Beruflich Dokumente
Kultur Dokumente
1 The Abstract of the Study.........................................................................................................2
2
Introduction:
As
If
You
Saw
Morrissey
at
Starbucks
or
Illusion
as
a
Defense
Mechanism .............................................................................................................................................3
3 Sometimes I Tell Myself: Go Settle in Guyana and Get Yourself an Iguana.........4
4 And Count Dracula Decides to Buy a House in London...............................................8
5
Radio
Saint
Helena
Island ........................................................................................................9
1 The Abstract of the Study
This
chapter
is
the
real
abstract
of
the
study,
and
its
concept
is
chosen
to
be
‘reality’.
The
study
is
mainly
based
on
creating
an
academic
thesis
with
an
absurd
approach.
It
is
composed
of
12
chapters
in
total.
The
first
of
these
12
chapters
is
the
abstract
you
are
currently
reading,
and
chapter
12
is
the
“Bibliography”
which
deals
with
the
concept
of
“reference”.
With
these
two
chapters
being
the
beginning
and
the
end,
the
chapters
in
between
are
the
main
body
of
the
thesis.
The
concept
of
“Defense”
is
treated
in
Chapter
2,
“not
having
an
idea”
or
“having
no
idea”
in
Chapter
3,
and
“transformation”
in
Chapter
4.
As
the
study
was
bound
to
continue
with
a
Chapter
5,
the
concept
of
that
chapter
was
chosen
to
be
“coding.”
Chapter
6
explains
in
detail
the
tendency
to
“find
something
while
looking
for
something
else”,
which
is
the
main
concept
of
the
thesis.
Chapter
7
contains
the
concepts
of
“getting
to
know”
and
“defining,”
whereas
Chapters
8
and
9
cover
the
opposites.
In
this
respect,
it
was
found
appropriate
to
explain
the
concept
of
“resemblance”
in
Chapter
8,
and
that
of
“dissemblance”
in
Chapter
9.
The
“Conclusion”
chapter
of
the
study
refers
to
the
concept
of
“conclusion”
or
“concluding.”
Finally,
the
study
ends
with
the
“Appendixes,”
i.e.
the
parts
regarded
as
appendixes,
which
form
a
chapter
in
their
own
right.
The
appendixes
are
formed
to
exemplify
the
concept
of
“note”
or
“note‐taking,”
and
cover
the
creation
process
of
the
present
thesis.
The
study
has
been
prepared
in
a
period
of
6
months
in
2009.
The
numerous
notes
taken
during
the
first
4
months
of
this
period
were
combined,
and
the
rewriting
period
lasted
35
days
in
total.
First,
the
books
presented
in
the
“Bibliography”
were
examined.
Some
of
these
books
were
entirely
read,
some
were
partly
read
and
some
were
only
skimmed
through.
After
these
examinations,
the
points
that
were
found
interesting
were
noted
in
a
notebook.
Then,
new
notes
were
created
by
copying
the
notes
in
the
notebook
to
the
computer
and
by
rereading
the
notes
over
and
over
again.
The
level
of
chaos
was
increased
by
interspersing,
among
these
new
notes,
ones
about
various
people
or
events
bearing
no
relation
to
the
books.
Afterwards,
stories
were
created
from
the
ideas
produced
in
this
chaos.
The
study
reflects
an
experimental
style
in
techniques
and
an
absurd
style
in
content.
Attention
has
also
been
paid
to
the
part‐whole
coherence
in
the
study.
However,
the
desire
here
was
for
the
whole
–with
all
the
parts
it
included‐
to
be
a
study
on
its
own,
but
the
parts
were
also
allowed
to
be
independent.
In
other
words,
though
the
parts
are
not
separate
from
the
whole,
they
each
convey
a
story
or
a
message
of
their
own.
Apart
from
these,
of
the
two
points
that
require
to
be
mentioned
here,
one
is
that
all
through
the
study
something
is
found
while
looking
for
something
else,
and
the
other
is
coherence.
Although
it
was
desired
for
the
study
to
be
consistent,
only
partial
consistency
could
be
provided.
Various
explanations
on
how
the
study
was
prepared,
or
on
the
chapters
are
again
present
in
the
texts
–though
their
precise
locations
are
not
clear.
This chapter is written to explain the concept of ‘Defense’.
The
present
study
represents
the
copy,
entitled
“delivery
5”
of
the
thesis
of
a
writer
who
had
started
and
could
not
finish
writing
a
film
script.
Because
of
the
necessity
of
making
a
delivery
on
October
21,
the
writer
created
another
file,
entitled
“clips,”
and
added
the
parts
clipped
from
the
notes
to
“delivery
5”
without
“composing”
in
the
file
itself,
because
the
writer
knew
that
they
were
present
in
“delivery
4”
and,
for
this
reason,
deleted
“Clips”
after
seeing
that
it
is
of
no
use.
(It
is
now
an
empty
new
file.
The
writer
will
take
other
notes
in
there.)
Now
this
is
the
final
copy,
as
final
as
possible,
and
the
new
file
entitled
“clips”
is
not
added
so
as
to
not
increase
the
number
of
pages.
You
can
imagine
that
the
writer
has
added
the
file,
if
you
like.
After
all,
it
is
now
empty.
However,
the
new
notes
the
writer
will
take
in
that
file
will
most
probably
be
about
marketing
or
statistics,
but
that
is
a
case
belonging
to
the
ca
of
mysterious
codes,
and
even
the
writer
does
not
know.
The
present
study
is
a
real
thesis
and
it
has
been
delivered
to
you.
Today
is
not
that
Friday
which
eventually
arrived,
but
a
Wednesday
that
delayed
the
program
a
great
deal,
by
being
way
beyond
Friday.
Though
the
most
important
sentence
of
a
thesis
is
the
thesis
statement
and
the
defense,
the
thesis
statement
has
not
yet
been
written
in
the
desired
form,
since
the
present
thesis
could
not
be
finished.
Anyhow,
a
perfunctory
defense
is
given
here.
So
if
you
did
like
your
defense
that
means
“the
thesis
has
been
delivered
to
you.”
If
not,
keep
waiting
till
God
knows
when.
Moreover,
like
it
or
not,
THE
THESIS
HAS
BEEN
DELIVERED
TO
YOU.
Yes,
this
is
the
most
crucial
sentence
of
the
present
thesis,
and
it
also
contains
a
meaning
you
can
“fob
off”
on
people
as
the
“thesis
statement,”
if
you
like.
And
that
which
was
desired
to
be
the
real
last
sentence
is
chosen
for
the
end
of
this
paragraph.
For,
the
keyboard
knows
it
has
to
stop
here:
LET
WHAT
YOU
RECEIVED
BE
YOURS,
AND
LET
WHAT
I
UNSTERSTOOD
BE
MINE!
Important
Note:
It
is
to
be
kept
in
mind
that
whether
an
academic
or
an
informal
language
is
employed,
none
of
the
statements
in
the
present
study
give
formal
information
and
that
the
writer
has
randomly
made
up
all
of
them.
Only
the
information
in
the
footnotes,
with
references
designated,
are
relatively
formal
as
quotations
from
the
relevant
references.
Imagine
someone
has
asked
you
something.
You
have
no
idea
of
the
answer.
Then,
do
not
say,
“I
don’t
know.”
Say,
“Sometimes
I
tell
myself:
Go
settle
in
Guyana
and
get
yourself
and
an
iguana,”
instead.
This
expression
will
be
the
code
representing
the
expression
“I
have
no
idea”
between
you
and
me.
Put
this
code
(to
be
certain,“Go
settle
in
Guyana
and
get
yourself
an
iguana.”)
in
the
machine
in
Demonia,
which
will
be
right
on
your
way
to
Guyana.
The
person
coming
by
the
machine
right
after
you
will
take
the
expression
“I
have
no
idea”
as
the
real
solution
of
the
code,
and
that
person
will
be
greatly
mistaken.
The
machine
will
give
her
a
meaningful
answer,
for
the
first
time
not
in
a
tricky
way,
because
since
you
stopped
by
Demonia,
that
means
you
have
certainly
decided
to
go
to
Guyana.
So
now
you
have
an
idea.
Of
course,
that
is
unless
you
give
up
on
going
to
Guyana
or
have
to
get
a
job
offer
from
Demonia.
In
that
situation
the
first/encoded
solution
the
machine
will
give
you
for
“Go
settle
in
Guyana
and
get
yourself
an
iguana”
will
be
“find
s.w.l.f.s.e.”.
A
former
visitor
should
have
put
the
code
“and
0”
in
the
machine,
so
that
you
receive
this.
For
Guyana
is
somewhere,
and
Demonia,
which
you
find
as
s.w.l.f.s.e.,
is
somewhere
else!
For
this
reason,
the
present
chapter
is
created
with
the
“questionnaire‐
style
fortune
telling
technique,”
in
order
to
explain
the
concept
of
“not
having
an
idea”
or
“having
no
idea”
and
to
show
you
the
way
together
with
its
reasons.
First
the
questionnaire
was
formed
and
the
intention
was
then
to
prepare
the
fortunes.
Thus,
it
was
intended
to
first
form
the
questionnaire;
then
to
fill
out
the
questionnaire;
then
to
conduct
the
statistical
evaluation
of
the
questionnaire;
then
to
carry
the
discriminant
analysis;
then
to
form
the
scores,
following
the
determination
of
the
fortune
groups;
and
then
to
tell
the
fortunes
according
to
the
scores
of
those
filling
out
the
questionnaire.
Since
all
this
would
take
a
very
long
time,
it
was
decided
that
it
would
be
sufficient
here
to
briefly
express
the
intention
do
so
and
to
indicate
that
some
notes
regarding
the
idea
are
present
in
the
“Appendixes”.
Here,
it
was
decided
that
explaining
what
was
intended
by
saying
“the
questionnaire
is
present,
but
the
fortune
is
not,”
would
be
sufficient
for
those
willing
to
continue
dealing
with
this
topic
and
technique.
Then,
it
was
decided
that
these
decisions
were
all
insufficient,
and
the
primary
intention
was
carried
out.
However,
it
was
not
totally
carried
out,
so
the
work
lacks
scientific
validity.
Imagining
that
someone
has
asked
something,
imaginary
examples
were
provided
instead
of
saying
“I
do
not
know”.
In
short,
a
slapdash
work
has
been
made.
The
process
has
been
created,
inspired
by
Umberto
Eco’s
quite
serious
statements
regarding
the
concepts
of
signification
and
sign
in
his
work
entitled
Open
Work.
The
part
that
concerns
us
goes
briefly
as
follows:
“…1.
Proposition
with
referential
function…
a
proposition
such
as
“that
man
comes
from
Milan”
…
a
sentence
like
“that
man
comes
from
Genoa”…
2.
Proposition
with
suggestive
function…
the
sentence
“that
man
comes
from
Basra”
…
3.
Suggestive
effect
…
“That
man
comes
from
Basra,
via
Bisha
and
Dam,
Shibam,
Tarib
and
Hofuf.
Anaiza
and
Buraida,
Medina
and
Khaibar;
he
has
followed
the
course
of
the
Euphrates
to
Aleppo.”
;
so
from
a
phonic
fact
…”
1.
Yes,
even
this
much
quotation
is
enough
for
us.
For
we
have
made
the
man
travel
enough
–
The
book
has
308
pages,
and
we
have
been
examining
just
the
journey
he
made
in
2
pages‐.
The
man
sure
has
a
life,
works
and
affairs,
yet
a
family
and
kids…
The
writers
are
so
cruel
sometimes!
Yes,
we
will
not
be
that
cruel
and
we
will
only
be
interested
in
the
place
the
man
came
from
–the
answer
might
be
any
part
of
the
world‐.
Don’t
worry,
we
will
not
write
all
the
possible
answers
here,
because
then
we
would
have
to
have
approximately
1.5
billion
people
fill
the
questionnaire
in
order
to
carry
out
the
discriminant
analysis.
That
takes
so
much
time
and
costs
a
fortune.
For
this
reason
we
briefly
prepare
the
questionnaire
and
present
the
fortune
results
below.
The
questionnaire
is
formed
by
one
question
and
11
choices:
Question 1: It is so “__” that you say “wherever that man comes from”:
a‐ tiresome,
b‐ wearisome,
c‐ sickening,
d‐ exhausting,
e‐ driving away,
f‐ alienating,
g‐ disregard‐able,
ı‐ all,
i‐ none,
0‐ I have no idea,
‐1‐ another adjective that I found/chose.
Select
from
the
choices
the
answer
or
the
answers
that
suit
you.
For
every
choice
given,
your
mental,
personality
and
life
fortunes
are
as
follows:
a:
Being
tired
is
a
concept
about
time.
So,
you
have
been
surrounded
by
troubles
for
a
very
long
time,
and
now,
you
are
tired
of
life.
It
means
that
by
nature
you
have
such
a
personality
that
it
is
very
likely
for
you
to
get
tired,
and
1
Umberto Eco, Açık Yapıt (Trans. Nilüfer Uğur Dalay), Istanbul: Can Publishing, 2000, pp. 98-100.
getting
tired
of
something
has
become
a
character
trait
of
you.
As
for
your
mind,
entirely
tired
out,
it
now
has
turned
into
a
tire,
tried
and
tried
and
tied
up.
b:
Being
wearisome
is
a
concept
about
multiplicity.
So
you
have
many
things.
That
means
you
are
weary
either
of
your
job
and
power,
or
of
your
wealth.
It
means
that
by
nature
you
have
such
a
personality
that
it
is
very
likely
for
you
to
get
pissed
off,
and
you
can
get
pissed
off
from
anything.
Since
that
also
includes
the
opposite
sex,
it
means
you
are
full
of
piss
and
vinegar,
and
cannot
wait
to
fall
in
love.
As
for
your
mind,
it
is
just
worn
out.
Well,
this
choice
signifies
that
from
now
on
you
will
not
think
that
much.
c:
Being
sickening
goes
together
with
being
tired.
Generally,
one
says
“I
am
sick
and
tired.”
For
this
reason,
it
seems
that
you
construct
long
sentences
and
use
many
words
as
you
talk.
So
you
are
a
talkative
person
and
though
you
talk
a
lot,
no
one
understands
you.
Since
no
one
understands
you,
you
seem
to
express
yourself
by
making
these
kinds
of
sentences
one
after
another:
“For
God’s
sake,
I’m
sick
and
tired”,
“Hey,
I’m
sick
and
tired”,
“I
say
I’m
sick
and
tired
even
of
saying
‘for
God’s
sake,
I’m
sick
and
tired’,
‘hey,
I’m
sick
and
tired,’
yet
no
one
listens
to
me,
and
that’s
why
I’m
sick
and
tired.”
As
for
your
mind,
by
getting
sickened
over
and
over
again,
you
seem
to
have
become
ill‐minded.
For
this
reason,
talk
in
less
and
shorter
sentences
so
that
no
one
recognizes
your
ill‐
mindedness.
d:
Being
exhausting
is
a
concept
about
working.
That
means
your
notable
personality
trait
is
being
hard‐working.
That
is
why
your
life
is
all
about
going
to
work
and
getting
back
home.
Therefore,
your
second
personality
trait
is
ordinariness
and
monotonousness.
As
for
your
mental
fortune,
by
working
out
all
the
time,
you
have
reached
so
many
interpretations.
As
an
extra
personality
trait,
you
are
an
interpreter
and
your
mind
is
full
of
your
personal
opinions.
That
means
that
with
every
new
interpretation
you
will
get
an
idea,
which
will
lead
to
an
increase
in
your
work
load,
and
you
will
become
even
more
hard‐working.
Then
your
life
will
become
more
colorful.
e:
Driving
people
away
is
a
concept
about
being
boring.
Then,
admit
that
you
are
a
boring
person
and
draw
inspiration
from
the
concept
of
being
exhausting,
told
in
choice
‘d.’
Your
basic
personality
trait
is
loneliness.
No
wonder
people
run
away
from
you!
Is
it
possible
that
you
might
have
been
inspired
by
the
sick
people
in
choice
‘c’?
Do
not
defend
yourself
by
saying
“I’m
on
my
own”
and/or
“I’m
a
lonesome
cowboy,”
because,
as
for
your
mind,
it
seems
that
driving
people
away
this
much
has
driven
you
mad,
and
it
shows
that
your
madness
results
from
your
loneliness.
For
this
reason,
it
is
advised
that
you
join
social
occasions.
For
then,
you
will
blossom,
and
that
would
do
you
good!
f:
Being
alienating
is
about
isolating
something
from
another.
So,
you
are
a
person
who
sees
some
beings
as
aliens.
It
also
seems
that
you
are
highly
talented
in
separating
things
and
transferring
them
to
other
places.
Your
life
is
all
about
separating,
transferring
and
picking
out
things.
If
this
is
the
case,
you
might
have
a
bizarre
job.
Could
it
be
possible
that
you
are
a
haberdasher
in
a
tailors’
bazaar?
If
you
are
not,
you
had
better
become
one.
As
for
your
mental
fortune,
as
you
set
things
apart,
it
is
likely
that
you
often
set
a
trap.
Hmm,
so
you
have
an
ever‐
entrapping
mind.
Then
give
up
on
being
a
haberdasher
in
a
tailors’
bazaar
and
dash
out
to
the
bizarre
by
tailing
people
around.
g:
Being
disregard‐able
is
a
concept
about
body
and
non‐existence.
That
means
you
live
in
absence
and
poverty.
However,
you
have
a
huge
spatial
extension,
though
you
should
have
been
so
thin
in
this
poverty.
So,
you
are
fat.
According
to
your
mental
fortune,
the
song
“look
what
disregarding
has
done
to
us/
we
took
everyone
for
a
friend”
is
just
for
you,
and
hoping
it
would
open
your
mind,
you
are
advised
to
sing
this
song
often.
For
someone
cannot
take
everyone
for
a
friend.
On
this
subject,
get
inspired
by
the
people
told
in
choice
‘e’,
but
do
not
go
that
far.
ı: The choice ‘all’ shows that all concepts are unsatisfactory for you.
i:
The
choice
‘none’
shows
that
you
either
read
the
book
–
all
308
pages
–
from
beginning
to
the
end,
or
you
wish
to
read
in
a
very
short
period
of
time
but
will
never
manage
to
do
so.
If
you
are
among
those
who
actually
read
the
book,
congratulations!
I
do
not
know
how
you
managed
to
do
so,
for
I
could
not
stand
it
more
than
2
pages.
Those
2
pages
were
very
attractive
and
inspired
me
to
create
a
technique
on
the
subject.
If
you
are
among
those
who
will
not
be
able
to
read,
I
congratulate
you
as
well.
For
there
is
nothing
wrong
with
that,
and
it
means
we
are
on
the
same
page.
(And
this
expression
applies
to
both
the
state
of
reading
and
non‐reading
due
to
the
fact
that
I
could
not
resist
either.)
Who
cares
wherever
that
man
comes
from!
The
important
thing
is
where
that
man
will
go
now.
(Because
someone
who
has
decided
to
go
to
Guyana,
will
eventually
stop
by
Demonia
on
the
way.
Well,
if
the
man
gets
a
job
offer
there,
then
he
will
transform
from
being
a
male/man
to
a
woman.)
If
Eco
had
not
written
a
book
on
the
subject,
it
is
advised
that
you
write
one
addressing
this
subject.
If
you
cannot
manage
to
do
so,
find
out
your
fortune
by
preparing
a
questionnaire
on
the
subject.
After
all,
we
have
explained
the
technique
here.
Your
job
is
much
easier.
Definitely
include
‘I
have
no
idea’
among
the
choices.
For
as
the
corresponding
code
of
this
choice,
the
machine
will
answer
you
“Demonai
shared
taxi
is
about
to
depart,
you
troublemaker.”
(The
former
visitor
should
have
entered
the
code
‘gülizar’
into
the
machine,
so
that
the
machine
would
give
you
this
answer.
In
the
‘Appendixes’,
there
are
some
pictures
in
the
part
the
TV
serial
is
mentioned).
The
person
visiting
the
machine
after
you
will
get
“George,
tell
me
buddy,
how
come
you
can
write
scripts
this
well?”
asked
Richard,”
i.e.
the
real
solution,
which
is
also
the
title
of
chapter
6.
0: GO SETTLE IN GUYANA AND GET YOURSELF AN IGUANA.
‐1:
This
answer
is
false.
Select
the
appropriate
answer
or
answers
from
the
choices
above.
The
picture
below
is
formed
of
the
images
found
by
google
search
made
using
“woman”
and
“man”
as
keywords,
and
explains
the
concept
of
“transformation”:
The
present
chapter
is
prepared
in
order
to
explain
“coding,”
i.e.
the
second
technique,
and
the
concept
of
“coding
with
Andy
Warhol
style”.
Thus
the
chapter
is
written
by
combining
these
two
techniques.
This
way,
a
new
technique
has
been
found,
and
it
is
encoded
as
the
“TO
THE
WISE!”
technique.
In
other
words,
what
you
understand
is
up
to
you.
In
daily
life,
Radio
Saint
Helena
Island’s
program
flow
is
determined
by
the
codes
found
by
this
technique.
The
information
below
is
presented
to
give
a
better
understanding
of
the
kind
of
programs
the
radio
makes,
and
to
explain
the
coding
categories
of
the
“TO
THE
WISE!”
technique:
This
technique
is
used
in
various
places
throughout
the
whole
study.
However,
the
important
thing
is
what
the
codes
are
like.
Here,
it
is
thought
that
it
would
be
useful
to
explain
this
mystery.
Some
of
these
codes
belong
to
the
concept
of
popular,
which
has
been
the
source
of
inspiration
for
the
Andy
Warhol
style,
and
consist
of
the
names
of
the
talents
appearing
in
a
TV
serial.
These
are
“Mehmet
Aslantuğ”,
“Özgü
Namal,”
and
“Necip
Memili.”
These
codes,
are
chosen
from
the
category
of
the
codes
that
are
“clearly
seen
and
could
be
found
at
will.”(To
find
out
where
these
expressions
are
hidden
please
examine
the
‘Appendixes’
chapter.)
Another
code
is
“susufifiN.esesyaya.”
No
one
knows
what
that
means,
except
for
the
writer.
For
this
reason,
this
code
is
an
example
of
the
“mysterious
codes”
category.
(To
find
out
where
these
expressions
are
hidden
please
examine
the
‘Appendixes’
chapter.)
Ibn
Arabi
defined
the
letters
this
way:
“…O
friend,
the
alphabet
is
also
an
ummat
among
others.
The
letters
are
interlocutors
and
they
are
obliged.
They
have
their
own
prophets
of
their
own
nature.
They
have
names
too;
however,
they
are
recognized
only
by
the
masters
of
divination
following
our
way…2
Thus
the
letters
are
the
most
important
source
of
inspiration
for
the
coding
technique.
A
basic
example
explaining
this
situation
is
the
languages.
For,
the
languages
represent
the
phenomenon
of
being
understood
by
some
groups.
In
other
words,
the
meaningful
words
of
a
language
are
nothing
but
alien
codes
for
those
who
do
not
speak
the
language.
Thus,
the
code
category
that
covers
this
example
is
called
“codes
belonging
to
groups”
or
“community
codes.”
In
the
community
codes
category,
there
is
the
“unspoken
rules
of
a
spoken
language”
type
of
coding
as
a
subcategory.
Arabic
language
is
an
example
of
that.
For,
in
Arabic,
something
starting
with
an
“s”
can
start
with
either
“sin”
or
“sad.”
Whereas
in
English
and
Turkish,
a
word
that
starts
with
“s”
starts
with
“s”.
This
implies
that
the
alphabet
2 Ibn Arabî, Harflerin İlmi, (Trans. Mahmut Kanık), 2nd Edition, Bursa: Asa Publishing, 2000, p.14.
can
be
loaded
with
a
meaning
that
is
mercurial,
flexible,
fragile,
encoded,
and
with
its
own
combinations.
Another
topic
that
was
found
appropriate
to
be
explained
here
is
the
idea
that
the
human
brain
resembles
an
ocean
sheltering
vivacity
and
reflecting3
the
transparent
layers,
which
reflect
the
inside
of
the
inner
side.
If
man’s
brain
is
so,
the
codes
produced
by
him
would
be
made
of
marine
animals.
Thus
the
coding
category
comprising
the
marine
animals
is
called
“ocean
codes.”
Another
group
of
coding
is
called
“plain
codes.”
In
this
approach,
there
is
a
guide
containing
the
key
words.
However,
the
key
words
guide
is
not
provided
separately
for
the
reader,
but
given
within
the
text.
For,
the
key
words
are
the
same
as
the
words
in
the
text
and
do
not
have
second
meanings.
Thus
the
words
are
present
in
text,
being
both
hidden
and
unveiled.
In
other
words,
when
the
text
is
totally
read
and
the
words
in
the
key
are
replaced
in
the
text,
the
meaning
remains
the
same.
This
coding
style
is
used
more
in
formal
writing.
However,
if
the
words
have
second
meanings,
then
the
keys
have
to
be
given
separately.
For
then,
it
is
impossible
to
give
the
keys
within
the
text.
If
this
second
technique
is
used
as
part
of
the
plain
codes
category,
this
kind
of
coding
is
called
“plain
key
codes.”
Another
category
is
called
“color
chart”
codes.
In
this
coding
style,
each
color
has
a
meaning.
These
meanings
are
written
in
the
color
chart.
This
approach
is
somewhat
like
the
plain
key
codes.
However,
a
basic
difference
is
that
in
the
case
the
colors
are
mixed,
the
meaning
is
also
formed
as
a
mixture
of
the
two
colors.
For
this
reason,
one
should
know
which
color
mixtures
result
in
which
colors.
For
example,
if
the
resulting
color
is
green
for
the
mixture
of
yellow
and
blue,
the
meaning
corresponding
to
the
yellow
and
blue
parts
of
the
text
represents
the
meaning
corresponding
to
the
color
green
in
the
color
chart.
There
is
another
detail
in
the
color
chart
coding
style,
and
that
is
about
the
mediums
the
colors
appear
on.
The
word
medium
signifies
the
texts
graphics,
photographs,
geometrical
shapes,
etc.
on
which
the
colors
appear.
Thus,
information
about
the
resulting
meanings
of
color‐medium
combinations
should
also
be
included
in
the
color
chart.
Since
writing
resembles
the
“neutral
element”
in
mathematics,
there
is
no
need
of
including
writing
in
the
color
chart.
In
other
words,
if
no
medium
meaning
is
included
in
a
color
chart,
a
decoder
viewing
the
chart
has
to
understand
or
should
already
know
that
the
meanings
the
colors
represent
apply
for
writing.
In
this
case,
this
sub‐category
can
also
be
named
as
“neutral
element
color
chart
coding.”
Then,
there
is
the
“abbreviations”
category,
being
among
the
best
known
categories
in
the
area
of
coding.
The
abbreviations
like
a.w.,
or
concepts
like
3 Beyin Anatomisinin Şeffaf Atlası, Istanbul: Abbott Laboratories, 1955. This
idea
was
acquired
by
the
association
created
by
this
referred
source.
f.s.w.l.f.s.e.
used
throughout
the
thesis
are
examples
of
this
category.
For
example
the
abbreviation
a.w.
symbolizes
the
expression
Andy
Warhol
and
his
art.
Throughout
the
thesis,
the
name
Andy
Warhol
is
abbreviated
in
various
ways.
There
are
two
reasons
for
that.
The
first
is
to
popularize
Andy
Warhol
by
using
his
name
frequently,
and
the
other
is
that
one
of
the
sources
of
this
style
is
the
“Andy
Warhol
style”
which
is
the
6th
technique.
The
meaning
of
the
code
f.s.w.l.f.s.e.,
which
is
given
as
an
example
of
the
abbreviated
concept
is
the
concept
of
the
thesis.
It
stands
for
the
concept
of
“finding
something
while
looking
for
something
else.”
A
special
type
of
the
abbreviation
codes
is
called
the
“lipogram.”
Though
the
concept
of
the
lipogram
is
furnished
with
an
example
in
the
thesis,
it
is
decided
that
giving
the
solution
of
a
text
written
according
to
the
rule
would
be
more
absurd
than
writing
a
text
following
the
lipogram
rules.
For
this
reason,
it
is
thought
that
finding
a
decoding
machine
while
trying
to
make
a
coding
one
fits
perfectly
well
with
the
concept
of
“finding
something
while
looking
for
something
else.”
In
this
chapter
the
logic
and
the
structure
of
the
decoding
machine
will
be
explained
by
an
example.
The
machine
itself
will
start
operating
in
Demonia
in
the
following
chapters.
The
reason
the
machine
does
not
operate
here
in
its
place
but
there
is
yet
another
code
and
points
to
the
consistency
of
the
thesis
as
a
whole.
This
consistency
is
consistent
with
that
of
the
photographs
–
given
in
chapter
4
–
that
tell
of
the
events
in
Demonia
as
the
signs
of
Dracula’s
transformation
from
a
man
to
a
woman.
If
attention
is
paid,
it
can
be
seen
that
there
is
another
secret
consistency
and
chapters
4,
5
and
6
tell
the
same
story
one
after
another.
Being
the
main
characteristic
of
the
“TO
THE
WISE!”
technique,
this
coding
approach
is
on
the
inexhaustibility
of
consistency
and
of
the
explanation
of
consistency.
The
story
of
how
the
machine
was
found
goes
as
follows:
This
machine
is
actually
the
decoder
of
the
code
writer.
This
person
made
a
decoding
machine
by
mistake,
while
trying
to
make
a
coding
machine.
In
other
words,
a
decoder
was
found
while
looking
for
a
coding
machine.
2
codes
are
required
to
operate
the
machine.
The
first
is
“Rimbaud”
and
the
second
is
“I
is
another.”
To
solve
a
code,
first
the
code
to
be
solved
is
thrown
into
the
machine
and
then
“Rimbaud”
is
written.
So,
the
machine
understands
that
what
is
given
is
actually
a
code.
Then,
“I
is
another”
is
written.
So,
the
machine
understands
that
it
should
give
the
solution
not
to
you,
but
to
someone
else.
Thus,
the
solution
you
will
take
from
the
machine
is
the
solution
of
the
code
that
the
former
visitor
has
entered
into
the
machine,
and
the
solution
of
the
code
you
enter
into
the
machine
will
be
given
to
the
person
that
will
visit
the
machine
after
you.
The
machine
is
quite
reasonable.
When
you
give
it
a
code,
it
gives
you
back
a
code.
Because
for
the
machine,
code=code,
and
thus
there
is
consistency.
So,
what
you
actually
have
to
find
is
the
person
that
will
enter
a
new
code
into
the
machine
after
you.
There
are
two
ways
to
get
the
real
solution
of
your
code.
The
first
is
to
wait
for
the
person
that
will
visit
the
machine
after
you.
When
that
person
enters
the
code
to
be
decoded,
your
solution
will
come
out.
You
can
steal
the
solution
they
receive
from
them
–
the
person
you
are
awaiting.
After
all,
that
solution
is
actually
the
solution
of
your
code.
If
you
do
not
have
much
time,
let
us
tell
you
a
little
trick.
The
machine
does
not
recognize
the
people
who
enter
the
codes
to
be
decoded.
So,
put
the
solution,
which
you
got
for
the
code
you
entered
into
the
machine,
the
one
which
actually
belongs
to
the
former
visitor,
back
in
the
machine.
Then,
write
the
two
codes
required
for
the
machine
to
operate.
So,
if
you
enter
the
solution
that
you
have
back
into
the
machine
and
write
first
“Rimbaud”
and
then
“I
is
another”,
the
machine
will
think
that
the
code
entered
is
a
new
code
and
will
take
you
for
another
person.
And
taking
you
for
another
person,
the
machine
will
give
you
the
solution
of
the
first
code.
We
have
made
this
machine.
(We
are
experimenting
on
the
decoder
of
the
code
writer.)
Now,
we
are
making
the
first
experiment.
This
way,
we
meet
the
writer’s
words
saying:
“Here,
we
shall
explain
the
machine
with
an
example”:
Enter the code into the machine. Write the first code: “Rimbaud”.
The
code
goes
as
follows4:
“…
.o.e
kidd.
.o.e,
.on’t
.on
.un
b. scru.. I .old .ou, .on’t .on .un
Let’s .lope .o .he roo. together
An. .ill .awn pla. ch.cke.
I, .he .oor ser..nt o. .ours
.a..ene. b. .ou, .he .our.e! ...”
Then say “I is another” and get the solution.
The solution goes as follows:
Core kiddo core, won’t yon sun
Bi scruff I told fou, won’t yon sun
Let’s alope so she root together
Ant dill sawn plan checked
I, she door serpent on fours
saddened bi fou, she course!
Now
throw
the
solution
back
into
the
machine
and
write
“Rimbaud”.
The
machine
will
think
that
it
is
a
new
code.
Then
write
“I
is
another”
and
take
the
real
solution.
The
machine
will
take
you
for
another
person.
4 Levent Şentürk, Yerdeğiştirmeler Seçkisi, 1st Edition, Istanbul: YKY, 2004, p.110.
The
real
solution
probably
goes
as
follows:
Come kiddie come, don’t you run
By scruff I hold you, don’t you run
Let’s elope to the roof together
And till dawn play checkers
I, the poor servant of yours
maddened by you, the source!
The
poem
chosen
to
be
the
“code”
here
is
[the
translation
of]
the
first
three
lines
taken
from
page
110
of
the
book
entitled
Yer
Değiştirmeler
Seçkisi
written
by
Levent
Şentürk
to
exemplify
the
“Oulipo”
techniques.
Regarding
this
poem,
it
is
explained
in
page
240
of
the
same
book
that
the
[Turkish]
letters
r,f,w,e,s,m,h,t,a,v,d
had
been
excluded
as
lipogram
letters.
Here,
to
solve
the
poem,
the
writer
derived
two
possible
variations
as
the
plain
[Turkish]
version.
However,
the
rule
about
the
deletion
of
the
letters
listed
in
the
lipogram
had
been
ignored
to
some
extent.
Actually,
it
was
only
after
the
solution,
towards
the
end
of
the
book,
that
the
rule
was
noticed.
Here,
the
solution
was
approached
by
taking
the
following
actions:
In
the
above‐mentioned
book,
the
title
of
the
poem
is
given
as
“Tekir
Divan”
[Tabby
Divan].
Therefore,
it
was
thought
to
be
“a
poem
written
for
a
cat.”
For,
“divan”
is
either
poem
or
sofa
and
“tekir”
[tabby]
is
a
kind
of
cat
you
hold
by
the
scruff.
It
was
seen
that
there
were
not
many
meaningful
words
to
replace
one
of
the
words
present
[“
scru..”]
in
the
poem.
Thus,
on
the
subject
of
finding
something
while
looking
for
something
else,
a
linguistic/grammatical
meaning
and
an
implicit
rule
of
the
writer’s
own
mother
tongue
have
been
seen.
The
“unspoken
rules
of
a
spoken
language”
type
of
coding
approach,
explained
above,
was
seen
to
be
present
too.
Thus
the
word
“scruff”
was
used
as
“scru..”
in
both
the
solutions
as
the
outstanding
meaningful
alternative.
Regarding
the
subject
of
finding
something
while
looking
for
something
else,
the
idea
that
was
found
is
“the
fact
that
cats
are
held/caught
by
the
scruff
is
information
common
to
both
the
book’s
author
and
me.”
The
author
of
the
book
and
I
do
not
know
each
other,
but
the
coder
and
the
decoder
share
a
cultural
knowledge,
or
to
put
it
more
clearly,
a
semantic
knowledge
that
brings
us
to
the
code.
For,
the
places
we
live
and
our
mother
tongues
are
probably
same.
Since
it
is
likely
that
we
are
around
the
same
ages,
we
both
should
have
learned
in
our
childhood
that
a
cat
could
not
move
if
it
was
held
by
the
scruff,
and
this
way
it
could
easily
be
carried
around
without
getting
scratched.
So,
we
were
taught
to
carry
the
cat
in
a
way
that
would
be
safe
both
for
us
and
the
cat.
In
Turkish
language,
the
only
difference
between
the
word
‘cat’
[kedi]
and
‘self’
[kendi]
is
the
letter
‘n,’
present
in
one
and
missing
in
the
other.
If
there
is
an
“n”
it
means
that
we
are
talking
about
our
selves
and
if
the
“n”
is
missing
it
means
that
we
are
talking
about
the
cat.
All
these
facts
are
even
more
secret
codes,
and
they
are
also
among
the
means
of
solving
codes.
So,
the
point
is
that
the
culture
and
the
things
we
learn
constitute
not
explicit,
but
actual
means
of
forming
and
solving.
For
this
reason,
before
reaching
the
end
of
the
book
(to
page
240),
it
is
possible
that
an
approximate
solution
of
the
poem
can
be
realized
without
using
the
coding
rule,
and
that
is
exactly
what
happened
in
this
solution.
The
solved
part
of
the
poem
is
made
up
with
2
versions.
In
both
solutions,
the
letters
are
added
in
the
parts
shown
as
“.”
and
the
words
obtained
this
way
do
convey
meaning
in
Turkish.
However,
when
you
read
the
poem
as
a
whole,
the
poem
that
was
supposedly
entered
into
the
machine
and
taken
back
as
the
“solution”
presents
meaningless
results.
Neither
the
lines,
nor
the
poem
as
a
whole
harbor
a
meaning
and
they
stand
as
lined
up
words
or
clauses,
making
sense
only
on
their
own.
The
poem
taken
from
the
machine
as
the
hypothetical
“real
solution”
is
meaningful
both
in
the
lines
and
as
a
whole.
To
put
it
differently,
the
letters,
words
and
the
sentences
replaced
with
dots
all
convey
meaning
in
Turkish.
Nevertheless,
the
resulting
poem
can
be
considered
as
lighthearted
and
partly
absurd
to
be
a
literary
poem.
Moreover,
since
it
does
not
apply
to
the
rule,
it
is
not
possible
to
say
“the
poem
written
and
coded
by
the
author
of
the
book
is
original
and
completely
solved.”
The sentence summarizing this chapter is as follows:
Coding
is
useful
work
and
it
surely
calls
for
talent.
For,
it
requires
skills
to
form
and
to
decode,
and
Oulipian
texts
have
a
style
that
inspires
and
provides
sources
for
coding.
Who
knows,
maybe
the
first
code‐maker
was
some
Oulipian,
yet
it
is
obvious
that
the
code
created
by
the
first
code‐maker
was
an
Oulipian
text.
It
is
also
evident
that
all
codes
written
are
Oulipian
texts.
On
the
other
hand,
since
life
itself
is
an
enigma,
the
area
of
Oulipian
literature
is
so
vast
that
actually
all
literature
is
made
up
of
Oulipian
styles,
but
since
the
rules
are
more
formal,
the
writings
do
not
look
that
absurd.
This
idea
applies
not
only
to
literature,
but
to
everything
that
can
be
written
or
said.
It
also
applies
to
science
and
to
all
kinds
of
literature.
So,
the
expression
used
for
the
Oulipians
–
“rats
who
themselves
build
the
maze
from
which
they
set
out
to
escape”
–
has
developed
decoding
and
has
created
Radio
Saint
Helena
Island’s
program
flow.
Not
only
that,
it
also
nourished
the
present
thesis
to
a
great
extent.