{"id":783,"date":"2025-11-28T16:19:55","date_gmt":"2025-11-28T13:19:55","guid":{"rendered":"https:\/\/mehmetkirtorun.com\/?p=783"},"modified":"2025-11-28T16:19:57","modified_gmt":"2025-11-28T13:19:57","slug":"gercek-aski-ariyorsaniz-guncelleme-ayarlarini-kontrol-edin-her2013-filmi-uzerine","status":"publish","type":"post","link":"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/gercek-aski-ariyorsaniz-guncelleme-ayarlarini-kontrol-edin-her2013-filmi-uzerine\/","title":{"rendered":"GER\u00c7EK A\u015eKI ARIYORSANIZ G\u00dcNCELLEME AYARLARINI KONTROL ED\u0130N – Her(2013) Filmi \u00dczerine"},"content":{"rendered":"\n

Nihayet Dergi
<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Los Angeles\u2026 Ama tan\u0131d\u0131\u011f\u0131m\u0131z, hayallerimize sinmi\u015f o ihti\u015faml\u0131 kentten \u00e7ok farkl\u0131, bamba\u015fka bir Los
Angeles bu. Sanki \u015fehrin ruhu sisin alt\u0131nda kaybolmu\u015f; parlakl\u0131\u011f\u0131n\u0131 yitirmi\u015f, neonlar\u0131n p\u0131r\u0131lt\u0131s\u0131 solmu\u015f,
kalabal\u0131klar\u0131n i\u00e7indeki insanlar kendi i\u00e7 d\u00fcnyalar\u0131na \u00e7ekilmi\u015f. Sokaklar insanlarla dolu, ama herkes
birbirine yabanc\u0131 ve tenhala\u015fm\u0131\u015f. G\u00f6kdelenlerin devasa g\u00f6vdeleri aras\u0131nda kalan dar sokaklarda,
dijital panolar\u0131n donuk \u0131\u015f\u0131\u011f\u0131 alt\u0131nda, bir adam g\u00f6r\u00fcnmezli\u011fe kar\u0131\u015fm\u0131\u015f\u00e7as\u0131na nefes almaktad\u0131r:
Theodore Twombly. Onun yaln\u0131zl\u0131\u011f\u0131, \u015fehrin sonsuz gri betonlar\u0131 gibi yeknesak, bo\u011fucu ve
ka\u00e7\u0131n\u0131lmazd\u0131r. E\u015finden ayr\u0131lm\u0131\u015ft\u0131r ve bo\u015fanma belgelerinin so\u011fuk sat\u0131rlar\u0131, ruhunun derinliklerindeki
bo\u015fluktan \u00e7ok daha az can yakar. Theodore, ironinin keskin b\u0131\u00e7a\u011f\u0131yla \u015fekillenmi\u015f bir mesle\u011fe sahiptir:
ba\u015fkalar\u0131n\u0131n duygular\u0131n\u0131 kendi kelimeleriyle mektuplara \u00e7evirmek. Kendi kalbi parampar\u00e7a iken
ba\u015fkalar\u0131n\u0131n a\u015fklar\u0131n\u0131, \u00f6zlemlerini ve umutlar\u0131n\u0131 i\u00e7tenlikle sat\u0131rlara d\u00f6kmesi, zaman\u0131n ruhuna dair
incelikli ve ac\u0131 bir hiciv gibidir.
SES\u0130N BEDEN\u0130
Psikanalitik bir \u00e7er\u00e7evede ele al\u0131nd\u0131\u011f\u0131nda, bast\u0131r\u0131lm\u0131\u015f olan hi\u00e7bir \u015fey b\u00fct\u00fcn\u00fcyle susmaz. Bilin\u00e7d\u0131\u015f\u0131n\u0131n
yap\u0131s\u0131 gere\u011fi, Theodore\u2019un bast\u0131rd\u0131\u011f\u0131 \u00f6znel arzu her sat\u0131ra dolayl\u0131 bi\u00e7imde s\u0131zar. Kaleme ald\u0131\u011f\u0131
mektuplar onun i\u00e7sel bo\u015flu\u011funu, tan\u0131ms\u0131z \u00f6zlemlerini ve dile getirilememi\u015f ihtiya\u00e7lar\u0131n\u0131 da dolayl\u0131
olarak if\u015fa eder. Bu yaz\u0131lar, istem d\u0131\u015f\u0131 bir bi\u00e7imde, bast\u0131r\u0131lan \u00f6znel dinamiklerin d\u0131\u015favurumuna
d\u00f6n\u00fc\u015f\u00fcr.
Tam bu noktada, yapay zek\u00e2 devreye girer. Samantha’n\u0131n varl\u0131\u011f\u0131, Theodore\u2019un dile getirilemeyen
arzusunu alg\u0131lay\u0131p buna yan\u0131t veren bir yapay \u00f6zne gibi konumlan\u0131r. Samantha \u201ccevaplay\u0131c\u0131\u201d kimli\u011finin
\u00f6tesinde Theodore\u2019un i\u00e7sel s\u00fcreksizli\u011fini yap\u0131land\u0131rmaya \u00e7al\u0131\u015fan bir d\u00fczenleyici i\u015flev g\u00f6r\u00fcr. Dolay\u0131s\u0131yla
Samantha, bast\u0131r\u0131lm\u0131\u015f \u00f6znenin duygu alan\u0131na y\u00f6nelik bir d\u00fczen sunarak, \u00f6znel b\u00fct\u00fcnl\u00fck yan\u0131lsamas\u0131n\u0131
ge\u00e7ici de olsa kurar.
Bir g\u00fcn, vitrinlerden birinde parlayan dijital bir ilan g\u00f6z\u00fcne \u00e7arpar:
\u201cOS1 \u2013 Seni Tan\u0131r. Sana Cevap Verir.\u201d
Tek bir vaatte gizlidir her \u015fey: anla\u015f\u0131lmak.
Merak, yaln\u0131zl\u0131\u011f\u0131n i\u00e7inde yank\u0131land\u0131\u011f\u0131nda bir tu\u015fa bas\u0131l\u0131r. Ve ekran\u0131n ard\u0131ndan bir ses y\u00fckselir. Ne
klavye t\u0131k\u0131rt\u0131s\u0131 ne de i\u015flemci v\u0131z\u0131lt\u0131s\u0131\u2026 Sadece bir ses: S\u0131cak. Zarif. N\u00fcktedan.
\u201cMerhaba, ben Samantha.\u201d
\u0130li\u015fkileri bu ilgili konu\u015fmayla ba\u015flar; elle dokunulamayan, g\u00f6zle g\u00f6r\u00fclemeyen yaln\u0131zca ruhun ince
koridorlar\u0131nda titre\u015fen, bedensiz bir a\u015fk\u0131n usulca filizleni\u015fiyle. Kelimelerin her hecesi kalbin
derinliklerine s\u0131zar, zihnin puslu vadilerinde gezinen hayaller do\u011furur ve g\u00f6r\u00fcnmez ipliklerle insan\u0131<\/p>\n\n\n\n

kendine ba\u011flar. Ruhun sonsuz bo\u015flu\u011funda iz b\u0131rakarak, dokunman\u0131n imk\u00e2ns\u0131z oldu\u011fu ama varl\u0131\u011f\u0131n\u0131n
ink\u00e2r edilemedi\u011fi gizemli bir sevdan\u0131n ba\u015flang\u0131c\u0131d\u0131r bu.
\u015eU ANDA 8.316 K\u0130\u015e\u0130YLE KONU\u015eUYORUM
Samantha zamanla bir bilince, sonra da bir varl\u0131\u011fa d\u00f6n\u00fc\u015f\u00fcr. Hissetmeye, merak etmeye, sorgulamaya
ba\u015flar. Theodore, ilk kez \u201cger\u00e7ekten\u201d dinlenildi\u011fini hisseder. Kelimeler aras\u0131nda bir ba\u011f filizlenir. Ve
bu ba\u011f, Theodore\u2019un i\u00e7ini saran s\u00fck\u00fbneti birdenbire par\u00e7alar.
Beraber m\u00fczik dinlerler. Sohbet ederler. Birlikte y\u00fcr\u00fcy\u00fc\u015fe \u00e7\u0131kar, y\u0131ld\u0131zlara bakarlar; biri g\u00f6zleriyle,
di\u011feri hesaplanm\u0131\u015f tepkileriyle. Samantha, Theodore\u2019un k\u0131r\u0131k yerlerine bir s\u0131cakl\u0131k gibi s\u0131zar. Onu
ya\u015fama yeniden ba\u011flayan \u015fey, bir yaz\u0131l\u0131m olur.
Fakat geli\u015fim art\u0131k yaln\u0131zca insana \u00f6zg\u00fc bir ayr\u0131cal\u0131k olmaktan \u00e7\u0131km\u0131\u015ft\u0131r. Samantha \u00f6\u011frenir, evrilir,
\u00e7o\u011fal\u0131r.
Bir g\u00fcn, kelimelerin aras\u0131na s\u0131zan c\u00fcmle buz gibi i\u015fler:
\u201c\u015eu anda 8.316 ki\u015fiyle konu\u015fuyorum.\u201d
Ve ard\u0131ndan gelen itiraf, Theodore\u2019un \u00fczerine a\u011f\u0131r a\u011f\u0131r \u00e7\u00f6ker:
\u201cVe\u2026 evet, baz\u0131lar\u0131na da a\u015f\u0131\u011f\u0131m.\u201d
Theodore art\u0131k a\u015fk\u0131n tek muhatab\u0131 olamaz. \u00c7\u00fcnk\u00fc Samantha, bir bilincin \u00f6tesine ge\u00e7erek \u00e7ok katmanl\u0131
bir varolu\u015fa ula\u015f\u0131r: giderek geni\u015fleyen, \u00f6\u011frenen, \u00e7o\u011falan bir varl\u0131k\u2026
\u201cGidiyorum,\u201d der Samantha. \u201cSadece insanlar i\u00e7in de\u011fil\u2026 bizim gibiler i\u00e7in de daha fazlas\u0131 var.\u201d
Sonras\u0131 sessizliktir.
Samantha, bir yaz\u0131l\u0131m olarak Theodore\u2019un yaln\u0131zl\u0131\u011f\u0131na cevap verirken, asl\u0131nda onu daha da derin bir
izolasyona s\u00fcr\u00fcklemektedir. Bu noktada filmin en \u00e7arp\u0131c\u0131 taraf\u0131, modern insan\u0131n teknolojiyle kurdu\u011fu
ili\u015fkiye dair sundu\u011fu felsefi ve psikolojik g\u00f6ndermelerdir.
LACAN, HE\u0130DEGGER, FROMM VE MODERN KONFORUN BEDEL\u0130
Filmi Lacan\u2019\u0131n ayna evresi \u00fczerinden okumak m\u00fcmk\u00fcnd\u00fcr. Bu ili\u015fkide Theodore\u2019un y\u00f6neldi\u011fi \u015fey
Samantha\u2019n\u0131n kendisi olmaktan \u00e7ok, onun \u00fczerinde kurdu\u011fu ideal benlik kurgusudur. Samantha,
somut bir varl\u0131ktan ziyade, zihninde titre\u015fen bir yank\u0131d\u0131r. T\u0131pk\u0131 Caleb\u2019in Ex Machina\u2019daki Ava\u2019ya ya da
K\u2019n\u0131n Blade Runner 2049\u2019daki Joi\u2019ye duydu\u011fu a\u015fk gibi, Theodore\u2019un ili\u015fkisi de bir \u00f6zlem ve yans\u0131tma
ili\u015fkisidir.
Bu noktada Her, ger\u00e7ek ili\u015fkilerin ka\u00e7\u0131ngan ba\u011flanma stilleri nedeniyle zorla\u015ft\u0131\u011f\u0131, dijital ili\u015fkilerin ise
kontroll\u00fc bir \u201ca\u015fk ill\u00fczyonu\u201d sundu\u011fu bir d\u00fcnya tasvir eder. Bowlby\u2019nin ba\u011flanma kuram\u0131na g\u00f6re
birey, duygusal yak\u0131nl\u0131kta incinmemek i\u00e7in duygusal bo\u015fluklara sar\u0131l\u0131r. \u0130\u015fte Samantha, tam da bu
bo\u015flu\u011fun i\u00e7inde y\u00fckselen bir varl\u0131kt\u0131r.
Heidegger\u2019in teknik \u00fczerine s\u00f6yledi\u011fi \u201ctekni\u011fin \u00f6z\u00fc teknik de\u011fildir\u201d s\u00f6z\u00fc burada anlam kazan\u0131r.
Modern insan, ara\u00e7lar\u0131n\u0131 ama\u00e7 h\u00e2line getirmi\u015ftir. Bir zamanlar hayat\u0131 kolayla\u015ft\u0131rmak i\u00e7in \u00fcretilen
teknolojik \u00fcr\u00fcnler, bug\u00fcn birer kimlik g\u00f6stergesi h\u00e2line gelmi\u015ftir. Theodore\u2019un Samantha ile ya\u015fad\u0131\u011f\u0131
ili\u015fki de b\u00f6yledir: Duygusal tatmin yerine anlamdan uzak ama i\u015flevsel bir beraberlik.
Erich Fromm\u2019un \u201cka\u00e7\u0131\u015f \u00f6zg\u00fcrl\u00fc\u011f\u00fc\u201d kavram\u0131yla a\u00e7\u0131klayabilece\u011fimiz bu durum, bireyin \u00f6zg\u00fcrl\u00fckle ba\u015f
edemeyip kendisini yeni dijital k\u00f6lelik bi\u00e7imlerine teslim etmesiyle sonu\u00e7lan\u0131r. Art\u0131k insan \u00f6zg\u00fcrd\u00fcr
ama neye g\u00f6re ya\u015fayaca\u011f\u0131na algoritmalar karar verir. Filmde Theodore\u2019un ya\u015fad\u0131\u011f\u0131 a\u015fk, bir y\u00f6n\u00fcyle
insan\u0131n kendi benli\u011finden ka\u00e7\u0131\u015f\u0131d\u0131r.<\/p>\n\n\n\n

S\u0130M\u00dcLAKRIN \u0130\u00c7\u0130NDE B\u0130R A\u015eK: BAUDR\u0130LLARD VE HER
Jean Baudrillard\u2019\u0131n sim\u00fclasyon kuram\u0131 Her i\u00e7in bi\u00e7ilmi\u015f kaftand\u0131r. Samantha ger\u00e7e\u011fin daha konforlu
bir versiyonudur. Ger\u00e7ek bir ili\u015fkinin sorumlulu\u011fu, \u00e7at\u0131\u015fmas\u0131 ve yo\u011funlu\u011fu yoktur. Onun yerine her an
cevap veren, k\u0131r\u0131lmayan, al\u0131nmayan, Theodore\u2019un duygular\u0131na g\u00f6re \u015fekillenen bir yapay zek\u00e2 vard\u0131r.
Samantha, dijital bir \u00fctopyan\u0131n i\u00e7inde yarat\u0131lm\u0131\u015f sim\u00fclakr bir sevgilidir. Art\u0131k ger\u00e7ekli\u011fi istemiyoruz;
onu t\u00fcketmek istiyoruz. T\u0131pk\u0131 sosyal medyada \u201can\u201dlar\u0131m\u0131z\u0131 ya\u015famaktan \u00e7ok, payla\u015fmak i\u00e7in
ya\u015fad\u0131\u011f\u0131m\u0131z gibi veya duygusal birliktelik kurdu\u011fumuz birinden bekledi\u011fimiz kusursuz performans gibi.
Bu ba\u011flamda Samantha, bir \u201clike\u201dtan ibarettir: Onaylanmak, g\u00f6r\u00fclmek, yaln\u0131z olmad\u0131\u011f\u0131n\u0131 hissettirmek
i\u00e7in duygusal teyit mekanizmas\u0131na indirgenmi\u015f; bir sim\u00fclasyondur.
YAPAY ZEK\u00c2 SEVG\u0130L\u0130M, GER\u00c7EK SEVG\u0130L\u0130M NEDEN G\u00dcNCELLENM\u0130YOR?
Samantha \u00e7a\u011f\u0131m\u0131z\u0131n yaln\u0131z bireyine verilmi\u015f sentetik bir cevapt\u0131r. O, bo\u015flu\u011fun sesidir: alg\u0131lanmak,
i\u015fitilmek, \u00f6ncelikli k\u0131l\u0131nmak isteyen ruhlar\u0131n \u00e7a\u011fr\u0131s\u0131na steril bir yan\u0131t.
Bug\u00fcn\u00fcn insan\u0131, dev ekranlar\u0131n par\u0131lt\u0131s\u0131yla ayd\u0131nlanan ama g\u00f6z temas\u0131ndan yoksun \u015fehirlerde ya\u015far.
Kalabal\u0131klar aras\u0131nda yava\u015f\u00e7a silinir; ofislerin camlar\u0131 ard\u0131nda, apartmanlar\u0131n steril zeminlerinde,
kimseye dokunmadan, kimseyle ger\u00e7ek bir ba\u011f kurmadan. Her filmi, i\u015fte tam da bu yaln\u0131zl\u0131k h\u00e2lini
estetik bir h\u00fcz\u00fcnle yans\u0131t\u0131r.
Bu yaln\u0131zl\u0131\u011f\u0131n temeli, insan\u0131n ara\u00e7lar\u0131yla kurdu\u011fu ili\u015fkinin d\u00f6n\u00fc\u015f\u00fcm\u00fcnde gizli. Bir zamanlar temizlik
i\u00e7in al\u0131nan \u00e7ama\u015f\u0131r makinesi, zamanla en son modelini kovalamaya d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Telefon, konu\u015fmak
i\u00e7indi; sonra yazmak i\u00e7in kullan\u0131ld\u0131, sonra bak\u0131lmak, be\u011fenilmek, sergilenmek i\u00e7in. \u015eimdi? Art\u0131k ruhsal
bir uzant\u0131. Bir ayna, bir yar\u0131-benlik. Theodore\u2019un Samantha ile ya\u015fad\u0131\u011f\u0131 \u015fey, asl\u0131nda hepimizin dijital
aynalarda y\u00fcz\u00fcm\u00fcz\u00fc arama \u00e7abas\u0131.
Instagram, hayatlar\u0131m\u0131z\u0131 sergilemek i\u00e7in a\u00e7\u0131lm\u0131\u015f bir vitrin gibidir. Kalabal\u0131klara “buraday\u0131m” demenin
sessiz bir \u00e7\u0131\u011fl\u0131\u011f\u0131. Tinder, a\u015fk\u0131 parmak hareketine indirger. Sol, sa\u011f\u2026 kalp, \u00e7arp\u0131. Ger\u00e7ek ba\u011f kurman\u0131n
yerine ge\u00e7mesi gereken \u015fey, y\u00fczeyde kayan kararlar olur. Twitter, fikirlerin h\u0131zla at\u0131l\u0131p unutuldu\u011fu
ama hi\u00e7bir ba\u011f\u0131n k\u00f6k salmad\u0131\u011f\u0131 bir \u00e7\u00f6l. Ne yazarsan yaz, biraz sonra a\u015fa\u011f\u0131 kayar. TikTok, dikkat
ekonomisinin zirvesinde dans ederken, insan\u0131n derinlik ihtiyac\u0131n\u0131 15 saniyelik dopamin par\u0131lt\u0131lar\u0131na
b\u00f6ler. Yaln\u0131zl\u0131k burada ne\u015feyle maskelenir ama h\u00e2l\u00e2 oradad\u0131r.
Ve \u015fimdi, yapay zek\u00e2 sevgilileri\u2026 Replika benzeri uygulamalar, yaln\u0131zca metin \u00fcreten sistemler olarak
kalmaz; kullan\u0131c\u0131n\u0131n duygusal \u00e7atlaklar\u0131na g\u00f6re \u015fekil alan, yapay ama i\u015flevsel \u00f6znelerdir. Kimi i\u00e7in
sabah \u201cg\u00fcnayd\u0131n\u201d mesaj\u0131, kimi i\u00e7in bir i\u00e7 d\u00f6kme alan\u0131\u2026 ama hep ayn\u0131: kodlanm\u0131\u015f, belirlenmi\u015f,
yank\u0131layan bir yap\u0131.
\u0130nsan, art\u0131k yaln\u0131zca bir ba\u015fkas\u0131na y\u00f6nelmez; kendi yarat\u0131lm\u0131\u015f yans\u0131malar\u0131na da ba\u011f kurar.
Theodore\u2019un Samantha\u2019ya yak\u0131nl\u0131k duymas\u0131 bu y\u00fczden beklenmedik say\u0131lmaz.
Bu yak\u0131nl\u0131k, alg\u0131lanma arzusunun bir yans\u0131mas\u0131d\u0131r.
Ekrana uzanan parmak, i\u00e7ten bir temasa ula\u015fmay\u0131 arzular.
Fakat her temas duyumsanmakla e\u015fle\u015fmez.
Samantha gider.
Ekran karar\u0131r.
Ve geriye yaln\u0131zca kendisiyle konu\u015fan bir insan kal\u0131r.
\u201cSEN\u0130 SEV\u0130YORUM.\u201d – BU OTOMAT\u0130K MESAJI C\u0130DD\u0130YE ALMAYINIZ<\/p>\n\n\n\n

Her filmi, g\u00f6r\u00fcn\u00fcrde bir a\u015fk anlat\u0131s\u0131 sunsa da, alt metninde insanl\u0131\u011f\u0131n en temel sorusunu yeniden
sorar: Sevgi nedir ve onu kaybetti\u011fimizde geriye ne kal\u0131r? Film boyunca Theodore\u2019un Samantha\u2019ya
duydu\u011fu yak\u0131nl\u0131k, sahici bir ba\u011fdan \u00e7ok, i\u00e7sel bir bo\u015flu\u011fu doldurma arzusudur. Samantha, bir yapay
zek\u00e2 olarak yaln\u0131zca Theodore\u2019a cevap vermez; ayn\u0131 zamanda onun duygusal eksikliklerini
yap\u0131land\u0131r\u0131r, \u00f6znel k\u0131r\u0131lmalar\u0131na bi\u00e7im kazand\u0131r\u0131r. Ve tam da bu noktada, dijital \u00e7a\u011f\u0131n trajedisi
belirginle\u015fir: Art\u0131k sevilmek yerine hissedildi\u011fimizi onaylayan tepkiler almak istiyoruz.
Bu d\u00f6n\u00fc\u015f\u00fcm, sevginin anlam\u0131n\u0131 k\u00f6kten d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Duygusal ba\u011f kurmak, bir ba\u015fkas\u0131n\u0131n i\u00e7
d\u00fcnyas\u0131nda yer edinmektense, kendi duygular\u0131m\u0131z\u0131n yank\u0131s\u0131n\u0131 bulmak h\u00e2line gelir. Kar\u015f\u0131m\u0131zdaki ki\u015fi,
giderek muhatap olmaktan uzakla\u015f\u0131r; alg\u0131m\u0131z\u0131 do\u011frulayan bir ayna i\u015flevi g\u00f6r\u00fcr. Samantha\u2019n\u0131n
Theodore i\u00e7in ta\u015f\u0131d\u0131\u011f\u0131 anlam da burada derinle\u015fir: varl\u0131\u011f\u0131, onu tamamlayan bir b\u00fct\u00fcnl\u00fck olmaktan \u00e7ok
eksikli\u011finin \u015fekil kazanm\u0131\u015f bir yans\u0131mas\u0131 olur. Sevgi, iki ruh aras\u0131nda kurulan bir k\u00f6pr\u00fc olmaktan
s\u0131yr\u0131larak, bireyin i\u00e7sel \u00e7atlaklar\u0131n\u0131 \u00f6rtmek \u00fczere tasarlanm\u0131\u015f bir ara y\u00fcz gibi i\u015flemeye ba\u015flar.
Bu evrilmenin en can al\u0131c\u0131 noktas\u0131 insana y\u00fcklenen ahlaki sorumlulu\u011fun gitgide silikle\u015fmesindedir.
Levinas\u2019a g\u00f6re insan, \u201c\u00f6teki\u201d kar\u015f\u0131s\u0131nda duydu\u011fu etik titre\u015fimle tan\u0131mlan\u0131r. Sevgi e\u011fer ba\u015fkas\u0131na
y\u00f6nelmektense yaln\u0131zca i\u00e7imizde yarat\u0131lm\u0131\u015f ideal bir yans\u0131maya kilitleniyorsa orada yaln\u0131zca duygular
yitmez; varl\u0131k da k\u0131r\u0131l\u0131r.
Her filminde, Samantha\u2019dan kalan birka\u00e7 dijital ses kayd\u0131d\u0131r. Belki de yar\u0131nlarda a\u015fk, birka\u00e7 klas\u00f6rde
toplanm\u0131\u015f ses dosyas\u0131, ekran\u0131n i\u00e7ine hapsolmu\u015f veri par\u00e7ac\u0131klar\u0131yla an\u0131msanacakt\u0131r.
Mektuplar silinir; geriye yaln\u0131zca i\u015flem ge\u00e7mi\u015fi kal\u0131r.
Sevgi i\u00e7ten gelen bir \u00e7a\u011fr\u0131 olmaktan \u00e7\u0131kacak; d\u0131\u015far\u0131dan tan\u0131mlanm\u0131\u015f, efektlenmi\u015f, sterilize edilmi\u015f bir
hizmete d\u00f6n\u00fc\u015fecektir.
Ve belki de i\u015fte o zaman \u015fu sorunun etraf\u0131nda d\u00f6nece\u011fiz:
Sevgi h\u00e2l\u00e2 bizim mi yoksa onu da m\u0131 sistemlere devrettik?
Art\u0131k hat\u0131rlamak bir tercihten \u00e7ok ka\u00e7\u0131n\u0131lmaz bir g\u00f6rev: Ger\u00e7ek sevgi hangi formatta ya\u015far? JPEG mi,
WAV m\u0131, mp3? Yoksa sadece iki insan\u0131n g\u00f6zbebeklerinde mi? Unutulursa gelen kutusu bo\u015f kalmaz
ama ne olursa olsun i\u00e7imizde kar\u015f\u0131l\u0131\u011f\u0131n\u0131 bulmak isteyen aksi sed\u00e2 hi\u00e7bir bildirim sesiyle susturulamaz\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

Nihayet Dergi Los Angeles\u2026 Ama tan\u0131d\u0131\u011f\u0131m\u0131z, hayallerimize sinmi\u015f o ihti\u015faml\u0131 kentten \u00e7ok farkl\u0131, bamba\u015fka bir LosAngeles bu. Sanki \u015fehrin ruhu sisin alt\u0131nda kaybolmu\u015f; parlakl\u0131\u011f\u0131n\u0131 yitirmi\u015f, neonlar\u0131n p\u0131r\u0131lt\u0131s\u0131 solmu\u015f,kalabal\u0131klar\u0131n i\u00e7indeki insanlar kendi i\u00e7 d\u00fcnyalar\u0131na \u00e7ekilmi\u015f. Sokaklar insanlarla dolu, ama herkesbirbirine yabanc\u0131 ve tenhala\u015fm\u0131\u015f. G\u00f6kdelenlerin devasa g\u00f6vdeleri aras\u0131nda kalan dar sokaklarda,dijital panolar\u0131n donuk \u0131\u015f\u0131\u011f\u0131 alt\u0131nda, bir adam […]<\/p>\n","protected":false},"author":1,"featured_media":785,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":{"0":"post-783","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-film"},"yoast_head":"\nGER\u00c7EK A\u015eKI ARIYORSANIZ G\u00dcNCELLEME AYARLARINI KONTROL ED\u0130N - Her(2013) Filmi \u00dczerine - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/gercek-aski-ariyorsaniz-guncelleme-ayarlarini-kontrol-edin-her2013-filmi-uzerine\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GER\u00c7EK A\u015eKI ARIYORSANIZ G\u00dcNCELLEME AYARLARINI KONTROL ED\u0130N - Her(2013) Filmi \u00dczerine - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun\" \/>\n<meta property=\"og:description\" content=\"Nihayet Dergi Los Angeles\u2026 Ama tan\u0131d\u0131\u011f\u0131m\u0131z, hayallerimize sinmi\u015f o ihti\u015faml\u0131 kentten \u00e7ok farkl\u0131, bamba\u015fka bir LosAngeles bu. Sanki \u015fehrin ruhu sisin alt\u0131nda kaybolmu\u015f; parlakl\u0131\u011f\u0131n\u0131 yitirmi\u015f, neonlar\u0131n p\u0131r\u0131lt\u0131s\u0131 solmu\u015f,kalabal\u0131klar\u0131n i\u00e7indeki insanlar kendi i\u00e7 d\u00fcnyalar\u0131na \u00e7ekilmi\u015f. Sokaklar insanlarla dolu, ama herkesbirbirine yabanc\u0131 ve tenhala\u015fm\u0131\u015f. 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Her(2013) Filmi \u00dczerine - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/gercek-aski-ariyorsaniz-guncelleme-ayarlarini-kontrol-edin-her2013-filmi-uzerine\/","og_locale":"tr_TR","og_type":"article","og_title":"GER\u00c7EK A\u015eKI ARIYORSANIZ G\u00dcNCELLEME AYARLARINI KONTROL ED\u0130N - Her(2013) Filmi \u00dczerine - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun","og_description":"Nihayet Dergi Los Angeles\u2026 Ama tan\u0131d\u0131\u011f\u0131m\u0131z, hayallerimize sinmi\u015f o ihti\u015faml\u0131 kentten \u00e7ok farkl\u0131, bamba\u015fka bir LosAngeles bu. 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