Yazar: Gyulten Hyusein<\/p>\n\n\n\n
Gyulten Hyusein Ko\u00e7 \u00dcniversitesi Psikoloji B\u00f6l\u00fcm\u00fcnde, <\/em>Dil ve Bili\u015f Laboratuvar\u0131nda<\/em><\/a> doktora ara\u015ft\u0131rmac\u0131s\u0131d\u0131r. G\u00fcncel \u00e7al\u0131\u015fmalar\u0131, yarat\u0131c\u0131 d\u00fc\u015f\u00fcnme ve zihinsel imgeleme gibi s\u00fcre\u00e7ler ile dil modaliteleri (jestler, iki dillilik) aras\u0131ndaki ili\u015fkilere odaklanmaktad\u0131r. Ayn\u0131 zamanda dil kullan\u0131m\u0131n\u0131n belli n\u00f6rolojik tan\u0131lar ve ya\u015flanma ile birlikte nas\u0131l de\u011fi\u015fti\u011fi de ilgi alanlar\u0131 aras\u0131ndad\u0131r.<\/em><\/p>\n\n\n\n \u00dcnl\u00fc y\u00f6netmen David Lynch, yak\u0131n tarihteki bir r\u00f6portaj\u0131nda (1) yarat\u0131c\u0131 s\u00fcre\u00e7lerini bal\u0131k tutma <\/em>metaforuyla tan\u0131ml\u0131yor. \u00c7o\u011fu fikrin pek de ilgin\u00e7 olmad\u0131\u011f\u0131 fikirler okyanusunda arada s\u0131rada heyecan verici bir fikir yakalad\u0131\u011f\u0131n\u0131, ancak ona ne zaman denk gelece\u011fini bilemeyece\u011fi i\u00e7in her g\u00fcn aray\u0131\u015fta olmas\u0131 gerekti\u011fini s\u00f6yl\u00fcyor. Ayr\u0131ca, \u201cB\u00fcy\u00fck Bal\u0131\u011f\u0131 Yakalamak\u201d (Catching the Big Fish) <\/em>adl\u0131 kitab\u0131nda (2) kendi yarat\u0131c\u0131 s\u00fcre\u00e7lerinin hareketler ve jestler taraf\u0131ndan ba\u015flat\u0131ld\u0131\u011f\u0131n\u0131 a\u00e7\u0131kl\u0131yor. Yarat\u0131c\u0131 fikirlerin geli\u015fimine dair b\u00f6yle bir i\u00e7g\u00f6r\u00fc; yarat\u0131c\u0131l\u0131\u011f\u0131n nesneler, insanlar ve eylemler aras\u0131nda da\u011f\u0131t\u0131lm\u0131\u015f, bedenlenmi\u015f (embodied) bir deneyim oldu\u011funu (3) g\u00f6zden ka\u00e7\u0131rmay\u0131 imk\u00e2ns\u0131z k\u0131l\u0131yor. Bu yaz\u0131da, ba\u015fta jestler olmak \u00fczere, hareket ile yarat\u0131c\u0131l\u0131k aras\u0131ndaki b\u00fcy\u00fcleyici ili\u015fkinin derinlerine inecek ve fiziksel hareketlerimizin zihnimizin imgesel derinliklerini nas\u0131l uyand\u0131rabilece\u011fini ve besleyebilece\u011fini ke\u015ffedece\u011fiz.<\/p>\n\n\n\n Jestler ve yarat\u0131c\u0131l\u0131k aras\u0131ndaki ba\u011flant\u0131y\u0131 anlamak i\u00e7in \u00f6ncelikle \u201cbedenlenmi\u015f zihin\u201d kavram\u0131na a\u015fina olmal\u0131 ve ayn\u0131 zamanda jestlerin i\u015flevlerine daha yak\u0131ndan bakmal\u0131y\u0131z. Bedenlenmi\u015f bili\u015f<\/em> paradigmas\u0131, fiziksel \u00e7evremizi ke\u015ffedi\u015fimiz ve onunla etkile\u015fimimizin d\u00fc\u015f\u00fcnme tarz\u0131m\u0131z\u0131 etkiledi\u011fini, \u015fekillendirdi\u011fini ve d\u00fczenledi\u011fini \u00f6ne s\u00fcrer. Dahas\u0131, zihinsel temsillerimiz yaln\u0131zca beynimizin s\u0131n\u0131rlar\u0131na hapsolmaz; bedenimizin tamam\u0131na da\u011f\u0131lm\u0131\u015f haldedirler ve bedenimizin hareketleri ve fiziksel deneyimlerimizle i\u00e7 i\u00e7edirler (4, 5). Sonu\u00e7 olarak, zihnimiz, yak\u0131n \u00e7evremizle (immediate environment) tan\u0131mlanan uzam i\u00e7inde bedenimizle senkronize halde \u00e7al\u0131\u015farak d\u00fc\u015f\u00fcncelerimizi, alg\u0131lar\u0131m\u0131z\u0131 ve yarat\u0131c\u0131 s\u00fcre\u00e7lerimizi yarat\u0131r ve \u015fekillendirir.<\/p>\n\n\n\n Di\u011fer yandan, el jestlerinin gizemli \u00e2lemine bakal\u0131m. Neden biriyle konu\u015furken ellerimizi havada \u201cama\u00e7s\u0131zca\u201d hareket ettiririz? Bunu konu\u015fmam\u0131z\u0131n i\u00e7eri\u011finin bir k\u0131sm\u0131n\u0131 \u201cg\u00f6stermek\u201d ve vurgulamak i\u00e7in yap\u0131yor olabiliriz \u2013\u00f6rne\u011fin, penceremizi k\u0131ran topun ne kadar b\u00fcy\u00fck oldu\u011funu g\u00f6stermek i\u00e7in. Ancak bazen, bizi kimse g\u00f6rmezken ve hatta i\u00e7 sesimizle konu\u015furken de jest yapabiliriz. Bunu yap\u0131yor olmam\u0131z, jestlerin konu\u015fmac\u0131ya-y\u00f6nelik (speaker-oriented)<\/em> bir i\u015flevi olma olas\u0131l\u0131\u011f\u0131na i\u015faret eder. Ba\u015fka bir deyi\u015fle, jestler kavramsalla\u015ft\u0131rma (conceptualization) i\u00e7in \u00f6nemli bir ara\u00e7t\u0131r (6). \u00c7o\u011fumuz, kavramlar\u0131 veya fikirleri g\u00f6rselle\u015ftirmemize, anlamam\u0131za ve hat\u0131rlamam\u0131za yard\u0131m etmesi i\u00e7in sezgisel olarak el jestlerine ba\u015fvururuz. En basit haliyle, bir \u015feyin \u201cdilinizin ucunda\u201d olmas\u0131 deneyimini d\u00fc\u015f\u00fcn\u00fcn. Belli bir kelimeyi t\u00fcm zihinsel ve fiziksel varl\u0131\u011f\u0131m\u0131zla hat\u0131rlamaya \u00e7al\u0131\u015f\u0131rken \u00e7o\u011funlukla o kelimeyi ellerimizi kullanarak d\u0131\u015fsalla\u015ft\u0131rmaya \u00e7al\u0131\u015f\u0131r\u0131z, veya eninde sonunda zihnimizin derinliklerinden o kavram\u0131 \u00e7ekip \u00e7\u0131karacak basit ritmik hareketler yapar\u0131z.<\/p>\n\n\n\n Jestleri kullanarak i\u00e7sel d\u00fc\u015f\u00fcncelerimiz ve imgelerimize somut bir \u015fekil veririz. Bunlar konu\u015fmalar\u0131m\u0131za fazladan bir bilgi ekler ve bu da d\u00fc\u015f\u00fcnme \u015feklimize geri yans\u0131r; b\u00f6ylece jestlerimiz ve d\u00fc\u015f\u00fcncelerimiz aras\u0131nda, bedenimiz ve zihnimiz aras\u0131nda bir i\u015f birli\u011fi yaratm\u0131\u015f oluruz. Kavramlar\u0131n bu \u015fekilde bedenlenmesi kavramay\u0131 peki\u015ftirir, yeni ba\u011flant\u0131lar yarat\u0131r ve hatta problem \u00e7\u00f6zme ba\u011flam\u0131nda yenilik\u00e7i yakla\u015f\u0131mlar\u0131n kilidini a\u00e7abilir.<\/p>\n\n\n\n Yarat\u0131c\u0131l\u0131\u011f\u0131 bir laboratuvarda, ger\u00e7ek hayattaki yarat\u0131c\u0131 s\u00fcre\u00e7lerle ili\u015fkilendirilebilecek \u015fekilde \u00f6l\u00e7mek olduk\u00e7a zor olsa da, el hareketleri ve yarat\u0131c\u0131 problem \u00e7\u00f6zme g\u00f6revleri aras\u0131ndaki ili\u015fkiyi ortaya \u00e7\u0131karmay\u0131 hedefleyen \u00e7al\u0131\u015fmalar mevcuttur. \u00d6rne\u011fin, spontane jestlerde bulunan \u00e7ocuklar\u0131n hikayeleri daha yarat\u0131c\u0131 bir \u015fekilde anlatt\u0131\u011f\u0131 (7) ve s\u0131radan e\u015fyalar i\u00e7in farkl\u0131 kullanma yollar\u0131 bulmaya \u00e7al\u0131\u015f\u0131rken jest kullanmaya te\u015fvik edilen \u00e7ocuklar\u0131n, te\u015fvik edilmeyenlere g\u00f6re daha fazla fikir \u00fcretti\u011fi bulunmu\u015ftur (8). Spontan jest kullan\u0131m\u0131n\u0131n yeti\u015fkinlerde de geli\u015fmi\u015f s\u00f6zl\u00fc do\u011fa\u00e7lamayla ili\u015fkisi oldu\u011fu (9) ve grup\u00e7a ger\u00e7ekle\u015ftirilen beyin f\u0131rt\u0131nas\u0131 oturumlar\u0131nda ki\u015finin hem kendisinin hem de partnerinin fikir \u00fcretimine katk\u0131da bulundu\u011fu g\u00f6zlenmi\u015ftir (10).<\/p>\n\n\n\n Bununla beraber, jestlerin yarat\u0131c\u0131 d\u00fc\u015f\u00fcnmeyle ili\u015fkisi ki\u015finin zihinsel imgeleme (mental imagery) becerilerine de ba\u011fl\u0131 olabilir (11). Zihinsel imgeleme, herhangi bir d\u0131\u015fsal uyaran\u0131n yoklu\u011funda zihnimizde g\u00f6rsel-benzeri temsiller olu\u015fturabilmemizle birlikte bu g\u00f6r\u00fcnt\u00fcleri zihnimizde tutma ve onlara manip\u00fclasyonlar uygulama becerimizdir (\u00f6rn. zihinsel d\u00f6nd\u00fcrme). Yak\u0131n zamanda \u00fcniversite \u00f6\u011frencileriyle yapt\u0131\u011f\u0131m\u0131z bir \u00e7al\u0131\u015fmada, g\u00fc\u00e7l\u00fc imgeleme becerilerine sahip olan ki\u015filerin bir yarat\u0131c\u0131l\u0131k problemi \u00e7\u00f6zerken ne kadar fazla jest yaparlarsa uzak \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 birle\u015ftirmede -yarat\u0131c\u0131l\u0131k literat\u00fcr\u00fcnde bu yak\u0131nsak d\u00fc\u015f\u00fcnme (convergent thinking) olarak ge\u00e7er- o kadar ba\u015far\u0131l\u0131 olduklar\u0131n\u0131 bulduk. Bu bulgu, \u00f6zellikle de ellerimizle yapt\u0131\u011f\u0131m\u0131z anlaml\u0131 jestler, yani ikonik jestler (iconic gestures)<\/em> i\u00e7in ge\u00e7erliydi. \u00d6te yandan, ki\u015finin zihinsel imgeleme becerilerinin zay\u0131f olmas\u0131 halinde, yak\u0131nsak d\u00fc\u015f\u00fcnme i\u00e7in jest kullanman\u0131n olumsuz sonu\u00e7lar\u0131 olabilir. \u0130lgin\u00e7 bir \u015fekilde, baz\u0131 durumlarda \u201canlams\u0131z\u201d jestlerin, yani ritmik jestlerin (beat gestures)<\/em> de yak\u0131nsak d\u00fc\u015f\u00fcnme i\u00e7in faydal\u0131 olabilece\u011fini bulduk. Bunu, g\u00fc\u00e7l\u00fc imgeleme becerisine sahip olan, yak\u0131nsak d\u00fc\u015f\u00fcnme g\u00f6revinde bir miktar pratik de yapm\u0131\u015f ki\u015filerde g\u00f6zlemledik. Bu sonu\u00e7lar, hayattaki pek \u00e7ok \u015fey gibi, jest-yarat\u0131c\u0131l\u0131k etkile\u015fiminin de olduk\u00e7a karma\u015f\u0131k oldu\u011funu ve jestlerin yarat\u0131c\u0131l\u0131k i\u00e7in faydal\u0131 olup olmad\u0131\u011f\u0131 sorusunun basit bir \u201cevet\u201d veya \u201chay\u0131r\u201d ile yan\u0131tlanamayaca\u011f\u0131n\u0131 g\u00f6steriyor.<\/p>\n\n\n\n Iraksak d\u00fc\u015f\u00fcnme (divergent thinking)<\/em> adl\u0131 ba\u015fka bir yarat\u0131c\u0131 d\u00fc\u015f\u00fcnme t\u00fcr\u00fcn\u00fc test eden devam \u00e7al\u0131\u015fmam\u0131zda da benzer \u015fekilde kar\u0131\u015f\u0131k bulgular elde ettik. Iraksak d\u00fc\u015f\u00fcnme, \u00e7ok say\u0131da \u00f6zg\u00fcn, esnek ve detayl\u0131 fikir \u00fcretebilme becerisidir. Iraksak d\u00fc\u015f\u00fcnme \u00fczerinde yaln\u0131zca \u201canlaml\u0131\u201d yani ikonik jestlerin etkisini g\u00f6zlemledik. Bu t\u00fcr jestler, daha fazla say\u0131da fikir \u00fcretme ve bu fikirleri detayland\u0131rma a\u00e7\u0131s\u0131ndan avantaj sa\u011fl\u0131yordu, ancak fikirlerin \u00f6zg\u00fcnl\u00fc\u011f\u00fc \u00fczerinde bir etkileri yoktu. \u00c7ok ilgin\u00e7 bir \u015fekilde, ikonik jestler ayn\u0131 zamanda bu fikirlerin esnekli\u011fiyle negatif y\u00f6nde ili\u015fkiliydi. Yani, \u00e7ok fazla ikonik jest yapan ki\u015filer, birbirinden farkl\u0131 kategorilerde fikir \u00fcretmek konusunda pek ba\u015far\u0131l\u0131 de\u011fillerdi. Jest yapmak onlar\u0131 adeta tek bir fikir kategorisine s\u0131k\u0131\u015ft\u0131rm\u0131\u015ft\u0131. Tekrar g\u00f6r\u00fcyoruz ki, konu yarat\u0131c\u0131 d\u00fc\u015f\u00fcnmeye geldi\u011finde jestler adeta iki ucu keskin bir b\u0131\u00e7ak olabilir.<\/p>\n\n\n\n Merak uyand\u0131ran ba\u015fka bir konu ise ikinci dilimizde de anadilimizdeki kadar yarat\u0131c\u0131 olup olmad\u0131\u011f\u0131m\u0131z ve yarat\u0131c\u0131l\u0131k g\u00f6revleri esnas\u0131nda imgelerimizin canl\u0131l\u0131\u011f\u0131n\u0131n (vividness) benzer olup olmad\u0131\u011f\u0131. Ayn\u0131 zamanda insanlar\u0131n jest yapma yoluyla nesnelerin farkl\u0131 sa\u011flarl\u0131klar\u0131n\u0131 (affordances) ke\u015ffedebileceklerini ve bunun da \u0131raksak d\u00fc\u015f\u00fcnmelerine katk\u0131s\u0131 olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyoruz. \u00d6rne\u011fin, \u00e7ay i\u00e7mek<\/em> \u0130ngilizce ve T\u00fcrk\u00e7e\u2019de farkl\u0131 zihinsel imgeler canland\u0131rabilir. Bir \u0130ngiliz i\u00e7in, \u00e7ay i\u00e7me eylemi b\u00fcy\u00fck ihtimalle \u00e7ayla dolu porselen bir fincan imgesi canland\u0131racakken, bir T\u00fcrk\u2019\u00fcn zihninde canlanan imge lale \u015feklinde k\u00fc\u00e7\u00fck bir cam bardak olacakt\u0131r. Bu durumda, bu kavramlar\u0131n sa\u011flarl\u0131klar\u0131 da farkl\u0131 olacakt\u0131r; bir \u00e7ay fincan\u0131n\u0131 ba\u015f parmak ve i\u015faret parmak ile kulpundan tutmak ile cam barda\u011f\u0131 t\u00fcm elle kavramak gibi. Sonu\u00e7 olarak, \u0130ngilizce-T\u00fcrk\u00e7e konu\u015fan bir iki dillinin objeler i\u00e7in \u00e7ok daha \u00e7e\u015fitli ve karma\u015f\u0131k kullan\u0131m yollar\u0131 ke\u015ffetmesi ve icat etmesi m\u00fcmk\u00fcnd\u00fcr. Bu etkinin kat\u0131l\u0131mc\u0131n\u0131n hangi dilde test edildi\u011fine ba\u011fl\u0131 olup olmad\u0131\u011f\u0131 veya yak\u0131nsak d\u00fc\u015f\u00fcnmede de g\u00f6zlenip g\u00f6zlenemeyece\u011fi, yak\u0131n zamanda yan\u0131tlamay\u0131 ama\u00e7lad\u0131\u011f\u0131m\u0131z heyecan verici sorular.<\/p>\n\n\n\n Jest-yarat\u0131c\u0131l\u0131k etkile\u015fiminin do\u011fas\u0131 hakk\u0131nda hala ke\u015ffedilecek \u00e7ok \u015fey var. Bu s\u0131rada biz, d\u00fc\u015f\u00fcn\u00fcrken, konu\u015furken, do\u011fa\u00e7lama yaparken ve yarat\u0131rken ellerimizi kullanmaktan ka\u00e7\u0131nmamal\u0131y\u0131z; \u00f6zellikle de jestler, hareket ve yenilik\u00e7i fikirlerin \u00fcretimi aras\u0131ndaki ba\u011f\u0131 g\u00fc\u00e7lendirdi\u011fi g\u00f6sterilen \u201cbeden f\u0131rt\u0131nas\u0131\u201d (bodystorming) <\/em>adl\u0131 yeni bir beyin f\u0131rt\u0131nas\u0131 tekni\u011finin ayr\u0131lmaz bir par\u00e7as\u0131 oldu\u011fu i\u00e7in.<\/p>\n\n\n\n [1]<\/a> Antik Yunanca\u2019da \u201cpatika\u201d anlam\u0131na gelen \u201cperipatoi\u201d kelimesinden gelmektedir.<\/p>\n\n\n\n 1. Meditaci\u00f3n Trascendental C\u00f3rdoba. (2021, February 28). MASTER CLASS de DAVID LYNCH Subtitulada en ESPA\u00d1OL<\/em> [Video]. YouTube. https:\/\/www.youtube.com\/watch?v=YAL52dL5K3Q<\/a><\/p>\n\n\n\n 2. Lynch D. (2006) Catching the big fish: Meditation, consciousness, and creativity. Penguin, London.<\/p>\n\n\n\n 3. Videla, R., Veloz, T., & Pino, M. C. (2023). Authors\u2019 Response: Becoming Makers Through Continuous Practice: Learning to Deal With the Uncertain. Constructivist Foundations<\/em>, 18<\/em>(2), 320\u2013324.<\/p>\n\n\n\n 4. Lakoff, G., & Johnson, M. (1980). Metaphors We Live By. Chicago: University of Chicago Press.<\/p>\n\n\n\n 5. Stanciu, M. M. (2015). Embodied creativity: A critical analysis of an underdeveloped subject. Procedia-Social and Behavioral Sciences<\/em>, 187<\/em>, 312\u2013317.<\/p>\n\n\n\n 6. Kita, S., Alibali, M. W., & Chu, M. (2017). How do gestures influence thinking and speaking? The gesture-for-conceptualization hypothesis. Psychological Review<\/em>, 124<\/em>(3), 245\u2013266. https:\/\/doi.org\/10.1037\/rev0000059<\/a><\/p>\n\n\n\n 7. Laurent, A., Smithson, L., & Nicoladis, E. (2020). Gesturers Tell a Story Creatively; Non-Gesturers Tell it like it Happened. Language Learning and Development<\/em>, 16<\/em>(3), 292\u2013308. https:\/\/doi.org\/10.1080\/15475441.2020.1745074<\/a><\/p>\n\n\n\n 8. Kirk, E., & Lewis, C. (2016). Gesture Facilitates Children\u2019s Creative Thinking. Psychological Science<\/em>, 28<\/em>(2), 225\u2013232. https:\/\/doi.org\/10.1177\/0956797616679183<\/a><\/p>\n\n\n\n 9. Lewis, C., Lovatt, P., & Kirk, E. (2015). Many hands make light work: The facilitative role of gesture in verbal improvisation. Thinking Skills and Creativity<\/em>, 17<\/em>, 149\u2013157. https:\/\/doi.org\/10.1016\/j.tsc.2015.06.001<\/a><\/p>\n\n\n\n 10. Liao, J., & Wang, H. C. (2019). Gestures as Intrinsic Creativity Support. Proceedings of the ACM on Human-Computer Interaction<\/em>, 3<\/em>(GROUP), 1\u201316. https:\/\/doi.org\/10.1145\/3361124<\/a><\/p>\n\n\n\nBedenlenmi\u015f Yarat\u0131c\u0131 Zihin veya \u0130nsan Zihnine A\u00e7\u0131lan Bir Pencere Olarak Eller<\/strong><\/h2>\n\n\n\n
Jest-Yarat\u0131c\u0131l\u0131k Etkile\u015fimi \u00dczerine Empirik \u00c7al\u0131\u015fmalar<\/strong><\/h2>\n\n\n\n
\u0130ki Dilli (Bilingual) Yarat\u0131c\u0131l\u0131k \u0130\u00e7in Jestler ve \u0130mgeleme<\/strong><\/h2>\n\n\n\n
Yarat\u0131c\u0131 Ke\u015fif \u0130\u00e7in Jestlerden Yararlanmak<\/strong><\/h2>\n\n\n\n
Notlar<\/strong><\/h2>\n\n\n\n
Kaynak\u00e7a<\/strong><\/h2>\n\n\n\n