فصلنامه کیمیای هنر
پیاپی 15 (تابستان 1394)

Everyday life is considered one of the most notable issues in cultural studies and it is concerned by many theorists and writers of cultural studies in their works. Considering the ever increasing development of images and their dominant role in today’s culture، it is important to concern about visual dimension of everyday culture، and also the visuality، which means the social construction of seeing. This research purports to discuss the concept and the nature of everyday life building on Nicholas Mirzoeff’s theory، a distinguished theorist in visual culture. The study of the space of consumption، as a significant area of daily life، will provide important results including the inevitable role of visual culture in the everyday life and the inadequacy of everyday life as the bastion of resistance against the hegemonic power. The interdisciplinary nature of cultural studies as the substrate and the main source of visual culture، concerns other disciplines like sociology، the critical theory and media studies in this research.

The Sublime in Lyotard’s works is known for his writings on Kantian sublime. This paper tries to shed light on that side of Lyotard’s writings in which the sublime is explained based on Edmund Burke’s definition of sublimity and far from Kantian modern sublime. This is an ontological type of sublimity with strong ties to the concept of event or Ereignis، which Lyotard calls Postmodern sublime. The sublime، in its non-metaphysical/ postmodern definition، is an event that has wide relations with being and the human life. Lyotard’s postmodern sublime، is not the explanation of an experience but rather it is the moment of the event. In other words، rather than Erfahrung، it is Ereignis. For him، the sublime is a place that، because of the declining of thought 5 and the ontological shock it makes-what Heideggerian thought might call the sublime’s un-homely or unheimlichkeitwakes genuine thinking; it is a creative event، allowing for re-evaluation of already accepted philosophical concepts.

The interactive installation is a form of novel arts which is made and matured by the presence of audience and interaction. In fact، the audience participation in this form of art acts as a fundamental element without which the artwork would be incomplete and nonexistent. The mutual relationship leads the art to be unrestrained that breaks down the traditional expectations of stability and restriction. In the case study of this paper، the Brazilian artist Ernesto Neto uses the possibilities of this new instrument in one of his interactive installations named “While Nothing Happens”; he authenticates his artwork through engaging the audience’s maximum sensory faculties such as sight، tactile and olfactory to encourage him/ her to interact. The authors believe that the qualifications of the installation in terms of reconciling the body and the mind are certainly the objective of the phenomenological thought of philosophy; because phenomenological knowledge and especially Heidegger’s phenomenological hermeneutics is based on the reconciliation of the human and the universe. Based on the apparent propinquity of the basis of phenomenological knowledge and the existential philosophy of Ernesto Neto’s interactive installation، the research is initiated with this question: how can one interpret the interaction between the audience and the artwork in “While Nothing Happens” by means of phenomenological hermeneutics analysis? In order to achieve the aim، i. e. finding the phenomenological hermeneutics bases on this interactive installation، the information is documented and then analysed by descriptive-analytical approach. The results show that the audience has an interpretive presence in the arena of the artwork and he/she is not only an identifying subject who defines the concept of an object based on a determined mentality since he/she appreciates the reality not only with referencing to what his/her eye sees but also based on other sensory faculties as tactile and olfactory. The audience’s body is turned into a part of installation elements in so far as he is integrated into the artwork.

Hermeneutics is a method for conceptual analysis of phenomena. Hirsch is one of the most famous hermeneutician. In his books، he argues that the author’s intention must be the ultimate determiner of meaning. He popularized the distinction between “meaning” (as intended by the author) and “significance” (as perceived by a reader or critic) and argued for the possibility of objective knowledge in the humanities and social sciences. In this paper by exploring the ideas of Hirsch، we try to present the main aspects of his hermeneutical theory and see if it can be applied in the analysis of painting. As a case، the painting “Joseph and Zlykha” of Kamal al-Din Behzad is analyzed by Hirsch’s approach. This case shows us that how this approach can be used to analyze other works of art، especially paintings. The purpose of this paper is to establish the art of hermeneutics to understand the intended meaning of authors.

This article tries to answer some questions on the possibility of the formation of a different art in the cyberspace. The questions have been specifically selected from the pre-internet texts that are about the author issue. Clearly none of the intellectuals has proposed their questions on the cyberspace. However، it is felt that those issues proposed in their thought have the capability for investigating the possibility of art creation (generally) and literature and aesthetics (specifically) in the cyberspace. So، first of all، the issue itself is re-read through some questions; then، it is tried to answer these questions by concentration on the manner and function of the author in the cyberspace. The suggested thoughts have generally concentrated on the author as a “writer”; but it is possible to re-read them based on the title of “an artist”. The proposed questions are as follows: - What kind of relation is between the creative element of an artistic creation and a deterministic position?

This article questions the quality of the process of the perception of beauty and aesthetic pleasure to see what identity is derived from this concept. It is claimed on the philosophical foundations of Mullā Sadrā that the sensible perception of beauty، firstly and in particular is “intuitive knowledge” and that the aesthetic pleasure is produced from this “intuitive knowledge” and then the concept of beauty is derived from process of abstraction from external quality of object as secondary philosophical-intelligible. This issue is an essential part in Sadra’s Theosophy and can provide new perspectives different from those of western Aesthetics. On this basis، the author will proceed to study and explain the dimensions of this issue. The most important achievements of this research are: the explanation of the perception of beauty، the distinction between Aesthetic pleasure and corporal pleasure and also its relation to the concepts of good and perfection and in the end proving that the concept of beauty is a secondary philosophical-intelligible.

Art is one of the multiple manifestations of Creation and its myths. In every society، it emerges in the form of symbols and motifs. These motifs are not just decorative but convey higher meanings، therefore the symbols related to them are among the most varied symbolism. Bote 8 Quarterly Fourth Year، No. 15، Summer 2015 as one of the botanical and decorative motifs in traditional arts، has been used vastly. This motif is among the symbols related to Iranian beliefs. Since ancient time، this motif has undergone different changes towards its perfection and beauty to finally become what we know today as Bote Jeghe. This paper tries to deal with the following question: What sort of meanings Bote Jeghe convey beyond what we have heard or read about it so far? Many commentators have written about this motif’s relation with sacred trees or symbolic motifs of life، fire، tree of life، crown، etc. It is obvious that this motif has changed so much and somehow permeated through the global art. It will be further argue that it is also a motif of motherhood to finally discuss that its hidden meaning has to do with the concept of original creation.