Department of Graphic Design

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Browsing Department of Graphic Design by Author "Aracagök, Z."

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    Decalcomania, mapping and mimesis
    (University of Nebraska Press, 2005) Aracagök, Z.
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    On rhythm, resonance, and distortion
    (University of Warwick, 2003) Aracagök, Z.
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    On some umbrellas
    (Routledge, 2008-09) Aracagök, Z.
    Before I introduce the subject of this article, I should confess that its subject is the subject itself. The question of the subject always brings along a question of location and, therefore, a question of topology. Consequently, what we have here as a subject is a subject which does not conform to the rules of being a subject and hence this subject‐non‐subject demands an approach where topology and atopology should be put in a complementary relationship rather than an oppositional one. Without cutting the long word short, or without putting our subject under protection, or without opening what cannot be opened, we can at least say that our subject here is an umbrella, an umbrella which, being the subject of three different persons, can be seen, though only at the beginning, as the subject of that which incessantly echoes the question of localisability.
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    Spectacle, speculative, spectile: situations in Sarah Kane, Sevim Burak, etc
    (Routledge, 2010-07) Aracagök, Z.; Yalim, P. B.
    Reconsidering the Situationist texts, mainly Guy Debord’s Society of the Spectacle, this article attempts to produce distinctions between the spectacle, the speculative and the ‘spectile’ via a reading of Deleuzian insistence that immanence should be created. Zigzagging between the texts of Sarah Kane and Sevim Burak, we suggest the urgency of ‘the spectile’ within the Deleuzian concept of ‘becoming‐woman’ if an immanence, including both arts and art criticism, is not to yield to a transcending transcendental; if criticism is to produce an immanence that is only immanent to itself.
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    Whatever image
    (The Johns Hopkins University Press, 2003) Aracagök, Z.
    This essay can be seen as an attempt to foreground a new approach to representation with an outcome of a new concept, “whatever image.” This is undertaken by going through Benjamin’s handling of image via Leibniz in the prologoue of “German Tragic Drama” where he problematizes epistomolgy’s claim to truth by introducing his idea of constellations and thus opens up the question of a rigid, bounded image of the world to an immanence; Adorno’s theories in “Negative Dialectics”, concerning the image as the third term, as a screen, between subject and object, by way of which he introduces the question of “the resurrection of flesh” as far as the perception of the world in the form of images is concerned; and Giorgio Agamben’s concept of “whatever” in “The Coming Community” by means of which I attempt to introduce a “whateverness” to the concept of image which aims to open the question of image to “experience through flesh.”