The art of the 20th century’s first half, indicates various responses by art movements such as Dadaism and Surrealism towards modern technologies.
Certain intellectuals including Martin Heidegger took varied position regarding technology. By proposing a phenomenological stance, he challenges
the natural approach of man toward the appearances of technology, and ultimately announces that the essence of modern technology has dominated
over other ontological relations of man and has reduced human world to mere technological relations. Now, the questions is, drawing on Heidegger’s critique, is it possible to make a philosophical account of the responses of Dadaist and Surrealist artists toward technology? The present study, tries to affirm its hypothesis regarding the existence of shared components in Heidegger’s ideas and work of the above mentioned artists, by providing a symmetrical reading of the two. Therefore, this research adopts a philosophical approach, by which it will be concluded that we may consider the skepticism and pessimism towards technology and also the probability of the emersion of a Dystopia, as common points of the connection between Heidegger and Dadaism and Surrealism in the realm of technology.

In this article, the images of BĀYSONGORĪ ŠĀH-NĀMA (833 Ah) are studied based on the two principal components of time and place. By studying the method of representation and manifestation of these two inseparable and intertwined phenomena in these images, we try to open a way into their world; namely, the world that emerges in the consciousness and perception of the artist, and consequently the viewer, not the universe in itself. Therefore, we’ve chosen the phenomenological approach which is based on the functions of consciousness. This approach will help us unravel how the artist’s consciousness and perceptual mechanism affect his creation as he encounters the phenomena of time and place. The coexistence of different times in one picture, the simultaneity of the representation of inside and outside, and a lack of one-point perspective are the main features related to time and place that are studied in this article. Eventually we’ll see that the nature of time and place in these pictures are not always heavenly, but in fact they are very familiar and worldly, and their source is entirely in nature and the truth of the artist’s consciousness.

Merleau-Ponty, through a connective approach to intellectualistic and empiricist attitudes and offering phenomenology as a “third direction”, propounds concepts as basis of his theory in his philosophical method that by using them we can amplify the studying scope related to experimental and perceptual dimensions of Iranian cultural performance. Overarching hypothesis of this paper is that we can utilize some of key concepts of Merleau-Ponty’s  phenomenological theory in surveying the process of perception in Shabihkhani; concepts such as “embodiment”, “temporality” and “relation between subject and object”. Therefore, perception of Shabihkhani depends on three determined foregrounds: 1) the embodiment quality of performance of Shabihkhani, 2) the quality of embodiment presence of audience and 3) the connection and coextensive of embodiment quality of Shabihkhani and audience’s lived experiences and temporal dimension. The achievement of these three foregrounds would lead to creation of a collaborative space between performer and audience. Therefore, Shabihkhani is not a self-sufficient object, but an “interactive-evolutionary” process based on the embodied “presence” of Shabihkhans and the audience, which itself turns into, in a teleological horizon, a “phenomenological imperative”.

The increasing growth of technology in the twentieth century has brought about profound developments in the relations between man and the world. These developments, which included large industries and automatic and semi-automatic machines, necessitated the question of technology not only by intellectuals, but also by artists. Thus, different approaches to technology were formed, all of which were subdivided into two types of determinist  approaches, namely the utopian and the dystopian that each predicted a certain destiny for humans alongside technology. The utopianists considered technology as the key to human success and dreams, whereas the dystopianists saw nothing in the technologic world but destruction and decay. But the passage of time, the changes that took place in role of technology, as well as the developments which transformed human life-world, all are evidences of the insufficiency of these approaches in analyzing human-world relations through technology. The same is also true for the changes in the analytical context of the 20th century art, when the combination of art and technology took its first steps. Now the question is,how to lay the theoretical foundations of the 20th century machine art, in order to reach an analytical framework beyond deterministic viewpoints. In this regard, it seems that the ideas of those thinkers who besides technology are concerned with the human knowledge, are applicable. Meanwhile, Martin Heidegger’s ideas are especially valuable, in that he recognizes an ambiguity in the nature of technology that eventually results in emancipation of technology from the clutches of the determinists. Following Heidegger’s theory of technology will lead our way to Don Ihde, who not only is heavily under Heidegger’s influence, but also believes that he goes beyond Heidegger in facing with the deterministic approaches. By a phenomenological method in his philosophy of technology that could be considered as a synthesis of husserlian and heideggerian types, Ihde shows that his quadruple system which accords the relations between man, the world and technology, reveals a more complete picture of the aforementioned relations than deterministic approaches. Thus, by employing Ihde’s philosophy of technology and his phenomenological method, the present study tries to explain the presence of the machine as a symbol of technology in the works of the Avantguard artists of the first half of 20th century, regardless of a deterministic look to the implications of technology. The theoretical framework of this study, which attempts to take steps in the path of phenomenology, is based on Ihde’s quadruple relations in his philosophy of technology, and at the same time there is an effort to show its advantages over deterministic standpoints. Eventually, what is extracted from Ihde’s ideas in order to found an aesthetics for the machine art, is the ambiguity that lies within the heart of technology; the ambiguity which is recognizable and common in all the artworks that deal with the machine.

Phenomenology as one of the philosophical fields of the twentieth century, was used in the last decades of this century as an effective approach to better understanding in architectural theorizing. The present study examines the viewpoints of Juhani Pallasmaa and Steven Holl through their key concepts, with the aim of showing the commonalities and differences of their views and explaining more clearly the method of architectural phenomenology. The results of the study reveal that under the influence of Maurice Merleau-Ponty, the multi-sensory and embodied perception of architecture is a key common concept to the theories of this two architects. The critique of retinal architecture, the focus on touch and tactility, memory and imagination, silence and slowness in Pallasmaa’s theories, are in line with the concepts of light, colors, parallax, and duration in Holl’s theories. On the other hand, although form is one of the themes of Steven Holl’s theories, Juhani Pallasmaa emphasizes the non-priority of form in architecture by proposing the concept of atmosphere. The present research has been done qualitatively by descriptive-analytical method.

This study uses the phenomenological approach of place to study the place in the contemporary era, which has been portrayed by New Topography artists. This style of photography, according to human function in nature in the contemporary world, was able to reveal facts about the destruction of the earth and proved its position as an applied photography. Given the need for this method of photography in contemporary art, this study seeks to respond to the characteristics of place in this style of photography using the theoretical framework of place phenomenology from the perspective of Norberg-Schulz. The assumption that this method of photography has a phenomenological and critical view of the environment has given new meanings to it. This research explores these meanings through analytical and descriptive methods. It seems that New Topography in photography is a reflection of the anonymity and sense of the place in the contemporary era, and artists have linked the art of photography to the history of the place by recording the place of contemporary man through exploring the destruction of the environment.

Theater and architecture create space and the spirit of life through settings, and both possess the nature of movement, time, rhythm, light, and color. Space and time are the most important common elements of these two arts. Theater directors and designers can put on meaningful and identity- based performances if they make organic use of the human-space relationship in creating space. Phenomenology, due to its ability to recognize the relationship between man and the setting, could be effective in this process. This article analyzes the concept of space in theater directing and performance from the perspective of Christian Norberg Schulz. The main issue of this interdisciplinary research is the evaluation of related conceptual and practical indicators between architecture and theater. Thus, to achieve the main purpose of the research according to Schultz’s theories and viewpoints, “Einstein on the Beach” performance which was designed and directed by Robert Wilson was analyzed. Therefore, by analyzing Schultz’s phenomenological perspectives on the existing structure in space cognition, a descriptive- analytical method was used to achieve the criteria for evaluating space and its characteristics in theater directing. The results show that to improve the organic relationship between the audiences and the actors with the performance, phenomenological approach can be given identity and meaning to the theater scene and performance through the relationship between man and the setting in the creation of space.

The subject of this article is how to think beautifully; For the researcher, the characteristics of the confrontation and curiosity of the greats of art, the philosophy of art, and the revelatory mystics of beauty are a matter. The purpose of research is to think of beauty from an intertionl perspective in order to better understand the concept of beauty. Descriptively and analytically with the approach of phenomenologists such as Husserl, we have explored the specific passages of the subject and the object and found that intentionality is an important existential possibility in the way of thinking about an inventive subject. Due to the concrete and abstract unity of beauty, its artistic, philosophical, mystical and revelatory features must be disjointed and reconnected in order to see the focal subject. As a result of the thought of beauty, there is an aesthetic passivity of the passion of the observer soul, which is the negation of intentionality as the negation of the ability of the mind from thought to beauty. In general, due to the prestige of the rain of beauty on the one hand, and the various motifs of the experience of beauty on the other, the possibility of understanding the concept of beauty is inconceivable.