masoud mohammadzadeh

Instability plays a significant role in postmodern clothing design and is done with a deconstructive look. The narrative of fashion influenced by the spirit of the post-structuralist era always has an indeterminate semantic system and creates an active and dynamic dialectic by reproducing artistic pre-texts. The purpose of this research is to investigate the narrative meaning system hidden in the existential values ​​of contemporary fashion discourse, and this research is done in order to discover the nature, what and why of the interaction and adaptation of the subject with the space of instability within the discourse of clothing. In this research, the element of instability through The presence of contradiction, contrast and visual ambiguity in the size, shape, color, arrangement and visual movement has been investigated and by analyzing the narrative process of contemporary fashion in the works of prominent world fashion design artists such as Valentino, Ossie Clark and Issey Miyake, it has been studied the process of production, transfer and reception. And sensory perception of meaning has been discussed. The obtained results state that due to the creation of ambiguity and visual deception, tension has been formed from the coexistence of divergent levels of discourse, and it has caused the interaction of the cognitive and qualitative dimensions within the narrative. Clothing has become an active pseudo-subject, which, in the discontinuity of its determined function, steps into the indeterminate world of meaning and tries to redefine the identity of the adapted subject as a phenomenal text.

Written body in the East is the symbolic function of engraved images on the body of the subject. The ritual presence of three points engraved with a mystical function on the subject's hand as a non-modality contract represents the seal that existence puts on the subject's body. In the tension-emotional process, the subject's body in a state of impulse has become physical, which is the center of energy production. The subject is in a state of transcendence in crossing himself to reach the meaning aura of love. In this atmosphere of discourse ecstasy; The referential and objective body has become invisible, and the mystical points in Shushi's time make an indeterminate system visible on the body of the subject. Shushgar's subject is tied to the soul of the universe in the separation and escape from the cognitive state due to the mutation of design and experiences Bush from the inside. due to discourse transformation; The written body of the phenomenon is adapted to the body of existence, and the subject redefines the existence of his presence by descending and connecting to the multifaceted space of love in the moment of sparkle. In order to get out of its lack of meaning, the subject surrenders its determination without resisting existence. Everything moves in harmony like a symphony. The results of the research show that the subject of Shushi is connected with the existence of the presence of love at the deep level of discourse construction.

Modern societies have created the experience of mixed reality or MR in users’ lifestyle with the advancements in sensor technology and computer processors.  The unique feature of this smart technology in interactive communication has improved human and social functions. With technology smartization, smart design is also carried out by computer tools. Smart interactive design such as mixed reality or MR can adopt a unique process, combining the data increasingly and creating a user-friendly interaction. The main purpose of its interactive design is improving users’ quality of life and welfare. It is evident that user interface or UI design has a crucial role in this regard because mixed reality technology does this by interactively designing two-dimensional or three-dimensional user interface forms called holograms. Smart user interface in mixed reality technology is the most important part of communication that can be perceived visually, audibly and tactilely. The purpose of user interface design is to facilitate the usability of mixed reality products and to make the process of using them enjoyable. This study examines concepts such as form language, interactive design, mixed reality based user interface design, usability, and holograms. The design of formal elements such as line, color, texture, icon, volume and typography in the user interface has visual values that improve the user interaction process through the hologram. From this perspective, design language can influence the usability of mixed reality or MR. It is worth noting that the case studies are purposefully selected and analyzed based on credible international sources produced by leading companies in the field of mixed reality. The main question of the study was as follows: what is the relationship between smart user interface design language and mixed reality function? To investigate, the theoretical basis of the study on the relationship between aesthetic components, the language of formality, and usability of successful projects is the centralized mixed reality user interface developed by Microsoft HoloLens. The main issue of this research is focused on the analysis of user interface design and design language in hologram technology. To examine the relationship between form and usability of the hologram smart user interface, case studies on the Microsoft HoloLens mixed reality headset were analyzed. This applied research was purposeful and the general results of the research showed that the correct design of smart user interface with emotional design or formal and modern design has enhanced the function of mixed reality and users feel comfortable interacting with this type of user interface design. mixed reality user interface design can be used in any field. There is no limit to the use of this technology and it is always used according to the needs of the user. The usability of the smart user interface is based on clear design thinking, has a friendly and emotional communication tone. In other design methods, it is formal and modern with high usability or even includes both. The logical connection between form and function based on usability preferences among users is a unique feature of hologram design.

Simurq is one of the most frequent motifs of ancient times on various works and buildings that has a mythological basis and is related to political and religious concepts. This study aims to recognize and investigate the political andritual role of Simurq on Sassanid fabrics. The research method is descriptive-analytical and based on the iconology approach. According to Erwin Panofsky’s views and in order for finding the content and semantic meaning of the role of Simurq on fabrics, this study attempts to read the image and the three levels in the text of the work of art. The sample size includes 5 case samples of available fabrics that have been selected purposefully. The results of the study indicate that the role of Simurq originates from the culture and religion of the people of Iran and has a prominent role. As a symbol of unity between material and spiritual powers, this bird was illustrated in the form of a creature combined of real animal organs such as the dog’s head, horse’s neck and chest, eagle’s wings, lion’s legs and peacock’s tail in the Sassanid period. In fact, the role of Simurq in the dress of the Sassanid king is a manifestation of God’s support for him and his political and religious legitimacy accordingly; as he is endowed with glory, supported with wide open wings and empowered by the Simurq.

Considering the analysis of phenomenological discourse from the semiotic perspective, the tattoo semiotic system focuses on linguistic reproduction. Discourse reveals some aspects of sensory perception to the subject. Proper body is a path to the sensory perception of the lost dimensions of meaning and the lived experience of phenomena. The purpose of this study is to investigate the process of sensory perception of phenomenological tattoo in the framework of semiotics of discourse. Throughout the research process and with the development of Merleau-Ponty and Landowski theory, the authors  study the written tattoo with the semiotic approach of  Paris school of semiotics by dealing with the process of discovering, producing and receiving meaning. In the present study, the findings showed that  the phenomenological tattoo leads the semiotic system of language towards the discovery of the lived experience of presence and reveals the hidden layers of meaning and conceal the obvious meanings. This is a feature of meta-discourse that manifests itself within discourse in order to achieve power and immortality, and leads to transcendence of  semiotic system of discourse.

Clothing is one of the most significant tools in formation and development of a culture. After the age of structuralism and modernism, the researchers in postmodernism era, have paid a peculiar attention to the past traditions, religion and the art of tribes. Accordingly, a wide range of studies have been done on patterns, symbols and art of ethnic groups. The semiotic approach was presented by Saussure and pierce’s view in the  first half of 20th century and was used in many applied researchers in order to read the structural and semantic system of signs and symbols in artworks. Analytical reading of tribal clothing with a semiotic approach, will face us with deep cultural layers and acquaints us with understanding the ideology and the native culture within the civilizations. In the research process, we will study the used elements in clothes (men’s and women’s) such as shape, color and motifs. Understanding symbolic signs, icons and hyper-icons in clothes, acquaints us with a set of valued systems and aesthetic, individual, social and cultural functions of ethnic groups. This research was done on 13 samples from some clothes and accessories of Lorestan ethnic groups in order to identify the signs and symbols in determining their culture, customs and clothing. The research is a qualitative- applied and its analysis is inferential- Descriptive. Collecting data was library and field method through Cultural Heritage library, museum of anthropology and traditional markets. The result of the studies show that in forming Lorestan tribes’ clothing, some factors such as national and religious beliefs, customs, religion and climate are effective. The influence of these factors in the shape, design, color, fabric and utilizing the combination of cultural- economic instruments in a piece of clothing indicates the complete Coverage, authenticity, beauty and respect of these ethnic groups on individuals and society.

Typefaces are very widespread and functional tools. The main function of typeface is to improve the readability and enhance conveyance of information. The emergence of metal and digital font systems has led to a considerable cultural gap between the aesthetics of Persian calligraphy and its modern typeface. However, the undeniable fact is that the even aesthetical aspects of Persian modern typeface should be inspired mainly by the writing identity of Persian culture, so that it can be more aligned with the cognitive needs and aesthetic expectations of Iranian audience. Emotional design creates a more pleasant visual experience of reading through meeting the emotional need of readers. Accordingly, emotional design can be a great asset for Persian typeface as it may provide a positive emotional interaction between the text and audience. Such positive emotion is the result of years of experience of reading and watching Persian texts, all stores in the from of visual schema in the mind of Iranian audience, increasing their willingness to watch Persian typeface and read the content of such materials. A very brief survey of recent aesthetic trends and approaches shows that those which have been more compatible with the cultural and emotional structure of Iranian thought processes have successfully passed the test of time and have been widely accepted by their Iranian audience. Literature and more specifically poetry has always been an indispensable part of Iranian cultural identity and writing has long played a vital role as the major medium for conveying such rich cultural heritage. Naturally writing had to be in accord with the poetic delicacies of its content. Emotional design could be of a huge help to recreate such emotional facets in modern Iranian typeface. From a transactional point of view, the major role of language is to carry meaning and convey information. But from a more interpersonal view, language is supposed to create emotional connection and interaction between people and emotional design can contribute a lot to this undeniable role of language and writing. Emotional design can contribute a lot to this undeniable role of language and writing by creating the most convenient tools for the writer to encode his feeling and emotions and for the reader to get a clear picture of emotional nuances buried in the text. In this paper a brief analysis of reciprocal the role of writing and culture and their effect on design of Persian font is presented. The visual values of Nastealiq and Naskh and their function in the emotional design of Persian typeface are also dealt with. In addition, the mediatory role of typeface in creating an emotional connection between the reader and text is studied in more details. Finally the by investigating the structural similarities of visual elements which recall good emotions in nature and by applying positive structural and emotional values in Nastealiq, it is shown how we may be able to deliver a more pleasant experience of reading Persian contemporary writing in accordance with the writing identity of Iranian readers.