abstraction

Problem Statement:

 L-systems are among the algorithms for calculating the self-organizedprocess of “environmentally sensitive growth” of plants. They are one of the five main generativemethods that, given the structure and main field of application, promise great potential inarchitecture. But at the same time, examples of their application in architecture are few and havenot yet been sufficiently developed. Therefore, their development requires a comprehensive study.So, in this study, while identifying the possible potentials in architecture, the background of theirapplications in architecture as well as in other fields are reviewed. Then, these applications aredivided and compared, and accordingly, some suggestions for development are presented.

The purpose of this research is to comprehensively investigate L-systemsand identify their applications and potentials in architecture.

This article is descriptive-analytical, and the data collection method isdocumentary-based. The documents used in this article include a variety of articles, books,dissertations, and architectural competitions, all or part of which is related to research onarchitectural applications and other related applications of L-systems that have been publishedsince 2000.

Exploring the algorithm in the field of botany, the five main concepts of L systems are:development, abstraction, self-similarity, complexity in simplicity, and topology; Among these,the concept of development is more popular in architecture, while other concepts have receivedless attention. In this regard, reviewing their applications in other fields and their methodologieswill be inspiring. In this article, research trends in the architectural applications of the L-system areidentified and the reasons for its decline in recent years, as well as suggestions for development,are presented. Other analyses are also presented, including the scientific validity of the documentsused, the types of applications, the methodology of the L-system, and the design stage.

Images are able to show completely different things fromthemselves and have fascinated philosophers since Plato.Among the philosophers who have dealt with this field arephenomenologists, who approach images from differentangles. Some philosophers who study phenomenologicalaesthetics consider art as the perception of the visible.In this article, we try to answer the question, what is theimportance of art and aesthetics for philosophy, and howcan phenomenological concepts be used to understandabstraction in painting? Does phenomenology add anythingnew to our understanding of painting? Influenced by thefounder of phenomenology, Edmund Husserl, we draw onspecific concepts - horizon, phenomenological reduction,life-world, epoch - and show what the connection is betweenabstraction, the world, and phenomenological reduction.Abstraction shows the relationship between the world andthe horizon. Pictorial reduction reveals how the horizon ofthe world and surprises the viewer. Or how past horizonsmake up for our present experience. Relying on Husserlianframework and descriptive-analytical method, we must beprepared to look at artwork without any presuppositions, toset aside habitual expectations, and to react directly to thedynamic relationships of the visible elements of color andform. Thus, this reading works by reducing, eliminating,and concentrating, and it requires an active response, nota passive acceptance. In this reading, the work of art is anobject to motivate thought, but not in the way that inanimatenature, landscape, portrait, or narrative might be. In fact, ourjudgment of the effect depends on how the effect penetratesour consciousness and affects our feelings and thoughts.Thus, the artist, like a phenomenologist, moves away fromthe natural and everyday world and looks deeper into theworld, reviving the forgotten biosphere and filling the gapbetween consciousness and the world. In other words, theyboth rebuild the world and both return to the world. It thusrefers to the abstract concept of the return to the world and theinternal relations of the world that are not known. With thisreading we have shown that abstraction is not a separationfrom the world or nature, but a different experience of it.In fact, abstraction is a useful tool for expressing a varietyof experiences and ideas. In other words, abstraction maymean something positive, a “return” to a deeply globalrelationship, though not explicitly recognized. Also,considering the distinction between the phenomenologicalepoch and the aesthetic epoch, we conclude that the wholepainting is abstract and non-figurative. Finally, and surely arthas long been the subject of phenomenological philosophicalstudies, which in turn gives way to the expression of humanlife. However, the tradition of phenomenological aestheticsis still in its infancy and its identity is very fluid, and thepossibility of phenomenological aesthetics can still be posedas a living question.

The present article studies and analyzes two different viewpoints on art and philosophy of contemporary art. On the one hand, Arthur Danto's philosophical views on the challenges of definition of art that lead to the theory of the End of Art and the Death of Painting, and on the other hand, the thought and works of Gerhard Richter, which led to the revitalization of painting. According to Danto's theories, the main purpose of this research is to study the position of painting after its announcement in the works of the German contemporary artist Richter and seeks to respond to topics such as the definition of art and the role of aesthetics in contemporary art. The main question is: why and how, after technological advances in the structure and methods of creating and producing works of art, the entrance of new media and challenges in the basic concepts of aesthetics, the art of painting returned to the Avant-garde  art scene and revived? To answer this question, Danto and Crimp's views on the End of Painting were first attention in a descriptive-analytical manner, and then the important role that Richter played in reviving the painting was discussed. The results of the research show that in such conditions, Richter knows painting as something beyond the image, and as this process continues, he opens a modified view of art history, which is a way to find personal and historical language in postmodernist experiences. Arthur Danto's attempt to evaluate Endism in the late twentieth century has been a source of inspiration for many contemporary artists and theorists. He believed that painting could survive only if it negated itself and could continue the efforts of conceptual and avant-garde art. Danto does not claim that no one works in art anymore, nor does he claim that no good art is made anymore, but he believes that a certain history of Western art is over and that "Art after the End of Art" pursues a new goal. In the face of this pluralism, Gerhard Richter focused his artistic work on how to continue painting in the face of the End of Painting and created a collection of artworks in which a critical and in-depth understanding of art history can be found. His strategy was to cope with the End of Art and break the deadlock of painting in the 1960s by turning to photography and confronting the efficiency of photographic imagery as a means of representing the outside world. Richter turned to photo-painting as a way to deal with the crisis in painting. Instead of creating his subject or inventing it, he turned to painting from photographs, thus trying to overcome the artificiality of painting and bring reality back to his artworks. But what is interesting about his work is the connection with his predecessors, the endless sequence of realism and abstraction that is evident from the juxtaposition of the paintings. A realistic view that goes to abstraction in the next work and reality is redrawn with a reference to abstraction. An endless rotation that spins on Richter's career path. The general goal is to know and discover correctly the issue of the End of Art and the Death of Painting and to determine the boundaries of art from non-art in the contemporary world and to explain the impact of these philosophical theories on art. When signs of Death of Painting were ubiquitous in the 1980s, even in the painters' own works, artists allowed their paintings to blend in with alien elements such as photographic images. Only in this kind of manifestation, which was in fact a kind of conceptual painting, could painting have a place for itself in the life of new art, and there was no way for it, except to infiltrate itself in some way in critical discourse and avant-garde approach and try to theoretically challenge art and painting while creating a work of art. In the contemporary interpretation, art was no longer a process of creation and construction, but a product of study, thought, and theoretical challenge. Danto found an infinite variety of art, as if the contemporary artist had invented a new kind of it, so that if one wishes, can interpret the End of Art not as the beginning, but as an invitation to unfettered freedom. He guided the way for a new kind of critique that could help us understand art in the post-history era. On the other hand, Gerhard Richter willingly declared his heartfelt allegiance to the great tradition of Western painting, and with his diligence in this field, he revived the Painting after the End of Painting. Richter's every attempt to add meaning to the photographs was his attempt to create illusion and nothingness. He used the artificiality of his artwork to cast doubt on what people thought of the photographs. If there is nothing to cherish, one's belief in the reality of photography is challenged. In this regard, Gerhard Richter's message should be clearer than anyone thinks. The truth has never existed. Therefore, enjoying art never seeks reality or truth, but pursues the labyrinth in the image, uncertainty and nothingness. This paper is extracted from PhD dissertation titled «Analysis and Criticism of Arthur Danto’s Theory about The End of Art and The Death of Painting Based on Gerhard Richter’s Ideas and Works» written by the first author under the supervision of the second author at the Central Tehran Branch of Islamic Azad university.

As understanding the visual arts, the visual ability is one of the main features of architecture students, which has been neglected due to the problems in architectural design education. In the first part of the study, after studying the theorists’ opinions, the concepts of metaphor and abstraction were explained using the descriptive-analytical method, and different types of metaphor in architecture were classified into three categories. By introducing the steps in the field survey in the second part of the research, the effect and relationship between the collage practices and metaphor and abstract strategies were studied in the spatial-visual ability of the students in two groups of undergraduate students and researchers. Data collection was conducted using a closed questionnaire and Gardner’s multiple intelligence questionnaire and attending the architectural design 2 classrooms of the undergraduate architecture in the college of fine arts, Tehran University, and interviews with the professors of the architectural design in the top university of Tehran. SMART_PLS and path analysis method was applied to analyze the data, indicating that according to both groups, collage practices have a direct impact on the three stated factors in the visual-spatial ability and the type of the offered practices is influential on the communication model regarding the type of the built collage, and a more meaningful and desirable relationship occurs between abstract collages in applying the principles of abstraction to enhance visual-spatial ability. The research results could be practical for introducing this method and abstraction and metaphor strategies in architectural design education.

Ghelimche Metkazin village in addition to the abundance of role, mentally woven and of a simple structure. The variety of animal and plant designs and understandable  geometric shapes and the creation of creative design during the drawing of motifs on the margin and the text and the way weavers adapted from the nature and environment of life and the re-imaging of images has led to a variety of designs in the pattern of drawing, while The visual and internal lines and actions add to its visual value. The purpose of the research is to achieve design methods in the process of recreating motifs and visual values.In the direction of research, the following questions have been answered: how is the process of  recreation of motifs in Metkazin Ghelimche, how have different design techniques been carried out, and what are the visual values of these motifs? To study and study, eight samples were selected from original Ghelimche and analyzed by descriptive-analytical method and field study and interview. The results of the research indicate that in the direction of recreation of motifs, two realistic and abstract methods have been revealed. Realistic motifs, due to the direct adaptation of nature, are free of any creative recreation and visual value, however in an abstract way, the designs have been drawn in two ways abstracting and pure abstraction. In the abstracting method, the simplification of the motifs is observed and with little reflection and thought for the audience is understandable, and of course the visual value of the quality and promotion of the designs are effective. In a pure abstraction (elaborate), the role of the objects in the process of recreation, in a fundamental way, is based on the inner essence of the forms, and the visual value lies in the designs based on a kind of aesthetics and is not simply conceivable.

Islamic philosophy and art theoreticians, such as Burckhardt, considered Islamic art as abstract since it presents divine mysteries in Eastern art through symbolization. Hence, traditional art is sacred art with an abstract model of expression that avoids figurative and naturalistic representation. On the other hand, in Europe during the 20th century, Kandinsky started a movement in the visual arts to discover the visual features beyond the visual-narrative realm of the real world. They believed that painting, like music, should set itself free from the boundaries of mimesis or imitation of nature and narratives and influence its audience merely through forms and colors. Both of these attitudes have their theoretical foundations and reasons that are different from each other. The present study seeks to answer the following questions: What is the meaning, function, and characteristics of the word “abstraction” in both the abovementioned perspectives? What are the concepts of traditionalists and Western art critics from the term “abstraction” and how are they related to each other?

This basic research used a descriptive-analytical method and first attempted to find the exact meaning of the word “abstraction”. Afterward, it examined and compared the characteristics of Islamic art from the traditionalist thinkers’ points of view and the concept of “abstraction” in Western artists’ opinions.

This study discusses art and stylistics in the theoretical field of art research and can be effective in the development of discussions on “the nature of art”.

There are similarities and differences in the use of the word “abstraction” in Islamic and Western art. In both of them, the artist and the audience are detached from the material and objective world. Both of these perspectives try to present something beyond what is visible and for this reason, the artists try to employ mysteries and symbols to present their artworks.

In this paper, it is tried to state the problem of representation and architectural representation through its procedure for gradual creation in architecture and then according to scholars and to obtain the effect of this concept in the process of architectural facts the concepts are presented. Then, it is referred to its definitions is also provided from the perspective of semiotics. In addition through a deductive view aiming to clarify the fundamental differences between types of architectural representation in Architecture history, three fundamental roles in the architectural representation as mimesis and imitation, architectural representation as abstraction and architectural representation as simulation are described and examples are cited for each of them. In the end, because using Umberto Eco's theory in this paper and his semiotic perspective to Architecture, by a qualitative methodology and with an interpretive approach in architectural codes, the comparative tables are provided, and to clarify the relationship between the Architectural representation and Architectural codes. In conclusion these comparative tables are separately classified in three groups of new meanings, so a variety of architectural representation roles according to Eco's semiotic perspective in diverse historical periods in architecture are explained until finally the Architectural representation that is considered in three new groups in Eco's theory, as a result of this research abtained.

 Baluch tribe can be considered one of the genuine Iranian tribes who has continued the livestock breeding and nomadic life in Iran. Various arts are common among this tribe, but the most important one is the art of needle-working. This art, with its geometric and highly abstract designs, displays the history of tribal Baluchi lifestyle. Like other Iranian nomadic arts, Baluchi life has a very high geometric dimension. One can also refer to the similarity of the geometric patterns of this art and the Neolithic arts. Baluch needlework art designs are categorized and studied in various humans, animals, plants, geometric shapes and marginal types.

What is the most important aesthetic aspect of Baluchi’s art of needle-workingResearch

The recognition of the aesthetic elements of Baluchi needle working as the most important native art of the Baluchistan regionResearch

The research method is qualitative using logical reasoning. Library data and observation were taken into consideration in data collection of this research and also the objective observations of the writer and field information were effective in achieving research findings.

The most important aspect of these designs is their geometricity and excessive abstraction. The aesthetics of this native art can be examined in the form of a line (right and with an angle), shape (based on the shape of the triangle), texture (dense and prolific), rhythm (alternating) and color (with the domination of the red color and combination of strong and powerful colors). Symbolic abstraction can be considered as the most important aesthetic aspect of Baluchi’s art of needle-working.

Single art or abstract art refers to an art with no identifiable natural form that only benefits from unnatural and symbolic forms. Also, art refers to objects and creatures embodying the fundamental features and ignoring the effects of general and specific details of each of them. An abstract image of a tree has to contain general and fundamental properties of a common tree with no close affinity to any particular tree. Based of abstraction, art in fact is the belief that the worldview only refers to color and form and it has no relation to painting or sculpturing content. In visual books, a style is invented by structural or behavioral patterns or selection of different topics. Depictive artistic methods are special properties that expresses a part of identity and thoughts. An abstract image in children’s books is such that the hidden subject is not observed at first sight and it needs uncovering the hidden concepts in the image. Abstraction in children’s books often occurs in the external form of a phenomenon and images are semi abstract. The present study is descriptive –analytic that firstly defines style, portraiture style, abstract art and its historical reality, abstraction in children’s portraiture books, abstraction in portraiture pictures in children’s books and finally introduces a few books and pictures that represent an abstract style. The goal of this paper is to introduce the abstract style and show that imaging in children’s books is either abstract or semi-abstract.

The climax of this view is represented in Neo-Platonism that if the world is beautiful it is because it reflects the image of Soul. Neo-Platonists don’t regard themselves as establishers of a new philosophy (though they establish one), but they believe themselves as the redeemers of Plato’s philosophy from those aberrations burden over it during the time. Plotinus, as the last major philosopher of ancient epoch, historically stands at a timeline which separates ancient world from middle ages. His contemplations on the realm of philosophy and art, especially those on the concept of beauty, have been among the most influential views. In this article, according to what Plotinus has proposed, the semantic roots of “form” and “content” would be explored next to their relationship and importance. The author tries to find the answers to these questions: what is Plotinus basic world view and what basic principles could be found in it? How does he define beauty, art and artwork and what is their status in his world view? After exploring his idea, it will be found that in Plotinus’s view, being means beauty and beauty means being; form means beauty and beauty means form; God means beauty, good means beauty, love means beauty and beauty means love. According to this definition, Plotinus regarded everything and every concept in this world to be filled with form (beauty/love). Form, as the basic element of being and existence, is an “image of content” and artist, as the creator of the form, produces his work not by imitating secondhand versions of this worldly paradigms, but by copying the original one (ideas). Another conclusion that could be taken from this article is that form has relationship with abstraction and abstraction painting has relationship with the world of ideas.

Millennium BC in the ancient Iran, the artist man, creating works in his transition from naturalism to abstraction and tried using what's happening in his life, reach a kind of pictorial and abstract visual expression As if this abstract expression has especial visual rules and sensitivities. One example of this tendency can be sought in ancient Iranian earthenware designs. This course of study designs and the movement toward abstraction, represent the thoughts, beliefs and values and criteria contained in the works. The results showed that the ancient Iranian pottery designs in their development and transformation gradually takes away from the creation of designs And instead of addressing the details of nature, travels through the abstraction. This search and attitude towards abstraction in Ancient Iranian pottery decoration have some similarity with the works of the west contemporary painters, especially Op art artists; an attitude, which in the years 1960 to 1970 with the title of visual painting or retina, pays attention to some abstractionism based on arranging geometrical figures with emphasis on visual effects and look motion through the work area. This research was done in descriptive analytic approach and data collection was done in library method.

Motifs pass through the mental filters of different people. The time and mind canals govern key roles in forming the designs. Most of the carpets’ designs and motifs are the products of the cultural exchanges among different nations and races. Cultural and social products such as stories, dialects, traditions, customs etc. are exchanged among different nations and races, meanwhile get local characteristics; motifs are also not apart from this formula. They are also modified and changed in the process of movement from one location to another one. Each motif can be considered as the offspring of the social needs of its community in a certain period of time. The cursive designs of Heris also follow such formula. The organic and urban designs (i.e. Shah Abbassi medallion design) have been changed into a geometrical design by the carpet weavers and consequently innovative visual models have been introduced to visual culture of the carpets as the result of gradual mental-oriented changes and modification of those designs. The relationship between some motifs in Heris carpets such as: “Gobak”, “Lalak”, “Toosbagha” etc. and mythological elements is significant. The mental-oriented weavers of this field have created a collection of new motifs by utilizing simile and abstraction.