hossein ardalani

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.

Frithjof Schuon is a pivotal figure in the traditionalism movement, known for his profound insights into art and spirituality. Schuon’s artistic philosophy is rooted in the awareness of the Absolute and the symbolism it encompasses. He posits that beautiful shapes, the external or material realm, while virtue cultivates the internal space of the self. This article aims to explore Schuon’s philosophical perspective on art and its implications for interpreting the works of Sohrab Sepehri. Key elements of this discussion include the transition from the sensible to the intelligible realam, the symbolic nature of art, the absence of innovation in traditional forms, the practicality of artistic expression, and the alignment of form, materials, and symbolism with the principles of traditional art. Employing a descriptive-analytical research method, this study synthesizes fundamental theoretical frameworks and conducts an in-depth analysis of selected artworks. The goal is to elucidate Schuon’s influence on Sepehri’s artistic vision and to analyze the intellectual nuances present in his paintings. A selection of Sepehri’s works is analyzed to understand how the lack of representation, the intentional simplicity of materials, and the transformation of nature facilitate access to the intelligible realm an alignment that resonates with Schuon’s philosophical tenets. This research is based on comprehensive library data, primary sources, and scholarly articles within the realm of art theory, revealing the connection between nature and intelligibility in Sepehri’s artistic expressions. Findings show Schuon proposes a specific approach to art based on the concept of beauty as a spiritual truth, suggesting that beauty can lead to a deeper understanding of truth and existence. Sepehri has repeatedly explored this theme in his poems, using the clarity and simplicity of nature to convey profound human emotions.

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.

Truth is similar to itself and immune to any misconception, which returns to its original state without veil. The representation of truth in the field of painting is accompanied by the demonstration of an objective feature. Truth is similar to the model but otherwise the same and is shaken in Derrida's aesthetics. Because opinions are always changing, reconstructing and doubting. The expansion of the meaning of the work of art prevents belief in a single truth and access to it. The purpose of this article is to examine Derrida's view on the possibility of truth in painting. This article attempts to answer the question of what is Derrida's opinion on truth in painting? The present article describes Derrida's thought on truth and art and analyzes his view on the possibility of truth in painting and is written based on data from library sources. According to the findings of the research, according to Derrida's view on the possibility of truth in painting, painting is without truth and truth is a metaphor in painting. The representation of truth in the field of painting is accompanied by the demonstration of an objective feature. Although painting can never enter the realm of truth and even narrows its scope, the path of interpretation is always open to reach the unattainable truth of painting. But the contradiction in interpretations is another obstacle to this truth and the final meaning of the work cannot be attributed.

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.

The primary objective of this research was to identify and rank the factors influencing the use of cannabis and other novel psychoactive substances among youth in Kermanshah.

The present research method was a mixed qualitative-quantitative type with an exploratory approach. The research population in the qualitative part included all experts in the field of combating drugs in Kermanshah, of whom 8 people were selected based on purposeful sampling and using the data saturation technique. The statistical population in the quantitative part included all young people referring to addiction treatment centers in Kermanshah, of whom 377 people were selected using the convenience sampling method. Data was collected through in-depth semi-structured interviews for the qualitative phase and a researcher-developed questionnaire for the quantitative phase. Qualitative data was analyzed using thematic analysis, while quantitative data was analyzed using the coefficient of variation.

The qualitative analysis revealed that the coded contextual factors could be categorized into three main themes: individual, psychological, and interpersonal factors, with 18 subcategories. Additionally, precipitating factors were categorized under the theme of family factors with 6 subcategories, while perpetuating factors were classified into three themes: social, cultural, and environmental factors, with 14 subcategories. The quantitative analysis using the coefficient of variation indicated that individual, psychological, family, social, cultural, interpersonal, and environmental factors, in that order, significantly influenced the use of cannabis and other novel psychoactive substances. Furthermore, among all subcategories, lack of willpower ranked first, and unstable living conditions ranked last.

Based on the research findings, lack of willpower emerged as the most significant factor contributing to the abuse of cannabis and other novel psychoactive substances among youth. Therefore, to prevent this issue, it is imperative to provide young people with necessary education to raise awareness about the adverse effects of substance use and implement strategies to enhance self-esteem and strengthen willpower.

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.

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.

Problem:

 A look at the history of the presence of art in public spaces shows that with the change of the paradigm of public art from artist-oriented art to the creation of society-oriented art and audience-oriented art, the choice of the type of public art and the environmental qualities affected by it appear more important. What threatens urban spaces today is the weak connection between the building components of a place, which cannot meet the needs of citizens.

Target: 

The current research aims to investigate the effect of visual art on environmental quality and tries to create the necessary environmental quality in the design of future urban spaces by experts.

This research is developmental-applied in terms of type, and in terms of method, it has a nest-to-nest combination. To answer the research question, the qualitative research method is used in a nest-by-nest quantity. The statistical population is divided into two quantitative and qualitative parts. In the qualitative group of the statistical population, there were 14 experts who were selected by the snowball method. In the statistical population of quantitative research, the sample size is 180 people based on Cochran's formula and random sampling.

The analysis of the results indicates that according to the results of multivariate regression, the component of visual richness with the value of (1.000) has the highest factor contribution, in the second order, the component of enjoying the environment with the value of (0.920) And the lowest is related to the component of improving the individual sense of belonging with the value (0.244). The special attention of urban designers regarding the structure of spaces and the use of extraction measures from the impact of visual arts components in urban spaces in different scales can increase the quality of urban environments.

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.

Photography as an effective media in expressing social facts and raising the level of collective consciousness has effective narrative and conceptual roles. The photographs of the Iran-Iraq war are implicit texts of discourse factors, social and cognitive components, including socio-cultural value systems. In this research, the authors try to use the theoretical concepts in discourse semiotics as an efficient method to investigate and understand how signs work in the service of producing meaning, as well as developing a coherent and systematic model for extracting and interpreting existing information. Examine the holy defense in the photos. The purpose of the research is to answer these questions: what patterns do the representational, interactive and combined structures of the holy defense photos follow, and how do these three structures show the role of photos in representing the concept of holy defense? The research method . The analyzed photographs were selected from the works of Alfred Yaqoubzadeh, a photographer of the imposed war, because of their narrative characteristics. The findings showed thaphotographs are full of narrative and conceptual symbolic resources, have discourse-oriented structures and hidden ideology, which play an effective role in the formation of interactions in the social, political and cultural fields.

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.

Maurice Merleau-Ponty, the twentieth century phenomenologist, believed that the body's functionality in sensual perception is a distinguished notion. From 1980s, a critical movement took form which made some changes in art works production in order to actualize a chiasm between the audience with an art work through senses. Farideh Lashaee, as one of the contemporary artists, in her recent works, has made use of videos to make rooms for hidden narrations. This article analyzes her Gone down the rabbit hole work in Tehran Contemporary Arts Museum _ the curtain painted from Iran's map with an art video of rabbits' leap into the map. The present article explains Merleau-Ponty's sensual perception through a descriptive-phenomenological approach. Afterwards, reliant on Merleau-Ponty's ideas, it intends to answer some questions analytically. What would be the roles of body and embodiment in perceiving the world from the painter's standpoint? How the euphony between video and painting would be actualized in the mentioned work? What would be the role of audience's body (subject) in her perception in such a work? Subject's confrontation with the hinted work is making a multi-sensual relations, how does the audiences' sensual perception  will come true? As a result, regarding the phenomenological approach, the main cocern rests on the painter as an embodied subject encountering the world while the body and sensation would be parts of her experience. Merleau-Ponty envisions painting as the representation of sensual experience. The euphony of the work is the outcome of the co-penentration of the sensual characteristics in Merleau-Ponty's viewpoint. The audience's chiasm with Lashaee's work is an embodied interaction. With regards to Geshtalt in Merleau-Ponty's perspective, the audience's sensual perception, takes shape because of the unity of sensations. Eventually, in Lashaee's work, the subject's integration with her body gives rise to the sensual perception of the world.

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.

Geometric patterns are one of the most prominent aspects of Islamic Art. The geometry of Islamic patterns with its secrets and mysteries has always been discussed and thought by many philosophers and experts who have expressed their views on how to create the geometry of patterns and discover the mysteries hidden in these works. Thinkers and experts in art have chosen different methods and approaches in examining the existence of geometric patterns and from their point of view have given a reason for the existence of these geometric patterns, for instance scholars such as Oleg Grabar, Richard Ettinghausen and Gulru Necipoglu consider Islamic geometric patterns a decoration. What have been mentioned so far about geometric patterns are the studies that the authors have looked at with a historical and theoretical approach. But this research, with a completely different perspective, has constructed a bridge between Islamic art and science, and talks about the existence of the geometry of Islamic patterns with a scientific approach. One of the important concerns of researchers and artists is to decipher the works of art to understand the artwork and the reason it exists. This research, by presenting a different idea from what has been expressed so far in the history of Islamic art, tries to reveal a higher object and a view beyond the common definitions of the Islamic geometric patterns. This research seeks to discover a relationship between the geometry of Islamic patterns with other sciences especially chemistry and believes that a bridge can be established between these two to find out what the Islamic geometric patterns are. In order to achieve this theory, we make adaption between Islamic geometric patterns and structure of chemical formulas.The purpose of this article is to achieve a more complete knowledge of geometric patterns in Islamic art with a scientific approach; an approach that has not been addressed so far and requires a lot of research in this area. Therefore, the main questions of the research are: 1- Does the structure of chemical elements, materials and formulas correspond to geometric patterns? 2- What is the degree of conformity of geometric patterns with the structure of materials and chemical formulas?The research method is descriptive-comparative and its inference is based on analogy. The method of analyzing qualitative information and collecting data is from library data. Since the author has spent part of his artistic activities learning, drawing and practicing, teaching and researching in the field of geometry of Islamic patterns, by watching the structure of chemical formulas understood that there is a similarity between these two field. He immediately started researching and looking through the encyclopedias and reference books of chemistry, he searched for the forms of chemical formulas that are formed like geometric designs and patterns as documented in the archive of reference books. There are some important reference books about the geometry of Islamic patterns such as Gereh-Chini at Islamic architecture and handicrafs, Hossein Zomrashidi (1986) and the five-volume collections of Iranian Tiling, Mahmoud MaheroNaghsh (1982). Then, the executed examples had been classified into tables to lead to a better adaption; the first column of which shows the costruction of chemical formulas. The secend column is for islamic geometric patterns which is followed by a picture of geometric pattern in the architectural space of Iranian architecture.The necessity and importance of this research is based on the fact that since so far, all theoretical discussions about the geometry of Islamic patterns have been raised by Western and non-Muslim scholars and philosophers, the truth about the importance and decipherment of secrets in geometric Islamic patterns are not well pursued. Therefore, it is necessary for a Muslim artist to present a different theory in this regard.In response to the research questions, we conclude that the geometry of Islamic patterns is directly related to chemistry. 65 comparative samples in the form of 6 tables were presented in this research. First, those chemical bonds that were structurally simple and unmanipulated were adapted to the geometry of Islamic patterns. In the following tables, more complex and diverse chemical bonds and those images that showed chemical bonds under a microscope were mentioned and adapted to geometric designs and patterns. In the last table, the evolved samples of chemical bonds were presented under the title of dendrimers, which corresponded to the types of Shamsa under the arches and domes. In all samples, one hundred percent correspondence between the geometry of Islamic patterns and the chemical structure of the materials was evident. This adaptation can be seen either in the structure of unmanipulated or advanced chemical bonds with Islamic geometric patterns and designs. The degree of conformity in the samples presented in this research was one hundred percent and the theory of matching between the geometry of Islamic patterns and the structure of chemical bonds was complete and established.

The philosophy of art work in postmodernist view is structuralist, and based on this issue, art cannot be consideredasnarrator because art asnarrator based on structure,isdeadart.According tostructuralist view, GillesDeleuze violates any representation in the visual arts. Therefore, by examining Deleuze's point of view, while identifying its lack of representation and explanation in photomontage, also explainsthe function of concepts in this field. The function of concepts in non-representation is only in the failure of the organizational structure and the creation of non-narrative works.Themain question is what role does theconcepts play in the lack of philosophical representation in photomontage? It has beenassumedthat concepts havea movement-oriented and creative role with the principle of being in photomontage.In conclusion, Deleuze, by violating narrative and being in the art of photography, considers photomontage to be a creative movement in fluidity that takes up time and space.The researchmethod is done through library.

Interdisciplinary studies linking art, philosophy, and theories of contemporary semiotics have opened a new path and vision to art explorations. The significance of meaning in artworks caused other disciplines to appear in art studies. This transformation implied that meaning in artworks is not an objective and evident component, requiring interpretation and analysis. Meaning can be transferred between different artistic media. Studying the relationship between architecture and painting is considered an essential interdisciplinary field of research. Architectural space is a media manifesting as a painting in its interaction with the artist.These studies have raised a profound understanding of the artwork's meaning. In addition, providing a scientific knowledge of art has made them well known. Moreover, there is a need for interdisciplinary comprehension of art with social and human approaches. The present article aims to examine the role of architectural space in the creation of paintings with an emphasis on interdisciplinary studies. The main question is, "considering painting a text entailing semiotic codes, what semantic approaches to architectural space can affect it through profound exploration of the spatial layers, and how can a painting be read? ".The general justification of this article is to explain and describe the relationship between architecture and other types of art, especially painting.Although architectural structures and spaces are a combination of applied and functional approaches, they can be studied as artworks to yield an interactive synergy between their aesthetic and semantic layers concerning other subcategories of art, such as painting. Moreover, in the next step, the paper discusses the meaning layers of the space in artists' minds. When painting, the artist detaches from the real world, reaching a clearer understanding of the mind's reality through an experimental journey.This mental projection involves new manifestations of spatial visualization within the image.The article used a qualitative approach to research based on an interdisciplinary study of architecture and painting. In the first section, spatial codes are embedded in different layers according to the space approach; then, a theoretical framework is introduced based on layered semiotics to read the spatial implications of the case studied.Given the apparent representation of architectural space in Iran Darroudi's artworks, we have selected her paintings (Everlasting Marriage; Steadfastness; Stupor of the Plain and Thirst of Desert) and collected primary data using a library-survey method.The results showed that the architectural space, transformed into a system of meaningful places for the artist, can be manifested in the painting as spatial codes. The painter expresses her idea of ​​the urban space in spatial signs in the form of isotopia, heterotopia, or utopia, which can be read in syntagmatic layers.In the textual and media layers, the physical reading of space is matched with the architectural typology method. In a principled correlation, spatial approaches are decoded in the code and text layer. Finally, spatial-phenomenological relations are identified from the painter's existential space in the intertextuality-coding layer. These may be read in textual, intertextuality, and coding layers, as well as semiotics, phenomenology, and typology.

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.

Selected dramas with subject-themed themes and sentimental characters, with an emphasis on immediate and irrational experience, make it possible to study Deleuze's philosophy. This research intends to introduce the concept of human as a subject beyond rationalism from Deleuze's point of view and to explain the analyzable reading of postmodern human by reading plays centered on empiricism and the philosophy of empiricism. To investigate this, plays have been selected that are a successful example of the experience of evaluating the human concept in postmodern drama. These works evaluate the position of human from a philosophical point of view and prove that the position of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond being human or even the courage to become a mere empiricist. This article seeks to answer these key questions: Modern presents? ”, And“ How can such an approach to the meaning of human in drama be reflected in the quality of drama characterization?In this direction, the present study selects the dramas of Vitsk, the furry gorilla, the little black horse, the meeting of the old lady, the strange story of a dog, the guinea pig, the story of the panda bears, the animalless theater, the pious human-animal, the banal tiger and the glass zoo As case studies, it intends to study the concept of human based on the philosophical meaning of living and the experience of individuality of this concept.

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