maryam bakhtiarian

In the style of urban photography, unlike street photography, people and their surroundings are equally important. In fact, urban photography in the form of a narrative examines the environment and humans as well as the relationships between them. The current research is descriptive-analytical and the research paradigm is interpretive. The method of collecting information is in the form of libraries and documents, and it is also prepared in the field. First, using theoretical sources, the literature review related to the subject of urban photography and the perceptual approach in understanding it is discussed, and by focusing on the opinions of Kendall Walton, the subject of photography in urban elements is examined and analyzed using several examples. Takes place, the resulting result is deduced and interpreted in the context of realism. The results show that urban elements usually have other social and cultural functions in addition to their building function. The photos were taken in natural ambient light; This point, in addition to showing the photos real, has also increased their transparency. Especially for those who see these photos, the reality and transparency of the photos and the feeling of being in the place of the towers are evoked so that they see the architecture and structures of the towers with high clarity and transparency in front of their eyes.

Problem statement: 

Bergson’s Duration is adding a qualitative aspect to the perception of time and in fact, removing the quantitative aspect and space of time. This view of Bergson prompted Deleuze to show a narration from Bergson’s Duration from classical cinema to modern cinema in two books, “Cinema 1” and “Cinema 2”, with a historical look at cinema as an image of modern man. He shows how classical cinema indirectly and modern cinema directly can do this narration. He did not make a distinction between form and content elements in explaining how this narration is happening. The article tries to evaluate this narration by separating all cinematic formal elements from each other and only emphasizing formal elements in Bela Tarr’s cinema.

The article seeks to reach the possibility and manner of narrating time as a Duration through the formal elements of Bela Tarr’s cinema.

After explaining Bergson’s theory with Deleuze’s interpretation of it, which was made using library sources, and after seeing all the Bela Tarr’s works, the article isolated (Epoche) all the formal elements of his cinema from other formal elements with a phenomenological method, and the effect each of these elements has been measured on the narration of Duration.

The article shows that Bela Tarr’s cinema has the ability to narrate Bergson’s Duration due to its purely formal elements. These formal elements are two categories: structural and non-structural. The non-structural formal elements in Bela Tarr’s cinema activate Artistic devices that in the first step, provide a foundation for the narration of Duration, and in the next step, due to the existence of the Boredom Artistic device and non-structural formal elements that lead to this Artistic device, they make it possible for the audience to perceive time as the Duration.

The Sacred is defined in the tradition world, and examining its representation in narrative cinema as a modern phenomenon is a significant issue. Traditionalists believe that sacred matters can take on a form of art known as sacred art; however, they lack a clear and comprehensive perspective regarding its representation in cinema as a modern phenomenon, with which they are in conflict. The importance of this research lies in finding a mode of representing sacred matters in cinema based on the views of traditionalists. Therefore, the aim of this research is to explore and elucidate how sacred matters are represented in cinema from the perspective of traditionalism. This research employs qualitative and library-based research methods to investigate and examine the views of traditionalists on this matter. To achieve this, the foundational concepts of traditionalist thought related to this research, such as the concepts of tradition, sacred matters, and sacred art, as well as the allegorical style as a style close to sacred art in cinema, have been explicated. The findings of this research indicate that, just as traditionalists seek sacred art in a specific form characterized by qualities and characteristics corresponding to the divine world, these features can be found in the allegorical style. The allegorical style, in terms of representing sacred matters, functions similarly to sacred art, using specific elements to portray sacred matters. Thus, the use of the allegorical style in representing sacred matters in cinema, based on the views of traditionalists, holds promise and borders on something called sacred cinema. In the current research, 6 films, The Emigrant, Faraway so Close, The Song of Sparrows, The Foothhold, A Piece of Bread, and Paradise, have been examined, and the results indicate the function of transcendental style in the representation of the sacred.

The purpose of this research is to explain the role of the Islamic form and its relationship with meaning in Islamic art, from the perspective of thinkers in this field by citing examples of architecture in the Islamic era. In this qualitative research, the possibilities of form in the excellence of Islamic art, beauty criteria from the perspective of Islamic sages, and considering the formal elements in the architecture of the Tabatabaei family's house were described and analyzed. The results of this research can be summarized as follows; from the point of view of known Islamic philosophers, the importance of the form in the excellence of Islamic art is that the audience approaches the spiritual experience through this art. In comparing the position of the form in Islamic aesthetics with the concept of form in Western aesthetic thinking, it is evident that the role of the Islamic form is in discovering and recognizing mysteries in the phenomena, and the importance of this role can only be identified in the connection between the form and its meaning. Islamic formal elements such as centrism and geometry, symbol and code, light and color, and abstraction have clear evidence in artistic works such as carpet art, painting, calligraphy, and architecture in the Islamic era. In a case study of the Tabatabaei house, elements such as center and geometry, code and symbol, color and light, and abstraction connect sublime concepts such as unity, goodness, perfection, and beauty.

AbstractProblem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.Research The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.Research The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē. The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.

Performance art can be evolved from other arts that lead the audience from performing a group entertainment to creating a collective work of art. This depicted the presence of the audience in space and its participation in emotional and various results. The performance art has elements of different type of arts and displays the human body as a canvas, which is a part of the main form of art as a moving body. This research points to the investigation of the influence of each of the elements of performance art in the types of mixed arts in Abramović's works. This research is a mixed method. In the quantitative part, a comparative comparison between the components in the selected groups is based on the inferential test statistics. First, by using a systematic review, the grand theory, and coding approach characteristics of performance art are extracted. Then, Delphi future research system is used to select important examples of Marina Abramović's performance art. In the following, the results obtained in the form of a questionnaire are provided to two groups of audiences, which include non-specialists and experts. The sample size for both groups is 384 individuals calculated based on Cochran's formula. The results show that based on the output obtained from multivariate regression, it was determined that in the group of spatial users, the contribution of the factor related to the characteristic of Applied art with a value of (1.000) is higher one and the lowest is related to Innovation and creativity with a value of (0.254) in the group of experts. The highest factor contribution is related to the component of Dramatic, political, and religious arts and linked with traditional, religious rituals with a value of (1.000) and the lowest one is related to narrative and anti-narrative with a value of (0.222).

Perception and embodiment have an ontological status in Maurice Merleau-Ponty's philosophy. The distance between subject and object is eliminated in perception, because in which especially in sensory perception there is no theorizing. Being-in-the-world is one of the fundamental characteristics of the subject's existence, so he has a relationship with the things before any reflection. Artworks have always been mysterious, while modern art is more mysterious than pre-modern art. The concern of modern art is truth and truth is always mysterious. Moreover, the modern subject has no control over his life-world because the modern world is incomplete and ambiguous. In addition, modern art does not contemplate the world in a single perspective; in painting, ambiguity replaces clarity, and multiple points of view replace one-point perspective. This can be another reason for the mystery of modern artworks.Accordingly, when facing a modern artwork, a person sometimes feels close to the world and sometimes feels estranged; and this is the secret. In this article, it is considered what perception is according to Merleau-Ponty and how it is related to the mystery of modern art. This relationship indicates that modern art is a perceptual phenomenon and perceptual matter is mysterious. This mystery originates from the modern life-world, the existence of the modern subject and the nature of modern art. The data for this study have been collected through library and documentary sources and then they were described and analyzed qualitatively. The objective of this study is to reveal another significant aspect of modern art from Merleau-Ponty's perspective.Most artworks have mysteriously emerged throughout history; even naturalis and realist artworks that are closer to the nature have been mysterious and ambiguous. According to ancient thinkers, mystery was associated with the beyond world and the muses or goddesses of art were the source of inspiration. Due to the mystery and ambiguity that are found in artworks and poems, they have always needed to be interpreted by experts; and this is one of the remarkable aspects of art. Merleau-Ponty's quotation about modern artworks confirms this point. Ragarding paintings he claims "Today, painters exhibit the paintings that sometimes look preliminary designs. These are the works that are the subject of endless analyses because they do not have a single meaning." These words of Merleau-Ponty can be generalized to the early modern art, including the works of post-impressionists and cubists, whose contribution to the art of modernism is notable.Due to the complex nature of modernism in modern art, the interpretation of modern art is more problematic than the art of the past. Most of these artworks are full of metaphors; this has led the artworks to be interpreted from different perspectives. Modern thinking has two characteristics of incompleteness and vagueness. These two characteristics are enough to consider modern artwork as mystery, despite the fact that some anti-modernist thinkers consider it to be nonsense. Along with Merleau-Ponty, mystery and ambiguity have been the concerns of other thinkers, for instance, existentialist philosophers such as Gabriel Marcel and Martin Heidegger had specific theories on mystery. Mystery has always been an integral part of art. Heidegger considered the issue of mystery of artworks to be related to being-in-the-world, which was a characteristic of the artist. Heidegger's attitude to being-in-the-world was favored by Merleau-Ponty, through which he explained the philosophy of perception. Attributing being-in-the-world to perception was one of the differences between Merleau-Ponty and Heidegger, but the common aspect of their philosophy was thinking about the existence. Existence is other than existent. Therefore, even in the unconcealment of existence, its secret is not revealed. What is disclosed is the secret of existence itself, covertly. Therefore, the history of the mystique of artworks in Merleau-Ponty's thought should be traced in Heidegger's notion of existence, which considered mystery in the relationship between human and existence.Merleau-Ponty showed special attention to art and presented his thoughts in various fields of human sciences through the explanation and interpretation of artists' works, especially the analysis of Paul Cézanne's works. For him, the mystery of artworks was directly related to perception. The importance of perception for him is so much that his most significant work, according to many thinkers, is called Phenomenology of Perception, in which he explained the perception in detail and also discussed art, especially Cézanne's paintings. Merleau-Ponty rediscovered the perceived world utilizing the modern art and philosophy.In the present study, an attempt has been made to answer this question: "What is the association between perception and mystery of modern artworks in Merleau-Ponty's thought?" To answer this question, it seems that according to Merleau-Ponty, human, including the artist and his audience is an embodied and being-in-the-world subject. The world is not the object of his cognition, so man perceives the world in its entirety in a pre-reflective manner. Human perception of being-in-the-world is an existential perception and the artwork takes place in this world. The world is mysterious and this mystery is found more in modern art for the reason that firstly, human does not dominate the world because he is a part of body of the world, and secondly, rediscovery of the perceived world in modern art is highly prone to negligence. In other words, the complexities of modern art and our negligence of being in-the-world are the reasons for its mystery.Philosophical concepts can rarely be formulated to follow rules. The thoughts of some philosophers such as Merleau-Ponty, Heidegger, Nietzsche, etc. are of this type. Their thoughts are not like Michel Foucault's discourse analysis and Pierre Bourdieu's field theory to be easily formulated and used to interpret and analyze the artworks. In this article, Merleau-Ponty's thought and key concepts are used not as a rule and formula in analysis and framing, but as a way to interpret modern art and his thoughts on mystery. Thus, Merleau-Ponty's notions and keywords that form the theoretical framework of this article have been used not as rules and formulas but as keys in interpretation of his concepts. We are not faced with a smooth and rule-based path, but with a philosophical path in the analysis of our work.In this article, Merleau-Ponty's perceptual thought has been expanded in several related realms. Notions such as being-in-the-world, existence, bodily experience, embodiment, and unity of subject and object have been discussed. The concept of mystery should be studied and understood along with these notions. Merleau-Ponty clearly found the abovementioned notions in Cézanne's works and elaborated them in an article entitled "Cézanne's Doubt". Present study considers Merleau-Ponty's perceptual theory as a theoretical framework for analysis and development of this issue.

Art is one of the most obvious mysterious manifestations of human culture and civilization Which has always overshadowed human life. in Schopenhauer's philosophy, art, as a part of This system, is presented in its interior and is an integral part of his philosophical system. This study is library method and content analysis seeks to examine the place of the art of Music in Schopenhauer's philosophical system. in order to achieve this, the whole category of art has been studied from the perspective of this Philosopher. the results of the studies Showed that in Schopenhauer's philosophy, art is no longer considered "art as art", but art Seeks to solve the problem of existence and as a means and passage for liberation from Domination of will to life, the principle of Sufficient direction and its face is proposed. Schopenhauer believes that music has no place and no illusion makes us familiar with a kind of Deep reality outside the place and, it has more power than other arts to raise us from this Sensual world. he considers music the best arts and architecture as the lowest of them. Because, music is not only ideas, but also will itself, and architecture, like the furthest place to ideas, is the lowest of the arts.

Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.

In some theories of aesthetics, the function of art is to know the outside world so that it can find a status in line In some theories of aesthetics, the function of art is to know the outside world so that it can find a status in line with other sciences. One of these theories that considers cognitive function as a value for art is Nelson Goodman's symbolic theory.To create the cognitive function of art, Goodman turns to the symbolic system, which he has adapted from linguistic functions. Through linguistic approaches and especially the reference relationship in the symbolic system, he can consider works of art as a tool for cognition that transmits knowledge. In this regard, Monroe Beardsley, another art philosopher who disagrees with cognitive function. He believes that the function of art is defined as the capacity of the work to create an aesthetic experience that results from qualities such as the intensity, unity, and Complex and takes a stand against Goodman's theory. He believes that works of art, like sentences, cannot be a vehicle for propositions and find value in truth. They can only create a good interpretation in the form of art, regardless of the hypothesis and the conditions of truth. The disagreement between the two philosophers is analyzed them with case study in a selected Lewis Hine’s a photo that makes propositions based on reality. In this research, by analyzing these photographs based on the views of Goodman and Beardsley, it has been determined that the arts are not able to find cognitive function like other sciences, and as a result, it is better to go to the properties and capacities of art in order to create value for them.This can be a weakness for Goodman's theory, just as it can be a strength of Beardsley's theory. Perhaps we realize some of the values of truth within the work of art through conjecture, but there is no definite criterion; because works of art do not express anything explicitly. The conditions of truth in works of art are not decisive and strong and they are not considered original rulings. Propositions attributed to works of art are, rather than judgmental, mental states of aesthetic interpretations that are expressed. Thus, it contrary Goodman's theory, aesthetic interpretations lack the conditions for truth in meaning. It seems that in order to create value in a work of art, one must look for the value that exists within the work, and that is the aesthetic value. As Beardsley sees aesthetic value as an aesthetic experience that arises only from the qualities within the work. The purpose of this research is to investigate the efficiency or inefficiency of art in creating a knowledge of the world that most critics and audiences expect from the representation of art. In this research, data is collected through library study and Internet search, then describe and analyze them in accordance with Hine’s selected works as a case study.

In contemporary terms, the body was used as the object of art. The performances have a message and sometimes refer to sexuality and highlight the fact that the human body can be used as a canvas. Some used images of others on their bodies to integrate them with body art, such as Hannah Wilke, who used images of herself and her mother on her body. Performance art can be seen as the evolution of other arts such as cosplay, which were drawn from entertainment to creating a work of art. This depicted the presence of the audience in a space and its participation to examine various feelings and results. The performance art movement integrates elements of various arts through the body of the artist. This research points to the investigation of the effect of each of the elements of performance art in the types of mixed arts in Abramović's works. The art of performance, which is called live art in some Anglo-Saxon countries, is branched from the visual arts, but while it is close to the show, it is very different from it in nature. Being alive, real and in the moment and emphasizing the use of the performer's body as artistic material is one of the main features of performance art. The art of performance started from visual arts and painting. After some time, this group of artists came to the conclusion that their art has become commercial and is only bought and sold by merchants. To prevent this, they proposed body drawing as a solution, in such a way that she began to roll on the white surface with her body, to which music was added over time. Over time, the art of performance opened a path for itself and found its fans. This art contains many other arts in its heart, which has caused the emergence of special features for it, but the effect of each of these features on the performance art itself is different. This research aims to extract each of the features and specify each of them in Abramović's works answer the question of what is the most effective contributing factor for each of these features in Abramović's works.The research method in this research is a combination of qualitative and quantitative nested type, which is chosen in the qualitative stage of selecting Abramović's performances by means of Delphi, a future study with three phases (brainstorming, limitation, selection). Their weight is calculated for each of the works and selected works are selected as the examined sample. Sampling at this stage is based on a purposeful and preference system. After selecting Abramović's performances, the quantitative stage begins. In this stage, a questionnaire with a Likert scale is compiled and distributed to each of Abramović's works. The sample size is 384 informants who were selected from a society with the criterion of entering the research and according to the upper limit of Morgan's table. The results are analyzed in JMP software by means of descriptive and inferential statistics. The results are presented in the form of comparison. Validity is calculated with CVR=0.76 and reliability with Cronbach's alpha (0.78).The research findings include two parts: qualitative and quantitative findings. In the qualitative findings, the expert panel is requested to first study the features extracted in the theoretical bases and to clarify the types of performance art works of Marina Abramović. Give a score of 1 to 10 according to each of these features and the ability to check. In the next stage, the experts were dealt with as a separate panel and they were asked to rank the works selected by each panel. Experts are asked to rate the works on their board's editing lists; Average rank is calculated for each item. In each list, evaluation is done using W Kendall and this continues until they reach an agreement and some of the variables of the first round are removed.In the quantitative findings, the coefficient of determination of each of the characteristics in relation to each of Abramović's works is done separately to determine the range of the variables. The highest concordance of answers and the lowest amount of range after the narration of the performer and improvisation belong to the focus on confusion, and the lowest concordance of answers and the highest range are found in the feature of stillness.According to the results specified in this research, it was found that the various features of performance art have high coefficients and the majority of features have appeared in different ways in her works, but the use of stillness in her works has been different. Sometimes as a determining role and sometimes as a secondary factor in Abramović's works; but according to the obtained results, the majority of the respondents consider the characteristics of the works to be the narration of the performer and improvisation. In general, according to the obtained results, it can be understood that the coefficients of the characteristics are higher in the performances where the audience has a greater determining role, and the more the audience and sensory involvement, the more the effects of higher coefficients are noted.The uniqueness of Abramović's performance can be seen in challenging the audience. She considers the audience to be the main pillar of performance art, so that this art gets its meaning through the performer and the audience. These two important things cannot be separated, like the subject and the object in other works, they are directly next to each other and are a reason to define each other, and the art of performing art is a synthesis based on the art of the body, which in order to preserve its nature needs to include features that every artist shows some of them more in their work. Marina Abramović observes all the features in her works with high coefficients, but she considered the most obvious feature of her works to be improvisation, an art that appears specific and appropriate to the time and can respond to the present and the times. It is a performance and news innovation attracts the audience and arouses the maximum attention of the viewer as if it has distinguished him from the world. also, her own narration in her works plays a decisive role in creating her unique art. She breaks the boundaries of time and space with her body and from it. In her view, the body has the highest potential to attract the audience because the audience feels that nothing is represented and that everything is real and emerges in time. In domestic arts, the mentioned features can be used for the success of local arts in the form of performance art and try to increase the coefficients of these features in a special way.

Irony means humor, sarcasm and showing conflicting aspects of a text or work, which often causes laughter. Irony is also used as a visual technique in the narrative or form of a visual work. In this article, irony in three paintings of the Shiraz school of painting and in particular the Al-Inju period is examined because it is believed that the social conditions of the Mongol rule caused Iranian artists to use illustrations and books. Arai have expressed some concepts ironically and ironically. Therefore, the purpose of the research is to introduce the components and applications of irony, and the other is to analyze the quality of irony in the content and form of three illustrations of the illustrated Shahnamehs of the Al-Injo period, including "The imprisonment of Zahak by Fereydon", "Death of Chahar Hamdel Ki Khosro" and "Accusation". Soudabeh to Siavash. The research material is derived from library data and is based on descriptive-analytical method. The findings of the research show that paintings are more capable of ironic analysis in which the main subject is faced with deep and absolute conditions such as death or a dangerous situation that leads to death. In all the examined pictures, there was an element of taste and structural irony and situational irony were used in them.

As justice and freedom are the pivots of Jean-Francois Lyotard’s thoughts, what he thinks of art can be a significant reply to the relation of art and politics. According to Lyotard the ruling power of metanarratives of modern societies has been over in post modern ones, since the metanarratives are problematic themselves and they cause some injustices. In order to resist against the metanarratives, Lyotard proposed desire. According to Lyotard desire can appear as different forms, a common thing such as an art. As Lyotard puts it, art is free of modern discussions and negotiations because of intending to be childlike or unconditional inhuman. In the other words human is like a newborn baby without being under any pedagogical method, like a white plate without any drawing on it, without any allegiance to any ideology with specific aims. It has natural needs and aims. This creature exists inside of every mature and immature human. Now art is like an event and wills this creature. What is meant by event is an occurrence which is not compatible with any predefined systems acquiring to reflective judgment being able to challenge the ruler system and manifest the differences. Accordingly, it eliminates the previous methods of explanation and wants to create a fairer world by prescribing new remedies. From this point of view, art cannot support and be the complement of policy making. After having studied, translated, and analyzed Lyotard's opinions and his commentator, this paper aims at clarifying this relation.

This article qualitatively introduces the use of illustrations in children's books as a mediator of intellectual understanding and critical thinking. To show the importance of teaching philosophy with the help of illustration. A Philosophical teaching through picture books enables the development of children's cognitive abilities and it helps them to think and act according to the needs of the society in which they live. Regarding the teaching of philosophy to children, theorists such as Matthew Lipman have developed programs that have been used in recent years. In this article, in addition to the description of Lippmann's method, which emphasizes the literary text, the possibilities of teaching through illustration are examined. The data collection method of this research is based on the information obtained from the library study and internet search, which, while explaining the characteristics of imagery in teaching philosophy to children, selectively examines the relationship between concepts and images in two works by Silverstein and one by Wolff Erlbruch describes and analyzes. The findings show that the ambiguity of abstract forms in Silverstein's works, as well as the interpretability of color connotations in Erlbruch's works, can provide the possibility of questioning, thinking, and subsequently inner knowledge and, finally, the intellectual development of children and make them self-knowledge, self-improvement, and prepare a better society. In this way, it is necessary to pay special attention to all dimensions and elements of children's books so that a direct relationship between the book and the child is formed.

Jacques Derrida was one of the few philosophers who seriously became involved with architecture. Despite his innermost desire, Derrida seems to have never made a proper connection with architecture. As soon as Derrida's theory of deconstruction was developed in architecture, it was thought that a practical way to translate and represent an idea was found. Concerning the output of the deconstruction style, the feedback of that opinion in the design of architectural spaces demonstrates that it was a complete failure. It showed the reflection of Derrida's idea on architecture was based on a poor understanding. The aim of this study is how accurate and complete the style of deconstruction in architecture represented Derrida's opinion on deconstruction? Derrida entered the deconstruction style project in architecture to show that arts are the best objectives to represent the manifestation of deconstruction. Although other studies accepted the formation of the deconstruction style in architecture as the fact of Derrida’s deconstruction, Parc de la Villette’s project really contradicts his hypothesis. Not from an architectural point of view, but from a philosophical point of view instead, this study emphasizes the philosophical basis of Derrida's views on deconstruction according to his thought on texts. Accordingly, as a strong and steady connection, Derrida's deconstruction is a kind of exposure to our relationship with the world, while the architecture's deconstruction style breaks the connection and even disrupts our relationships with this surrounding world.

Merleau-Ponty borrows “being-in-the-world” from Heidegger but is not passive in the face Heideger’s thoughts. He uses the subject of being-in-the-world to explain perception and embodiment. Heidegger’s Dasein and the embodiment subject of Merleau-Ponty are thrown into the world. This means that the world is not equal to the object of human thought, and man is thrown into the world before contemplation and reason, and understands the world directly. Artists reveal the world through being-in-the-world and physical action. To Cézanne’s paintings, the intersection of Heidegger and Merleau-Ponty’s thought is for pre-rational thought, because painting is not separate from the world. In this article, an attempt has been made to consider the similarities and differences in the world-existence of Heidegger and Merleau-Ponty through attention to Cézanne’s paintings. The results of this study shows that Merleau-Ponty has a conception of being-in-the-world and, consequently, a bodily being, which in some cases it contradicts Heidegger’s understanding, but both philosophers confirm Cezanne’s the role of works in the phenomenon of the world.

Documentary photography is known as the only true document and represents what is seen without wanes. The documentary aspect pays attention to the social nature, and the photographer, as the only witness who reports on empirical truth, deals with all human issues. The functions of photography in the documentary genre are numerous and varied; A genre that depicts the human conditions in the face of human with life's problems. According to some experts, it can be said that another function of photography is to make the aesthetic experience. For example, Monroe Beardsley, in an instrumentalist definition, considers the aesthetic experience as aesthetic value. The value of a work of art is determined by objective characteristics such as unity, intensity, and complexity. These features can be considered as aesthetic value in photographs that they encompass corona issues. The aesthetic value of a photograph as a work of art can be demonstrated by making an aesthetic experience. The value of the judgment is given to the critic by the necessary criteria; It is a good work with aesthetic value that has the capacity to make an aesthetic experience, and a bad work does not have such a capacity. We will show these photographs have capacity for the aesthetic experience, of course here it is nessesery capacity in spectators. Documentary photography, In addition to the realistic and documentary aspects that take on various functions such as social documentary, social landscape, journalism and war photography, can be also have aesthetic value. In this article, it is clear that photographs of the corona crisis also have a documentary aspect and express the pain that almost all of us have experienced. However, with all the painful dimensions that these photos have and make us miss non-coronary days, based on Beardsley's view, they can also have aesthetic dimensions and make an aesthetic experience. The experience received in relation to the elements and qualities within the photographs, which produces phenomenological pleasure from the combine of the Phenomenally Objective and the Phenomenally Subjective, that is, a percentage of the capacity of the object (photograph) and the competence of the audience. On this occasion, aesthetic value emerges, and with the passage of man through this crisis, in the future, in addition to the unpleasant feeling that these photographs convey to the viewer, they can also be aesthetically critiqued and make another sense, provided that critics pay attention to their aesthetic dimensions. In this way, by looking at these photographs aesthetically, we can get a capacity in them through their inner quality and features, which requires the passage of time and our deeper look to see them.The done studies in this article can show that these photographies, besides of the documentary and realistic aspects, have aesthetic dimensions which will make them last in the history of photography. The collect data in research is library study and the internet search, then describe and analyze them in accordance with Corona’s the selected works as a case study.

By insisting on the complexities of our particular type of understanding, Jacques Derrida focuses on how and why we do not understand each other. At the same time, most philosophers emphasize how we know each other. Derrida does not deny the truth but believes that we are living in a world with a stable suspension that prevents us from having a complete understanding of its truth. The truth is not only unstable, but it is even more unstable in the works of art. Thus, because of that the reflection of the truth becomes at the highest degree of diversity and instability, it is necessary for the creation of a work of art. Without this instability, the work of art becomes a mathematical formula that everyone can do. This instability and suspension allow the art to be unique and irreplaceable. Accordingly, the primary purpose of this study is to investigate why the audience will never get rid of an active and permanent interpretation of the work of art and how any perception will lead to more instability in understanding. These are the basic principles that any art needs to survive.

The relationship between an independent scientific discipline called psychology with phenomenology that presents the methodology and method together is an excuse for investigating the relationship between Husserl and Brentano’s thoughts. Although their relationship is come from different sources, according to Husserl’s main problem, end, and concern in confronting psychology, a researcher can find a good issue for research. Psychology and phenomenology bond together in favor of philosophy and seek a different intuition. Husserl keeps a type of psychology and uses it to achieve a philosophical attitude. The difference between Husserl and Brentano is both thematic and methodological, and of course, we can refer to the understanding of others and empathy that reduces the subjective aspect of the experience in Husserl’s phenomenology. Husserl goes to descriptive psychology with criticizing Brentano’s opinion about inner perception and also he criticizes Brentano's psychological reality that is the only appearance for him.  Husserl’s attempt for modifying descriptive psychology makes to provides practical and functional solutions for contemporary psychologists. Of course, he does not forget the distinctions between psychology and phenomenology in terms of issue and method but especially holds them together. The brief article wants to follow the relationship between psychology and phenomenology from its origin (Husserl’s phenomenology) to achieve this purpose, the data of research have been collected through the library method and internet search then they are described and analyzed to reveal the concomitance of psychology and phenomenology. They must come together in the interpretation of the word description.

The crisis which has been indirectly related to the Corona disease has created a lot of challenges, particularly against this view that the best position and solution for the establishment of order and peace in the world is the leadership of a global emperor and the unit system. This crisis revealed the face of the new empire more than ever: global capitalism with neoliberal values which has been developed in the form of utopian literature that promotes: peace, avoid war, equality, unity, and solving problems. But the main concern is control and management of social—technology relations from the center of the global society to preserve the hierarchy. Departure from the World Health Organization, lack of transparency of information on the field of virus mutation, and other issues such as depriving some countries of receiving vaccines and medicine, etc., can never be considered universal value. This is not an operational procedure subject to systematic or systemic rationality, and it can be said that the world society has made social or economic relations only within a range of what is in favor of capitalism and neoliberalism. During the crisis, order and emergent patterns can be suitable components to detect the weakness of the project of globalization and doubts in the possibility of planned evolution which may create destruction. This paper with the help of a systemic approach is presented a clearer picture of the pattern of globalization and its possibilities.

In modern times, with the avant-garde movement, recognizing the aesthetics object from a non- aesthetics object is difficult or impossible. Beardsley is one of the formalist philosophers who seeks to define the aesthetic object in order to make a difference between art and non-art. He first of all distinguishes aesthetic object from other aspects, such as paying attention to the artist''s intention or the author''s intention and audience’s perception, that the aspects are considered to be false inputs in the functionalist pattern and disrupt the aesthetic experience. According to this theory, the function of art is the make of aesthetic experience, which is characterized by features such as unity, complex and intensity. These features are followed by artistic value, the value that is the subject of the recognition of an artistic object, and the critic must be know it to use them in the evaluation of artwork that is content-centered. Because the aesthetic experience in art is its value and the only necessary condition for the work of art and is formed on the basis of a positive verdict, the purpose of this study is to identify the aesthetic object from the Beardsley view which can be defined by art. Our methodology, in terms of the nature of the research, is to collect materials through a library study and Internet search, then we examine and analyze them in order to obtain Beardsley’s definition of the aesthetic object and its status in art criticism

For Hutcheson, the pleasure of beauty has a natural source like virtue. An aesthetic experience is a kind of intrinsic experience that has nothing to do with academic education, but reflection is a necessary condition for it. This view provides a way of getting rid of the objective tradition, for a kind of inner sense is responsible for the judgment of beauty which there is no specific organ for it. It is as real as the external senses. This sensation has nothing to do with cognitive and useful indicators. Good ear (or good taste) is necessary, most people have a good sense of hearing whiles they all do not enjoy the symphony. It shows that a healthy ear isn’t sufficient condition but we need a good ear. This research is a philosophical explanation for aesthetic pleasure, of course by explaining and expanding Hutcheson’s comment with considering Cage’s Silence. The purpose of this research is to identify the share of the audience and artwork in aesthetic pleasure through studying the basis of aesthetic pleasure by describing and analyzing the collected data through a library study and internet search.

Addison’s aesthetic theory is expressed in the pleasures of imagination with focusing on aesthetic perception. Addison’s aesthetic theory is an important attainment of the early Enlightenment in introducing the significance of the faculty of the imagination. In this theory, Addison wants to defend from imagination against those who did not consider any important role for it, like Descartes. He considers a cognitive and spiritual function for imagination. The pleasure of imagination is not necessarily independent of other sources of pleasure in human life. That is, he did not separate the different pleasures like Kant. The imagination enhances other sources of pleasure in life, because it has no cost, that is, without the cost of ownership and without costs of everyday experiences. The pleasures of imagination either through direct seeing of objects or facts, or through seeing and perceiving their representations in various artistic genres such as painting, sculpture, and literary descriptions that they are presented in different forms by the authors. Imagination give us a form power in order to combine and to create images and scenarios. Thus a man can entertain and enjoy even in his/her own loneliness. The primary pleasures of imagination are achieved from the perception of natural objects and man-made objects. Secondary pleasures of imagination are achieved from the perception of representations in the artworks. The pleasures of imagination can be caused by exposure to greatness, beauty and harmony. But art has a special facility that it is same novelty. Art can be ahead of nature and can be the agent of an agreeable surprise. Since beauty is related to form, it has the least connection with the cognitive interests and human actions, and thus it provides the most autonomous pleasure of imagination that the mind does not consider in its confirmation other than the elements and parts of the form that are perceived at the moment of being seen. Thus the perception of beauty is due to the power of imagination. For him, greatness has an effective role in the active of imagination. For him, pleasure is one mental ability. If someone does not enjoy it, it's because of weakness his/her imagination and the eye of his/her mind is closed. This view about beauty and art tells us that objective view will gradually go away and subjective view will emerge. Our goal is in the research that don’t ignore Addison's contribution in this transition. Kant is raised many of his ideas for example disinterested attitude and the superiority of natural beauty. Addison’s thought extends throughout the 18th century in Kant’s thought and the movement of Romanticism. His influence is observed especially in his emphasis on the visual adjustment of the imagination, the exposing of mental visibility at the very center of all aesthetic experience. In this paper, by means of library method data are collected and then are described and analyzed in order to be clear the abilities of imagination in the face of nature and art, then what is the relationship between natural and artistic beauty?

Monroe Beardsley describes the features of artwork that provokes the aesthetic experience which include: unity, complexity and intensity. These features can be pursued in deadpan photography as the value of art, because the photographer’s feeling, when taking a photo, is not the key to understanding the meaning of the image. The deadpan genre in photography is a kind of unconventional photography that photographer has an interested view in it, but at the same time they are very smart and intelligent. Gursky’s pictures are a prototype of this genre. These photos in criticism can be interpreted as a good example of this criticism model of Beardsley’s view. The purpose of this research is to introduce a trend of new criticism and to analyze it with the art of photography that most audiences expect to be informed and represented with specific intentions and goals. The method of research is to collect data from the way library study and the internet search, then describe and analyze them in accordance with Gursky’s the selected works as a case study.

The epistemological discussions are directed to identify human’s mental abilities in modern time. Kant’s description and explanation on the cognitive and ethical judgments is completed with the description of the cognitive faculties including sense, imagination, understanding and reason. But the mental abilities of human aren’t limited to understanding and reason. Kant says from genius and taste in the third critique. In the paper is studied and evaluated Kant’s works and their interpretations in order to achieve an acceptable result about relationship between taste and genius by emphasis on aesthetic experience in formalistic approach. In this approach, the subject and object are involved in the production and perception of the artworks. Taste is essential in the perceiving and judging of the artworks, that is, it strengthen objectivity, and genius is essential in their production, that is, it strengthen subjectivity. In the other words, taste is for the selection and genius is for the change of a thing. This reminds the fundamental assumption that sensory experiences without conceptions are blind and conceptions without sensory experience are empty. Accordingly they are co-event in evolutionary process in the social and cultural context. The method of the research is analysis of the data derived from library study Kant’s works and his commentators.