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Showing 4 results for Aram
Ali Reza Aram,
Volume 3, Issue 12 (11-2014)
Abstract
If we consider Marcuse’s theory of Art, which is called here Aesthetic Dimension, we find that his Artistic thoughts have an effective role in expanding the Golden Rule, and can appear as a connection point for social relationship. If the Golden Rule invites the people to set themselves as another one (in an imaginary world), Marcuse’s philosophy and theory of Art motivate middle and low class people towards image, and, after that, take their natural and citizen rights (in the real world).
While the common sphere of these theory/ rule is Imagination, there is a determining difference which has some alarm sounds for human culture: Marcuse’s Aesthetic Dimension tends to replace political challenge with moral sense.
Mohsen Karami, Malek Hosseini, Masoud Olia,
Volume 5, Issue 19 (8-2016)
Abstract
As many have said, “ethical criticism of art” has been the most enduring topic in the philosophy of art; but, in this broad topic, we must distinguish two problems: the first is the possibility of ethical criticism of artworks, and the second is the relevance of such criticism to the aesthetic value of artworks. In other words, the first problem is whether we can reasonably engage in ethical criticism of artworks or not, whereas the second problem is whether the ethical criticism of an artwork relates to the aesthetic criticism of it. This essay, however, is just about the second problem. To deal with the problem, we firstly divided the arguments against ethical criticism of art into three divisions - ontological, epistemological, and methodological - and then, gathering the arguments for the possibility of such criticism, from radical moralism to moderate autonomism and even “immoralism”, we attempted to meet the opponents and show that it can be reasonable to criticize ethically.
Sepideh Abdollahi, Mohsen Karami,
Volume 7, Issue 28 (12-2018)
Abstract
The relation between ethics and art is a problem drawn artists and philosophers’ attention to itself from a long time ago. Since ancient era, philosophers such as Plato and Aristotle paid much attention to possibility of ethical criticism of art and its influence on aesthetic aspect of artworks;and then in the latter periods, other philosophers and artists, such as Tolstoy, Hume and Kant, expressed different views. The most famous views has known as Aestheticism, Moralism, Autonomism, Value Pluralism and Immoralism. The aim of this essay is to survey Immoralism, as proposed by Mathew Kieran, contemporary English philosopher. Daniel Jacobson helped him in it too. The view argues that sometimes artistic/aesthetic value of an artwork arises from its immoral nature, or a moral demerit in it. Kieran has alleged two sets of reasons, may called respectively reasons of emotional-cognitive responses and reasons of the power of art to provide knowledge. In this article, we have attempt, first, to make an exact expression of this view, and second, to support some of its reasons, and at last, to criticize and evaluate all the view.
Mohsen Karami, Faeze Salari,
Volume 14, Issue 54 (Spring 2025)
Abstract
This study explores the potential of philosophical thinking through animation and argues that animation, beyond its traditional role as a medium of entertainment, can serve as an effective tool for philosophical inquiry. Drawing upon Noël Carroll’s theories regarding philosophy through live-action films, the paper examines three primary methods for engaging in philosophical discourse via animation: “thought experiments,” “phenomenological discourse,” and “defamiliarization.” In the first section, animations such as WALL-E, Princess Mononoke, and Mary and Max are analyzed to demonstrate how these works, by crafting complex and thought-provoking scenarios, function as “thought experiments.” These experiments, akin to classical philosophical examples, refrain from offering explicit answers and instead invite viewers to reflect on fundamental questions such as environmental ethics, identity, and social justice. The second section investigates the “phenomenological discourse” inherent in animations. Through distinctive visual designs and narratives that mirror lived experiences, works like Soul and Toy Story 3 facilitate philosophical reflection on concepts such as time, life, and the meaning of existence. Finally, the notion of “defamiliarization” is analyzed as another mechanism of philosophical engagement in animations. Animations like Spirited Away and Paprika challenge conventional assumptions about reality, identity, and technology, prompting audiences to reconsider their preconceived notions of everyday life. The findings of this research reveal that animation can operate as an independent medium for philosophical inquiry. By leveraging creative methods unique to this art form, animation offers fresh capacities for articulating, analyzing, and expanding philosophical concepts. Consequently, animation emerges as an interdisciplinary platform capable of playing a pivotal role in advancing contemporary philosophy.
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