حسین اردلانی

This article focuses on the evolution of the concept of mimesis from the Greek philosophy to al-Fārābī's philosophy and the relation between mimesis and art in al-Fārābī's thought. Mimesis is a core concept in exploring ideas of Plato and Aristotle about art. The same key role is traceable in al-Fārābī's philosophy of art. Mimesis was translated as muḥākāt in Islamic philosophy and played an important part in explaining how artworks are shaped and how they affect their audience. The question is whether this transformation from Mimesis to muḥākāt was simply a formal transformation or there happened recognizable changes in this concept making it interpret artworks differently. 

Benefiting from descriptive-analytical method, this article employs primary and secondary sources on al-Fārābī to explore its inquiries. 

Analyzing al-Fārābī’s discussions on Mimesis, one could see close similarities between Mimesis in the Greek philosophy and the newly branded muḥākāt. Primarily, the terms mimesis and techne and their corresponding translations in al-Fārābī’s Arabic texts have been discussed. Al-Fārābī has approved muḥākāt as an equivalent for Mimesis and ṣanāʿa for techne. Aristotle has marked out the difference between mimetic technes and other technes. What distinguishes technes like painting or poetry from other practical technes is the presence of the element of Mimesis. Likewise, in al-Fārābī’s philosophy, muḥākāt is what distinguishes artistic ṣanāʿas from practical ones. Although the the term “mimetic technes” has been used by Aristotle and hasn’t been adopted by al-Fārābī, but the idea of some technes being different because of mimesis is still traceable. Al-Fārābī assignes multiple capabilities to imagination which is corresponding faculty of the soul for muḥākāt. The most basic capability of imagination is saving a sensible image after the sensory medium is disconnected. For instance, one sees a lion, then closes her eyes, and she imagines the same lion. This is the principal ability of the imagination faculty. The second, more complex capability of imagination is composing and the composing sensible images. For example, one takes a lion’s body and attaches a human’s head to it. There is a level of decomposing man’s body and lion’s head and a level of composing a lion with a man’s head. The third function of imagination is muḥākāt which itself consists of two types, the more basic being likening a sensible image to another sensible image. For instance, a warrior is likened to a lion. These are both two things from the realm of the sensible. The second, more complex type of muḥākāt is likening a concept from the realm of the intelligible to an image from the realm of the sensible or imaginable. For example, Rumi likens soul to a dragon in his verse “Your soul is a dragon; not dead, only frozen.” What distinguishes al-Fārābī’s coordinates of muḥākāt from Mimesis is the ability of muḥākāt in imitation from the intelligible concepts. Al-Fārābī has also categorized mimetic technes based on other criteria, i.e. moral perspective and objective perspective, that is, the ends towards which imagination is used. In his moral categorization, al-Fārābī counts six types of music; music being an instance of mimetic techne. Three of these types are commendable and the other three are condemnable. The first type of commendable music is the type that tends to balance low extremes of the soul like fear and laziness. The second type tends to balance high extremes of the soul like impetuosity and selfishness. In the third type of commendable music, the element of muḥākāt is considered. Such type of art tends to move all thoughts and deeds towards goodness and happiness. Al-Fārābī’s other categorization dealing with ends of mimetic technes describes three objectives. In case of music, for instance, there are some tunes that merely tend to cause joy and comfort in the soul. Another type tends to create imaginations and mimetic images in the soul in addition to causing joy and comfort. Al-Fārābī mentions another type inspired by reactionary sentiments of the soul. This type isn’t concerned with objectives of such technes, but instead describes their roots. One could outline multiple similarities between what al-Fārābī describes about muḥākāt and the general understanding of Mimesis in the Greek philosophy. But what differentiates Al-Fārābī’s specifications of muḥākāt from Mimesis is a capacity in the former in likening intelligible concepts to sensible examples. 

Through analysis of the subject according to al-Fārābī’s treatises, it was concluded that Al-Fārābī’s muḥākāt has new features compared to the concept of Mimesis in Greek philosophy. This is particularly conceivable in the idea of imitating from the intelligible or maʿqūlāt, which is a bonus of al-Fārābī’s philosophy compared to imitation from the sensible and imaginable sources which was already suggested in Greek philosophy.

The phenomenon of consumption and the prevalence of consumerism is one of the important issues of our time. Baudrillard shows that today, human understanding of reality and the real thing is formed on the basis of concepts such as simulacra and hyper-reality. The consumption system shapes the hyper-reality of consumption in the consumer society by creating and using a system of simulacras. Megamalls are one of the main means of achieving this goal in the consumption system. The purpose of this research is to find the mechanism of the effect of megamalls and their characteristics on increasing the desire to consume among Tehrani citizens. This research is a quantitative-qualitative research. By analyzing and deducting the opinions of Baudrillard, the related components of the concepts of simulation and simulacra in the field of consumption were extracted and formulated, and based on the results, a questionnaire was designed. The statistical population of this research was selected randomly among the people of Tehran and by their answers to the mentioned questionnaire, the data of this research was collected. The data was analyzed, using the components of simulation and simulacra and features of megamall, for answering the questions of the research. The findings show that megamalls guide human perception in the three domains of spatial, functional and social in line with the goals of the consumption system. In the spatial domain, the simulacra of being multi-purpose due to the variety of spaces, the simulacra of self-sufficiency and creating a territory by creating the feeling of entering a new land, the simulacra of distinct aesthetics by persuading the visitor's sense of beauty, the simulacra of centrality and orderliness, by collecting facilities and inducing a sense of the centrality of space and the simulacra of superstructure by creating a sense of grandeur, affect the visitors of megamalls. In the functional domain, the simulacra of creating a desire to consume and waste, by placing the client in a world of diverse products and services, the simulacra of well-being and peace, by providing diverse services and inducing a sense of peace and well-being, the simulacra of accumulation and abundance, by presenting attractive collections of objects the simulacra of time management, by creating a space to spend leisure time and wandering, and the simulacra of controlling social relations, by creating spaces designed for social interactions, impress the clients of megamalls. In the social domain, the simulacra of creating a distinction between clients, by creating a specific identity through the use of brands, the simulacra of people's prestige, by inviting people to spaces with special clients, the simulacra of culturalization and cultural acceptance, through the continuous change of the value of goods based on fashion, the simulacra of monitoring and control in the form of security, by creating a sense of security and safety, the simulacra of a distinct position of megamalls, by using the special social position of megamalls, attract customers.Thus, megamalls have an effective position in attracting Tehrani customers through the use of spatial, functional and social components.

Science is an objective method to study the world. therefore, it has to be, in principle, independent from any type of subjective judgments and preferences. Aesthetics, judgment, on the contrary, is based on subjective tastes. this is the reason why foe a long period of time philosophers believes that there can be no relation between science and aesthetics. logical positivists, for instance, held the claim that scientific propositions directly imply to the objects and events of the world. Reichnbach said even if aesthetic sense were to be proved to have a role in this or that particular scientist's creativity, yet what is finally important for scientific methodology is the objective justification of a theory. i.e. the way a theory or a set of scientific propositions imply to the objects and events of the world. However, in recent decades, there has been a shift in the point of view of philosophers of science. and the relationship between aesthetics and science has become an attractive and serious subject for the field. The main goal of this research is to survey the relationship between aesthetics and science through both scientist's and philosopher's point of view. we take this survey in five levels: practical, methodological, production, thematic, and explanatory level.

A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual’s consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology.In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi’s paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi’s paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi’s paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi’s art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage.

Derrida finds the foundations of criticism of each work within the same work. He disrupts ideas such as truth or identity and instead emphasizes the absence of meaning. An important issue in the field of Derrida's aesthetics is the issue of paragon, which means around the work, which causes the formation of the work of art, and is located somewhere between the inside and outside of the work, despite its placelessness. At first glance, Paragon is formed from interpretation, frame, signature, etc. In this research, by selecting some of Arabshahi's works, we try to address the question of how Derrida's paragon is analyzed in the field of Arabshahi's paintings. One hypothesis is that within Arabshahi's works are symbols and motifs, and outside his works are sources of inspiration and historical and cultural contexts. The present study describes Derrida's Parargon and randomly selects and analyzes Arabshahi's works using a descriptive and analytical method, and it is written based on the data of library sources. Based on the findings of the research, according to Derrida's theory about the parargon, there are many interpretations, opposite or opposed to the purpose of the artist or the ancient works, as well as the preliminary paintings of the artist himself and some elements in the painting as a parargon and the final works are ergon.

Chista Yasrebi is one of the contemporary Iranian plays whose female Personality have an effective presence in her works, and their psychological and personal position, along with their communication network with men, represents dimensions of the social role of women in Iran and a ground for analyzing the psychological motivations of these personalities in their interactions and behaviors. The research that has been carried out so far in the field of Yasrebi’s works and his special thoughts about the female personality in our country have not been able to reveal the meanings hidden in the text and the inner contexts of the events and the reasons for the behaviors and actions of the female personalities. In this article, which is written in a descriptive-analytical way, the basic question is answered that in Yasrebi plays, how the psychological and sexual dominance of men in the family and society has led women to aggression and aggression, and based on the psychological opinions of Karen Horney and the mythological perspective of Jean Shinoda Bollen, what are the psychological aspects and instinctive and sexual behaviors of the female personalities in Yasrebi works. Does it become obvious? In the conclusion of the article, it is emphasized that Yasrebi, by identifying the spirit and abilities of women, believes that these characteristics are destroyed under certain social conditions and individual and personality mistakes.

The philosophy of music is a branch of philosophy that studies the meaning of music, the relationship between the artist and the creation of music, the relationship between the audience and music, and such issues. Since emotions and feelings constitute the meaning of music, the primary focus of theorists in this field is devoted to the fundamental question of where the emotional impact of music originates from. In the philosophy of music, there are two rival theories regarding the source of musical emotions: the expressive theory, which prioritizes the emotions of the artist in creating the work and considers the meaning of music in the expression of the artist's emotions, and the arousal theory, which gives priority to the emotions evoked in the listener and considers the meaning and purpose of music in eliciting the emotions of the audience.
The aim of this research is to facilitate the scientific examination of the relationship between music and emotions. The specific objectives of this research are as follows: _ Introducing and examining the most important theories and discussions in the philosophy of music. _ Investigating the most important criticisms that have been made on various theories in the philosophy of music and showing the efforts of theorists and philosophers to respond to these criticisms. _ Showing that old theories put forward by philosophers like Aristotle can still be relevant in current philosophical discussions. This highlights the importance of mastering the history of philosophy for researchers in this field. _ Demonstrating that music can (or even should) be subject to contemplation and philosophical inquiry. This research is classified as fundamental research in terms of the data collection method, which is qualitative research using a library research approach. Additionally, this research specifically utilizes up-to-date and primary sources in the field of philosophy of music.

Research Question(s):

Which of these two theories of Expression and Arousal provides a more comprehensive understanding of the relationship between music and emotions and offers a better explanation of our emotional experiences when confronted with music?
Which theory can better respond to the criticisms raised against it?
Literature Review
Some of the most important articles published on the arousal theory of music are as follows (in chronological order):Mew, P (1984) The musical arousal of emotions.British Journal of Aesthetics 25 (4):357-361.
Robinson, J (1994) The expression and arousal of emotion in music. Journal of Aesthetics and Art Criticism 52 (1):13-22.
 Beever, A. (1998) The Arousal Theory Again? The British Journal of Aesthetics 38(1):82-90.
Kingsbury, J (1999) Why the Arousal Theory of Musical Expressiveness is Still Wrong? Australasian Journal of Philosophy 77 (1):83 – 88.
Matravers, D (2007) Musical expressiveness. Philosophy Compass 2 (3):373–379.
 Arbo, A. (2009) Some Remarks on “Hearing-as” and its Role in the Aesthetics of Music. Topoi 28 (2):97-107.
Cochrane, T. (2010) Music, Emotions and the Influence of the Cognitive Sciences. Philosophy Compass 5 (11):978-988.
Eerola, T. (2016) Being Moved by Unfamiliar Sad Music Is Associated with High Empathy. Frontiers in Psychology 7.
Levinson,  j (2016) Music-Specific Emotion: An Elusive Quarry. Estetika 53 (2):115-131.
Wu-Jing He (2017) Emotional Reactions Mediate the Effect of Music Listening on Creative Thinking: Perspective of the Arousal-and-Mood Hypothesis. Frontiers in Psychology 8

This research is classified as fundamental research in terms of its objective. The general aim of this research is to establish a conceptual framework for the philosophical examination of the relationship between music and emotions

In response to the first question, we first need to see what each of these two theories offers in response to the most important issue regarding emotions and music, namely the issue of the "relationship between expressed emotions in music and evoked emotions in the listener." The expressive theory addresses this issue with the concept of "grounding," while the motivational theory uses the concept of "emotional codes." Our analysis shows that the concept of "emotional codes" is more effective than "grounding" for two reasons:"Grounding" is a concept that claims objectivity, while by definition, the meaning of music lies in its sensory content. The conflict between the expressive theory and the motivational theory is essentially a conflict over determining the place of sensory content in music. The expressive theory places the sensory content in the expressed emotions in the musical piece and considers these emotions as a crystallization of the emotions of the creator, while the motivational theory places the sensory content of music in the emotions evoked in the listener through music. Referring to an objective concept to explain the place of sensory content, if not a theoretical impossibility, is an additional effort that only complicates the conflict between these two theories.
The concept of emotional codes conceptualizes the issue at the mental (or intermental) level and provides an effective framework for explaining the position of the sensory content of music. Different and varied reactions to music are appropriate. Furthermore, by introducing the concept of emotional codes, one can pave the way for framing research issues in an interdisciplinary context. This way, the issue of the sensory content of music can be explored in the interdisciplinary fields of musicology, philosophy, psychology, and neuroscience.
Our analysis has shown that the theory of motivation with our experiential intuition is more compatible. This is because the basis of judging a musical work is the experienced emotions, not the assumed emotions that the artist intended to express. For example, when we label a piece of music as sad, it is not because the composer intended to express sad emotions, but rather it is simply and intuitively because that piece evokes a sense of sadness in us.
As a result, the theory of motivation provides a better and more valid explanation of the relationship between music and emotions.
In response to the second question, it is important to consider the main criticism that challenges each of these two theories and how they respond to it. Our analysis has shown that the main criticism of the expressive theory is the "expression of unexperienced emotions," and proponents of the expressive theory, in response to this criticism, question the principles of this theory. They do not necessarily consider the expressed emotions as belonging to the artist, but rather see the artist as simply a narrator of the emotions of another individual (or even a completely imaginary person). In this way, they raise the larger question of whose emotions are being expressed in music. Since the answer cannot be the audience (as that would essentially turn it into a motivational theory), this question remains shrouded in ambiguity and mystery.
On the other hand, in our research, we demonstrated that the responses that have been presented to the issue of "liking sad music" are not defensible and valid. Furthermore, by using the concept of catharsis from Aristotle, we were able to propose an acceptable response to this criticism. We showed that our proposed response can address all the criticisms that were present in other responses.

To perceive and recognize the beauty through the artists’ eyes in concert with the life appearance, requires confiding in the artists’ sensibility and paying attention to the intended era historic monuments. Hamedan is a city enjoying such a long historical and cultural continuation. Literature aside, Hamedani artists have adored visual arts more than any other realm of art. This very article strives to consider and classify the latent currents among Hamedan first-generation painters. In other words, it endeavors to introduce, categorize, and analyze the available flows from artists’ artworks from the beginning of painting creation on canvas and cloth for Hamedan artists-painters born (Hijri Shamsi 1280-1330), concentrating on the notion of appearance (far and near). Almost always, the artist seeks refuge in nature to understand himself and the connection between feeling and imagination. Henceforth, art, in a sense, adheres to an understanding of the world that takes humanity away from all its functions at the level of society for a moment to reach a status of imagination and pure feeling with a special sensitivity. Man, therefore, can achieve an understanding and transformation of nature under the umbrella of imagination and explicit sensations.

The article data collection method has been field and library collection method making use of document reading, taking notes, observation, and interviews. The works analysis method has been done through the descriptive method, their critique based on form analysis (composition or structure, form, and color), and the stylistics of some of the artists’ works through comparative content analysis.

The research findings show that almost five parallel flows have loomed in painting art within Hamedan first-generation painters: Kamalolmolk school painters, naturalist painters, miniature and national art, religious painters and coffee house, modernist painters, each of which owes a great deal to their taking notice of Hamedan nature. The common denominator among the intended painters in this article is being affected by Hamedan and affecting Hamedani art fans.

It seems that Kamalolmolk school artists and naturalist painters make use of moderate compositions and presumably classic ones. Although nature can be the main concern of the painting, it would be categorized under the rubric of the modernist painting. The compositions from the vantage point of the naturalist painters and miniaturists obtain consequential plans with circulative forces in the particular pictures and perspectives which are formulated according to the so-called styles. Among religious and coffee house school painters, the intertwined forms and consequential images, in a sense, make attempts to introduce a story within a plan. For a reason as such, there resides no visual breathing in the work and the positional perspective is made use of. Ultimately, the composition type to modernist painters’ viewpoint attains the shallow depth of field and pictures in a closed frame.

Fritiouf Schwan (1907-1998) with the Islamic name of Sheikh Isa Nuruddin Ahmed, is a Swiss thinker of German descent and one of the most important figures of the traditionalism movement. Schwan's artistic image originates from the awareness and encryption of the absolute. Shuan believes that beauty shapes the external or material space, but virtue creates the inner space of the soul. This article tries to examine Schwan's philosophical view of art from the perspective of the transition from the tangible world to the sensible world in the works of Iranian painter and poet Sohrab Chachri and tries to answer the question of the perceptible world and the sensible world according to Schwan's interpretation in Sohrab's works. How does sepehri appear? This article is of the type of fundamental and theoretical studies, and in terms of the data analysis method, it is descriptive and analytical; In fact, this article tries to describe Schwann's opinions about art, then Sepaheri's works (poetry and painting) by focusing on the concept of the transition from the tangible world to the sensible world in appeal to metaphysics, ontology, anthropology, the beauties of existence, and prayer. analyze In this regard, selected samples of Sepehri's poems and paintings have been randomly selected.

This research (reading) is related to the investigation of the hidden layers of the Qandili mihrabi carpet from the Safavid era and it is mostly conversational, not mentioned in any past research. The research problem is the meanings of this connection in the carpet map and an answer to the hypothesis of the existence of a hidden human body with layers of lights known as Aura or (or removed) (holy aura). The purpose of the research was to find the hidden goals of the designer of this map so that the hidden layers of composition and meaningful motifs could be discovered. The research method was descriptive and analytical in the form of Panovsky iconology[1]. The results of these findings indicate the vision of the human body in a hidden form and a halo of light, along with the matching of the internal parts of the carpet with the internal parts of the person in the map of this carpet, which is undoubtedly due to the reaction and attacks of the general public of that period and lack of awareness of supernatural sciences. Repetition was avoided and the proof is the conscious performance of the designer by interpreting the Qur'an and metaphysical sciences, as well as the arrangement of elements and design (design) based on the inner meaning of each element. This research is the result of library studies on the existing articles and books, as well as the adaptation of visual documents from carpets and textual interpretations of the blessed verses of the Qur'an and supplications.
 
[1] Iconology, meaning iconography, is a branch of art history that studies and identifies the content and describes the signs in works of art.

Baudrillard believes that photography has many amazements as the world can fully vanish in a photo. Hence, an image does not reveal reality to us, rather depicts the absence of the world. Likewise, due to this absence and lack of objectivity in photography, one could witness the mutual relationship between the object and the subject and hence acknowledge the astonishing impact of the image.Baudrillard’s main problem is the reality in today’s world, a reality that is no longer original and real, since hyperreality has now dominated human life.From his perspective, the image goes from the stage of a reflecting reality to a stage of concealing reality, and then to the stage of concealing the absence of reality, and in the third stage, has no relationships with reality. In the fourth stage, it reaches the integral reality, a sort of ultra reality that terminates all reality, as well as illusion. Baudrillard’s philosophical views have been shown in his artworks, and his photos have a direct relationship with his philosophy. Baudrillard does not seek the truth that is hidden in the image, rather seeks to introduce the hierarchies that guide our perception of the images of the surrounding world, and his writings are meant to elucidate the unreality around us, which is indeed mistakenly considered to be real. We have the tendency to assume that the subject, referring to the photographer, by choosing the object/issue and photographing him, decides what will appear in the form of the object in the photograph, however, Baudrillard reverses this relationship and describes that it is actually the object that discovers the subject by imposing its presence on the subject, and according to Baudrillard’s view, the photographic object has a desire to become an image and at the moment of choosing the frame and the subject, the photographic object passes this desire to the photographer so that he could replicate this desire in his photography. Therefore, in this research along with a discovery on his philosophy and explaining the ultra reality from his viewpoint, a number of his photo collection “Ultimate paradox”,have been exhibited and presented in the 80s and 90s. The main objective and goal of this research is the analysis and examination of ultra reality photography from Baudrillard’s perspectives. In order to do so, in parallel to a wider recognition of his viewpoints, in regard to photography as art, we aim to raise the question as to how reality can disappear and become invisible in photos. The methodology in practice is a descriptive analytic one, which uses literature of Baudrillard’s viewpoints as the main source of research. By doing so, one arrives at such a conclusion that photography can achieve extraordinary qualities once freed from the known aesthetic factor, opening a new perspective to the observer. Simultaneously, analyzing the formation of the bilateral relationship between the object and the subject in photography.

Gilles Deleuze (1925-1995) is one of the most important French contemporary empiricist, poststructuralist and postmodernist philosophers whose views on art are important; And has a critical view of the philosophy before him. Jill Deleuze and the transformations that come from her ideas are always based on ontology and knowledge of rich relationships. The root of the concept of rhizome in the intellectual foundations of Jill Deleuze led to the construction and payment of foundations, styles and designs that are based on these philosophical foundations. One of the influences in the works of Peter Eisenman is the poststructuralist architect Has implemented his plans. One of the main pillars of postmodernist thinking is the absence of centrality, which is also referred to in Deleuze's rhizome type of thinking. From Deleuze's point of view, the rhizome represents the symbolic state of postmodernism. The purpose of this study is to re-read the concept of rhizome in Peter Eisenman's architectural works. In this paper, the use of rhizomatic structure and comparison with tree structure can be seen. Peter Eisenman went from beginning to end to build something in place, without any ambiguity. Peter Eisman's work due to its architectural features, special urban location and function; Vertical curved and anti-hierarchical shapes, without grading and decentralization; Focus on differences, irregularities, time and moving horizontal lines, objects that do not stop moving and expand; It is beneficial, which indicates the rhizome. In the Bruges Concert Hall, for example, there are endless smooth surfaces that have been able to create beautiful forms. And show a body, while in rhizome concepts is anti-centralized and hierarchical, according to visual diagrams in the present study, the concept of rhizome is seen in the cultural structure of Galicia. Not only is this concept not centralized in the building, but it is scattered and horizontal and has led to innovation and creative work. In line with the research, the following questions have been raised that there is a delusional reading of rhizome in Peter Eisenman's cultural collection? How can we find examples of the concept of rhizome from the perspective of poststructuralist philosophy in Eisenman's works? The research approach is qualitative; it is of descriptive-analytical type based on library and field studies. In the first stage, the researcher describes the rhizome and rhizome from Deleuze's point of view and the works of Peter Eisenman and the Galicia cultural building, and in the second stage, according to the research findings, the movement of forces in the architectural form of the building is analyzed from Deleuze's point of view. The results show that the distance from the centrifuge (rhizome) is completely true in the building and the parts that cause the formation of volume with a stronger force and the parts that have less impact on the work are linear. The thin line is shown, as well as the horizontal, soft and flexible lines in the building, which indicate fluidity and movement, well represent the concept of rhizome in this building. Jill Deleuze, in contrast to the tree's knowledge of rhizomes and rhizomatic structure, speaks and is quite clear in his works. Rhizome is a sub-horizontal root of plants that grows in a network and intertwined and can emerge from any place.
The terms "tree" and "rhizomatic" derive from Deleuze's objection and reaction to a philosophical tradition that considers dogmatic and transcendental thinking as the basis of thought and has replaced "thought" with "thinking." Deleuze challenged the usual method of philosophy by studying the history of philosophy. According to Deleuze, the history of philosophy has always been the main factor of power in philosophy and thought. His critique of philosophy was that philosophy has always provided framed cognition, knowledge, and knowledge in the search for and explanation of truth, and by setting an example. In Deleuze's view, truth is the attempt to create thought, not the definition of thinking in relation to truth. Deleuze does not deny that the act of cognition can not be exemplary, yet he believes that knowledge must be evoked by what is unfamiliar. Rhizome growth is horizontal and moves in different directions. This metaphor well illustrates the thought of Jill Deleuze. He believes that the current knowledge and structure of the world is not tree-lined and from top to bottom and does not revolve around any reliable axis. Rather, knowledge at present has a rhizome, horizontal and network structure. It is always evolving, flowing and nomadic, and has no fixed, pre-planned plans and approaches. The postmodern character is nomadic, decentralized, fluid, open, and "becoming", which are components of the rhizome; Therefore, Peter Eisenman's works are based on the rhizome approach; And these tree and rhizome patterns are the character of Peter Eisenman's architectural work.

Baudrillard's theory of simulation of reality in television commercials is a simulation of the third type. From reality, only signs and symptoms are left, and the image hides the absence of reality in them. This research tries to answer the question of what role the concept of pretense plays in Iranian television advertisements by reviewing Baudrillard's philosophy and reading the concept of pretense. Advertising should be able to create the maximum simulation ability by using the signs and symbols of reality in the images to create the pretense and an extreme reality where the line between fantasy and reality becomes distorted and blurred. Based on what Baudrillard says about pretending images, TV teasers and commercials are one of the false facts, which are pretending to be real. In fact, with this method, they hide the lack of reality in the resulting images. The purpose of the research is to determine the structure of a powerful pretense in advertisements and promotional teasers of Iranian TV. The research method will be practical in terms of the goal, and the method of collecting information is a combination of documents, library, reliable internet sources, description, explanation, observation, and review of the commercial advertisements of Iranian TV. The method of analyzing the findings is descriptive-analytical. At first, Baudrillard's concept of pretense, and according to the strategic and important components that Baudrillard expresses in advertisements, examples of Iranian television advertisements are randomly selected and analyzed.

The notion of existentialism and existential authenticity in the philosophy of Heidegger is explained as a particular individual subject, encountering the ultimate emptiness of life, experiences the anxiety and lives at present (being there), and Dasein, in that way, creates the world through the radical leaps of freedom. Also, considering Schiele’s Works, one is faced with the states of face and body that can be explained along with existentialist thought. Based on the claim that, thorough picturing the subjects, he transcends the reality to illustrate the genuine life, this study puts forward the question of how it is possible that the manifestation of states in his works can be interpreted along the notion of existentialism and existential authenticity as developed by Heidegger. To answer such a crucial question, using the descriptive-analytic method, and based upon valid references, it is concluded that the various states of face and body in the paintings of Schiele strongly suggest a sense of anxiety, thrown projection, and death-awareness, which are comparable with the main elements of Heidegger’s existentialism. He has worked during the flourishing time of existentialism, so the claim of some parallel between them is acceptable and worth examining. The significance of such inquiry is to connect existentialism and artworks, which can be regarded as a suitable method for discovering similar correspondence between philosophical works and artworks.     Existentialism resonates with Heidegger’s thought in such a way that it seems to detach human beings from the normative comfort and stability of public life, leaving us alone to create and choose our unique meanings and values in the background of ‘nothingness.’ The authenticity of Heidegger’s existential analysis lies in his unique conception of human existence as Dasein. According to existentialists, human existence is interpreted as a specific and autonomous subject that can freely separate itself from the social, cultural, and historical conditions. Contrary to the way in which existentialism sometimes depicts - that human beings are entirely free to choose - Heidegger’s conception of facticity is that the parameters within which human freedom is situated are limited. The existentialist interpretation of Heidegger’s authenticity is mainly due to his interpretation of the temporality of human beings. For Heidegger, the significance of existence that manifests itself in human actions is temporality.    Moreover, Dasein points to the fact that human beings have always been created with “being-in-the-the-world,” indicating that human beings are already situated in the world. By this interpretation, we are not independent subjects but beings who are tangibly involved in a particular historical situation. We grow through the process of socialization, whereby we have the opportunity to interpret ourselves in terms of the common actions of our historicity. For Heidegger, history determines the structure of existence so that the authentic being is never an isolated individual. (S)he can never revolt or overcome his/her socio-historical situation because a human being is always a historical being.    For Heidegger, our public world forms the ground of social action in which we are “thrown.” As a result, “others” predetermine our understanding of Being and control the context of meaning and understanding for us. In this sense, the world of others provides possibilities for who we are and what we are. Dasein is thrown into the world, which means, in a way, a person is not always the product of the time, place, and culture in which he is born, lives, and dies. In other words, when we are thrown, we are situated in a set of conditions, and freedom consists of accepting the possibilities of being thrown. This duality exists in every moment of our being and affects our ability to be authentic. Dasein has indeed surrendered to himself and his capacity to be, but as being-in-the-world. As it is thrown, it is dependent on a world and really exists with others. For Heidegger, authenticity does not require exceptional effort or order, but rather a change in attention, a recapture of ourselves from the way we usually fall into our daily ways of life. This is about how we cope with the world in our daily activities. Dasein inevitably moves between our daily encounters with them and a glimpse of our more genuine and unique possibilities. The challenge is to bring ourselves back from the loss so that we can become our true selves.     Heidegger emphasizes individuality and its importance in society to deal with living authentically and explains other elements such as anxiety, death-awareness, projection, the voice of conscience, and being-with-another in this regard. The author of this piece shows how the concept of authenticity, as explained in Heidegger’s early work, can be examined in art, because, according to Heidegger, the great artworks are the occurrence of truth, that is, the occurrence of the truth of beings, and indeed art is the way in which truth occurs, and the origin of the work of art in the sense in which Heidegger considers is not the artist but the art itself. In fact, the role of the work of art from Heidegger’s stance is to clarify a pre-existing world. Egon Schiele represents the world not as it is, but as a new world in which the truth of existence can be attained. The anxious states of the faces, the elongation of the human limbs, the color contrast in Schiele's works, have revealed that these beings are inseparable from the world of their owner, according to which Schiele's works can be read with the themes of existence in Heidegger's works. By claiming that Schiele's way of depicting his subjects goes beyond reality to depict the original life, we raise the question of how it is possible that the representation of moods in Egon Schiele's works can be read in the sense of Heidegger's originality?    Thus understood, this study clarifies the relationship between existentialism and existential authenticity and the paintings of Egon Schiele in three stages: In the first part, the concept of existential authenticity is examined through the discussion of Dasein. It is discussed that to achieve such authenticity, we must encounter human truth, thought, and reflection on the unique human existence. In the second part, the states illustrated in the painting of Egon Schiele are described, through which one can understand the concept of existentialist authenticity, which is not only a work of art, but also reflects the inner aspect of the painter himself. In a way, he presents a dual meaning and structure of the real self through his works. Drawing on Egon Schiele, this article aims to analyze how truth and existence are decomposed in painting to reflect the authenticity. In the third part, components of the existential authenticity in Heidegger’s thought are compared with an instance of the works of Egon Schiele, and each one is explained based on analysis along with a reading of the concept of existential authenticity.

Extended Abstract Design is a complex and vital human creative activity, requiring unique capacities and knowledge. Research in design has been around for several decades in ways. While early studies focused on practical design methods, recent research delves into the intricate aspects of design work, problem-solving, and the design process itself. This article aims to explore the nature of design knowledge and to build knowledge within a constructive learning settings through a constructivist lens, using qualitative methods and theoretical analysis. The central questions are: What is the nature of design knowledge from a constructivist learning perspective, and how can one acquire design knowledge in a constructivist learning environment? It seems the knowledge used by designers is compatible with the knowledge production approach from a constructivist perspective, hence attempts are made to investigate the nature of design knowledge from a constructivist learning perspective. This study employed a qualitative approach, utilizing the Grounded Theory research technique to gain a deep understanding of “nature of design knowledge from a constructivist learning “perspective. Data collection methods included document reviews of articles from credible international journals (e.g., Design Studies, Architectural Research, Architectural Education), as well as Iranian researchers, interviews with esteemed professors in the field of architecture education, and on-site observations during Architectural Design Workshops 2 and 3 over two semesters. MAXQDA software was used for data analysis. The analysis consisted of three coding phases: one for the literature review, one for interview data, and one for field observations. The field study incorporated an observation method, offering a detailed description of design knowledge based on a model by David William Shaffer (2003) derived from the MIT University design workshop (Shaffer, 2003).  Design knowledge is not visible, though it can be seen through conduct, as it manifests itself in design workshops via drawing, handwriting, modeling, etc. Professionals also embody their design knowledge through their work, which grows through experience, repetition, and skill acquisition. In a constructivist learning environment, knowledge develops during teacher-student interactions, allowing students to engage with their personal knowledge, beliefs, and attitudes. This approach emphasizes the learning process and the thought processes involved in design, rather than just the final product. In the design process, problems are performed in a process-oriented form. The effective components in constructivism and knowledge building in this style of learning are somewhat similar to the nature of the knowledge applied by designers in their own designs. The constructivist learning approach to knowledge building is very similar to the nature of knowledge, while design training can be very successful for learners based on this approach. Design knowledge is distinct from other bodies of knowledge and can be acquired by specific means. Most of the time, this body of knowledge is unconscious and challenging to articulate. A large part of this body of knowledge is tacit and indescribable. In reality, design is learned through conduct. Because design knowledge is by itself a different body of knowledge, the way knowledge is acquired is obtained by changing the conduct of work. The nature of design knowledge hinges on practical tasks and the individual’s unique capacities, evolving with experience, context, and the stages of its acquisition. The nature of design knowledge, like the pre-determined bodies of knowledge in the education system, is individualized and must be constructed by the learner within the classroom. Thus, each person’s previous knowledge and experience is a prerequisite to building a new body of knowledge. Interaction with peers and dialogue about the design process are essential for building design knowledge. High mental processes in human beings are constructed through social interaction, in which individuals share information and understanding that they have acquired from their previous perspectives, cognition and experiences, thereby helping to raise each other’s knowledge level. In a constructivist approach, the goal of learning is not to transmit knowledge from one source to another. Learning environments avoid imposing restrictions on pre-established knowledge. The constructivist approach to knowledge closely aligns with the essence of design knowledge. Consequently, an improved constructive learning environment can significantly contribute to the development of design knowledge in architectural workshops. An optimal teaching approach for an architectural design workshop involves adopting the constructive method. The activities within these workshops align with the design process, particularly addressing design challenges, where the emphasis lies on the problem-solving journey. Design tasks incorporating constructivist principles should be real and authentic. This entails meeting not only the requirements set by professional designers but also considering the unique abilities of each student. The teacher’s role extends beyond mere knowledge transfer; instead, they act as a mentor and facilitator within the workshop, where the student takes the responsibility of shaping the design process and making solutions. During design process instruction, the teacher can guide students by explaining and interpreting the design, helping them recognize the concepts they have formulated. This is achieved through active dialogue, questioning, and encouragement to reflect on their designs. Consequently, students articulate their plans consciously, with the teacher taking on a supportive role rather than being the primary explainer.

Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs. The aim of research is by relying on the key concepts of Baudrillard’s theories such as simulation and sign value and by examining two examples of Team Lab designer’s interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources. The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world. In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created. The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology.

The contemporary philosopher Jean Baudrillard, one of the postmodernism theorists, considers representation in the contemporary world as a factor in the disappearance of reality. In his view, the main feature of new arts is not the expression of artistic beauty, but communication with the audience and expression of the artist’s ideas. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork.In this research, we have tried to answer questions such as how audience underestand an interactive work and how reproducing and interpreting signs in interactive art form the Baudrillard’s concept of Hyper reality. Also we try to answer the question of which factors convert the interactive art audience experience to hyper reality one? To achieve this goal, the present study uses descriptive-analytical methods and data collection using written and digital sources. We have examined some interactive art implemented in the prestigious Artech house and Flutter galleries in recent years to achieve concept of hyper reality in interactive arts.The results show that interactive art can create an example of hyper reality experience for the audience and factors such as interaction, imagination, sense, subject and object, provide a common border between interactive art and Baudrillard’s theory of hyper reality.The lack of reference to the real world in these works demonstrates Baudrillard’s creation of the hyper reality in interactive art. The interactive art traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers the hyper reality world as their main goal. The audience is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. It immerses the audience in hyper reality world.

The German thinker Martin Heidegger was one of the most influential theorists in the history of philosophy, whose views - especially his critique of the history of philosophy and metaphysics - have attracted the attention of many later thinkers. Art and technology, like the many categories that Heidegger has dealt with, are concepts that Heidegger has considered and also dealt with in separate writings. On the other hand, what is known today as art and the disciplines of art in ancient Greek society was considered part of a more general concept called "techne". Technology, on the other hand, is rooted in the Greek language, both in terms of its lexical roots and in terms of its conceptual position. Thus, in analyzing both concepts under discussion (art and technology), Heidegger took advantage of the position of the concept of stinging in the pre-philosophical society of ancient Greece, and his general results in these two areas were based on his reading. In this article, Heidegger's method of analysis, which is hermeneutic phenomenology, as well as his critiques of the history of philosophy and metaphysics, especially in the analysis of the concept of techne, are instructive and his positions on art and technology are clarified by relying on the concept of techne in the light of truth. The research method in this article is fundamental which has been done in the form of content analysis and information has been collected in the form of a library. In this article, the questions that are researched are as follows: 1.What is Heidegger's reading of the concept of techne in ancient Greek society? 2. What is the relationship between art and technology and technology in the pre-philosophical period of ancient Greece as well as in modern times? The purpose of this study is to explain the critical view of the history of philosophy, especially in the field of contemporary art and technology in the field of sociology

Assistant Professor, Faculty of Art and Architecture, Islamic Azad University, Hamedan BranchThe impossibles are potential forces that go on to become actual and are on the verge of creation. Mediators also play a mediating and intermediate role between the potential and the actual creation, and well evident in architectural works. To better understand this concept, the present paper focuses on Eisenman's architectural structure and, in response to its challenges, adopts Gilles Deleuze's philosophical views, to portray the work of Eisenman as an architectural-philosophical process, revolving around one of Deleuzian postmodernist themes such as mediators and the impossible, which have a major impact on contemporary life. The main purpose of this research is to find communalities between Deleuze and Eisenman, and thereby to provide a reading of the latter’s work. To achieve this, the research uses analytical-descriptive method. After examining Eisenman's intellectual and practical context, it analyses three of his works, namely, the Cultural City of Galicia, the 2000 Church and the Wexner Centre for Arts, analysing the concepts of being and impossible. The main questions here are whether it is possible to analyse Eisenman's architectural work through Deleuze's philosophical approach, what is the relationship between the impossible and the mediators of Deleuze the poststructuralist philosopher and Eisenman the postmodern architect, and what is the connection between the impossible in Deleuze and Eisenman.The information is collected from printed, as well as digital sources. The results show that Eisenman's architecture shows how mediators which stimulate invention and creativity, unveiling the impossible, have managed to adapt with the needs of the environmental in accordance with contemporary thought. Due to their constant dynamism mediators are the ontological embodiments of the impossible, which is the foundation of the inner homogeneity and identity. In the meantime, human beings are not the subject of identification in a superior position, but they encounter them and find new capabilities and capacities in each encounter.

The purpose of this article is to examine the characteristic of Mulla Sadra's perfection of self in Islamic art and what is controversial about it. Art means re-creating or re-presenting an object or meaning in its optimal way; An artist is a phenomenon bringer, creator and re-creator; And we really know that everything that is the subject of this creation is a truth that has a desirable perfection, because it represents divine love. In fact, art is the realization of the existence level of a person and an artist is someone who, with an aesthetic attitude, gives a manifestation of his existence level in the form of a work of art. Perfection of the soul is an accepted thing from the point of view of religion and philosophy; Mulla Sadra's opinion about art and sensual perfection was that: love for a beautiful face is one of the divine conditions, which has benefits and wisdom. In philosophy, science and practice are considered as factors of self-perfection; But the question is, how do these two complete the soul of the mystical artist and art? In addition, does the characteristic of perfection of the soul continue after the creation of the work of mystical art? This article investigates and examines the issue with a descriptive-analytical method. In the description of this article, with the aim of answering the discussed questions, the key words were first defined as the basis of the existing hypothesis, and the existing hypotheses regarding the application of self-fulfillment features from Mullah Sadra's point of view to the art of the Islamic artist were briefly examined. It has been concluded.

Letter design in Iran and other countries of the world is one of the important branches in the field of visual communication. In fact, the formation of visual form in the form of message transmission is significant in this field. Today, in the design of letters and image logo design, the correct formability is not observed on the part of the designers, which is rooted in the learning of students in universities or educational centers. The visual recognition of the features of the Kufi script can greatly help in the design of basic letters, but due to the lack of study and knowledge of respected teachers, today this writing style is being taught as an incorrect form in the society. In the upcoming article, the critique and pathology of such an attitude has been examined to help this situation. In this research, an attempt has been made to analyze the Kufi script and its types, especially the structural Kufi script which is the main focus of this research. The results of this research showed that the correct teaching of Kufi calligraphy due to its geometrical proportions in today's world can help the design of letters in the field of graphics, and due to the variety of applications of calligraphy and its formalistic capacity, it can help to maintain the basic principles in the design of works. Graphics help. Every designer should note that knowing the visual features of Persian letters and understanding its capabilities in the art of calligraphy and using it as basic principles is a must for every graphic designer.