taste

The man-made environment can shape space users’ behavior which consequently forms peoples’ subjective constructs and influences their types of choices. Amongst architectural elements, the building façade appears in the form of a display that forms the individual’s initial understanding of the building. This element can influence the individual’s taste formation and plays a critical role in his goods preferences. This study aimed to investigate the factors influencing the formation of “taste” as regards choosing the building façade. These factors fall under individual, external, and consumer market-driving factors, which help to shape fleeting “fashions” by directing public taste. The study was a combination of fundamental and applied research and used a descriptive-analytical method (qualitative research) by collecting library data.Based on the obtained results, according to Bourdieu’s theory, character indicators, field, social classes and cultural, social, and economic capital of a person can affect a person’s taste in the field of internal factors. The cultural-artistic factor of the facade can also be effective as an external factor in the formation of the taste of the chooser of the architectural facade in six semantic indicators; “Being a symbol and a sign, historical authenticity, functionality and beauty, impressiveness, innovation, and façade showiness as a medium”. The third effective factor includes the measures taken by the market operators to guide the taste of each class and design a specific taste and produce and sell their products based on it.

Artists resort to various methods to transform the status of artistic reality. This transformation brings about a metamorphosis in art, which, in turn, leads to a shift in the artist's own position. This approach enables the artist to observe their works and influence contemporary society, with this influence sometimes transcending boundaries and even different periods, evolving from one style to another. One such artist is Marcel Duchamp, a 20th-century French painter. A key component of Duchamp's mindset in altering the status of art and reality is the rejection of taste, understood as the repetition of what is already accepted, because, in his view, taste is habit. When something is repeated enough, it becomes taste. This article, using a library research method, examines some of Marcel Duchamp's works and evaluates and analyzes the mental components and actions of the artist to understand how his approach influenced contemporary society. The process of Duchamp's influence and its relationship with society led to the formation of a new movement in contemporary society that aligns with the characteristics of postmodernism.Research Objectives: To examine Marcel Duchamp's works and evaluate and analyze the mental components of his approach.To explore the transformation of artistic reality through the artist (Marcel Duchamp or Rose Sélavy).Research Questions:What are the components of transforming artistic reality through the artist?How does this transformation, which leads to a metamorphosis in art, operate in society?

Food plays a crucial role in shaping human identity and fostering groupdifferentiation. This extends to taste preferences, where communities oftendefine themselves through their shared appreciation for specific flavors. Thisstudy investigates the case of Yazd, Iran, and its unique relationship withnabat, a traditional hard candy. Employing ethnographic methods likeobservation, interviews, and documentary analysis, the research exploresboth the historical origins and cultural significance of nabat consumption inYazd. Evidence suggests nabat production dates back to the Sassanian era.Furthermore, the study identifies seven primary contexts for nabatconsumption: as a warming remedy, pain reliever, stress reliever, element inwedding ceremonies (Nabat plays a role in Yazdi wedding ceremonies,symbolizing sweetness and good fortune for the couple), historical form ofbarter, source of energy, and apotropaic measure. Nabat consumption issometimes practiced as a way to ward off bad luck or evil influences.

Over almost a decade, façade committees have been established in Tehran and then in other cities in imitation of the center to monitor the architecture of the buildings. This was a response to a demand that goes back several decades after the victory of the Islamic Revolution, which was first called for «identity» and then «Iranian-Islamic identity» in the city and architecture. The heightened sensitivity to «returning to oneself» and the beginning of the «Islamic renaissance» in the first years of the establishment of the Islamic Republic led to the establishment of numerous academic and religious meetings to examine the relationship between «tradition and modernity.» During the pre-revolutionary struggles, the spread of intellectuals› and revolutionaries› dissatisfaction with the regime›s self-defeat against the West led Farah Pahlavi, the cultural politician of the regime, to create an artificial and form-oriented movement by combining modern architecture with traditional elements. A generation of monumental architecture, such as the Museum of Contemporary Arts and the School of Management, was the result of this policy. To theorize this process, the «Link of Tradition and Technology» conference was held in Isfahan in the presence of a selected group of famous Iranian and world architects, chaired by Farah Pahlavi. At the same time, the official trend of the country›s architecture and what was promoted by the governing body in the guise of the model and law was a mutilated and meaningless modernism dependent on the consumption of luxury goods and imitation of the Western currents. The Islamic revolution represented the demand for the restoration of the historical identity of the Iranian nation. In the years before the revolution, however, no effective action was taken in this regard. The economic stagnation caused by the war and embargo, the ignorance of the relevant administrations in the country, and the gaining power of Western trends in the executive body of the system left no room for a scientific and deep response to the claim for identity restoration. In the 1990s, a study was conducted on the order set by the municipality for façade standards. The study method was similar to the procedure of bulletin makers, who managed the emotions of officials by selecting news. In the city of Tehran, where thousands of buildings were being built at the same time, a few special examples that no one except but a few knew about their existence became a symbol of the trend towards vulgarity; Taking advantage of the unanswered demand of the last century to return to oneself, extraordinary and strange decrees were issued: the use of vulgar colors was prohibited; and to make the rules religious, «prohibition of installing statues on the façade» was also added to the rules.The excitement caused by this biased and not rigorous study of urban management quickly led to the creation of institutions to intervene in the most private parts of society. Façade committees were formed to approve the façade plan, which was added to the previous technical documents. This committee expressed its existential philosophy to protect public rights. Since then, the façade committee in Tehran and many Iranian cities has become a tool to extend the issuance of permits, make construction more expensive, and impose the taste of committee members on thousands of applicants who need permits. The process of changing the rules has been based on the quantitative rise in technical details and is not related to the demand for national-religious identity. In this period, less effective and complicated details have been added to the basic criteria to justify the necessity of the existence of the committee›s action. Over a decade of its activity, the committee has failed to restore Iranian-Islamic identity. This claim is confirmed by the demand of the supreme leader of the revolution in the last report of the mayor of Tehran to the council (Rosen Online, December 23, 2023), emphasizing the movement towards Iranian-Islamic identity in urban architecture. This is the fundamental demand of a multidimensional and complex strategy that cannot be realized by simplifying the problem. Like Farah Pahlavi, who failed to divert the claim for identity with the superstructure and memorial measures, the façade committees will only have dissatisfaction. The perception of identity, in the sense of understanding the continuous nature of a phenomenon, depends on the survival of its existence. The understanding of the existence of a city, which is obtained through encountering and experiencing the space, is first dependent on the survival of the city›s existential components. The importance of the existence of the city is associated with its prerequisites and conditions for understanding its nature and identity. In the case of the survival of the city›s existential components, we can talk about its defining characteristics. The Sunnah of the Holy Prophet (PBUH) in organizing the city of Yathrab, named Madinah al-Nabi, also indicates his precision and insistence on the priority of the order of the components of the creation of the city rather than the form of urban elements. The knowledge related to space and place also validates the same procedure and the originality of the existence of the city in relation to its nature to achieve desirability.By giving priority to the taste of the committee members instead of the taste of the owner, it seems that the façade committees have not conformed to the verse «people are in control of their property» and have taken the wrong path in achieving the great goal they set. Instead of identifying and studying the nature of the city and the main components contributing to its creation, preservation, and expansion, they have completely stuck to the form of urban forms to claim identity. Understanding the identity of the city means having the ability to read its past from the city›s present face and experiencing the feeling and understanding of being in a place with specific standards and attitudes. The place whose elements have gradually acquired the color of time and the transformation of the faces have been so gradual and continuous that the sense of separation from the origin does not arise in the observer. It is clear that intervention in a complex phenomenon is of such a degree of importance that it has a direct effect on building the perception of citizens, and in addition to a hundred-year-old social demand, it was also favored by the beloved Prophet of Islam and played a prominent role in his life. First, it is very necessary, and second, it requires a method and is knowledge-based. The cover image is a view of Qom City, although it refers to the duality of two traditional and unrestrained views, confirming the confusion of this generation and city management in creating an identity view of their desired city.

David Hume's reflections on aesthetics and the standard of taste, as well as George Dickie's philosophy of art presented in the form of the “Institutional Theory of Art”, are both based on a social and sociological origin. According to Hume, the standard of correctness of aesthetic judgments is the joint verdict of true judges, which is true and correct in all circumstances due to the lack of defects in the faculty of taste. The institutional theory of art was presented in the middle of the 20th century, focusing on the necessity of redefining the boundary between art and non-art. A theory according to which, granting the dignity of art to an artificial object is done by a person or persons who act on behalf of the artworld as a social institution, and their judgment in granting dignity to an artificial object, in order to evaluate or honor it as a work of art compared to other opinions, is generally accepted and has authority due to its continuous connection with the artworld and delicacy. As a result, the main question of the research is to explore the importance of consensus on issuing aesthetic judgments and valuing works of art on the one hand, and explaining the distinction between art and non-art on the other hand, according to “true judges” and “qualified” people. This research, which was carried out using the comparative method and its data was collected in a library manner, first studies the concept of judgment of taste and then evaluates the relationship between Hume's aesthetics and the institutional theory of art.

 The concept of taste’ is one of the prominent concepts in art and architecture. This concept is widely used in various fields, such as interior architecture: from deciding on the quality and overall quality of the interior space to determining the materials of the place, choosing furniture and arranging the elements of the interior space, we can trace the presence of ‘taste decision’. On the one hand, it seems like a simple and obvious concept that is present in our daily product selection experience. On the other hand, due to its complexities and dependence on various factors, it seems that it is necessary to pay attention on this complex and complicated issue; With this question, ‘what meaning(s) of taste can be found in art and architecture-interior architecture? The purpose of this research is to understand the different semantic layers of taste to clarify its meaning and provide a way to enter into the discussion about it. For this purpose, the research started with the linguistic study of taste. Then, the origin of taste since it penetrated into art and architecture and the changes and transformations it has undergone until now, were explored. In other words, the way and process of the transformation of the concept of taste from long ago to the present day was followed in order to recognize different explanations and interpretations. So, this research is focused on reviewing the background of the concept of taste from the beginning of searchable moments to the fields of art and architecture-internal architecture; The three main fields of philosophy, social sciences, and psychological sciences provide the possibility of knowing the different layers of the concept of taste so that different dimensions and contexts can be explained. Studies show that almost two important milestones can be identified in the genealogy of taste in art and architecture: first, it is the moment of its emergence in the field of art and architecture, which is used instead of the word ‘judgment’. In this era, the concept of taste created a great change in understanding of subject-object relationship. The second one is the moment of its entry into the field of social sciences. This time, the concept of taste had become a means to understand consumer behavior. From the sum of these studies, it seems that five general concepts are hidden in different semantical layers of taste: beauty, distinction, lifestyle, fashion, and preference. Each of these layers, while being continuous, has a specific meaning range in a specific field; And they show us a certain aspect of taste, which will be briefly mentioned here. The concept of beauty is more theoretical and philosophical. In the philosophical discussions of taste, these two terms are mostly together. The other four terms are related to when taste comes together with choice and emerges. The concepts of distinction, lifestyle, and fashion have more social meaning and each of them shows how social conditions and status can affect taste. And finally, it should be said that when we use preference, the goal is mostly to understand the internal conditions and activities and developments in the brain.

The issue of façade and design of it in the architectural design process has always been of fundamental importance. Also, the facade is one of the most effective features in creating visual quality for the audience. While Facade design has continued with the least fluctuation until the last decade in the art of architecture, today we witness the emergence of facades with the name of neoclassical (Roman) in the context of Iranian cities. This type of facade uses similar elements such as columns, entrance stairs, proportion, order, and symmetry in stone materials. Neo-classical architecture has inspired government buildings in Iran, although it has less attention to the precise proportions of classical architecture and its intellectual insight. Hence, this study aims to investigate the four economic, social, aesthetic, and fashion indicators in the emergence of the neoclassical facade according to Watson's behaviorist approach. It seems that these four indicators are important according to John B. Watson's behaviorist approach to the emergence of the neoclassical facade. The research method is survey-based. In this article, first, the origin of these facades in Greek and Roman architecture also, in the Qajar and Pahlavi eras are historically analyzed. Then, according to Watson's psychological approach, each environmental stimuli is addressed through a Likert scale questionnaire, considering the statistical population in Shahin Shahr and calculating the number of households using Cochran's formula. It is concluded that the economic, aesthetic, fashion, and social indicators, respectively, in the emergence of the neoclassical facade have motivated the purchase of the buildings with these facades through analyzing and evaluating the questionnaire, using SPSS software, and the received response from the stimulus.

Taste in architecture means to choose the optimal building which is the most important issues in this area, attributed to different factors.But it can be understood in two introductory ways .The first way relates to outward or objective characteristics, and the second way relates to the perspective of the individual’s subjective perception .In addition to these two cases, functional aspects or living in the building and its location in the urban landscape are also important in architecture. Another noteworthy point is commodity preferences or the importance of fashion in society which plays an important role in building choice. Thus according to various aspects of “taste”, Studies began on sensory perception and its implications in aesthetic perception from Exterior side of the building and its relationship with art. Form-based features and characteristics of the external appearance of the building facade along with its impact on mind studied in beauty and art issues.
Then functional aspects of architecture and the quality of human life in the building were considered. Subsequently, the search in the field of social preferences Which is another influential factor in choosing and in the field of fashion and social trends searched .As a result, it was determined that taste in architecture begins with observing the apparent or objective character of the building, associating with fashion trends to It will lead to the choice of the optimal building.

In contemporary Iranian society through the importance of "self" and "personal responsibility" and the rise of consumer society in life, power of choice has increased. The importance of the community's choice more than anything else is happening in the field of material and consumables and changing the face of Iran's major cities and the increasing attention to the most superficial part of consumption, expresses this problem well. People buy more goods and economic competition between manufacturers has occurred. Thus, the growth in the consumer market competition has grown to attract consumers. . On the other hand the massive growth of various commodities, the graphic design has been very important. At first consumers neither hadn’t have any knowledge about the diversity of style and taste of the manufacturer nor the production of various goods But Since then, due to the formation of a variety of design could quickly use to understand and adapt their consumption based on new requirements. So the graphic design plays an important role in the sale of goods and If the graphic designer is aware of the factors on individual tastes and preferences influence on image visual features aware, consciously and purposefully will be designed to work, and thus will have a better commodities sale of. The present research aim is enplaning the influence of social factors on the tastes and preferences and to determine the effect on the visual characteristics of the selected tissue as a pure taste or common. The method used in this research is survey and the data obtained using a questionnaire among tissue shoppers in the store “Kosar 5”. The results show that there is significant correlation between taste and cultural capital, and religiosity. This means if the cultural capital increases, the taste will be closer to pure taste and if the religiosity increase the taste will be closer to general taste, and also there is significantly relation between the taste and some of the visual features such as contrast of darkness and brightness, size contrast, texture contrast, being flat and the harmony of the colors used in. This means that tissues, which have size, texture contrast or in graphic design have flat surface feature, mostly are selected by people with pure taste, and tissues which have blur clear contrast or one color harmony, mostly are selected by people with general taste. The results help to goods manufacturers, retailers as well as the designers to be targeted, with knowledge of the characteristics of consumers and their taste and then start their design work.

There crafts in rural areas can attract tourists to the region and pave the way to prosper addition, the growth of the tourism industry. In the meantime, the widespread presence of crafts in rural areas requires that its marketing activities designed so that they can respond appropriately to the needs of tourists. Due to this, the aim of this study was to investigate the tastes and preferences of tourists in the area of marketing conglomerates crafts. To conduct this study, Gilan products were selected as a case study sample consisted of 120 tourists who visit the handicraft markets had been studied. The results show that in the field of product design, tourists are more willing to buy private plans and traditional decorated with abstract motifs, and choose their favorite color range depends on the space. In addition, the purchase of permanent shops and family via handicraft exhibitions and promotion practices those are friendly to a greater extent. In terms of pricing as well as providing a quality product with good design and packaging are willing to pay more.

This paper considers two questions regarding Kant’s theory of taste: first, considering the accompanying presence of subjective and intersubjective elements in Kant’s theory of taste, what relation does he establish between the subjective and intersubjective aspects of the judgment of taste? The first part of this paper addresses this question through the examination of logical characteristics of the judgment, and discusses that the judgment of taste, in Kant’s account, is an aesthetic judgment which on one hand, is made in total freedom and autonomy of the judging subject, and on the other hand, contains a special kind of universality in its content. Kant calls this special universality by the names of subjective universality, aesthetic universality, and general validity. Having illustrated this relation, the paper turns to the second question which asks: How does Kant manage to establish this relation between the subjective and intersubjective aspects of the judgment of taste? In this regard, it is argued in the second part that, although Kant believes in the subjectivity of the judgment of taste, he regards this subjectivity as a special kind, of which the intersubjectivity is the other side. This point is demonstrated by first clarifying the meaning of the specific subjectivity of the judgment of taste, and then by showing the intersubjective aspect of this subjectivity. Finally, it is suggested that on the basis of the intersubjective universality which is contained in the judgments of taste, Kant views the faculty of taste as a potential which enables empathy between the subjects and de-isolation of them.

Frank Sibley is one of the most influential aesthetician and philosophers of art in twentieth century’s tradition of analytic philosophy. He’s the one who propagate the issue of aesthetic concepts through his brilliant essays and establishes these concepts as the core themes of aesthetics. This article would introduce and analyze Frank Sibley’s aesthetic concepts. To do this I first argue for his concepts by giving examples and explaining Sibley’s tacit claims. Finally، when these concepts are fully clarified and the borders of their usage are determined، the method for applying them will be explored.

Considering and contemplating the concept of truth and its relation with art from Plato up to now, this article is to study Deridda’s approach to art and art criticism relying on the beliefs of the thinkers such as Kant, Heidegger, and Nietzsche. Surveying the correlations between the scope of art and extra-art, the article additionally clarifies Kant’s theory of paragon in the Critique of Judgment. Besides, the article analyzes some artistic works in order to prove Derrida’s deconstructive approach to art.