması, yerine konulması, ve yenilenmesi için etkili araçlar sunabilir. Dolayısıyla bu noktada önemli olan sadece geçmişin izini sürmek değil, seçilen mirası geleceğin bir parçası kılmaktır. İşte, kültürel miras niteliğindeki bu tür yaşam tarzlarını fiziksel ve ruhsal olguları varlık biçimi açısından dörde ayırabiliriz. Bu olgular Eero Tarasti'nin varoluşçu semiyotik kuramından hareketle şöyle sınıflandırılmaktadır: Beden: Tek tek bireyler işlevsel olması gereken bedensel etkinliklerle kültürel mirası fiziksel olarak nasıl taşır? Kimlik: Kültürel miras hangi tür kimlik ya da tutum (Ch. S. Peirce) için avantaj sağlar, bu mirasın yok olmaması ve sürmesi için, değişmeyen ya da az değişen, ne tür bir kimlik gereklidir Toplumsal pratik: Kültürel miras belirli bir topluluğun üyeleri tarafından nasıl benimsenir, topluluğun bünyesindeki belirli toplumsal roller tarafından nasıl hayata geçirilir, bir rutin, belli belirsiz bir uygulama ve gelenek olarak nasıl var olur, etrafında ne tür destekleyici söylemler oluşur, toplumsal yaşama nasıl katılır, hangi meslek ve gruplar tarafından kullanılır? Değerler ve normlar: Kültürel miras daha soyut değer ve normlardan hangilerini gösterir, hangi bilgiden doğar, toplumun egemen inanç sistemleriyle uyumlu mudur? La sémiotique des héritages culturels, de l’évocation, de la rénovation et de la réparation La sémiotique des héritages culturels est un projet de recherche international initié et dévéloppé par la théorie de la sémiotique existentielle d'Eero Tarasti. Tout le monde peut et doit reconnaitre que notre monde global a subi d'énormes changements et crises dans de nombreux aspects. Il y a une hypothèse qui dit que toutes sociétés subissent trois stades: au premier, ce qui est archaïque, les gens et les communautés vivent toujours liés à la nature dans le cadre du temps cyclique, selon une vision du monde mythologique et les traditions; le second, ce qui est socio-sémiotique, est la route principale prise par le monde occidental, conduisant à certaines structures sociales stratifiées, aux classes, à l'industrialisation, aux institutions démocratiques, au Siècle des lumières et à l'idée humanistique de Bildung, en bref, à un certain développement historique. Le troisième est le stade techno-sémiotique, auquel la société est sous la domination de l'électronique moderne et de la technologie informatique, avec internet, la communication accrue et l'extase de la communication qui changent radicalement les structures précédentes d'organisation sociale. Si cette idée est approuvée, ça signifiera qu'il ne faut pas entièrement rejeter les traditions et les réussites culturelles du passé. Certaines doivent être préservées, ce qui signifie qu'on estime qu'elles représentent des valeurs dignes d'être appréciées même aujourd'hui dans notre période techno et qu'elles sont mêmes capables de servir des modèles “habités”, comme Claude Lévi-Strauss l'avait jadis indiqué. On peut appeler cette partie de nos pratiques sociales que nous considérons comme dignes d'être conservé, un héritage culturel. Un tel héritage peut avoir de différentes natures selon la portée et la proportion: il peut consister dans toute une forme de vie, toute une culture, il peut être une nation, une langue en danger d'extinction, un certain comportement, un rite, une manière, un mythe, une valeur, un objet, un genre, un festival, tout type de culture matérielle ou spirituelle de n'importe quelle quantité. Ce qui veut dire, tout signe et son signifié en particulier, l'idée ou la valeur qu'il représente. Dans notre phase techno-sémiotique ces traditions sont souvent en constant danger de disparaitre, d'être détruites ou tout simplement oubliées par notre temps, particulièrement par ce qu'on considère comme le future. Mais il est en même temps possible que notre technotemps électronique nous offre des outils efficaces et inconnus jusqu'alors pour la préservation, la restauration, et la rénovation des traditions. Donc, il ne s'agit pas ici de “rechercher le temps perdu” au sens proustien mais plutôt de faire l'héritage choisi partie de la tradition vivante de l'avenir. Nous pouvons séparer ces styles de vie, ces notions physiques et psychiques en quatre parties selon les modalités d'existence. Ces notions sont catégorisées de manière suivante sous la lumière de la sémiotique existentielle d'E. Tarasti : Le corps : Comment chaque personne se porte physiquement le patrimoine culturel qui doit être fonctionnel par l'activité corporel ? L'identité : Pour quelle identité ou attitude le patrimoine culturel offre de l'avantage ? Quel type d'identité – stationnaire ou peu fluctuante – est nécessaire pour que le patrimoine ne disparaisse pas et qu'il continue à être ? La pratique sociale : Comment est assimilé le patrimoine culturel par les membres d'une certain communauté ? Comment il est réalisé par les rôles définis dans le cadre de la communauté ? Comment il existe en tant que routine, que pratique vague ? Quels types de discours subsidiaires se forment autour de lui ? Comment il se mêle à la vie sociale ? Par quels métiers et groupes il s'utilise ? Les valeurs et les normes : Parmi les valeurs et les normes abstraites, le patrimoine culturel présente lesquelles ? Il se pose du quel savoir ? Est-ce qu'il convient aux systèmes dominants de la croyance de la société ? SUBTOPICS ALTBAŞLIKLAR AXES Ÿ Cultural Heritages in Dialogue Ÿ Renewing Cultural Heritages Ÿ Cultural Heritages as Ÿ Diyaloglarda Kültürel Miras Ÿ Kültürel Mirasın Yenilenmesi Ÿ Değer Temsilcileri Olarak Ÿ Les Rubriques de la conférence Ÿ Renouvellement du patrimoine Represantations of Values Ÿ Cultural Heritages and Their Ÿ Ÿ Ÿ Ÿ Communities Body Person and Values in Cultural Heritages Cultural Heritages as Sign Systems and Processes Cultural Heritages Lost Cultural Heritages Based on Istanbul Kültürel Miraslar Ÿ Ÿ Kültürel Miras ve Ÿ Ÿ Ÿ Ÿ Topluluklar Kültürel Miras; Kişi ve Değerler İşaret Sistemleri ve Süreçleri Olarak Kültürel Miras Kaybedilmiş Kültürel Miraslar İstanbul’un Kültürel Mirası Ÿ Ÿ Ÿ Ÿ Ÿ culturel Patrimoines culturels en tant que représentations des valeurs Patrimoines culturels et leurs communautés Patrimoines culturels ; acteurs et valeurs Patrimoines culturels en tant que systèmes de signes et processus Patrimoines culturels perdus Patrimoines culturels d’Istanbul M. Selen ABBASOĞLU ERMİYAGİL Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus . . . . . . . . . . . 15 Alla ABLOVA Bell stone from Russian Karelia: A Semiotic View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Eva ALEXANDROU ŞARLAK A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions . 17 Galiev ANUAR Baksy (Shaman) And World Model Of Kazakh People. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Alessandro CAMIZ Semiotics of contradiction in cultural heritage. Memory vs. Verdinglichung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Renk DİMLİ ORAKLIBEL Tracking cultural myths in Anadol commercials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Papatya Nur DÖKMECİ YÖRÜKOĞLU Soundscapes of Heritage Sites: Semantic Evaluation of the Sound Environment in Ulus, Ankara . 21 Abijit DUTTA War as cultural heritage and the inauthenticities of constant preservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Karen GERSON ŞARHON The Ladino Database Project Results As Insight To The Current Situation Of Judeo-Spanish In Turkey . . . . . . . 23 Rahilya GEYBULLAYEVA Deciphering of contemporary words: from modern to the past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Tania Letizia GOBBETT Iconic Cathegorisation in Art History as a Matter of Research 'Experiment Critical' Methods in Building Theory 25 Mustafa GÜLEÇ Difference of system and structural transformation in perceiving of cultural heritage as a sign: an example of Van Nelle Factory (Rotterdam, The Netherlands) and Sümerbank Bursa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Uğur GÜNDÜZ Latmos: Looking For The Prints of The Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Selçuk GÜRIŞIK Social Semiology Readings Through Design Language Of The Cultural Heritage Object. . . . . . . . . . . . . . . . . . . . . . . . . . 29 Sari HELKALA KOİVİSTO Musical sign - A Nature-bound foundation of Cultural Heritages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Bujar HOXA Multilingualism in a Semiotic Context: Sameness vs. Otherness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Seema KHANWALKAR Cultural Heritages as sign systems and Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Pirjo KUKKONEN Translation as Semiotics and Cultural Heritages Processes of Intra- and Intersemiotic Translation: Authenticity, Interpretation, and Imitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Altti KUUSAMO The Tradition, the Work of Art and New Identifications as Discoveries. The Changed ”Original Meaning” of the Work: How to Revive and Place the new Historical Meaning of a Changed Sign system? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Fahriye Oya KUYUMCU Did Abstractıon in Terms Of Geometric Patterns in Islamıc Art And Architecture Cause Problem in Providing Sustainability Of Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Melahat KÜÇÜKARSLAN EMİROĞLU An Attempt For Creating Value For Cultural Heritage: Neighbourhood Culture . . . . . . . . . . . . . . . 37 Altan A. MARÇELLİ Anatolıan Ceramics: A Case Study Of Number Symbolısm In A Socıo-Relıgıous Context. . . . . . . . . . . . . . . . . . . . . . . 39 Roberto MASTROIANNI Cultural Heritage. Existential semiotics, Philosophical Anthropology and Anthropo-semiotics . . . . . . . . . . . . . 40 Joseph MBONGUE Topic: Hypocrisy and lie as symbolism of two merging concepts of reality and appearance: the paradox syndrome of a psychosemiosis.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Morsaleh Ranjbar MOGHADDAM Street's Play as a Vanishing Cultural Heritage Zograscope which called in Iran Shahr e Farang ﻓرﻧﮓﺷﻬر. . . . 43 Maria NOEL DO Monument of Christopher Columbus at Buenos Aires City: memory, space and semiotics. . . . . . . . . . . . . . . . . . . . . . . 44 Zeynep ONUR The Language Of Abstract As A Lost Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Ian PAGDETT The Evocative Visual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Lazaros PAPOUTZIS Athens Olympic Games Opening Ceremony, 2004. The Semiotics of the Ancient Greek Spirit.. . . . . . . . . . . . . . . . . 47 Nilüfer PEMBECİOĞLU The Doorknobs Of The Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Nidal SEİDE Old wine in useless bottles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Takemi SOSA Symphonic Narrative: Space and Synthesis in Magnus Lindberg's AURA (1994) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Bianca SUAREZ The Inception Of Technological Development Through Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Merve TAŞTAN Courtyard Style Architecture as a Cultural Heritage for Communal Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Ozan ÜNSALAN Hidden “Spectral Signs” on the Valens Aqueduct columns by means of Semiotics and Molecular Physics in Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Elżbieta Magdalena WASIK On the notion of the linguistic self within the framework of existential semiotics . . . . . . . . . . . . . . . . . . . . 55 Zdzislaw WASIK A solipsistic paradigm in the semiotics of nature and culture – its roots and prospects . . . . . . . . . . . . . . . . . . . . . . . . . 57 Ebru YENER GÖKŞENLİ The Image of the Bull in Spanish Culture and the Importance of Bullfights in Spanish Society . . . . . . . . . . . . . . 59 Tolga AKAGÜN İstanbul Üniversitesi'nin Bilişim Mirasının Yaşatılması: Sanal Bilişim Müzesi Çalışmaları . . . . . . . . . . . . . . . . . . . . . . . . . 63 Olcay AKDENİZ Milas'ta Macar Mimarisi Ve Macar Evleri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Arda ARŞIK İmzadan e-imzaya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Şeniz ATİK İstanbul Küçükçekmece Bathonea Kazıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Hasan BİNAY Neolitik Yerleşimden Bizans 12. Bölgesi Ve Langa Bostanı'na Yenikapı'nın 8 Bin Yıllık Kültürel Ve Topografik Değişimi : Son Arkeolojik Kazılar Ve Kentsel Dönüşüm Projeleri Kapsamında İstanbul Yenikapı Semtinin Ele Alınması. . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Aydan BİRDEVRİM Anadolu Kapı Tokmaklarının Çağdaş Yorumları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Fatma Banu ÇAKAN Feyhaman Duran Evi Örneğinde Dokuma Eserler İçin Sergileme Önerileri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Hasan Fırat DİKER Kültürel Miras Olarak Ayasofya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Fatih ELCİL İstanbul Üniversitesi Feyhaman Koleksiyonu Hatlarından Yazı-Resim Levha Örnekleri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Tolga ERGÜL Sivas Alibaba Mahallesi Alevilerinde Bağlama: 'Telli Kur'an' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Namık KILIÇ Sualtı Kültürel Mirasın Korunmasında Yenikapı Batıkları Örneği . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Remziye KÖSE ÖZELÇİ Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Nisan LORDOĞLU Antik Byzantıon ve Kalkhedon'un Şehircilik Açısından İncelenmesi: Kuruluşlarından Roma İmparatorluk Dönemi'ne Kadar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 İsmail Hakkı NAKİLCİOĞLU Yerel kültürel mirasın yenilenmesi ve Afyonkarahisar'da yaşatılmaya çalışılan “Âdine” geleneği . . . . . . . . . 79 Elif OKUR TOLUN Ağaç İmgesinin Anlamlandırılması: Temur Köran'ın “Ağaç” Sergisine Göstergebilimsel Bakış . . . . . . . . . . . . . . . . . . . . 81 F. Deniz ÖZDEN Feyhaman Duran Evi - Yeri. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 F. Deniz ÖZDEN İstanbul Yoros Kalesi Kazıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Yüksel DEDE Arkeolojik Buluntuların Değerlendirmesinde Deneysel Arkeolojik Yöntemlerin Önemi Ve Yeniden Üretimin Kültür Mirasının Korunması Bilincine Katkıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Juan David BARRERA Forme et signification dans le discours musical des organistes français du « Grand Siècle » : vers l'établissement d'une nouvelle typologie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Jean-Marie JACONO Héritage culturel et globalisation: la chanson française à texte depuis 1980 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Jean-Marie JACONO Representation of Retour a la Willa Nevski (Novel by Eero Tarasti) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Monire KHALVATI Poésie comme quête de la présence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Marzieh Athari NIKAZM L'analyse des différents modèles de l'énonciation chez les soufis et les mystiques persanophones : Sama, verset labial et la poésie mystique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Kalliope STİGA Musique et Idéologie vue à travers l'œuvre artistique et l'action sociopolitique de Mikis Theodorakis . . . . . . . . . . . . . . 93 Daina TETERS Prédestination Métaphorique Du Patrimoine Culturel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Abstracts in English Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus 1 M. Selen ABBASOĞLU ERMİYAGİL, Department of Interior Architecture, European University of Lefke, TRNC, sabbasoglu@eul.edu.tr 2 Cemaliye SUNALP GÜRÇINAR, Department of Architecture, European University of Lefke, TRNC, csunalp@eul.edu.tr 3 Dr. Ömer EREM, Department of Architecture, Istanbul Technical University, TRNC, omer.erem@itu.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics The purpose of this study is to identify and interpret the signs on the facades of traditional houses. Walled City Nicosia region is one of the most important location where historical and cultural character identity is still continuing. Multi-cultural identity is the reason for choosing this area to study. Walled City Nicosia which was built six thousand years ago is a multi-cultural Turkish town which reflects the sign of Byzantines, Lusignans, Venetians, Ottomans, British and Greek cultures. This multi- cultural identity of the town has been influencing its development. Cultural signs are the compositional expression of the recognizable and generic characteristics of cultures. Thus, cultural signs can be used to create an architectural language. Due to variety of the cultural signs the study required a careful evaluation. Accordingly, physical analysis approach was used to make proper definitions. The study consists of three parts, literature review, physical analyses and evaluation. The date obtained from literature review analyses to identify cultural signs as architectural elements on the building facades. In the final part the framework of the signs are discussed and related to the architectural language. Revealing existing cultural signs on traditional building facades would help sustaining architectural language despite urban development pressures. www.iscch2015.org 15 Bell stone from Russian Karelia: A Semiotic View Alla ABLOVA, University of Helsinki, Finland, ablova@mappi.helsinki.fi INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Lithophones are potentially durable musical instruments1, which consist of single (or a set of) raw stones/slabswhich resonate when struck. Information about their physical and musical qualities and about the role they played in now extinct societies is limited. Some archeological musical stones still remaining in their place of use can provide us with valuable information about the methods and places chosen for sound production as well as about the acoustic aspects of the life ofpast worlds.In this report we study the Звонкой камень (=Ringing stone) lithophone (1st century BC, the Early Iron Age), discovered in 1966 in Russian Karelia. When struck with another stone it produces high melodic sounds similar to the sound of a small metal bell. As an integral part of the musical stone there is a big resounding cavity (50-60 cm2). The report deals with an attempt to reconstruct the music texts played on theRinging stone.Similar acoustic phenomena are constructive elements of a cultural setting which are involved in creating social reality. Studying the lithophones enables us to extend the modern image of past societies on both a sensory and cognitive level.1In our context the termmusical instrumentrefers toanytoolused for a non-verbal sound activity of man. A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions Eva ALEXANDROU ŞARLAK, Faculty of Fine Arts, Isik University, Turkey, eva@isikun.edu.tr 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE The biblical King Solomon, the twentieth and youngest son of King David is accepted as one of the most important leaders of the Hebrew History. When he tookeover the throne from his father in 973 BC., he did not only constructed a new path for the political situation of the Hebrew society by expanding the borders of his Kingdom but with his mercantile navy he also constitued commercial relationships with neighbour Kingdoms, and his power attracted the rulers of different civilizations, like the Queen of Sheba. His powerful kingdom influenced numerous emperors to create their own ideal rule and to offer and introduce it to their society. Besides to his brilliant and successful kingship he is distinguished with his prophetic characteristic as well. Furthermore, his prophecy came into the prominence in the world of civilizations. His legendary identity, his wisdom, and his wise judgements are mentioned on remarkable historical, literary, various legends, religious works and in holy books: the Old Testament, Bible, Qur'an. Semiotics of Cultural Heritages: Authenticity to Informatics Consequently Prophet Solomon will take an important role for the history of art and architecture. His temple, his famous throne, and his magic ring still continues to be an important topic for the historians and art historians. However he will consitute a significant place as a figure in the art of painting and iconography. He will be depicted in icons, western european paintings and in the Islamic miniatures. Obviously it has to be noted that the data of Solomon's miscellaneous life form, donated with supernatural powers and miraculous abilities, will be the main basis for the variety of his depictions: sometimes as a young ruler, sometimes as old Rabbi and sometimes as an Islamic Sultan in traditional costumes. INTERNATIONAL SEMIOTICS CONFERENCE www.iscch2015.org In spite of the numerous researches and surveys on Solomon's depictions under separate cover in the context of Islamic, European art and Christian iconography, a comparison on typological characteristics of the prophet between icons and Ottoman miniatures is not revealed. The focus of the paper is to analyze and construct a comparative study and realise a typological observation on the depictions and illustrations of the Prophet Solomon in Christian art of iconography and Ottoman miniatures. By emphasizing the differences or similarities of Solomons's depictions in two distinctive traditions, primarly the reflections of the written sources and holy books will be determined. In addition to the holy texts, the development of the iconography and of the Ottoman miniature art will become the strengtening factors in the survey and will aid to clarify the comparison of Solomon depictions in both traditions. Besides to the main focus of the survey, on the prophet depictions produced by various iconographers and painters, the characteristics such as scene compositions, colour arrangements, posture and positions examined in the light of period and geography, will be argued. 17 Baksy (Shaman) And World Model Of Kazakh People Galiev ANUAR, Kazakhstan, agaliev@hotmail.com Saikeneva DINARA, Kazakhstan INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Shaman in traditional society has many functions. To serve he need to appeal spirits, that live in other world, because of that shamans have to have mystical travel. One of the earliest illustration of such travel is on Kargaly diadem, which is found on Kazakhstan territory. The history of its exploration was described in book of Soviet writer Yuriy Dombrovskiy “Guardian of antiquity”. This diadem belongs to Scythian period. Historians consider, that diadem performs that shaman's travel. For having such travel shaman has to good orient in different worlds. Knowledge of geography of those worlds shaman gets during “shaman sickness”. Specialists consider, shaman sickness is one of the stages of rite de passage. Such shamans travel allows us to image the structure of other worlds. Fairytales show, that Kazakhs think, that Universe has three levels (Up, Middle and Down worlds). The model of the world of Turkic Peoples (including Kazakhs) can be reconstructed with ancient Turkic epos “Dede Korkut”. This epos describes mystical travel of first Shaman Korkut. Escaping from the death Korkut runs away to different worlds and meets everywhere people who are digging his grave. In the North, it is a man in black cloth, in the South in red cloth, in the West in white, in the East in blue. Tradition to mark four directions with colors goes back to Xiongnu (3rdcentury B.C.). Xiongnu's army divided to four parts and color of their horses corresponds to the world direction of their part. It is not clear which color of horse corresponds to East. One Japanese annals shows, that it is grey color. Xiongnu tradition was accepted by ancient Turks, who called themselves Kok-turks - “Heaven, east Turks”. The East has particular meaning in the world image of Turk people. Kazakhs always orient entrance of Yurta to the East, and Mongolian people to the South. Thereby, Kazakh culture keeps conception about the structure of the Universe, that is largely contributed with shaman's relics. Semiotics of contradiction in cultural heritage. Memory vs. Verdinglichung Alessandro CAMIZ, Cyprus, Girne American University, TRNC, alessandrocamiz@gau.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org “The meaning of a word depends on the way in which each language breaks up the realm of meaning to which the word belongs”, Levi-Strauss, Claude 1963. Structural Anthropology. New York: Basic books: 93. It is in the third book of Das Capital (Marx, 1894) that the term Verdinglichung was introduced, translated in English by most scholars as reification of thingisation, meaning the capitalistic trend to transform in product every other production factor. Following this trend, the reification of cultural heritage seems to be happening in the last decades, transferring the artifacts from the domain of conservation and restoration to the domain of branding and fund raising. The representation of this phenomenon is clearly recognizable, for instance, in the amount of money that national institutions are spending for graphics, logo, and advertising on cultural heritage compared to the amount of money dedicated to restoration. Within pre-capitalist economies, the restoration of fragments of the past was considered an essential activity, in the last decades instead, it seems like the virtual reconstruction of images has gained more importance than the conservation of the physical memory embedded in cultural heritage, as sign vehicle (Eco, 1967). The proposed paper analyzes with a comparative approach, the shift in meaning implied by the different set of prevalent activities dedicated to cultural heritage matters, in the archaic, socio-semiotic and technosemiotic societies (Tarasti, 2000) showing how human memory, as implied in material and immaterial cultural heritage, has become subsidiary in the society of digital memory (Le Goff, 1988). References Eco, Umberto. 1967. Proposte per una semiologia dell'architettura, Marcatré, n. 34, 35, 36: 56-76. Marx, Karl. 1894. Das Kapital, Kritik der politischen Ökonomie. Hamburg: Verlag von Otto Meisner: 48. Le Goff, Jacques. 1988. Histoire et mémoire. Paris: Gallimard. Tarasti, Eero. 2000. Existential Semiotics. Bloomington: Indiana University Press. 19 Tracking cultural myths in Anadol commercials Renk DİMLİ ORAKLIBEL, Bahcesehir University, Turkey, renkdimli@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Anadol, by being the first mass manufactured automobile of Turkey's history, naturally makes it an iconic/cult object. Between the years of 1966 and 1984, there were 87 thousands of automobiles in various models –from sports cars to pick-ups– were produced. Anadol's second model A2, after A1, began to be marketed in 1973. Moreover, Turkish television broadcast began in 1968 with TRT1 (Turkish Radio and Television Corporation, Channel 1) and first television commercials began to be broadcasted in 1972. In that manner, both introduction of Anadol and television culture in Turkey and; beginning of production of A2 and broadcasting of the TV commercials were contemporary developments for the society. Advertisements are coded meticulously by the admen since they are an important way of communication from producer to consumer. They (re)create the cultural myths by using existing codes for a better communication to the audience. They contribute to the cultural heritage and since they are visual texts they become a medium for reading and transmitting cultural experiences and life styles. Considering television commercials' significant role in the memory of the society, three Anadol A2 commercials broadcasted in mid-70s are subjected to a semiotic analysis in the study. As the selected commercials are the first trials of the Turkish commercials and subjected product in these commercials, Anadol, is also an inherited object in Turkey's cultural life, this paper aims to present the cultural myths that are embedded in commercials and imposed to cultural memory of the society. Soundscapes of Heritage Sites: Semantic Evaluation of the Sound Environment in Ulus, Ankara Papatya Nur DÖKMECİ YÖRÜKOĞLU, Cankaya University, Turkey, papatya@cankaya.edu.tr Zeynep ONUR, Cankaya University, Turkey, zeyneponur@cankaya.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE The old city center of Ankara, Ulus and its heritage value from the perspective of its lost and changed soundscape are considered within the scope of this study. Sound recordings with designed soundwalks on the pre-identified routes and semantic sound analysis are done in order to evaluate the present situation of the sound environment in Ulus. The semantic values hidden in the intricate content of soundscapes within an urban context and their cultural values are analysed through the case example. The importance of management of the historic sound environments of cultural heritage sites, their importance for the urban habitual life and the society are discussed and finally a preservation model for heritage soundscapes is introduced. Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org 21 War as cultural heritage and the inauthenticities of constant preservation Abijit DUTTA, Singapore, abhijit1507@gmail.com Sebastian Chih Yuan KU, Singapore, sebastian.ku@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Do we choose what is heritage? Or is heritage simply an edifice sculpted out of collective memory, its pieces glued together with residues of an experience, either benign or malignant, that caused an alteration in body, in land, in identity and values, and became encoded into a culture, perpetuating its effects in large, visible ways and also small, less perceptible ways. In this paper, we argue that war is a cultural heritage that is renewed, remembered, and restored through a “sentient memorialisation in damaged bodies and the continuously experienceable memorialization in the land (Elaine Scarry, Body in Pain)”, which produces and reinforces the signs of war, an enforcement of their abiding signification. Using the framework of existential semiotics, as developed by Prof. Eero Tarasti, we will seek to demonstrate that war finds expression in all the four modes of being that characterise a living tradition (body, spirit, identity, values & norms), an ongoing act of preservation made possible because war is its own reinforcement (ibid). Having described war as cultural heritage we further ask how this impossibility of forgetting, this autonomous act of restoration, leads in fact to a renovation, driven by the selective informatics of changing political imperatives that harvest these cultural heritage and seek to transform memory into political action. In other words, we examine the authenticities lost and found in a cultural heritage that continuously preserves itself and yet is always under constant semiotic pressures from what is current and immediate. The Ladino Database Project Results As Insight To The Current Situation Of Judeo-Spanish In Turkey Karen GERSON ŞARHON, Ottoman-Turkish Sephardic Culture Research Center, Turkey, karensarhon@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics In the years 2008-2010, the Sephardic Center of Istanbul conducted a documentation project on Judeo-Spanish called the “Ladino Database Project”. The aim of the project was to document as much of the spoken Judeo-Spanish as possible in order to create an archive of the spoken language for future reference. To do this, 69 native speakers of Judeo-Spanish from Istanbul and 11 native speakers from Izmir were interviewed with digital tape recorders. Our Center now has approximately 80 hours of spoken Judeo-Spanish recorded in digital form together with their mot-à-mot transcriptions. This impressive data corpus can serve as research material for researchers and investigators of Judeo-Spanish. An analysis of this corpus would shed light on the actual situation of Judeo-Spanish in Turkey. The interviewees belong to the last generation of native speakers of the language and an analysis of their recorded conversations would be ideal for linguistic research. I would like to present a preliminary linguistic analysis on the spoken Judeo-Spanish of Turkey showing if possible the differences between Istanbul and Izmir and among the speakers themselves. www.iscch2015.org 23 Deciphering of contemporary words: from modern to the past Rahilya GEYBULLAYEVA, Head of the Azerbaijani Literature Department, rahilya_g@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Any tradition and related words usually is representation of previous cultural strata, interpretation, accordingly a hub of memory and oblivion. Proposed paper will be on semiotics of contemporary words in Turkic kardesh and Azerbaiajani qardash. Reconstruction of biography of these words appeared during research on translation of ancient sacral idioms semiotics, exactly prechristian analoques of Святой Дух (Sacred Spirit) in Trinity. Submitted research based on translation of Hebrew roah-kodesh , which allowed to draw line from past to present and tie-up the link between symbol and language: theo/ [zeo]/god – code (English) –codex, codicem (log for writing, beam, book - Latin)kho(u)da (Persian) - güd-s (Arabic) – kut (Turkic)-good (English); khodashim and korbanot (transformation into kurban ola(yi)m) Iconic Cathegorisation in Art History as a Matter of Research 'Experiment Critical' Methods in Building Theory Tania Letizia GOBBETT, Italy, tanialetizia.gobbett@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org The idea of memory from the XV Flaming history of music deals with the overlapping continua, denigrated note to become a full experiment of spiritual listening in practice: what a truth action is. The conversion point of Moebius. From the text 'Human' of Cartesio published postmoustly, to the environment for a philosophical thought of Croce in some aesthetic crisis (Anceschi) the idea of 'tempo' has taken in advance question of field, plan, homological issues to establish a scientific cognition of facts, deeds, thoughts. The discovery that the drawing master of Cezanne thought his elementary method of analysis (Cavina), brought in light the opportunity of disguise on mannerism more freely in the research of a fourth syllogistic call for arts, than before to let be possible the learning from the early masterpiece the Euclidian illusions of the touching corners of a triangle in Lisippo, its closure in a cube of the self of a surrender pugilist as well as the circular overspreading motion of desperation of the Lacoonte. Therefore to reconstruct and develop some observation of the method of relief of the perspective of Poncelet, left overtly a possible explanation of the right of the fugue: the real setting. A purpose with a pragmatic issue, to seizure and code, which recalls Renaissance: the rediscovery of the Plato's cave, as a good since Piero della Francesca. In a few years, some cases showed their contradiction and misfortune: the 'difformity' of Rothko, of David, and the 'paganism' of classics as Michelangelo. The disappearance of Raffaello, Leone X and Leonardo and the visual rhetoric of Tiziano as anticipation, or late, post figurative issue? The state of art semiotics though shaped in the continuous of the Academy of Arts, may need to inform cases of a natural light of recognition of the postumes of the Second Wars, drag into revenge, solitude, the artists gathered in ruptures with the process for its ideological foundations seamed clear to all, from Pablo Picasso to Pierre Soulages, Emilio Vedova. 25 Difference of system and structural transformation in perceiving of cultural heritage as a sign: an example of Van Nelle Factory (Rotterdam, The Netherlands) and Sümerbank Bursa Mustafa GÜLEÇ, Faculty of Languages & History-Geography, Ankara University, Turkey, mustafagulec@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Approaches, which describe cognitive structure, suggest in general that signs are described within a system and they gain functions as static, isolated and independent symbols. Thus, they acquire a position and meaning. Cognition transforms in its turn the static symbolic structures concerned into discrete and sequential processing steps. Previously internalized and from actual perception acquired information turns into a symbolic input. Consequently, it becomes a symbolic output after an interpretation within the cognition. In this manner, the system produces continuous and sequential cycles (Van Gelder, 1998; 1999). The above mentioned symbolic representations or syntagma are in fact basic structures. However, their dynamical aspects are not seen in the theoretical approach, because they are usually described as static entity. Dynamical System Hypothesis, which is proposed in the analysis of cognitive structure, adopts symbolic representations and also underlines that they are dynamical entities (Van Gelder, 1999: 245). It adds symbols in a representational process and their dynamics in their system internal status or in their appearance paths constructed by attractors and repellers to the description. Elman (1995) argues in this context that language and cognition should be considered as dynamical system rather than computational symbol processors. Representations in the dynamical model, can be seen as transient and context-bound stability in the middle of a change (transformation), rather than static, context-free and permanent units. Meaning or interpretation can only be produced in such an order or system setting (Lévi-Strauss, 2013: 45). In this study, the perception of cultural heritage components will be analyzed in a comparative perspective between Van Nelle Tobacco, Tea & Coffee Factory (Rotterdam, The Netherlands), which is now under the UNESCO World Cultural Heritage Protection List and Sümerbank Factory (Bursa, Turkey) in line with the presuppositions of the theoretical approach (i.e. parallel to the Dynamical System Hypothesis). As a result of this analysis, the dynamical cognitive model indicates that signs can exhibit some stability in the dynamical configuration of a required context after their production within a system. The existence of the sign concerned and its analysis, which has been conducted timelessly with a weak epistemic aspect and without taking sufficiently periodic issues, social perception, emotion and context into account, may yield inevitably some universal i.e. context-free inferences in terms of assigning function and meaning to the dynamical process at micro and macro level. Latmos: Looking For The Prints of The Past Uğur GÜNDÜZ, Faculty of Communication, Istanbul University, Turkey, ugunduz@gmail.com Nilüfer PEMBECİOĞLU, Faculty of Communication, Istanbul University, Turkey, niluferpembecioglu@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Today, also known as "Çamiçi " Bafa Lake Region, has a particular structure specifically with the Lake Bafa in the foreground. Now as a Lake, Bafa is located in the territory of Aydın and Muğla province, situated on the southeast of Great Menderes River delta, which is 21 meters in the deepest part of a shallow lake. Old-time sea trading port of the Aegean Sea became the Bafa Lake today as a part of the Great Menderes, with alluvium carried by the shore for miles was inside. Shore of the lake still contains the ruins of the ancient city of Herakliea, monasteries and caves that hosts the historical traces. Today Bafa Lake has a national and international fame as a bird area due to many bird species living in the area. Both wetlands, which are important in terms of the need to Lake Bafa Nature Park, the Latmos Mountains and the extraordinary beauty of the ancient cities have. In 1994 Bafa gained the status of National Park due to the extraordinary fauna and habitat contained in the Lake Bafa Nature Parks and Menderes Delta. As the natural beauty of the region is a center of attraction here the ancient cities of the coastal strip, Herakleia and Latmos and all of the archaeological monuments of the past are included into the status of the first degree archaeological site. Depending on the information gained through history, the 'Latmos' Bay of Aegean Sea to the east of "Hereklia" Ionian peninsula was exporting the best olives, olive oil, cereals, oregano and mint to the 96 colonies of the Atlantic. By 300 BC Latmos Bay was either stuffed with the soil stemming from the Menderes River or a dreadful drought took place and Lake Bafa lost its contact with the sea. In the former periods Bafa Lake, not only met the needs of fish throughout the Aegean Region but also the whole fish and fish products exported to Italy and Greece was from this unique source. Middle East's largest caviar production was held here. 27 The value of this study could not be assessed only through the revieling of the natural beauty and ancient subjects of the area but also through the legends of the past. The concept and image of 'fish' throughout the old times, Bafa is a good example to yield how the people lived in those old times. Thus, 'fish' becomes a way to examine the relationship between the visual material and concept, between the individual life styles and culture. Bafa area, in the past, was providing important contributions to Ottoman cuisine with garth and caviar production plant to be important. Bafa Lake, having unique species of fish, fishing styles, and expectations in life also affected the lives of local people. Water and fish in unity with mankind include not only the stories told in the past but also represent the life, caves, rocks, drawn back through pictures since the ancient times. Bafa in the Aegean region of Anatolia opening to the sea has been home to different cultures in different periods of history. Encountered during the examination of the Aegean civilizations, myths, today, is not yet fully named or structured but covered with a mystery. The collection of data from the first part of the study of oral and written sources, archeology, history, art history, education, and communication in different branches of science, divided into joining the points of origin to the present day, and then the visualization of these data with the basic infrastructure work is planned for the front shots. Project also concentrates on the rock paintings in the region, its legends and reflections. After about 30 years study in the area, recently Anneliese Peschlow's findings of a Hittite relief in Herakliea (Milas, Mugla) is considered to be the finding of the century since it represents the Hittites reached up to such a South point in the West Anatolia. In the light of all this information, this study concentrates on the region's largest and best-preserved rock paintings of 8000 years old emphasizing the history of the area and culture of the structure at both national and international level. Social Semiology Readings Through Design Language Of The Cultural Heritage Object Halil Selçuk GÜRIŞIK, Nisantasi University, Turkey, cukcuk54@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Because of hand made felted textiles represent the regional representation of the Anatolian cultural evolution since tenth centuries; they considered as cultural heritage. Decoding the design language of the products within specific craft activity and their surface design embellishments narrate episodes of the oral history. These legendary readings can capture an episodic cultural retrospective relating to the socio-economic and cultural changes in society. Descending craft activity and products embrace many invisible qualities, which are depicting many solutions according to contemporary issues; such as eco-friendly product-actions, green production processes and slow fashion. They are all trying to balance the over consumerism against the capitalist life style. Value-added design implementation upon this traditional hand craft activity and its products facilitated a revival movement resultant to verified social acceptance; not only through consumers, also had the specific group of craftspeople reevaluated their morale. They become much happier in their cultural locations within a better self confidence. This paper will share the design-mediatory interaction implemented up on a culture object and enable to create a contemporary appreciation of the products, not only domestically also internationally. This transformative approach towards reviving-model to a cultural inherited object can set up an example to apply on different activities, in future. www.iscch2015.org 29 Musical sign - A Nature-bound foundation of Cultural Heritages Sari HELKALA KOIVISTO, Faculty of Arts, University of Helsinki, Finland, sari.helkala-koivisto@helsinki.fi INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org The contexts in which we live are cultural positions. It means symbolic activities, wherein the main sign system is social and linguistic. Human's ability to symbolize while living in this integrated system is central. Cultural codes are usually viewed as superstructures based on natural language. The language is probably seen the most characteristic code system in society. Therefore people do not think in their everyday life the language would be a signifier for something more in regarding to means of expression and shared cultural communication. But the human beings have possibility to acquire experiential parts of human knowledge being as if outside language and expressing/manifesting themselves through the arts without verbal message. Music represents a cultural metalanguage. In addition of its artistic subjectivity the music moves through expressive emotional signs within linguistic Cultural Heritages. Music has a historical past, the presence of this day and a temporal unknown future. It has a basic grammar and expressive transcendental power of its own. But at the same time its accentuated existence is closely bound to cultural language. Musical signification constitutes an emotional chain which represents the understood dialogical continuum of interaction. Musical movements carry an expressive prosody which originates from deep biological inheritance of the human species. The mentioned musical prosody is hidden within the language after postnatal bodily movements and the first vocalizations in the development of infant's and his/her (m)other's dyadic mirroring. Every cultural (musical) character has its primary foundation in neurobiological existence. The musical developing prosody will be next signified by the shared cultural continuum of expressive speech. In this case the musical sign has a position to become an articulated linguistic gesture. Having transforming in-built existence between linguistic and musical signification the intertextuality of prosodic sign creates subtle slow changes in cultural understanding and renewing thinking. Multilingualism in a Semiotic Context: Sameness vs. Otherness Bujar HOXA, South East European University, Macedonia, b.hoxha@seeu.edu.mk INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org It is obvious that many countries throughout the globe function in a system that allows the usage of more than one language. The construction of such a multilingual social reality, especially in societies such as the one in which I live, is perceived in many different ways. These differences attempt the process of differentiating identity's oneness and sameness into various cultural subcategories, which already represent new realities (and/or otherness in terms of the conceptualization of identity). Due to newly created social realities, semiotics naturally discusses the differences and/or oppositions that can contribute to determined cultures' mutual exclusivity or inclusivity. In such a fashion, I shall try using a semiotic style which may enact a semiotics of action, grounded in the semiotics of passions; in this way, one may produce semantic taxonomies such as pride vs. humiliation, hegemony vs. subordination, etc., which are obtainable due to disjunctive and/or conjunctive semiotic relations (such as is, for instance, contextualization vs. de-contextualization). 31 Cultural Heritages as sign systems and Process Seema Khanwalkar, Ahmedabad, India, seema.khanwalkar@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org This paper addresses dimensions of cultural heritages that facilitate different experiences for the visitors to these sites. The varying visual and performative encounters between the visitor and the heritage sites have been receiving a lot of attention in recent times. The paper first provides insights into these encounters through global examples, but with a specific focus on India. Naturalizing the representations of landscapes of cultural heritage tourism can be seen around the world as staging authenticity is part of a consistent interpretation of cultures. So, people see 'primitive' or 'modern' cultures in accordance with the discourse of interpretations and heritage tourism helps provide the necessary texts. These texts are part of 'production' cultures and have created very high value discourses. Some cultures have invested in these productions with full gusto, while many others like India continue to disengage with the idea of cultural heritage as a representative value. In such contexts, how does one understand the relationship between the heritage sites and the visitor? Most cultural heritage sites are driven by intersubjective experiences that help create meanings and emotions. Heritage itself is a continuously emerging sign and its value is usually fixed in favour of specific assertions of culture. As has been so aptly stated, 'Heritage becomes signified; produced and constituted in cultural contexts; communicated in cultural mediations; consumed, further reified and 'held onto' as a sense of belonging'. So, how do people, come on to their own sense and meaning of 'Cultural Heritage'? Translation as Semiotics and Cultural Heritages Processes of Intra- and Intersemiotic Translation: Authenticity, Interpretation, and Imitation Pirjo KUKKONEN, University of Helsinki, Finland, pirjo.kukkonen@helsinki.fi Semiotics of Cultural Heritages: Authenticity to Informatics What is authentic, genuine, or real in translation (cf. Traduttore, traditore)? The modes of translation are many. How can we talk about authenticity in translation? Is translation mimesis, imitation of a source? A translated text has always a text as source, “an authentic” text, “an original”, a source which is read, interpreted and filtered through another sign system in becoming “the same other” text, a “new” text, a target text. The big translation strategy is change, from–to something else. Due to asymmetry of languages and cultures, and linguistically and culturally specific information, we do not translate just words, we translate cognitive values, we translate signs in sign systems in semiosis (using and producing signs in the act of signification), signs becoming significant entities, we use signs in producing signification. In interpreting a verbal sign, Roman Jakobson in his On Linguistic Aspects of Translation (1959), gives three modes of interpreting a verbal sign: “it may be translated into other signs of the same language, into another language, or into another, nonverbal system of symbols” (rewording, translation proper, and transmutation). www.iscch2015.org The sign is a cognitive entity, “a thought sign”, because, as Jakobson (1959: 429) writes referring to Peirce “the meaning of any linguistic sign is its translation into some further, alternative sign”, because “a sign is not a sign unless it translates itself into another sign in which it is more fully developed” (Peirce 5.594). Jakobson (1959: 433) states that “the cognitive level of language not only admits but directly requires recoding interpretation, that is, translation.” Hence, translation is everywhere, because linguistic units (code units) are different in different languages and cultures, and therefore, there is asymmetry, where full equivalence between code units does not exist. Jakobson (1959: 430) writes: “translation from one language into another substitutes messages in one language not for separate code units but for entire messages in some other language. Such a translation is a reported 33 INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE speech: the translator recodes and transmits a message received from another to source.” Thus, translation has “two equivalent messages in two different codes. Equivalence in difference is a problem of language and the pivotal concern of linguistics.” All is translation. Jakobson (ibid.) states: “No linguistic specimen may be interpreted by the science of language without a translation of its signs into other signs of the same system or into signs of another system. Any comparison of two languages implies an examination of their mutual translatability: […]”. In my paper, I will discuss the concept of authenticity in the modes of translation, a field with its interpretative character. The long history of translation (translating and translators), the history of oral and written texts, the semiotics of texts, culture and cultural heritages can be seen as a huge dynamic text, a huge semiosphere of languages and cultures (cf. Lotman 1990), which “is born of translation and in translation”, as Henri Meschonnic (1932–2009), a French poet, linguist, essayist and translator, has written. In this cultural heritage, the semiotics of authenticity and translation is a crucial point of view in how the collective memory of mankind has been transferred, remembered, renewed, and restored. References Authenticity and Imitation in Translation and Culture, SWPS University of Social Sciences and Humanities, Warsaw 7–9 May 2015, International Conference, http://www.swps.pl/english-version/news/conferences/12164-authenticity-and-imitation-in-translation-and-culture Jakobson, Roman [1959] 1987. On Linguistic Aspects of Translation. K. Pomorska & S. Rudy (eds.), Language in Literature. Cambridge, Massachusetts, London, England: The Belknap Press of Harvard University Press. 428–435. Lotman, Yuri M. 1990. Universe of Mind. A Semiotic Theory of Culture. Translated by Ann Shukman. Introduction by Umberto Eco. Bloomington and Indianapolis: Indiana University Press. Meschonnic, Henri 2011. Ethics and Politics of Translating. Translated and edited by Pier-Pascale Boulanger. Benjamins Translation Library 91. Amsterdam/Philadelphia: John Benjamins Publishing. Peirce, Charles Sanders 1931–1958. Collected Papers of Charles Sanders Peirce. Vols. 1–6 ed. by C. Hartshorne & P. Weiss; vols. 7–8 ed. by A. W. Burks, 1958. Cambridge, MA: Belknap Press of Harvard University Press. The Tradition, the Work of Art and New Identifications as Discoveries. The Changed “Original Meaning” of the Work: How to Revive and Place the new Historical Meaning of a Changed Sign system? Altti KUUSAMO, Art History, University of Turku, Finland, altkuu@utu.fi 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE In this paper I will ask: Are newly found signs of some old masterworks of art still in “history there” or are they only discoveries of our own time? Do they change the intentions of those who didn't know the identification - in that way changing the reception of the work “afterwards”? Question is of the after-meaning of a work. Semiotics of Cultural Heritages: Authenticity to Informatics Every age has its own average level of knowledge: preconceptions and prejudices, which we call the world-picture of some certain age. Wilhelm Dilthey has said: “We do not construct word pictures by thinking”. Therefore specific philosophical doctrines are always different from common prejudices of a certain age. How about then when we have encountered an important meaning or a doctrinal comment which our time has found to be an important part of an old painting? Where then is its meaning, in “history” or in our own age of interpretation? And especially when this information was not known among contemporary intellectual/artists/letterati of the time? INTERNATIONAL SEMIOTICS CONFERENCE My intention is to problematize the historical place of some important facts which art historians have found during the last century regarding a ”new” factual meaning of some prominent figures in some prominent art works changing the part of an old interpretation. I'll present three cases of new identifications, one dealing with the newly found portrait of Michelangelo in Raphel's fresco Philosophy or the School of Athens; two others are cases illustrating Michelangelo's Last Judgment: The meaning of the skin of Saint Bartholomew and the so called “line of fate” found by Leo Steinberg (in the some fresco). All these discoveries have been made in 20th century changing the “original” or old meaning of these works. www.iscch2015.org 35 Did Abstraction in Terms Of Geometric Patterns in Islamic Art And Architecture Cause Problem in Providing Sustainability Of Cultural Heritage Fahriye Oya KUYUMCU, Cankaya University, Turkey, oyakuyumcu69@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org The language of abstract elements used in art and architecture grown together with the growth of humanity. This language is not only a product of 20th Century but also comes to forefront as a product of our cultural heritage throughout thirty thousand years that constitute our cultural treasury. The language of these elements that can be classified under seven groups as line, shape-form-mass, pattern, scaleproportion-space, analysis-dissection, lightness-darkness and color also constituted the language of visual display discipline. In our study we will ask the question 'Can the language of abstraction that is used in art and architecture cause to forget the through eliminating the meanings assigned to visual images by time and therefore cause the failure to transmit the cultural heritage to future generations?' and in our presentation we will try to reveal if Geometrical Ornament in Islamic Art transmitted as a cultural heritage or not as a result of our analysis. An Attempt For Creating Value For Cultural Heritage: Neighbourhood Culture Melahat KÜÇÜKARSLAN EMİROĞLU, Bahcesehir University, Turkey, melahat.kucukarslanemiroglu@arc.bahcesehir.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Neighborhood (mahalle), which is enhanced in worldwide author Orhan Pamuk‟s novels particularly between the lines of descriptions belonging to İstanbul, and constituted an indispensable „place‟ of the public practices of everyday life in Turkey for decades, recently is being encountered as an advertisement slogan of the elevating “gated communities”* such as a myth declaring „the revival of 'neighbourhood culture (mahalle kültürü)'. The reason of denominating it as a culture to be in demand of, mourning and nostalgia after disappeared practically, is because neighborhood place was embedding such intimacy, which can describe a privatized interiority in public via authentic relationships between members interacting in it. This intimacy embraces default innocence, constituted by the chats, conversations, interactions, negotiations, acquaintances, familiarities, collectivities, shopping, cooperation, even sharing gossips, and consulting happening especially in the most public spaces of neighborhood; artisan shops. From an anthropological look, Marc Augé (1995) defines the place by its characteristics of “being relational, being historical and concerned with identity” and „belonging to indigenous people‟. The discussions of last decays cover arguments that conditions of various reflections of modernity produced „placelessness‟ as the result of uniformity, universality, homogenization, and inauthenticity; consequently caused loss of the authentic relationship of human with a meaningful environment and intention to find places meaningfully. This condition was called by NorbergSchulz as the collapse of the “split between thought and feeling”. In reality, people find theirselves in giving value to this authentic relationship when they face to lose them via destruction of third parties for purposes of urban transformation. At that moment, they interiorialize the feeling that it is a routine, a ritualistic social practice, a kind of tradition, and also a convention which had been a special place on their thoughts -a collective memory, meaning that it had an appropriated culture of its own; implicitly that it was a „place‟ in Augé‟s sense. For quite long time in Turkey, especially in Istanbul, many examples of public expressions of these feelings of citizens have been and still 37 being testifying. During a public challenge in a social outbreak*, while many people from diverse backgrounds and hometowns occupied a place together in cooperation showed that individually shared practices in Turkey manifest collective memory of a so-called neighbourhood culture, whose components, practices, values, conventions were present there instinctively and transmitted spontaneously. This so-called „neighbourhood culture' can be regarded as a value to create cultural heritage. The ways in which to create this value is a central question for this study. Collecting as a profession can be a component of this quest. In this context, „Museum of Innocence‟ constitutes an initial case/proposal for a space for collection of innocence inherits authenticity: that can be described as an attempt to create a value for cultural heritage. There can be a place for assembling constituting elements of „neighbourhood culture‟ benefiting from this idea of collecting. Today, since everything can be found in virtual space of Internet, the collectors of authentic things/places may find theirselves in a reluctant attitude, but there they can find images of authentic things/places, which are free of innocence. In this content, this study endeavors to introduce a new term for relating authenticity, culture with creating heritage: innocence. In this respect, shopping activity was a socializing routine in neighbourhoods of the past (particularly in Istanbul) involving friendly conversations between consumer and shop owners. Therefore, the most important one of the inevitable components that constitutes the solidarity of neighborhood are artisans. The innocence of situation between artisans and shopping activity, from neighborhoods to shopping centers, and further to Internet shopping has transformed in various layers. The question here may be “how this situation is transformed with Internet?” ? The case Museum of Innocence is forwarded by Orhan Pamuk in three different formats; as a book, as a museum, and as a web site. Moreover, consequent discussions of the study may be forwarded as “Does digital world create its own culture in order to articulate cultural heritage? In other words, are we confronting to an era in where cultural heritage transformed itself from craftsmanship to informative tools? Consequently, what are the levels of meaning in understanding the transformation of cultural heritage from authenticity to informatics? Regarding the behavioral patterns in shopping activity, the transformation in meanings of the elements of this social practice is analyzed with context, channel, contact, and medium. The mentioned characteristics and many others are taken as sign vehicles in order to analyze the expression „neighbourhood culture'. This so-called „neighbourhood culture‟ appears as having a potential for already inheriting its own subcultural codes constructed within experience of unconscious nostalgic denominations at present(s) via communication with spontaneous mutual codes of collective memory. Anatolian Ceramics: A Case Study Of Number Symbolism In A Socio-Religious Context Altan A. MARÇELLİ, Isik University, Turkey, a.marcelli50@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE During the second half of the XIXth Century and the first quarter of the XXth Century a group of mostly embossed and nonconventional figures were displayed on ceramics produced in Kütahya and Merzifon, in consequence of the the impact of the socio-political turbulances of the period on the Christian ceramists. In an effort to analyse these differently coded figures, we will make use of the number symbolism of the Christian liturgy. Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org 39 Cultural Heritage. Existential semiotics, Philosophical Anthropology and Anthropo-semiotics Roberto MASTROIANNI, Turin University, Italy, roberto.mastroianni@alteracultura.org INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics The topic of my proposal is the anthropological imaginary, the cultural heritage and globalization in an ontoanthropological and existential perspective. I try to integrate, in Philosophical anthropology, the Sloterdijck's philosophy, the existential semiotic and post-structruralist theory. In this perspective the anthropological imaginary is a “collection of Images of the Humanity” who the single culture produce and reproduce, images useful to define what is human or not human for a single culture and which are the models of the just life to pursue inside society and community. The anthropological imaginary supplies therefore those images of the man who the antropo-genesis and the antropo-poiesis, like physical and symbolic processes, use for disciplining the human society. This semio-philosophical model explains to the genetic process and the morphologic cultural configuration of the human and it represents the connection between ontogenetic and philogenetic adapting of the men to “cultural models of humanity”. The biological type of human nature does not exist, but there is only a integrative nature of cultural-symbolic of existential semiotic type with biological invariant (Arnold Gehlen, Hannah Arendt, Clifford Geertz…). The men meet humanity in that “public square of the market”, where (ex. C. Geertz, “Interpretations of culture”) the common language and the culture give form to the humanity, according to a semiotic idea of culture. This is the “Dasein's world”. www.iscch2015.org “In Dasein's world of daily experiences, situations in which the subject has to search for the code that corresponds to his own actions might be considered signs. If the situation in which he is involved is ethical in nature, an ethical code must be employed, as opposed to an aesthetic code; if the situation is historical in nature, a historical code must be applied; if it is existential, an existential code. How can the subject find the appropriate code?” In my anthropological perspective, the communication is anticipated like a form of action, a practical aestetic one , than do space the anthropic space and at the same time “it culturally informs” the human imposing of the models of humanities inherited from the tradition and successively transformed historically. The “sloterdijckian philosophy” explains the onto-anthropological value of a “discorsive space” well that puts in form “the human” and the “world” in an incessant symbolic linguistic activity . At the same time some results of cultural the anthropological research and the gehlenian and arendtian thought can supply elements useful to delineate the “artificial” and “communicative” nature of the human existence. What it interests to us here and the communicative nature of the semiotization of the space and the body in the processes of Anthropogenesi/Anthropopoiesi For the contemporary Post- humanistic philosophy there isn't an idea of specific humanity as there was in the Humanistic philosophy : ex. the essence of the man was the rationality (ex. Aristotle and aristotelism) the essence of the man was the spirit (ex. Different form of theological tradition), indeed it can be asserted that its essence coincides with the ability to the cultural forms to put in form the human. I'd like show in my proposal a semio-philosophical model the connection between the globalization, tradition and human images for the construction of the Humanity, in relation of the body of single individuals, in relation of the collective identity and social and political practices. My theoretical proposal is a point of view on the dasein's world and the roles, conflicts and relation and formation of the images of humanity in the “last spheare” (Sloterdijck) for the construction of the existential global imaginary 41 Hypocrisy and lie as symbolism of two merging concepts of reality and appearance: the paradox syndrome of a psychosemiosis Joseph MBONGUE, University of Yaoundé, Cameroon, joembongue@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org The world is full of signs which are natural, surnatural or produced by individuals and animals as Barthes (1964:pp. 91-135) says: “we live in a world, which has no 'pure', no 'innocent' contexts to offer us: a world of signs about, rather than experience of” that are interpreted in the Peircean view as index, icon, and symbols. We, homo sapiens, are called to address some of the problems relating to symbolic representation then the meaning given to signs is as such because signs stand for something else “aliquid statt aliquod”. Reality and appearance seem to be two key concepts in the actual semiotic discussion illustrating the underlying structure and the deep structure according to Chomsky. They refer to two facts that can be seen as a dualistic way of Saussure as signifiant and signifié or a perception of binary with everything is double e.g. truth and fake, life and death, day and night etc. Each sign has a form and a meaning. The aim of this study is to explore two domains of the social semiotic namely hypocrisy and lie where reality and appearance seem to merge even though they illustrate different perspectives in our more and more complex world. Street's Play as a Vanishing Cultural Heritage Zograscope which called in Iran Shahr e Farang ﻓرﻧﮓ ﺷﻬر Morsaleh Ranjbar MOGHADDAM, Cankaya University, Turkey, morsalehranjbarmoghaddam1982@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Human living space and especially built environment in its constant changes and alterations and cause activities, social interactions, and culture unlike by means of technological development its sprits embrace the death of some rituals and social interactions too. Therefore cultures of children's play also were in constant changes by alterations and constant changes of space and places and their vicissitudes. Although it is hard to emphasize all these play activities just only related to children's culture of play, it seems some of them were more public and were offered spontaneous integration in play activities and interactions with society members in a corner streets and immediate environment in city wide. Street's play is an activity which is appeared after industrial revolution and rooted in divarication of human activities in precise segregated spaces; in other words, ramification of spaces resulted in the ramifications of activities. For instance, in an era that barriers of home as living spaces, public spaces, labor or work spaces, and play areas for children were not clear and precise children's play practices navigated all spaces freely but later constantly this segregations become more and more precise and deep in its separation from one another after industrial era till now; therefore, some cultures in children's play appeared in price of vanishing some another and also some of them by development of technology constantly were vanishing from children's everyday life. In this paper tried to focus on notion of space which per se can conduct a culture and by its ramification change the behavior and public attitude toward a certain activities; therefore, space can be influential factors in vanishing of a certain culture in city wide. This point clarified by giving a certain example of play device ( ( ) ﻓرﻧﮓ ﺷﻬرShahre Farang) Zograscope, which is brought by Mozaffar ad-Din Shah Qajar; (Persian: Mozafar Ŝāhe Qājār, Muẓaffari'd-Dīn Shāh Qājār; 23 March 1853 - 3 January 1907), from Europe to Iran, but the Persian terminology which were used for Zograscope, is totally integrated with the Persian title and name of city (( ﺷﻬرšahr)) which is illustrates the strong bond between device and space and public use which was a spontaneous play or story telling about far far away Europe because when this device came to Iran it became integrated with the form of narration about some images related to western words for public in alleys and streets who started to believe and understand other different culture within imagination of owner of this device about Europe. 43 Monument of Christopher Columbus at Buenos Aires City: memory, space and semiotics Maria NOEL DO, University of Bologna, Italy, mnoeldo@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Last year, President of Argentina Cristina Kirchner announced, on October 12 (the date of the Day of Respect for Cultural Diversity in America Latina), that it would be replace and re-located the monument of Christopher Columbus from the square that's near the Government house “Casa Rosada” to another square in the airport “Aeroparque”. The big statue of Carrara marble, made by the Italian sculptor Arnoldo Zocchi in 1921, represents the arrival of European Culture in America Latina, personified in the figure of Columbus. And since last year the statue it's torn down, laying down on the floor. Semiotics of Cultural Heritages: Authenticity to Informatics Discussions about this soon started: the statue may be damaged during the transportation, Italian associations complained about this; in the other hand, some Latin American citizens agree, because of the idea that colonizers like Columbus killed entire communities of natives and "Indians" and many native's cultures where extinct. The dismantled statue has a lot of political interpretations, but it's the socio-semiotic method that will help us to understand this fact, and a detailed description and comprehension of this it's going to be done. Memory and urban spaces are important concepts in this argument: J. M. Lotman notions of Culture and Memory and the last studies of Patrizia Violi about trauma, spaces and semiotics. www.iscch2015.org The Language Of Abstract As A Lost Cultural Heritage Zeynep ONUR, Faculty of Architecture, Cankaya University, Turkey, zeynepcom@gmail.com Ayşe Ece ONUR, Faculty of Architecture, Cankaya University, Turkey, ayseeceonur@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics The language of art in western culture in the 20th century, “Abstraction”,was a language adopted by Turkish culture since the very begginning, and produced genuine work (signs) both during pre-Islamic period and after accepting Islam with the influence of sufism (islamic philosophy). In fact, the western culture never used “Abstraction” in the language of art since the 20th century. During the last period of Ottoman Empire,, with the acceptance of west as the dominant culture, western understanding was begun to influence Turkish culture and adopted in every area of life as well as art. After the proclamation of the Turkish Republic, this adoption has continued to accelerate. The tradition of “description” that has been embraced by the West for years, also become more masterful in Turkey. As a result, in the 19th and 20th century while the West was heading towards abstraction, which was not conventional in thier history late Ottoman and later Turkey started to head towards description which was not conventional in Turkish history. Exposing a question; If Turkey could achieve to protect its tradition that is beleived to go beyond possessed stylisation and be percieved as abstraction, would it be possible to reach to abstract language of modern era in a different way than the western way leaded by capitalism? The aim of this paper is to trigger the argument related to the place (value) of abstract language today, if Turkish communities could preserve their own traiditonal way progressing towards abstract. www.iscch2015.org What was the tradition that places itself as the base of abstract? 45 The Evocative Visual Ian PADGETT, Research Tutor, University of the Arts London, Fashion Coordinator, Istanbul Bilgi University, Turkey, ianpadgett46@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Evocation is a key factor in semiotic analysis and or the interpretation of the visual image as re-presenting either “Nostalgic”, “Retro” or “Vintage” Clothing or Fashion and its, descriptive account. The “sign” together with its “signifier” although culturally specific, may often within the context of post modernity, have commonality in the categories of levels of significance necessary for the transmission process or intended communication. This brief none expert paper (I am not a sociologist) seeks, by reference to the creative practice thesis of Prof Dr Jofre de Silva 1999 and Ass Prof Dr Anothai Cholochatpinyo 2004, to present and discuss their models as they might reflect upon the conference topic. Their models it is suggested might have application as analytical or deconstruction tool but may also be considered a conceptual, creative and or construction framework for creative practices Athens Olympic Games Opening Ceremony, 2004. The Semiotics of the Ancient Greek Spirit Lazaros PAPOUTZIS, Aristotle University of Thessaloniki, Greece, sfinas3@gmail.com Anastasia CHRISTODOULOU, Aristotle University of Thessaloniki, Greece Ifigeneia VAMVAKIDOU, University of Western Macedonia, Greece Andromachi SOLAKI, University of Western Macedonia, Greece INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Although born in Ancient Olympia, the modern-day Olympic Games have very little in common with those of antiquity in terms of their organization, sporting events and ceremonial aspects. Organizers of today's Olympics therefore strive to marry the spirit and symbolism of the ancient Games with the present institution. We note that, to achieve this, they incorporate a variety of ancient cultural elements in their opening ceremonies, nevertheless placing emphasis on the culture of the country hosting the Games. When the Olympic Games were held in Athens in 2004, the 211-minute opening ceremony aimed to provide an optimal portrayal of the ancient Greek spirit, which influenced Western civilisation's way of thought through a number of values (such as democracy, equality and peace), and the endurance of elements of Greek culture throughout the centuries. Ancient Greece was only one of the opening ceremony's themes; other themes related to the country's history, geography and mores were also presented. This paper focuses on the semantic meanings of the ancient Greek spirit's messages and symbolisms, in the way they were conveyed by director Dimitris Papaioannou in the Opening Ceremony of the Athens Olympics. Watching the multimodal ceremony, we notice the traditional historical model incorporated by the official 'senders' of this public message. That means that the whole of Greek history is represented in a linear fashion, focusing on historical heroes, famous persons, athletic events and rituals. Thus, it seems that the continuity and trisemic schema of historical analysis was chosen over the modern and postmodern historical schema that historians are nowadays using. Our main goal was to find (a) the dominant visual images of ancient Greece, (b) the codes of these images, (c) their symbolic meaning, and (d) their connotations and correlations with modern-day Greece. www.iscch2015.org Our research is based on sociosemiotic methodology, which scrutinizes the texts as an integral part of a material and sociopolitical context. We focus on the Olympics as a vehicle for promoting values as well athletic identities and social practices. The analysis led to a series of important discoveries referring to the structuring of visual data as well as to how these data on Ancient Greece are related to and represent the Greek and global cultural heritage. 47 The Doorknobs Of The Past Nilüfer PEMBECİOĞLU, Faculty of Communication, Istanbul University, Turkey, niluferpembecioglu@gmail.com Aydan BİRDEVRİM, Vocational School of Technical Sciences, Turkey, aydan_birdevrim@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Cultural heritage is the legacy of physical artifacts and intangible attributes of a group or society that are inherited from past generations, maintained in the present and bestowed for the benefit of future generations. Cultural heritage includes tangible culture such as buildings, monuments, landscapes, books, works of art, and artifacts. Cultural heritage also includes intangible culture such as folklore, traditions, language, and knowledge, and natural heritage including culturally significant landscapes. Cultural Heritage is very important when it comes to the vanishing habits and objects. Throughout the time, the cultural values attributed to the cultural heritage change a lot; usually modernism overlaps the traditions and the past. Sincere, warm-blooded Anatolian people full of love, tolerance and nature paying attention to communication and neighborhood, produced sympathetic, symbolic doors. The concept of door is important not in its literal meaning but in a tasty symbolic way. In its direct sense the door is an architectural element symbolizing the entrance for the man-made shelters. However, the natural environment, for example, a cave or in a valley and is likely to be the gate. Presence or absence of the door could the related to the positioning the concepts of 'I' and 'other' because the door is how the door is structured partly is related with the expected others to knock the door. That's why the symbolic views of a door or the meanings attributed to the door, how strong or weak, thin or thick the door is also somewhat related and compatible with utmost identity and positioning. www.iscch2015.org Today it is the age the boundaries of the space, nations and the rules are discussed. Thus the meanings attributed to the doors are not only limited with entrance, security or privacy but enlarged as to include some other concepts such as prestige, education, social position, etc. Door knockers might have different symbolic meanings in ancient times, but today the beautiful doorknobs of the past are about to vanish with its unique system of values attributed to them. Produced in different materials based on the architecture where they are used or in the given geography, the ancient doorknobs do not only have the limited function yet a kind of power, in their various forms and styles. Regarding the architecture of the building, there might be many doors of different uses within the building leading to rooms, halls or other areas, yet, only the outer door yields attributions to the ownership since only the main door of the building represents the visible face of the house, owner or the institution. Folk culture virtues of a home owner's personality or reputation of households in the region are integrated with the gate of the house. And the doorknob is the key to that. The doors are not only for getting into the building but also for getting out of it. But, the welcomed ones could go easily whereas the others need to be shown the way to the door. The cultural corridors would also guide us how to make use of the paths, etc. This study, “The Doorknobs Of The Past” aims to search for the different forms of doorknobs to establish a semiotic analysis of how they were used in the past. This paper attempts to list and to visualize the cultural heritage of the centuries to analyze the form a lyrical rendition of these door knockers found in different parts and regions of Anatolia which has been the cradle of different cultures from past to present. This study, aiming to contribute the field of Turkish Cultural History including many mystic, symbolic meanings in the field of doorknobs in the context of national and international promotion of the culture. This is study on how the accessories such as the doorknobs, handles, locks of the doors are positioned and their forms are somewhat related to the meaning of the door, if it is an aesthetic image or is it a real gate to the secrecy, intimacy and individuality. The door is for the visitors not for the residences. Regarding the basics of communication, it is one of the essential points when the door is knocked and opened thus the knocker could pass the border of communication to get a path through the unveiled gates. 49 Old wine in useless bottles Nidal SEİDE, University of Copenhagen, Denmark, nidalseide@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Culture Heritage is an important issue to deal with today in the global community. Culture Heritage often comes up for debate in the countries where some cultural institutions are funded by the state. Should we preserve the culture? Which part of the culture is worth preserving? Why and how should we preserve culture in the digital and global age? All relevant questions that I only will touch upon peripherally. My questions are more directed upon the essentials of the individual's cultural heritage when the individual is forced to live in a foreign culture. It is about identity and integrity. It is about being able to interpret and communicate the different and strange signs, so they can be understood correctly. Inspired by the polymath Charles S. Peirce (1839-1914) signification requires collateral experience, which may be more or less absent in the foreigner and which takes time to learn. The concept of collateral experience is in play both in the individual and in the culture and it must be present in the interpreter in order to interpret the values and norms of the culture. Today many people flee from war, destruction and repression to the West. These individuals are often misunderstood and misinterpreted by the societies they come to. With a focus on the Arab countries' tradition in the teaching of social sciences, I will illustrate how this part of the world (the Middle East) produces a different collateral experience of the individual, which is consistently misunderstood in the West, and why the West's own understanding of cultural heritage and identity does not fit in with the Arabic-speaking countries. www.iscch2015.org The digitalization makes it possible to reduce this cultural gap between east and west, and the article will argue for possible solution. Symphonic Narrative: Space and Synthesis in Magnus Lindberg's AURA (1994) Takemi SOSA, Faculty of Arts, University of Helsinki, Finland, takemi.sosa@helsinki.fi INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Finnish composer Magnus Lindberg (1958-) has ascended to the international modern music scene in the 1980s and established himself as the one of the leading figures in the contemporary music scene. His music is unique in his his well-known quick-gestural and energeticgoing style and richly detailed orchestration, thus openings up the an interesting starting point for the a semiotical approach. Lindberg's works are based on a strict structural method by through which musical materials and form are constructed. A Highly complex harmonic structure which is broughtcreated by a computer program is visible especially in his 1980's works. In the 1990s his musical texture has become clearer., His music, however, is difficult to study only by through traditional musical analytical methods and theories. A narrative approach provides interesting points of view for an analysis of complex contemporary music such as Lindberg's orchestral work. Since the 1980s, the theory of signification in music engendered a necessity to establish links with narration. Witold Lutosławski (1994) considers the idea of form: “form must be properly shaped into a process with a perceptible akcja (i.e., action). By 'action' I understand a purely musical 'plot' - not what is described as programme music. A purely musical plot. That is to say, a chain of interrelated musical events. For the listener to follow the thread. From beginning to end.” According to Eero Tarasti (1994) the arch of tension between beginning and end of tonal music relates to narrative movement, but musical tension is yielded by another way due to the lack of pitch hierarchy in modern music. Hence the way of producing musical events, what Lutosławski calls the musical plot, becomes significant. Almén (2008) states that “we identify the marked narrative elements when we have identified the transgressive elements. Likewise, determining the value of a musical event in relation to the other events or to an external standard is established by the work's strategic design.” My objective is threefold: first, what can we perceive in purely sonorous configurations as a musical event; second, how is the sequence constructed; and third, how can we reconstruct a chain through various sequential musical events. Based on this viewpoint I will analyse the narrative of Lindberg's orchestral work "Aura", focusing on his strategic design called “dramaturgical cohesion” in narrative. In musical narrativity, this dramaturgy of composition plays a key role in creating the temporal unity of works (Tarasti 1994). As Lindberg (1995) himself has pointed out, Aura - a large-scale orchestral piece taking over 40 minutes to perform - “is in some ways a synthesis of all different approaches (of 1980s and 1990s) to orchestral writing”. However, he emphasizes it is not a symphony, although it has four movements, played without a break. Aura has several connections with symphonic characters, particularly Jean Sibelius's symphonies. Eero Tarasti (2002 and 2012) points out the idea of organic narrativity and narrative space in discussing Sibelius's outputs. Taking into account Tarasti's ideas, I will explore the strategic approach of the composer, because “organicity therefore depends on the enunciator's (composer's) consciousness” (Tarasti 2002: 110). In other words, it is based on a perspective of cultural heritage as sign system and processes. 51 The Inception Of Technological Development Through Art Bianca SUAREZ, Universidad Manuela Beltrán, Argentina, blancasuarezpuerta@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org The artists in Latin America that aims a profound transformation in society, in their art studies and ateliers design the kind of effect that will have their ideas within the human future. Meanwhile, the path towards democratization, the role of education, and communication of knowledge seek to achieve greater rationality and morality within the group of people who share the same society and cultural codes; despite the strong polysemy of technological art, considering the magnitude of historical references, textual constitution and its different forms and substances, despite its large semantic ambiguity, its references to find constant characteristics pronpenden to make their political ideas as scientific strong enough to reach the ideological sphere. Its tracks or brands combined with different contexts, periods and semantic nuances, make a hierarchically structured and complex language with own significance, giving access with their intertextual relations allowing to transcode other decolonial texts. Courtyard Style Architecture as a Cultural Heritage for Communal Life Merve TAŞTAN, Cankaya University, Turkey, mervezelaltastan@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Southeast part of Turkey people used to live in courtyard houses which were a great opportunity to live communal life. In this sense the cities having courtyard style architecture provide the opportunity for these kind of families to live altogether. Additionally this style architecture also has given the chance to combat with the weather conditions of the southeast. Traditional Diyarbakır houses reflect the social and cultural characteristics of the past in their structure. These houses; examples of the adaptation strategies of human beings to the environment, are fundamental since they set some traces from the old cave residantials. Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org In this respect this paper would discuss the impact of courtyard style architecture on the communal life and as a cultural heritage. 53 Hidden “Spectral Signs” on the Valens Aqueduct columns by means of Semiotics and Molecular Physics in Cultural Heritage Ozan ÜNSALAN, Faculty of Science, Istanbul University, Turkey, unsalan@istanbul.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org This study involves the “reading the meaning of Raman spectral signals” (characteristics) of the pollutants occured by either natural causes or exhaust gases on the columns of Valens Aqueduct (4th Century by Roman Emperor Valens) and tries to construct a connection between “Semiotics and Molecular Physics” for the first time. During the talk “very brief and simple explanation of Spectroscopy and its importance in Cultural Heritage studies” will be also given. On the notion of the linguistic self within the framework of existential semiotics Elżbieta Magdalena WASIK, Adam Mickiewicz University in Poznan, Poland, wasik@wa.amu.edu.pl INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics The following paper develops the notion of the self borrowed from philosophical and psychological writings for the purposes of language- and culture-related studies in terms of linguistic properties of human individuals as members of observable interpersonal and assumable intersubjective collectivities. It exposes the distinction between (1) the physical person, i.e., the “Me” as an externally observable object of experience who sends and receives messages through sign practices and (2) the mental subject, i.e., the “I” as an internally conceivable experiencing self who formulates and interprets its thoughts in sign patterns depending on ever changing social and cultural conditionings. Studying the human selves in their roles of actual and transcendental subjects, the conception elaborated here will subscribe to the tenets of existential semiotics, which postulates to consider signs of all kind as initially arising in human minds before being sent and received by communication participants. It contends that human signs must be approached, with regard the objective plane of expression and the subjective plane of reference, according to at least four forms of being of their creators, which correspond to their psychic states in their intellectual and emotional development, such as the individual corporeal ego, the individual observer's mental ego, the conceptually potential social ego and the actually role-oriented social ego. In other words, it endorses the idea that human selves act as semiotic subjects if they are willing to express their emotions, knowledge, beliefs, attitudes, needs and values in their communication about the reality of their everyday life. Anyhow, putting forward the notion of the linguistic self, this paper will expose the communicational position of the human self as a heir and transmitter of culture. Thus, it supports an idealistic-phenomenological view of culture www.iscch2015.org 55 claiming that it exists in the knowledge of people in a directly unobservable ideational order distinguished from the phenomenal order of perceivable events along with their concluded regulations, which is reflected in the language of a particular individual through the interindividual communication. Accordingly, culture is seen as a socially autonomized system of values which manifests itself in the heteronomous products and behavior of individual members of an ecologically determined society. Hence, respective realizations of culture appear to be visible in civilizational artifacts and activities of human selves, which constitute thus a testimony of axiological choices made by individual participants of culture, as, for example, theatre, music, literature and folklore, architecture, sculpture and landscape or customs and social habits, moral conduct governed by the rules of commandments and ethics, language and other systems of mutual understanding. It is due to tradition and education in which communicating individuals engage that cultural signs are transmitted from generation to generation. Not incidentally, cultural heritage is that what the human individual as a semiotic subject comes across at some point of time. And finally, transmitted are signs of values, mostly linguistic signs. All in all, a concluding statement will be formulated that only human individuals as language speakers may be aware of the use of signs and of values to which they adhere. This paper aims at complementing the conception of existential semiotics launched by Eero Tarasti. A solipsistic paradigm in the semiotics of nature and culture - its roots and prospects Zdzislaw WASIK, Philological School of Higher Education in Wroclaw, Poland, zdzis.wasik@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics With the focus on the communicational activity of non-human and human selves as an investigative object of new semiotic studies, the perspective of solipsistic anthropocentrism which bridges the sciences of nature with the sciences of culture, will be counterpoised to the collective semiocentrism governing the conceptual and methodological tenets of traditional semiotic studies. It is obvious that the roots of this self-oriented conception of the investigative domain of semiotics are to be searched in the philosophy of living organisms along with their subjective universes, namely, a biological conception of Umwelt and a phenomenological conception of Lebenswelt. No wonder that instead of dealing with sign- and referent-related properties of communicational products, practitioners of new semiotic studies are interested rather in the properties of signifying and communicating agents on account of their sign- or meaning-processing activities. In relation to human selves, exposed will be also the views according to which the domain of semiotic objects encompasses the whole sphere of knowledge and the network of relationships between language and other means with which humans memorize, think, learn and make meaning. Hereto belongs also a monolingualist theory of language formulated against the background of an experientialist's view that the reality does not exist independently of cognition, and that only some parts of language localized inside of the human brain of are available to outside observers through speaking activities of human selves. This monolingualist attitude is grounded on a phenomenological stance that the reality of everyday life is indirectly cognized and constructed through communication, whereas language is regarded as partly accessible to cognition while being realized in spoken texts. Thus, it is the empirically observable texts produced by communicating agents www.iscch2015.org 57 which are specified in descriptive and cognitive semiotics as extensions of the rationally inferable language situated in the minds of speaking selves that allow the outside observers to uncover how the human mind works. However, this kind of subjectivism is flavored also with a solipsist belief assuming that the mental contents of the “semiotic self”, which are considered to exist really, constitute the only accessible object of empirical study. The paper will end with an understanding of the investigative object of neosemiotics, which exposes the perspective of solipsistic collectivism while merging existential phenomenology of the objective social self with transcendental phenomenology of the subjective personal self within the framework of the so called existential semiotics. The objects of interest will constitute here verbal exponents of the distinction between the existence of organismic forms of being “in itself” and “for itself” realized in particular languages discussed by respective philosophers. What is relevant for existential aspects of human individuals as members of society is the opposition between the two parts of “I” and “Me” in the individual “Self” and the “Other” as an observer's part of the social “Self”. Subsequently, the followers of existential semiotics will be made aware that ipseity and alterity manifest themselves in two existence modes of signifying and communicating agents, in corporeal/intercorporeal relationships as sensible features and subjective/intersubjective relationships as intelligible qualities. This paper aims at complementing the conception of existential semiotics laumched by Eero Tarasti. The Image of the Bull in Spanish Culture and the Importance of Bullfights in Spanish Society Ebru YENER GÖKŞENLİ, Spanish Language and Literature, Istanbul University, Turkey, ebruyener@yahoo.co.uk INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Spain, takes place in an important geographical region which has been the cradle of different civilizations throughout centuries and where various traditions are collated. Besides shawl, and flamenco, one of the most important cultural heritages of this passionate Mediterranean country is beyond any doubt man's struggle against bull, which is a deadly animal. The education of the gladiator to beat the lion and tiger has been source of inspiration for Spanish bullfight. With its image on the map, the Spanish lands seem like bull's skin and they are also mentioned by the name of this animal's hard skin. The Spanish people worship bulls that take place in mythology with the characteristics like aggressiveness, power and fearlessness, and also worship the matadors that fight a dual with bulls. As a result of this intense interest of the society shown to this deadly struggle between man and bull, bullfight became an constantly organized activity in the Iberian Peninsula. Although it is not exactly known the first date of the duel between man and bull, it us certain that from the 16th Century this struggle has become traditional in Spain and today it is being assessed as the symbol of power and competence. This tradition is also one of the most important exams of bravery. Most of the spectators define bullfighting as an art. The special embroidered “bright” dress of the matador and each phase of the bullfight compose the sophistications of this art. Bullfighters have a privileged location in the community. Legendary bullfighters, such as Manolete and El Cordobes, are idols of especially poor Spanish young men. For these youngsters, who want to have a privileged location in the community, the matador is a cape wearing hero and a dazzling character. The bullfight, which also inspires most literature and cinema work, is a social phenomenon that can be investigated from social and psychological point of view. The famous Spanish poet, Federico García Lorca, has exemplified the matadors and mentioned that the muse “duende” is coming up at the time when the bullfighter come face to face with death. Even though this show has been forbidden in Catalonia due to animal rights in 2012, this rooted tradition, which has been continuing for centuries, is continuing in the whole Iberian Peninsula enthusiastically and will be transfered to the next generations. 59 Türkçe Bildiri Özetleri İstanbul Üniversitesi'nin Bilişim Mirasının Yaşatılması: Sanal Bilişim Müzesi Çalışmaları Tolga AKAGÜN, Turizm İşletmeciliği Bölümü, İstanbul Üniversitesi, Türkiye, akagun.tolga@gmail.com Sevinç GÜLSEÇEN, Enformatik Bölümü, İstanbul Üniversitesi, Türkiye, sevincg@yahoo.com İsmail ÖZMEN, BUYAMER, İstanbul Üniversitesi, Türkiye, iozmen@istanbul.edu.tr Oğuz ÇIKRIK, BUYAMER, İstanbul Üniversitesi, Türkiye, oguzcikrik@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Hızla gelişen teknoloji, toplumları, tarihsel ve kültürel miraslarını kaybetme tehlikesiyle karşı karşıya bırakmaktadır. Ancak, yine aynı teknoloji, toplumların, tarihsel ve kültürel değerlerini geçmişten geleceğe aktarabilmektedir. Böylece, geçmişte şekillenenler, günümüz çalışmaları ile geleceğin de bir parçası olacaktır. Tarihsel ve kültürel mirasların gelecek nesillere aktarılması ancak sanatsal, tarihsel ve kültürel kalıntıların, eserlerin ve objelerin aktarılmasıyla gerçekleşmektedir. Söz konusu kalıntılar, eserler ve objeler 'klasik' müzecilik anlayışı ile insanlardan uzakta koruma altında tutulmakta, erişim sınırı getirilmektedir. İleri teknoloji ile birlikte, tarihsel ve kültürel kalıntılar, eserler ve objeler sanal ortama aktarılmaktadır. İnsanlar, bu sayede yer ve zaman kavramı olmadan iki boyutlu, üç boyutlu ve metin içerikli incelemelerini gerçekleştirmektedir. Bu yaklaşım, her ne kadar klasik müzenin sanallaştırılmış şekli, yani sanal müze, olarak algılansa da, gerçekte ilgili müzenin 'çevrim içi' hizmet veren bir web sayfasıdır. Olması gereken ise, aynı ortamda bir araya getirilemeyecek objelerin, eserlerin ya da kalıntıların çevrim içi bir platformda, iki boyutlu, üç boyutlu ya da metin içeriklerinin kullanımına açılmasıdır. Geçmişten gelen bu miras günümüzde yapılacak çalışmalar ile gelecek nesillere daha kolay aktarılacaktır. İstanbul Üniversitesi, köklü tarihi geçmişi ile bünyesinde zengin bir mirası barındırmaktadır. Ancak, bu değerler bir ortamda sergilenememektedir. Bundan dolayı klasik müzelerin web sayfalarında kullandığı sanallaştırma tekniklerinin kullanılması mümkün değildir. Bu yüzden sanal müzecilik platformlarından yararlanılacaktır. www.iscch2015.org Sanal müzecilik ile ilgili platformları oluşturmak için güçlü sunucu, internet alt yapısı ve uzmana ihtiyaç duyulmaktadır. Evrensel boyutta, bu unsurların kurum disiplini içinde bir araya getirilmesi ve koordine edilmesi gerekmektedir. İstanbul Üniversitesi Sanal Bilişim Müzesi oluşturma çalışmalarında, öncelikle Bilgisayar Bilimleri Uygulama ve Araştırma Merkezi envanterine kayıtlı olan objeler dikkate alınacaktır. Bu şekilde, Sanal Bilişim Müzesinin çekirdeği oluşturulacaktır. İstanbul Üniversitesi'nin diğer birimlerinde bulunan objeler daha sonra bu çekirdeğe eklenecektir. Böylece İstanbul Üniversitesi Sanal Bilişim Müzesi son halini alacaktır. 63 Milas'ta Macar Mimarisi ve Macar Evleri Olcay AKDENİZ, Cumhuriyet Gazetesi Milas,Muğla Muhabiri, Türkiye, olcay_akdeniz@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Güney Batı Anadolu'nun denize açılan kapısı olan Passala, Bargylia, Halikarnassos ve İasos'a giden yolun son durağı olan Mylasa, Karia ülkesinin başkenti idi. Türklerin 14. yüzyılda bölgede kurdukları Menteşe Oğulları Beyliği'ne de başkentlik yapan Milas, bereketli toprakları, kendince yeterli su kaynakları, uygun iklimi ile yüzlerce yıldır insanların ilgi gösterdiği, göç alan bir ilçedir. 1950'li yılların ortalarına kadar Büyükmenderes Nehrinin geniş bataklıklar oluşturduğu Söke Ovası üzerinden İzmir'e uygun ve yeterli bir karayolu olmaması nedeniyle Milas, ticari ilişkilerini ya Aydın üzerinden İzmir bağlantısıyla veya deniz yoluyla İstanbul ve Ege Adalarıyla yoğunlaştırmıştır. Milas'taki ürün çeşitliliği ve bolluğu, bu ürünlerin ticareti ve ihracatıyla birlikte yöreye zengin bir kültür alışverişini de beraberinde getirmiştir. İlçenin yüzyıllardır aldığı göçler de yörenin kültürünün zenginleşmesine çok önemli katkılar sağlamıştır. Milas'ta "Macar Evleri" olarak bilinen ve şehrin en güzel caddesi olan Atatürk Bulvarı üzerindeki üç evde somutlaşan Macar Mimarisi ile Milas aslında ilk kez 1927 yılında tanışmıştır. II. Abdülhamit'in "İstibdat Yönetimi"nden Fransa'ya kaçarak Paris'e giden Murat Salih Bey, orada tanıştığı Mari Suzan hanımla evlenmiş II. Meşrutiyet'in ilanıyla birlikte Milas'a yerleşmişlerdir. Murat Salih Bey, eşi Mari Suzan Hanım için güzel bir köşk yaptırmak isteyince o yıllarda Milas'tan zımpara taşı ihracatı yapmakta olan bir İngiliz firmasında çalışan Macar Mimar Pier Kübin'den yardım istemiştir. Pier Kübin'in tasarımı, İtalya'dan ve Rodos adasından gelen taş ustalarının www.iscch2015.org becerileri ve Safranbolulu marangoz ustaların hünerleri birleşince ortaya Milas'ın "1. Numaralı tescilli yapısı" olan Madam Murat Evi çıkmıştır. Cumhuriyetin ilk yıllarında Milas'ta kaymakamlık yapan Fevzi Beler'in Rodos Adası'nda yaptıkları binaları görünce davet Milas'a davet ettiği 4 Macar yapı ustası, Milas'taki Macar Evlerinin yaratıcıları olmuşlardır. Macar ustalar önce, o yıllarda yeni açılan ve giderek şehrin ana bulvarı haline gelen Atatürk Bulvarı üzerine Dr. Sırrı Aydoğan, Rıza Toksarı ve Kaymakam Fevzi Beler için yan yana üç ev yapmışlardır. Sonra yine Kaymakam Fevzi Beler'in teşviki ile Aşçı Bekir tarafından Macar ustalara, Ege'nin en güzel sinemalarından birisi olan İstikamet Sineması yaptırılmıştır. 1929 yılında yapımına başlanan sinema, 1931 yılında hizmete girmiştir. Yaptıkları işlerle yörenin varlıklı kişilerinin ilgisini çeken Macar ustalar daha sonra şehir içinde veya bazı köylerde Orta Avrupa / Macar mimarisinin izlerini taşıyan evlerle geleneksel Türk mimarisine uygun bazı evler veya iki mimarinin karışımı olan evler yapmışlardır. Bugün, ne yazık ki İstikamet Sineması yıkılmış ve yerine kısmen eski sinemanın dış çizgilerini taşıyan bir işhanı yapılmıştır. Madam Murat'ın köşkü ve üç Macar Evi, Atatürk Bulvarı'nda olanca güzellikleriyle varlıklarını korumaktadır. 65 İmzadan e-imzaya Arda ARŞIK, İstanbul Kültür Üniversitesi, Türkiye, arda.arsik@gmail.com Vasfiye ARSLAN, Teknik Bilimler Meslek Yüksekokulu, İstanbul Üniversitesi, Türkiye, vasfie@gmail.com Zerrin AYVAZ REİS, Hasan Ali Yücel Eğitim Fakültesi, İstanbul Üniversitesi, Türkiye, zerrinareis@yahoo.com Sevinç GÜLSEÇEN, Enformatik Bölümü, İstanbul Üniversitesi, Türkiye, sevincg@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Semiyotik veya Türkçe adıyla göstergebilim kendini oluşturan isimlerden daha fazla bir anlam taşır. Hayatın içinde sıkça kullanılan bir terim olmasa da semiyotik insanların birbirleriyle iletişim kurup anlaşmaları için yazılı, yazılı olmayan, sözlü veya sözsüz olarak kullandıkları göstergeleri, gösterge dizgelerini bilimsel bir disiplin ile inceler. John Locke ile başladığı kabul edilen semiyotik farklı ekoller oluşturarak günümüze gelmiştir. Bu ekoller (kabaca Avrupa ve Amerikan ekolleri) birbirlerini beslerken, aynı şeylere bakıp birbirlerinden farklı yorumlarda bulunmaktadırlar. Bu göstergelerden biri olan imza da göstergebilimin alanına girer. İmza sahibinden ve yetiştiği kültürden izler taşır. İmza sahibinin yokluğunda onu temsil yeteneğine, resmi yazışmalarda sahibinin hukuki temsilcisi olma hakkına sahiptir. Göstergebilimin gelişirken yaşadığı tökezlemelere benzer zorluklar yaşayan graphology (yazıbilim) son yüz yılda ilerlemeler kaydetse de halen bir sözdebilim durumundadır. Graphology psikoloji ve bilişsel bilimden beslendiği kadar semiyotikten de beslenmektedir. Empirik olarak halen kabul görmese de adli tıp alanında kendisinden faydalanılmaktadır. Bu bildiri imzanın geçmişini, gelişimini göstergebilimcilerin çalışmaları ışığında nasıl yorumlandığını ve e-imzaya evrilişi ve imzadaki bu dijitalleşmenin kültürel miras bakımından getirileri ve götürüleri üzerine fikir yormaktadır. www.iscch2015.org İstanbul Küçükçekmece Bathonea Kazıları Şeniz ATİK, Mimar Sinan Üniversitesi, Türkiye, atikseniz@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Arkeoloji Bilimi günümüzde pek çok bilim dalı ile ilişki ve iletişim içinde kendisini geliştirmiş ve geliştirmeye de devam etmektedir. Hızla gelişen teknolojinin sunduğu olanakları da kullanarak bugün artık alandan topladığı verileri, daha hızlı ve doğru algılanabilir yorumlarla ortaya koyabilmekte, verilerini çevresiyle birlikte modelleme imkanları da yaratarak bir şölen havasında topluma sunma çabası ve gayretini göstermektedir. Günümüz arkeologları artık sadece önündeki objeyi adlandırıp, tanımını yapıp belgeleyerek ve korunması için tedbir almakla yetinmeyip, o obje ile ilgili yaşanmışlıkların da okunmasını sağlayan bir süreci yaşamaktayız. Geçmişten kalan her bir parça bir işaret anlamındadır. Ancak okunabilmesi için bilgi, birikim, araştırma ve yorum gibi uzun süreci kapsayan bir zamana ihtiyaç duyulmaktadır. Günümüzden binlerce yıl önce üretilmiş olan objelerin hangi düşünceye dayanarak tasarlandığı konusunu irdelemek için “bilişsel arkeoloij”nin hedefe konulması gerekmektedir. Tarihi yorumlarken artık sadece insanın günümüze bıraktıkları ile yetinmeyip, aklından geçenleri de anlamaya ihtiyaç duyulmaktadır. Arkeoloji bilimi bu nedenle insanın geçmiş derinliğindeki sembolleri yakalayarak günümüze ve geleceğe ışık tutacak verileri saptama sorumluluğudur. İstanbul özeline baktığımızda, çok değerli olduğu her fırsatta ifade edilen ve UNESCO'nun Dünya Kültür Mirası Listesi'ne giren “Tarihi Yarımada, arkeolojik açıdan henüz araştırılması tamamlanmamış bakir bir höyüktür. Üzerinde kent yaşamının hâlâ devam ediyor olması arkeolojik çalışmaların yapılmasını engellemekte, hatta imkânsız kılmaktadır. O nedenle Tarihi Yarımada'da büyük çaplı bilimsel bir kazı talebi yapılamamaktadır. İstanbul www.iscch2015.org 67 merkezinin 20 kilometre batısında Küçükçekmece Gölü kıyılarında; 2009 yılında, Kocaeli Üniversitesinden Doç. Dr. Şengül Aydıngün Başkanlığında başlatılan Küçükçekmece Göl Havzası -Bathonea? Kazı çalışmaları henüz çok genç olmasına rağmen çok önemli arkeolojik verileri ortaya koymuştur. Yarım Burgaz Mağarası'nın da hemen yakınında bulunan kazı alanı, Çanak Çömleksiz Neolitik dönem dahil olmak üzere, çakmaktaşından aletler, MÖ 7000'lerde Avrupa'ya tarımın bölge üzerinden ulaştığını kanıtlarken, günümüzden 2700-2600 yıl öncesine ait iki antik liman ve dünyada keşfi yapılan üçüncü antik fener, ile M.Ö.6 yüzyıldan M.S. 12 yüzyıla kadar kesintisiz yerleşim ve sonrasında Osmanlı Dönemi sonlarına ulaşan ayakta yapıların da yer aldığı bir kültür mirası kompleksi ve bunları daha da değerli kılan doğal bir çevre. Tüm bu veriler yoğun yapılaşmanın da hedefinde olan bu bölgede, kültür varlıklarının sürdürülebilirliği konusunda duyarlılığı gündeme taşırken, verilerin bilim dünyası ve toplumla paylaşılmasını hayata geçirebilecek bir projeyi tasarlamayı zorunlu kılmıştır. Küçükçekmece Göl Havzası -Bathonea Ören Yeri, İstanbul'un “ilk” ören yeri olma şansına sahip bir bölge. Bilim, Turizm ve Toplum için ütopik bir modelleme taslağı!.. Neolitik Yerleşimden Bizans 12. Bölgesi ve Langa Bostanı'na Yenikapı'nın 8 Bin Yıllık Kültürel Ve Topografik Değişimi: Son Arkeolojik Kazılar ve Kentsel Dönüşüm Projeleri Kapsamında İstanbul Yenikapı Semtinin Ele Alınması Hasan BİNAY, Arkeolog, Yenikapı Arkeolojik Kazıları Ekip Üyesi, İstanbul Arkeoloji Müzesi, Türkiye, hasanbny@gmail.com 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE İstanbul kent içinde yürütülen büyük altyapı çalışmaları inşaat teknolojilerinde yaşanan gelişim nedeniyle önceki yüzyıla göre çok daha derin temellere sahiptir. Bu durum İstanbul sur içi yerleşmesinin çok katmalı kültürel yapısını tehdit eden bir durum iken arkeologların denetiminde yapılan kazılar kentin çok katmanlı yapısını daha iyi anlamamıza yarayacak veriler de sunmaktadır. İnşaat projelerinin kültürel miras üzerindeki etkilerini fayda zarar ikilemi içinde ele aldığımızda karşımıza çıkan en önemli örnek Yenikapı Metro ve Marmaray inşaatı kapsamında yapılan kazılardır. Semiotics of Cultural Heritages: Authenticity to Informatics Bu bildiri ile Neolitik dönemden Bizans, Osmanlı ve Cumhuriyet Dönemlerine işlevindeki değişime rağmen aynı bölgede önemli yaşam alanlarının bulunduğu Yenikapı semtinin günümüzde kentin yaşamında var oluş biçimi, alan yönetimi anlayışı çerçevesinde ele alınacaktır. Sunum için son yıllarda yapılan arkeolojik kazılarda ele geçen buluntular, Bizans Dönemi gravürleri, Osmanlı Dönemi haritaları ve Cumhuriyet Dönemi fotoğrafları ve planları kullanılacaktır. INTERNATIONAL SEMIOTICS CONFERENCE www.iscch2015.org 69 Anadolu Kapı Tokmaklarının Çağdaş Yorumları Aydan BİRDEVRİM, Teknik Bilimler Meslek Yüksekokulu, İstanbul Üniversitesi, Türkiye, aydan_birdevrim@hotmail.com 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Binaların en göze çarpan elemanlarından biri olan kapılar, insanla mekan arasında bir sınır noktasıdır. Ait oldukları yapının içeriğine göre çeşitlilik gösterirler. Kimi zaman büyük ve gösterişli kimi zaman sadedir. Zaman içerisinde çeşitli kültürlerde kapıların eşiklerinde ve üst kısımlarında felaketi uzaklaştıran, nazara karşı koruyan, iyiliği çeken bazı işaretler kullanılmıştır. Esas konumuzu teşkil eden kapı tokmaklarının da bu simgelerden biri olma ihtimali yüksektir. Semiotics of Cultural Heritages: Authenticity to Informatics Anadolu insanının zevki taş ve ağaç işçiliğinde olduğu kadar maden işçiliğinde de kendini göstermiştir. Kapı tokmakları bir işlevi yerine getirirken diğer yandan da kapının gerisinde yaşayan topluluğun sosyal ve ekonomik durumunu, inançlarını estetik bir görüşle yansıtmıştır. Bu yüzden kapı tokmaklarını işe yarayan maden parçaları olarak görmemek lazımdır. Aynalarda ve tokmaklardaki süslemeleri Anadolu insanının üstün zevkini kapılardaki ifadesi olarak görmek gerekir. Sadece işe yararlılık ön planda tutulsaydı ortaya sanat değeri olmayan eğri büğrü maden parçaları çıkardı. INTERNATIONAL SEMIOTICS CONFERENCE Her dönemde ustalar tarafından yepyeni formlar içerisinde özgün tasarım ürünleri verilmiştir. Evler kapılar yok olmuş tokmaklar günümüze kadar ulaşmıştır. Birer plastik sanat eseri olarak kabul ettiğim kapı tokmaklarını, ilk bölümde tanımını vermeye çalışıp, maden sanatı içerisinde tarihsel gelişimini ele aldım. İkinci bölümde kapı tokmaklarının yapım tekniklerinin, üçüncü bölümde ise tokmak yerine geçen halkaları inceledim. Dördüncü bölümde tokmakların tasvirleri ve mitolojik yönünü, beşinci bölümde ise kapı tokmaklarının sosyal anlamlarını araştırdım. Günümüze kadar gelebilmiş kapı tokmaklarının bulunduğu bazı şehir ve köyleri altıncı bölümde ele aldım Son bölüm ise benim bu araştırmalara sebep olan yönüydü. Bu da kapı tokmaklarına olan ilgim ve sevgim onlara yeni bir soluk vererek çamura dönüştürmemi sağladı. www.iscch2015.org Feyhaman Duran Evi Örneğinde Dokuma Eserler İçin Sergileme Önerileri Fatma Banu ÇAKAN, Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü, İstanbul Üniversitesi, Türkiye, ucar@istanbul.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org 1946 yılından beri uluslararası düzeyde müzeleri ve müze çalışanlarını temsil eden ICOM, 2007 yılında Viyana'da düzenlenen konferansın* sonuç bildirgesinde müzenin tanımını aşağıda olduğu şekliyle yeniden düzenlemiştir; Müzeler, eğitim, araştırma ve eğlence amacıyla insanlığın taşınabilir ve taşınamaz kültür mirasını toplayan, araştırma ve iletişim çalışmaları yürüterek topluma ve onun gelişimine hizmet eden, kar amacı gütmeyen, halka açık yerleşik kurumlardır. Yukarıda sayılan amaçların hepsini en verimli biçimde sağlayabilecek bir müze planlamak müzecilik bilimi ve onunla ortaklaşa çalışan diğer bilim dallarının ortak sorumluluğudur. Koruma Onarım disiplini eserlerin sergilenmesi, depolanması, bakımı ve kullanım koşulları ile ilgili standartların belirlenmesinde müzecilik bilimi ile birlikte çalışır. Bir müzede bulunan eserlerin karşı karşıya kalabileceği başlıca üç tehlike vardır: - Birinci tehlike doğru seçilmemiş depolama üniteleri ve düzenek sistemleridir. Çalışan personel veya inceleme yapan araştırmacıların bu doğru seçilmemiş ve uygulanmış düzenek sistemlerini kullanmaları sırasında oluşacak baskı ve yük, eserlerde mekanik hasar sürecini başlatacaktır. Mekanik bozulma sonuçları genellikle, yırtıklar, aşınmalar v.s. şeklinde görsel olarak tespit edilebilen değişimlerdir. - İkinci tehlike ışık, sıcaklık ve nem gibi çevresel faktörlerin başlatacağı veya hızlandıracağı kimyasal, fiziksel ve biyolojik bozulma süreçleridir. Müzelerde bulunan organik temelli kağıt eserler yapısal özellikleri nedeni ile çevresel koşullardan kısa sürede etkilenerek değişime uğrayabilen nesnelerdir. Bu değişim bazen geri dönüşümlü olabilse de çoğu zaman geri dönüşümü mümkün olmayan bozulmalarla sonuçlanabilir. Bu nedenle öncelikle eser üzerinde bu denli etkili olan çevresel faktörlerin zararlı etkilerine karşı sergileme ve depolama düzeneklerinde kullanılabilecek pratik uygulamalara ve alınacak tedbirlere dikkat edilmelidir. - Bir müze için üçüncü tehlike ise her an oluşabilecek yangın, su baskını, deprem soygun gibi acil durumlardır. Bir acil durum planı bu zararın derecesini azaltacak veya tamamen yok edebilecek en önemli tedbirdir. 71 Kültürel Miras Olarak Ayasofya Hasan Fırat DİKER, Fatih Sultan Mehmet Üniversitesi, Türkiye, hfdiker@fsm.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Ayasofya'nın bugün var olmayan görünümlerinde, denetim dışı bırakılmış batılı bir mimarın keyfi tutumlarının mı, yoksa Ayasofya'nın Tanzimat hareketleriyle başlayan ve camiden müzeye doğru giden serüveninde ağır ve bilinçli bir yol haritasının izlenmesi mi etkin olmuştur? Böyle bir tartışmayı Ayasofya'nın ataletini koruyan günümüz görünümünde yapmak çok kolay değildir. Zira, Ayasofya üzerindeki profan Fossati etkisi, Ayasofya'nın çok katmanlı geçmişini perdelediği gibi, yapının mevcut müze işleviyle iç içe geçerek yeni müdahaleleri de güçleştirmektedir. Mozaiklerin gün ışığına çıkarılması dışında, bu çok katmanlılığı anlamaya yönelik yeni önermelerde bulunulmaması, mevcut baskın Fossati görünümünü ister istemez halen korumaktadır. Öyle ki, kendisinden sonraki Ayasofya onarımlarında dahi, bezeme anlamındaki ilkeleri güncellenmeksizin takip ve taklid edilmiş ve bir Fossati dönemi yaratılmıştır. Yaklaşık 1500 yıllık bir anıt eserin tüm evrelerinin zaman zaman önüne geçecek mahiyette önemsenmiş bu dönemin benimsenmesinde, önerme yoksunluğunun ya da isteksizliğinin payı olabilir. Öte yandan, yapılacak her dönemsel müdahalenin, Ayasofya'nın Osmanlı ya da Bizans dönemine dair bir bulgu ve beraberinde tartışmasını getireceği öngörüsü ile endişesi, Ayasofya'nın âtıl, kendi geçmişinden ve geleceğinden uzak mevcut görünümünü korumaya hizmet etmektedir. Ayasofya'nın kilise olarak inşa edilip kullanıldığı Bizans evreleri kadar, camileştirilerek varlığını sürdürdüğü Osmanlı dönemlerinin de gerektirdiği ilgiyi görmesi ve titizlikle irdelenmesi gerekmektedir. Nitekim, Ayasofya'nın bugün halen antik hatıraları ve izleri saptanabiliyorsa, bunu, mabed kimliği yadsınmadan işlevlendirilmesine borçluyuz. Her ne kadar Fossati onarımları maksadını aşacak şekilde, bu abidenin Osmanlı ve Bizans görünümlerini perdeleyici ve unutturucu mahiyette olsa da, yapılan araştırmalar, onun sadece varlığını korumaya yönelik değil, aynı zamanda zengin dokularını açıklayabilecek nitelikte olmalıdır. www.iscch2015.org Bir Dünya Mirası olmasının ötesinde, Ayasofya'yı cami ya da kilise olarak kabul edenlerin kadim mabed algısını besleyecek yeni bilgi ve bulgular, herhangi bir ayrım gözetmeksizin onun varlığının ne kadar daha değerli ve korunmasının ne kadar daha önemli olduğunu gösterecektir. Öğrenilebildikçe anlamlandırılacak Ayasofya, daha çok sevilecek ve korunacaktır. İstanbul Üniversitesi Feyhaman Koleksiyonu Hatlarından Yazı-Resim Levha Örnekleri Fatih ELCİL, Edebiyat Fakültesi, İstanbul Üniversitesi, Türkiye, elcilfatih@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org İstanbul Üniversitesi bünyesindeki Feyhaman Duran Kültür ve Sanat Evi'nde muhafaza edilen hat koleksiyonu, bazı özellikleriyle , Benim için farklı anlamlar içermektedir. Koleksiyon, çok değerli hattatlara ait levhaları içermesinin dışında, ayrıca iki yönden hat-resim birlikteliğini temsil etmektedir. Bunlardan birincisi; “bir ressam olarak” Feyhaman'ın yaptığı hat levhalarıdır. Yani sanatçı, hat ve resmin birlikteliğini öncelikle kendi hayatında yaşamış ve bu doğrultuda değerli eserler vermiştir. Koleksiyonun benim için önemli olan ikinci yönü de, içerdiği çeşitli sanatçılara ait “yazı-resim” levhalardır. Önemli bir kısmını dervişlerin oluşturduğu “halk sanatçıları”, dini gerekçelerle figüre karşı konulmuş mesafeyi, yazıyı kullanarak buldukları çıkış yoluyla aşmışlar ve ortaya “yazı-resim” levhalar çıkmıştır. Konularını “cami”, “ibrik”, “kuş”, “ah mine'l- aşk”, “aslan”, “çifte vav”, “ashab-ı kehf”, “derviş”, “Hz.Ali” gibi resimlerin oluşturduğu bu çalışmalar, Feyhaman Duran Koleksiyonu içinde önemli yer tutmaktadır. Sunumumda Feyhaman koleksiyonundaki bu eser grubunu örneklerle tanıtmaya çalışacağım. 73 Sivas Alibaba Mahallesi Alevilerinde Bağlama: ‘Telli Kur’an’ Tolga ERGÜL, Müzik Bölümü, Güzel Sanatlar Fakültesi, Iğdır Üniversitesi, Türkiye, tolgaergul@msn.com Gülay KARŞICI, Müzik Bölümü, Güzel Sanatlar Fakültesi, Marmara Üniversitesi, Türkiye, gulaykarsici@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Çalgıların taşıdığı simgesel olguların ve bu doğrultuda sahip olduğu anlamların değerlendirilmesi çok eskilere kadar uzanır. Arkeolojik bulgulara göre Anadolu'da ilk kez Hititler Dönemi'nde bağlama çalgısına rastlanır. Bu motiflerden bağlamanın Hitit kültüründen beri hem gündelik yaşamda kullanıldığı, hem de inançsal bir nitelik taşıyarak simgeleştirildiği, göstergebilim çerçevesinde ele alındığında 'kendi' dışında bir olguyu/ları temsil ettiği görülür. Bugün Türkmen ve Alevi kültüründe bağlamaya verilen anlamın/ların, değerin/lerin binlerce yıl öncesine dayandığı ve Anadolu'ya ait olduğu anlaşılır. Sivas ili merkezinde bulunan Alibaba Mahallesi'nde Aleviler yaşar. Onlar için müzik ve bağlama değer temsilcileridir. Onlar için dini ya da din dışı törenlerde gerçekleştirilen icra sadece müzik değildir: Söylenenler şarkı değil, 'Batın olan Hak Kelamıdır'; bağlama da bir çalgı değil, 'Telli Kur'an'dır. Günümüzde onlar için bağlamanın taşıdığı anlam bakımından Kur'an-ı Kerim'le özdeşleşmiş, onun değerlerini büyük ölçüde simgelediğine inanılan başka hiçbir nesne yoktur. Erciyes Üniversitesi Güzel Sanatlar Enstitüsü Müzik Bilimleri Anabilim Dalı Doktora Programı'nda sürmekte olan “Sivas Alibaba Mahallesi Alevilerinin Müzik Pratikleri” başlıklı Doktora Tez Çalışmasından Etnomüzikolojik alan araştırması yöntemi kullanıldı. 2006-2014 yılları arasında Sivas Alibaba Mahallesi'nin farklı sokaklarında yaşayan birkaç ailenin gözlemlenmesiyle, katılımcı gözlemle ve bu ailelerle yapılan görüşmeler doğrultusunda ele alınan bu araştırmanın kapsamı Alibaba Mahallesi'nin kültürüne ait birçok geleneği içerir. Bu bildirinin konusu ise, bu mahallede yaşayan Alevilerin bağlamaya verdiği anlam ve değer çerçevesiyle sınırlandırıldı. Bağlamanın kazandığı bu nitelikler ve ona 'Telli Kur'an' denilmesi Sivas Alibaba Cem Vakfı Dedeleri ve Zakiri ile yapılan görüşmelerle şekillendi. www.iscch2015.org Sualtı Kültürel Mirasın Korunmasında Yenikapı Batıkları Örneği Namık KILIÇ, Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü Genel Koruma ABD, İstanbul Üniversitesi, Türkiye, namikkilic@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics İstanbul'un Yenikapı semtinde İstanbul Arkeoloji Müzeleri Müdürlüğü tarafından 2005-2013 yılları arasında gerçekleştirilen kurtarma kazılarında 5. ile 11. yüzyıllar arasına tarihlenen 37 adet batık gemi kalıntısı bulunmuştur. Bu batık gemilerin 27 tanesinin araziden belgelenerek kaldırılması, 31 tanesinin ise konservasyon çalışmaları İstanbul Üniversitesi Edebiyat Fakültesi Sualtı Kültür Kalıntılarını Koruma Anabilim Dalı tarafından üstlenilmiştir (Kocabaş, 2015:5). Yenikapı Batıklarını oluşturan ahşaplar suya doymuş olarak ele geçmiştir. Suya doymuş ahşabın konservasyonu olmazsa olmaz işlemlerden olup aynı zamanda zor ve uzun bir süreçtir. Araziden kaldırma çalışmaları tamamlanan batıkların konservasyon süreci demonte edilen gemi elemanlarının tuzdan arındırma işlemi için paslanmaz çelik havuzlara taşınması ile başlamaktadır. Şayet ahşap içerisindeki tuzlar uzaklaştırılmazsa ahşabın büyük bir bölümünde genleşme ve kristalizasyon sonucunda geniş çatlaklar ve pul pul dökülmeler oluşabilmektedir (Smith, 2003:23). Dolayısıyla bu tarz problemler yaşanmaması için tüm ahşaplarda tuz oranı 40 ppm'e kadar düşürülmektedir. İşlem esnasında bakteri oluşumunu önlemek amacıyla Exocite 1012 ticari adıyla üretilen kimyasal malzeme 1/1000 oranında tank içerisine ilave edilmektedir. Dipslide ile yapılan ölçümlerle biyolojik aktivasyon kontrol altında tutulmaya çalışılmaktadır. Konservasyon prosedürüne geçilmeden önce ahşabın içeriğindeki su miktarının belirlenmesi gerekmektedir. Bu amaçla ahşaplardan örnekler alınarak bozulma verileri elde edilmektedir. Batık ahşaplarının içeriğindeki su www.iscch2015.org 75 miktarına göre yapılan sınıflandırmada ahşap ne kadar çok su içeriyorsa o kadar bozulmaya uğramış olarak kabul edilmektedir. Bu değerlendirme, ahşapların bozulma durumunun belirlenmesinde kullanılan yaygın bir uygulamadır (McConnachie, Eaton ve Jones: 2008: 29). Yapılan analiz çalışmalarına ve değerlendirmelere göre batık ahşaplarının bozulmuş hücre yapılarının kimyasal bir malzeme emdirilmek suretiyle güçlendirilmesi şarttır (Schnell-Jensen, 2007: 50). Aksi takdirde batık ahşaplarında kuruma sonrasında çatlama, çekme vb. deformasyonlar oluşacaktır. Bunun gibi problemleri önlemek için Yenikapı Batıklarında emdirme kimyasalı olarak Polietilen glikol (PEG) ve melamin formaldehit reçineleri tercih edilmektedir. Konservasyon yöntemi olarak da PEG 2000 ön emdirmesi sonrası dondurarak kurutma yöntemi ve Kauramin yöntemi uygulanmaktadır. Gemilerin konservasyon işlemlerinde kullanılan PEG etkili bir iyon taşıyan elektrolittir ve gemi ahşaplarının bağlantı elemanlarında kullanılan demirle tepkimeye girmektedir. Dolayısıyla PEG ile konservasyonuna başlanacak ahşaplarda degredasyon oluşmaması için tüm demir çiviler ve korozyon kalıntıları temizlenmektedir (Giorgi, Chelazzi ve Baglioni, 2005: 10743-10748). PEG ön emdirmesi sonrasında ahşaplar vakumlu dondurarak kurutma cihazında kurutularak sergilenebilir hale getirilmektedir. Bozulma oranı yüksek ahşaplarda tercih edilen Kauramin yönteminde ise ahşaplara melamin formaldehit reçinesi emdirilmektedir. Emdirme sonrasında ahşaplar fırın içerisinde 50 0C'de kurutularak sergilenebilir hale getirilmektedir. Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk Remziye KÖSE ÖZELÇİ, İletişim Fakültesi, Yeni Yüzyıl Üniversitesi, Türkiye, rkoseozeli@hotmail.com 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Ünlü Fransız tarihçi Piere Nora “Hafıza Mekanları” adlı yapıtında hafıza mekanlarının iç içe geçmiş iki tür gerçeklikten oluştuğunu vurgular. Buna göre uzama, süreme, dile ve geleneğe kaydolmuş ele gelen kavranabilir bir gerçeklik; öte yandan sırf simgesel, tarihi içinde barındıran bir gerçeklik. Hafıza mekanları ise öncelikle kalıntılardır. Müzeler, arşivler, mezarlıklarla koleksiyonlar, bayramlar, yıldönümleri, anlaşmalar, tutanaklar, anıtlar, kutsal yerler, dernekler, sözlü tarih çalışmaları, belgeseller, filmler, şarkı sözleri..vb. kültürel belleğimizi/mirasımızı yaşatmaya ve hatırlatmaya dair her türlü yaratım. Semiotics of Cultural Heritages: Authenticity to Informatics “Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk” adlı bu çalışmada Gaziantep'in Nizip ilçesinde yer alan Zeugma antik kentinde yapılan kazılar sonucunda ortaya çıkarılan mozaiklerin izleri sürülecektir. Bu bağlamda yönetmenliğini Remziye Köse ve Onur Akyol'un yaptığı 2001 yapımı “Yitik Kent Zeugma” Belgeseli ile 9 Eylül 2011 tarihinde açılan ve 1450 metrekarelik mozaik ile Tunus Bardo Müzesi'nden dünyanın en büyük mozaik müzesi ünvanını devr alan “Gaziantep Mozaik Müzesi”nin her biri birer hafıza mekanı olarak ele alınacaktır. INTERNATIONAL SEMIOTICS CONFERENCE “Yitik Kent Zeugma” Belgeseli'nde Zeugma'nın sular altında kalması nedeniyle Helenistik çağda yaşayan kentin 3d modeli, dönemin mimarisi ve yaşam biçimi göz önüne alınarak hazırlanmıştır. Öte yandan dünyada benzeri olmayan bir yöntemle de Gaziantep Mozaik Müzesi'nde, define talanı ile eksik olan 2 bin yıllık mozaiklerin parçaları, sanal ortamda ışık oyunları ile tamamlanmaktadır. Bu görüşten yola çıkılarak simgesel ve fiziksel gerçekliklerin kimi “ortak yönleri” nin saptanması; tarihsel ve ekinsel anlamı olan yerlerin ( Zeugma), olayların (mozaiklerin mitolojik öyküleri) hafıza içinde sürekliğe kavuşturma çabalarının anlamı irdelenecektir. www.iscch2015.org 77 Antik Byzantion ve Kalkhedon'un Şehircilik Açısından İncelenmesi: Kuruluşlarından Roma İmparatorluk Dönemi'ne Kadar Nisan LORDOĞLU, İstanbul Üniversitesi, Türkiye, nisanlordoglu@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Bu çalışmanın birincil amacı, modern İstanbul kentinin sınırları içinde yer alan iki antik kent, Byzantion ve Kalkhedon'un kuruluşlarından Roma İmparatorluk Dönemi'ne kadar olan durumlarını, tarihsel süreç içerisinde şehircilik açısından değerlendirmektir. Bu süreçte, birbirleri ile olan ilişkileri ve bu ilişkilerin iki kentin gelişimini ne şekilde etkilediği antik kaynaklar, tarihsel veriler ve özellikle son yıllarda artan güncel arkeolojik buluntular aracılığıyla araştırılması amaçlanmıştır. Antik kaynaklar vasıtasıyla Byzantion ve Kalkhedon'un siyasi, askeri, ekonomik ve kültürel ilişkilerinin kentlerin planlanmasına olan etkileri ve zaman içerisindeki değişimlerinin incelenmesi de araştırmanın amacına dâhil edilmiştir. Şimdiye kadar İstanbul ve çevresinde yapılan bütün arkeolojik kazılar göz önünde bulundurularak, antik kaynaklar aracılığıyla çıkarımlar yapılmış ve bahsedilen bu iki kente ait lokalizasyonu tespit edilemeyen yapıların konumları saptanmaya çalışılmıştır. Son yıllarda yapılan kurtarma kazılarıyla sekiz bin yıllık bir geçmişi barındırdığı anlaşılan ve günümüzde devasa bir metropol haline gelmiş İstanbul Kenti'yle ilgili ilk araştırmalar, 16. yy.'da Osmanlı İmparatorluğu'na gelen seyyahlarla başlamış ve günümüzde yapılan arkeolojik kazılarda ortaya çıkan buluntularla tekrar gündeme gelmiştir. Günümüzde İstanbul'da son hızla ilerleyen 'kentsel dönüşüm' faaliyetleri ile bağlantılı inşaatlar, kentin büyümesi sonucu eski hatlara eklenen yeni tren yolu ve metro hatları dolayısıyla da zorunlu olarak yapılan kurtarma kazıları İstanbul'un tarihi ile ilgili bir çok veriyi ortaya çıkarmıştır. Üzerinde modern yerleşme olan her kentte olduğu gibi antik İstanbul ile ilgili verilere ulaşmak; Byzantion ve Kalkhedon Kentleri'nin konumlarının ve yapılarının lokalizasyonunu yapmak elbette ki zordur. Antik kaynaklar ve arkeolojik buluntular karşılaştırıldığında ortaya çıkan veriler her iki kentin konumunu ve kentteki bazı yapıların lokalizasyonu için bir takım öneriler getirmeye olanak sağlamıştır. Ancak her iki kentin planını, topografyasını ve territoriumunu kesin olarak belirlemek elimizdeki bulgularla şimdilik mümkün değildir. Bu çalışma, bugüne kadar yapılan arkeolojik kazıları ve araştırmaları kapsamaktadır; yeni verilerin ortaya çıkmasıyla tezde belirsizliği görülen noktaların süreç içinde açıklığa kavuşması beklenmektedir. Yerel kültürel mirasın yenilenmesi ve Afyonkarahisar'da yaşatılmaya çalışılan “Âdine” geleneği İsmail Hakkı NAKİLCİOĞLU, Afyon Kocatepe Üniversitesi, Türkiye, inakilci@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Bu bildiride, kaybolmaya yüz tutmuş bir kültürel mirasın yenilenmesi olarak değerlendirilebilecek olan Afyonkarahisar'daki “Adine” geleneğinin tekrar canlandırılması için yürütülen çalışmalar ele alınmakta ve bu geleneğin çağdaş sosyolojik yorumunun yapılması hedeflenmektedir. Bildirinin ilk bölümünde, yalnızca Afyonkarahisar il merkezine özgü olan ve yüzyıllardır süregelen, ancak son elli yılda unutulup terkedilen “Âdine” geleneğinin ne olduğu, genel yapısı ve bireysel-toplumsal özellikleri anlatılmaktadır. Orta Asya'dan Anadolu'ya ve Balkanlar'a kadar her coğrafyada derin izler bırakmış olan Türk kültürüne ilişkin gelenekler, zaman ve mekân boyutlarında farklı motifler halinde kendini göstermiştir. Yağmur duası da bu motiflerden birisidir. Genel anlamda yağmur duası olarak algılanmakla birlikte, özü ve biçimi bakımından daha farklı anlamlara sahip olan “Âdine”, yağmur yağması için uygulanan dinsel bir ritüel olmayıp, aksine, toprağı yeşerten bereketli bahar yağmurları için yapılan bir şükür duasıdır. Toplumsal dayanışmanın güzel ve ilginç bir örneğini sergileyen bu gelenekte, evleri kapı kapı dolaşan mahalle çocukları pilav yapmak için yiyecek toplar. Bir avuç bulgurla bile olsa çocukları sevindiren evin kadını için hep bir ağızdan maniler söylenerek hayır dualar edilir. Mahallenin yaşlı ve deneyimli bir kadını sokakta yakılan odun ateşinde küçük bir kazanla bulgur pilavı pişirir. Çocuklar da “Âdine Pilâvı” adı verilen bu yiyeceği neşe içinde kapış kapış yerler. www.iscch2015.org 79 Bu arada pilavdan bir miktar alınarak çevredeki türbe ve yatırlara gidilir, orada dualar okunur ve kuşların yemesi için de uygun yerlere bulgur serpilir. Böylece doğadaki diğer canlıların da bu bereketli pilavdan nasiplenmesi sağlanmış olur. Çok yönlü toplumsal bir etkinlik olan ve mahalle çocuklarının neşeli bir işbirliği içinde tümüyle kendi girişimleriyle gerçekleştirdikleri Âdine geleneğinin sosyolojik ve semiyotik analizi ise bildirinin ikinci bölümünde yapılmaya çalışılmaktadır. Günümüzde internetin ve bilişim teknolojisi ürünlerinin odaya hapsedip yalnızlaştırdığı çocuklarımızı yeniden sosyalleştirmek, yakın çevreyle ve içinde yaşadıkları semtle, mahalleyle bütünleştirmek amacıyla Afyonkarahisar'daki bir sivil toplum hareketi 2010'dan beri her yılın nisan ayında bu etkinliği gerçekleştirmekte ve geçmişteki geleneği hem bugüne hem de geleceğe taşımaktadır. Afyonkarahisar Yerel Tarih Araştırmaları Merkezi (AYTAM) adıyla çalışmalarını sürdüren hareket, tarihten devraldığımız kültürel mirası, özünü koruyarak ama çağdaş koşullara uygun biçimde sonraki kuşaklara aktarmayı ve içinde bulunduğumuz tekno-semiyotik süreçte, küllenen bir ateşi elli yıl aradan sonra yeniden parlatıp aydınlık geleceğin ışığı haline getirmeyi amaçlamaktadır. Bildirinin son bölümünde, Âdine geleneğinin ruhunu oluşturan temel ögeler gözden geçirilmekte ve yeniden hayat bulan bu geleneğin, özellikle inanç sistemi açısından gelecekte hem kendi insanımıza hem de dünya insanlığına hangi olumlu mesajlar sunabileceği irdelenmektedir. Ağaç İmgesinin Anlamlandırılması: Temur Köran'ın “Ağaç” Sergisine Göstergebilimsel Bakış Elif OKUR TOLUN, Çankaya Üniversitesi, Türkiye, eotolun@cankaya.edu.tr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Geçmişten günümüze uzanan zaman diliminde “ağaç” farklı kültürlerde de, Türk kültüründe de önemli bir öge olarak karşımıza çıkar. Her zaman ağaç insan yaşantısının içinde varolmuş sanatın ve sanat tarihinin de vazgeçilmez bir konusu olmuştur. Sıradan bir nesne gibi gözüken ağaç, tarih içinde derin anlamlar yüklenen bir nesneye, forma, mite, efsaneye, sanat eserine dönüşmüştür. Kimi zaman hayat ağacı olarak yaşam ve ölümün simgesi, kimi zaman kişisel tarihin bir göstergesi olarak soy ağacı, kimi zaman geleceğe ait umutları sonsuzluğu sembolize eden dilek ağaçı, kimi zaman ise siyasi bir karşı koyuşun nesnesi haline gelmiştir. Toplumsal ve kişisel bellekte farklı şekillerde tekrar tekrar kurgulanmış, kültürel mirasımızın bir parçası olmuştur. Bu çalışmada ağacın Türk Sanatındaki yeralış biçimlerine bakarak nasıl bir değişim yaşadığı irdelenmiştir. Günümüz Çağdaş Türk Sanatçıları arasında yer alan Temur Köran'ın bir eseri göstergebilimsel anlamda incelenerek, ağacı nasıl anlamlandırdığı ele alınmıştır. Sanatçının 17 Nisan - 20 Mayıs 2014 tarihleri arasında Evin Sanat Galerisinde sergilediği “ Ağaç “ isimli kişisel resim sergisi referans olarak alınmıştır. Köran'ın resimlerinde doğaya ait bir öğenin kent yaşamında metropol nesnesine dönüşmesi, halkın sesini duyurmasında dinamik bir siyasi araç haline gelmesi ve bu durumun resimsel göstergelerle nasıl sembolize edilerek sanata yansıdığı üzerinde durulmuştur. 81 Feyhaman Duran Evi - Yeri F. Deniz ÖZDEN, Güzel Sanatlar Bölümü, İstanbul Üniversitesi, Türkiye, ozdendeniz58@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE İ.Ü.Güzel Sanatlar Bölümü'ne bağlı bir birim olarak 2001 yılında açılan Feyhaman Duran Kültür ve Sanat Evi Prof.Dr. Nurhan Atasoy tarafından başlatılmış bir projedir. Müze ev olarak korunan yapı Ressam Feyhaman Duran tarafından İstanbul Üniversitesine bağışlanmıştır ve maddi kalıt bakımından Feyhaman Duran'ın yapıtları ve ev eşyalarıyla oldukça zengin bir malzemeyi barındırmaktadır. Semiotics of Cultural Heritages: Authenticity to Informatics Feyhaman Duran'ın yaşadığı ev, tanımlanmış bir mekandır, bir yerdir. Mekan ve yer gündelik yaşamdaki kullanımıyla varlık gösteren ancak anlamsal farklılıkları sorgulanmayan sözcüklerdir. Feyhaman Duran Evi'nde Christian NorbergSchulz'un Heidegger'in düşüncesinden yola çıkarak, mimarlığı varoluşcu mekan tasarımıyla bağdaştırmasını duyumsarsınız. Mimari insanoğlu ve çevresi arasında ilişkiyi temel alarak varlık gösteren mekan tasarımını daha doğrusu yer tasarımını içermektedir. Piaget'in insan ve mimari ilişkisi, etkileşimi bağlamında değerlendirdiği beş etki alanı; elle tutulabilir objeler, mobilya, ev, sokak ve peyzajdır. Bundan hareketle evde yaşayanların(barınan) kimliği eve yansır; evdeki eşyaların konumu ve yerleşim düzeni, yaşayanların ekonomik durumunu ve düşünce biçimini göstermektedir. Bunun yanında ait oldukları toplumun değerlerini de yansıtmaktadırlar. Bu çalışmada Feyhaman Duran, Evi ve çevresi, yapıtlarından örneklerle değerlendirilecektir. www.iscch2015.org Feyhaman Duran oturumu Gülser İlhan Serper anısına adanmıştır. İstanbul Yoros Kalesi Kazıları F. Deniz ÖZDEN, Güzel Sanatlar Bölümü, İstanbul Üniversitesi, Türkiye, ozdendeniz58@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics İstanbul kentinin tarihi ve arkeolojik topografyasının gelişimi hakkındaki, arkeolojik buluntular ve tarihi kaynaklar ışığında yapılan ve son zamanlarda artan çalışmalar dikkat çekmekle birlikte, antik Byzantium, Konstantinopolis'in gelişimi üzerine çözülmesi gereken sorunların oldukça fazla olduğu görülmektedir. Bu amaçla son yıllarda Bizans başkentinin en önemli sur dışı bölgesi olan Boğaziçi suyolu çevresinin antik ve ortaçağdaki gelişimi ve yapılanması konusunda başlatılan yüzey araştırması kapsamında Beykoz Anadolu Kavağında bulunan Yoros Kalesi kazıları önem taşımaktadır. Boğaziçi'nin gerçek Bizans yüzü savunma yapıları ile kendini gösterir. Bunun nedeni stratejik ve askeri öneme sahip olan bu su geçidinin her zaman saldırı tehlikesiyle karşı karşıya kalmasıdır. Bundan dolayı bölgede, ortaçağda, kent dışı yerleşimlerinin yoğunlaşmadığı, buna karşın önemli kült ve hac yerlerinin, ve az sayıda imparatorluk sayfiyelerinin bulunduğu görülür. Boğazın Karadeniz'e açılan en önemli noktasında Anadolu sahilinde İstanbul'un tek Bizans kalesi olan Yoros Kalesi çabalarımız ve T.C. Kültür ve Turizm Bakanlığımızın desteği ile Unesco geçici miras listesine girmiştir. İstanbul Üniversitesinin, İstanbul'daki tek arkeolojik kazısı Konferansta katılımcılara da tanıtılmış olacaktır www.iscch2015.org 83 Arkeolojik Buluntuların Değerlendirmesinde Deneysel Arkeolojik Yöntemlerin Önemi ve Yeniden Üretimin Kültür Mirasının Korunması Bilincine Katkıları Yüksel DEDE,Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü, İstanbul Üniversitesi, Türkiye, yuksel_dede@hotmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Deneysel Arkeoloji yöntemleri, kazılarda ortaya çıkarılan buluntuların yapım ve kullanım süreçlerinde geçirdiği aşamaları bilimsel kriterler içinde değerlendirilmesidir. Bu çalışma o dönemde yaşayan insanı sosyal, kültürel ve teknolojik açıdan daha iyi anlaşılmasına yardımcı olur ve bizi bir çeşit zaman yolculuğuna çıkarır. Bu çalışmalar sadece bilim insanları için değil,, gösterge bilimsel açıdan da herkesin kültürel geçmişimizi daha iyi anlaması açısından önemlidir. Bunun örneklerini birçok ülkede görmekteyiz. Bu çalışmalar aynı zamanda bizim kültürel yaşamımızı oluşturan, ancak binlerce yıldır unutulmuş kültürel zincirimizin kayıp halkalarını da bulmamıza olanak sağlar. Deneysel çalışmalarla elde edilen veriler ışığında, toprak altından çıkarılan buluntuların farklı disiplinler tarafından yeniden yorumlanarak, müze vitrinlerinin dışına taşınması ve yaşamımızın içinde yer alması önemlidir. Bu, kültür bilincinin gelişmesi, pekişmesi ve neyi, neden, nasıl korumamız gerektiği sorusunun yanıtlanmasında da yol gösterici bir görev üstlenir. Résumés en Français Forme et signification dans le discours musical des organistes français du « Grand Siècle » : vers l'établissement d'une nouvelle typologie Juan David BARRERA, France, jdbarrerae@yahoo.es INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org La connaissance d'un objet, notamment dans le domaine des sciences humaines, est difficilement abordable sous un angle purement « objectif » en raison du besoin de considération de la globalité des phénomènes culturels subjectifs dans lesquels cet objet s'est produit. Ainsi, la problématique centrale de notre sujet de recherches, visant l'étude du rapport que la musique des organistes français du Grand Siècle entretient avec la représentation du sacré, doit prendre en considération le fait que l'horizon culturel du XVIIe siècle se focalise sur une vision analogique du monde dans laquelle toute construction de la pensée se fonde sur comparaisons, allégories, métaphores, etc., autrement dit, sur un univers symbolique basé sur des constructions de l'esprit, sur un « non-objet ». Dans les études musicologiques les plus importantes sur ce sujet , le plan objectif à été largement étudié par l'élaboration de typologies qui privilégient la notion de forme. En revanche, la considération du plan subjectif, en rapport aux enjeux signifiants du discours musical, est visiblement négligée. Cette négligence trouve son origine dans des préjugés envers une tradition qui, en raison de son amalgame avec le langage officiel de la Cour louis-quatorzienne (notamment avec le style des danses, ainsi que le lyrisme de l'Air de Cour et de la tragédie lullyste), semblerait a priori avoir un rôle d'« ameublement » liturgique étranger à l'expression du sacré et du sentiment religieux. Or, à l'encontre de cette vision généralisée, nous considérons que, malgré le glissement d'éléments de la musique profane (ce qui est d'ailleurs un phénomène courant dans la musique sacrée de l'époque), ce répertoire répond à une volonté communicative liée aux objectifs primordiaux de l'art chrétien du « Grand Siècle » (véhiculer la doctrine), et que les notions de forme et signification qu'articulent ledit discours forment une unité assurant la transmission du sens. 87 De ce fait, dans la tentative de décryptage du sens sacré sous-jacent que comporte cette musique, notre démarche analytique doit associer les caractéristiques du discours des organistes (formes cultivées, esthétiques, agencements des topiques musicaux, etc.), avec les aspects subjectifs du phénomène religieux dans lequel ce répertoire a vu le jour (tels que la conscience du croyant de l'époque, sa perception du sacré, sa vision particulière du monde), ainsi que de l'ensemble des moyens symboliques employés dans ce contexte spirituel pour désigner Dieu et le Sacré (images métaphoriques et allégoriques). Ainsi, on fera nécessairement recours à des approches telles que la phénoménologie de la religion et la théologie symbolique, aussi bien qu'a la sémiotique et l'herméneutique musicales. Par notre intervention, nous voudrions exposer une typologie du répertoire d'orgue français du Grand Siècle cherchant à rendre compte du processus de signification à travers lequel le discours musical serait en mesure de véhiculer le message sacré. Ce processus comporterait une double axe : une dimension communicative d'une part (formes cultivées par l'ensemble des compositeurs de cette école, à l'instar des préludes, fugues, récits lyriques, duos, trios), ainsi que d'une dimension signifiante, d'autre part (agencement de topiques musicales à l'intérieur des formes, par exemple le majestueux, le pastoral, le lamento, le combat, etc.). L'élaboration de cette typologie a pour but principal la considération globale de la forme et la signification musicale de l'orgue français du Grand siècle en tant que manifestation des enjeux esthétiques et religieux d'une culture ; cette considération pourrait apporter au contexte musical d'aujourd'hui (et tout particulièrement aux interprètes) une compréhension renouvelée d'une tradition musicale qui vise essentiellement la représentation du sacré. Héritage culturel et globalisation: la chanson française à texte depuis 1980 Jean-Marie JACONO, France, jean-marie.jacono@univ-amu.fr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Une forme de chanson a été très importante en France à partir des années 1950 : la chanson "à texte". Très différente du rock, ce type de chanson a mis en valeur des paroles sur des musiques simples, mais expressives. Elles ont eu pour thème l'amour, la solitude, les problèmes sociaux, le refus des conventions sociales et la révolte. Cette chanson a représenté une identité culturelle française. Des interprètes comme Barbara, Brassens, Brel, Ferré et même Edith Piaf ont permis à cette chanson "à texte" d'être connue au-delà de la France. Que devient cet héritage culturel aujourd'hui ? Le développement des techniques d'enregistrement, de l'informatique, du son électronique, des médias et de la globalisation (mondialisation) culturelle conditionne l'expression des interprètes. L'utilisation de la langue anglaise, la présence de nouveaux modes d'expression et internet ont transformé les formes de la chanson. Quels sont les "signes" de cette nouvelle culture ? Trois types de chanson existent aujourd'hui. La sémiotique existentielle et son zemic model permettent de définir leurs caractéristiques fondamentales. La sociologie aussi. Sémiotique et sociologie permettent enfin de préciser la relation à l'héritage culturel : dans une culture mondialisée définie par la circulation de l'information, le village global et le réseau, l'utilisation de certaines techniques conduit à la disparition du patrimoine culturel. 89 Representation of Retour a la Willa Nevski (Novel by Eero Tarasti) Jean-Marie JACONO, France, jean-marie.jacono@univ-amu.fr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Le roman intitulé "Retour a la Willa Nevski" écrit en français par Eero Tarasti sera présenté par Jean-Marie Jacono qui réalisera un discours tenu avec Eero Tarasti. The novel entitled "Retour a Willa Nevski" written in French by Eero Tarasti will be presented by Jean-Marie Jacono who will realize a speech held with Eero Tarasti . Eero TARASTI'nin Fransızca yazdığı romanı “Retour a la Willa Nevski” Jean-Marie JACONO tarafından tanıtılacaktır ve Eero Tarasti ile bir söyleşi gerçekleştirecektir. Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Poésie comme quête de la présence Monir KHALVATI, Iran, monirkhalvati@yahoo.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE L'attention de la part des poètes à une nudité initiale du monde et des mots, est requise par la phénoménologie comme par la sémiotique. En poésie moderne et contemporaine, la formation du sens dans le poème serait donc intimement liée à la présence sensible. La poétique du corps caractérise la façon propre du poète de s'envisager luimême, ainsi que d'envisager le monde. Le poète habite le monde par cette présence du corps, présence doublement signifiante car elle est un rapport par excellence à l'intimité tout autant qu'un rapport à l'altérité. Notre étude visera à démontrer : par quels moyens il est possible de témoigner d'une présence, immédiate, à l'aide de mots qui, eux, instituent, par la médiation et le concept, tout un système de signes. Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org 91 L’analyse des différents modèles de l’énonciation chez les soufis et les mystiques persanophones : Sama, verset labial et la poésie mystique Marzieh ATHARI NIKAZM, l'Université Shahid Beheshti, Iran, m.atharinikazm@gmail.com INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics Dans cet article, nous allons analyser les particularités discursives et énonciatives du discours des mystiques et des soufis persans. Nous voulons montrer qu'il y a de modèles différents de l'énonciation chez ses derniers : la danse Sama, la poésie et des versets labiaux. Ces versets sont en effet des proses poétiques et nous voyons des propositions très bizarres (Shath) comme gloire à moi, Je suis Dieu (de Halladj), etc. par lesquelles le sens déborde. C'est toujours la question de la transcendance. Dans tous ces modèles de l'énonciation que ce soit avec le corps et par le langage non-verbal comme la danse mystique ou par le langage littéraire, il y a un Soi qu'ils essaient de mettre en scène. C'est la mise en pratique du "croire sans voir" qui atteint son point culminant dans la concentration permanente d'un soi-ipse sur le Principe surintelligible. Cette dimension mystique, un sous-ensemble de la dimension cognitive, contribue au sens qui reste incomplet et toujours dans le voile pour les gens ordinaires. Tout cela mène à une sorte de philosophie l'Unité de l'existence abordée et expliquée par Ibn Arabî. Il vaut mieux ajouter qu'ils mettent en pratique une sorte d'éthique qui est différente de la morale issue de la religion et de l'éthique de la laïcité. Leurs discours montrent un dépassement de soi qui atteint à un Soi transcendantal et qui entraîne un débordement du sens. Des valeurs individuelles, ils atteignent aux valeurs ontologiques. L'objectif de cette recherche est de montrer que chez les mystiques et les soufis, la véritable connaissance de soi est celle du Soi surhumain et infini qui est le seul Réel même. C'est pourquoi le sens déborde. Et c'est la constante "affirmation de l'Un" (at-tawhîd), qui aboutit à l'"extinction" de l'illusion existentielle dans la "réalisation de l'Essence (suprême)". www.iscch2015.org Musique et Idéologie vue à travers l'œuvre artistique et l'action sociopolitique de Mikis Theodorakis Kalliope STİGA, Grèce, kallistiga@yahoo.gr INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org «... très maligne la nature, elle m'a offert cette issue, pour ne pas m'affoler et pour survivre. Lors de tous les moments difficiles, l'Art et plus particulièrement la musique, ouvrait une porte à mon existence…(…)». C'est ainsi que le compositeur, homme politique et penseur Grec le plus reconnu mondialement, Mikis Theodorakis, décrit la délivrance qui lui était offerte par le biais de la musique aux moments où le combattant et le créateur s'identifiaient en lui-même. Car, dans sa vie, Musique et Politique, Politique et Musique sont étroitement liées. Résistant pendant la Seconde Guerre Mondiale (1940-1944), combattant communiste pendant la Guerre Civile Grecque (1945-1949), militant enflammé contre la Junte des Colonels (1967-1974), Theodorakis a consacré aussi bien son œuvre artistique que son action politique au service de la Liberté, de la Démocratie, de la Justice Sociale… Tenant en considération que pendant les périodes de lutte armée, de prison ou d'exil, plusieurs œuvres ont vu la lumière du jour par la plume de Theodorakis, le but de cette communication est, d'une part, en s'appuyant sur les écrits littéraires du compositeur (autobiographie, textes politiques, articles…), de mettre en évidence les circonstances dans lesquelles ces œuvres sont nées et d'autre part, à travers une analyse poético- musicale des œuvres spécifiquement choisies (comme entre autres, De l'Exil A', La Ballade du Frère Mort, Les chansons d'Andréas, Le Soleil et le Temps, les Arcadies…), de révéler les raisons pour lesquelles le compositeur les caractérise de «témoignages d'une époque tragique et cosmogonique». Par ailleurs, le caractère antimilitariste, diachronique et œcuménique de l'ensemble de l'œuvre théodorakienne sera évoqué 93 Prédestination Métaphorique Du Patrimoine Culturel Daina TETERS, Latvia, teters@metamind.lv INTERNATIONAL SEMIOTICS CONFERENCE 7-10 May, 2015 İstanbul Üniversitesi, İstanbul/TÜRKİYE Semiotics of Cultural Heritages: Authenticity to Informatics www.iscch2015.org Depuis le temps de John Locke, tout européen a perdu l'habitude de se voir défini dans les catégories de spectre animalier comme un animal doué de qualités spécifiques - il s'est redéfini propriétaire. La révolution du droit naturel de propriété prévoyait aux 17e - 18e siècles le droit de chacun à la vie, à la liberté et à la propriété, au 20e siècle, cette propriété a été augmentée par « le tout », et, par conséquence, par le droit au patrimoine culturel ou plusieurs d'entre eux. Si, dans le premier des cas, les contours du droit de propriété se tracent comme une notion, dans le cas du patrimoine culturel, les problèmes inévitables surgissent quant à l'objet de l'héritage et la description du processus du legs. Le problème n'est pas approfondi par le fait que la constante de base - la culture - soit une notion difficile à opérer par des outils scientifiques, il est vrai qu'elle est variable et peut avoir l'usage soit vaste, soit étroit ; le problème est causé par le fait que le patrimoine culturel appartient à des abstractions collectives qui n'ont pas de destinataire direct prévu par le droit romain. Ainsi, le processus de la sélection du patrimoine ou le processus de succession ne peut être compris que dans un sens figuré. Malgré les difficultés mentionnées, le patrimoine culturel prétend au statut de terme juridique et de notion scientifique et il a été adapté à une série de documents juridiques internationaux, il est vrai qu'il révèle inévitablement les difficultés de langage descriptif et les difficultés d'usage explicite. Parmi les dernières, citons les suivantes : le patrimoine culturel a un certain statut privilégié en tant que propriété collective par rapport à d'autres propriétés, sa sélection d'après les indices extérieurs signale l'apparition de l'irrationnel, les rapports entre l'héritier prévisible et le patrimoine ne sont pas réglementés par un système, les relations entre le propriétaire décédé et l'héritier survivant qui « ranime » le bien culturel sont compliquées etc. Les problèmes mentionnés ne se prêtent pas aux explications précises juridiques, ils font appel aux analogies et aux métaphores. La communication présente est dédiée aux spécificités du fonctionnement de l'héritage culturel, par exemple, intervenant en statut de sujet indépendant, aux particularités de sa verbalisation, aux métaphores liées avec ce sujet comme renouvellement, ranimation, reconstruction, héritage successif, arrachement des profondeurs de l'oubli et d'autres parallèles archéologiques et d'autres réseaux métaphoriques ainsi qu'aux conséquences de l'usage dû à l'apparition du patrimoine culturel dans la richesse mentionnée langagière. ACTIVITIES ETKİNLİKLER LES ACTIVITÉS Documentaries 1 - Nida OLÇAR, "Sıtkı OLÇAR- UNESCO Living Human Treasure" 2 - Remziye KÖSE ÖZELÇİ, F. Deniz ÖZDEN "Zeugma, The Lost City" 3 - Selçuk GÜRIŞIK "Narrating With The Documented Journey Of The Felted, Culture-Objects…" Belgeseller 1 - Nida OLÇAR, "Sıtkı OLÇAR- UNESCO Yaşayan İnsan Hazinesi" 2 - Remziye KÖSE ÖZELÇİ, F. Deniz ÖZDEN "Yitik Kent Zeugma" 3 - Selçuk GÜRIŞIK "Keçeden kültür ürünlerinin yolculuğunu belgeseller ile nakletmek..." Documentaire 1 - Nida OLÇAR, "Sıtkı OLÇAR- UNESCO Le trésor de l'homme vivant" 2 - Remziye KÖSE ÖZELÇİ, F. Deniz ÖZDEN "Zeugma, la ville perdue" 3 - Selçuk GÜRIŞIK "Les culture-objets, raconter le voyage documentaire du feutre.." ACTIVITIES ETKİNLİKLER LES ACTIVITÉS Exhibitions 1 - Exhibition of Selçuk & Ali 2 - Exhibition of Sıtkı Olçar and Nida Olçar 3 - Exhibition of Kifayet Özkul From Traditional Turkish ceramics to modern designs 4 - Exhibition of Yüksel Dede Reproduction studies of neolithic chalcolithic period's ceramics and neolithic period stone technology's tools by experimental method Sergiler 1 - Selçuk & Ali Sergisi 2 - Sıtkı Olçar ve Nida Olçar Sergisi 3 - Kifayet Özkul Sergisi "Geleneksel Türk Seramiklerinden Çağdaş Tasarımlara" 4 - Yüksel Dede Sergisi Neolitik Kalkolitik Dönem Seramiklerinin ve Yontma Taş - Sürtme Taş Aletlerin Deneysel Yöntemler İle Yeniden Üretim Çalışmaları Workshop 1 - Kifayet Özkul Work of earthenware underglazed decoration Çalıştay 1 - Kifayet Özkul Çin'i Sıraltı Çalışması L'exhibition 1 - L'exhibition de Selçuk & Ali 2 - L'exhibition de Sıtkı Olçar et Nida Olçar 3 - L'exhibition de Kifayet Özkul des céramiques traditionnelles turques aux formes modernes 4 - L'exhibition de Yüksel Dede Les études de reproduction de la céramique de la période néolithique calcholithique et des outils de la technologie de pierre de la période néolithique avec les méthodes expérimentales. Atelier 1 - Kifayet Özkul Le travail de faience en peinture de sous-glaçure www.iscch2015.org Semiotics of Cultural Heritages: Authenticity to Informatics In support of UNESCO’S 70th Anniversary Celebrations United Nations Educational, Scientific and Cultural Organization
