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Showing 7 results for Reality
Soheila Mansoorian,
Volume 1, Issue 2 (4-2012)
Abstract
In the following article, the concept of “simulacrum” and its development and evolution through history is surveyed. This concept is coined by the French thinker, sociologist and philosopher Jean Baudrillard who, with the beginning of the postmodern era and in the 1960s, delivered his ideas with his own style through essays and lectures using such terms as “simulacrum”, “simulation”, “hyper-reality” and “implosion”. Baudrillard starts with a leftist view and criticizes Marx’s theories and then summarizes the results of this collation in this idea: all existing actions are for increasing the consumption and passivity of the subject. This notion which is substituted for Marx’s key term “Production” conducts the whole existing areas in the postmodern phase and proves through the concept of simulacrum that the whole existing areas, including politics, arts and religion, are irreferential codes that devote their efforts to the will of a perhaps political or economic ideology. These codes are a set of chained, repetitive, intentional and drained-of-significance codes to the extent that Baudrillard claims that, apparently, the best plan to reach the economic- political goal is not to have a plan at all, namely the strategy of insignificance. The drained consciousness is the ultimate goal of the existing condition and the consequent amazement and silence of the non-conscious and non-revolutionary subject is the best result and answer to this scheming in the postmodern condition. It is in this situation that the subject loses the choice of action and any kind of desire for sublimity from this condition is negated for another kind of life, a process through which the truth of contemporary or postmodern art assures itelf that regarding this situation it has carried out its task.
Seyyed Kamal Haj Seyyed Javadi,
Volume 1, Issue 2 (4-2012)
Abstract
Regarding the relation between art and myth, in order to express the root of Islamic - Iranian art, myth has been searched through Quranic verses. It is understood from the Quranic and Islamic culture that the concept of “āsatīr-ol-avalīn” (prior myths) contains a negative meaning, lacks approving truth, and has no external or even historical reality. On this basis, any adaptation and comparison of Quranic narratives, teachings and principles with myth is a wrong process. So it is criticized there when the Word of God is called “The Fables of the Ancients or Old World Tales” by polytheists and pagans. In this essay, by analyzing the concept of myth in Islamic tradition and the etymology of this word in Persian and Arabic language, I’ve criticized the speculation which introduces phenomenological 8 Quarterly First Year, No. 2 spring 2012 view to the myth as a way to understanding myth and divine faith. Scholars such as Eliade and a few of his colleagues believe that religion or myth in religion can be understood by phenomenology. On this basis, phenomenologist in religious studies should think like a believer in myth and from his point of view should try to understand the role and meaning of myth and religion. They believe that religion is a myth that a believer accepts its reality through phenomena and their appearances (without truly understanding their nature and reality). But according to holy verses of Quran and Islamic religious literature, the word “āsatīr-ol-avalīn” implies fables of the ancients which mostly have forged and void contents, and hence using it interchangeably with terms like historia and myth in the west thought is not correct. According to the above statements, by reviewing the Quranic literature about this word and mentioning examples of incorrect comparison of Quranic contents with myth, the phenomenological approach to the myth and religion is criticized. The opinions of those groups who have compared ethics, sacred rites and Quranic ordinances of law with myth have been shown in details. It has also been explained that the foundation of religion is divine. Also by exemplifying, it is said that the phenomenological intellective apprehension of images about myth and the viewpoint of myth hermeneutics has no basis for understanding the unchanging essences of religion.
Soheila Mansourian,
Volume 2, Issue 8 (11-2013)
Abstract
According to Jean Baudrillard, contemporary
French philosopher, the concept of
media and its function has faced major
turns and changes in the end of its path,
namely the contemporary era. Unlike what
the masses (in their complete unconscious
state) expected, the media has moved in
the opposite direction of communication
and towards the deconstruction of information
in accordance with each societies’
interests.This process has stabilized itself
through manipulating the signs, sense-depleting
strategy, and neutralization of the
values and more importantly by seducing
the audience and forcing him into silence
and passivity. Through this process the red
lines of individual life, taste, interests,
ideas etc. has been changed and turned into
a field for media, through which it can fulfill
its goals so that, ultimately, the main
prey, who is the individual, is assimilated
into media and changed into a medium in
its own. In this paper, using Baudrillard's
interpretation of media and its influences,
it would be make clear how this process
started only to end up having a subject who
is empty of sense and an individuality that
remains in a simulated and hyper-real
space.
Reihaneh Rafizadeh Akhavian, Mohammad Reza Shirvani, Mohammad Javad Safian,, Asghar Javani,
Volume 5, Issue 20 (11-2016)
Abstract
Today, digital technology has affected many aspects of human life and art is one of them. In contemporary art, many artists deal with digital technology as a medium. Augmented Reality, a variation of virtual reality, is the art of super-imposing computer graphics over a direct or indirect view of the real world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium.
The goal of this paper is to describe the characteristics and the main aspects of Augmented Reality Art and to analyze the reality that is made by Augmented Reality technology. For this purpose we use Pictorial Image Consciousness theory which is proposed by Edmund Husserl. By use of contemporary interpretive and qualitative approaches to video analysis, we will analyze such natural data as pictures and videos downloaded from internet. These videos show Augmented Reality artworks that were presented in an exhibition by new media artist Josue Abraham in Merida, Mexico on April,2014.
The subject percepts the augmented objects as natural objects because AR technology presents them to us as existing in the real world and as common perceptual objects. In addition, action of subject is not different from the ordinary one.
Vahid Yadegari Srour, Shima Khodabandeloo,
Volume 8, Issue 30 (5-2019)
Abstract
In this article, by examining the artistic beauty and explaining the elements of artistic beauty from the point of view of Allameh Tabatabai, one can provide
a correct explanation of the order of existence of artistic value. Using the rational-analytic method, we examine the theory of aesthetics from the perspective of Allameh in order to clarify Allameh’s objectivism in the philosophy of art. The role of the art supervisor in practical wisdom and Atebariat- theory of Allameh is important, and the artistic observer has a Hozory-dark of the realities of artistic phenomena. In the next step, he uses Hosoly-dark of artistic phenomena in the form of artistic values in artistic and aesthetic theories. And to understand artistic values correctly, we need to know the realities of art, as well as the particular kind of relationship that exists between reality and artistic value. So, without knowing the real art, understanding the aesthetics of Allameh Tabatabai is not possible. Finally by considering various philosophers’ explanation of the elements of beauty as well as the philosophical foundations of the Allameh, the place of Allameh’s artistic values in the philosophy of art will be determined.
Nasrin Esmaeili, Ali Moradkhani,
Volume 9, Issue 36 (11-2020)
Abstract
One of the most important contemporary theoretical approaches that can be used to analyze works of art is the theories of Jacques Lacan (1901-1980), a French post-structuralist psychoanalyst. By combining psychoanalysis, philosophy, linguistics, and anthropology, he analyzes the world of the human subject’s mind in a series of intertwined and extensive cultural and social relationships.This article aims to take a look at the painting-from-phtographs of the Gerhard Richter Foundation as a unique collection of contemporary artists from a psychoanalytic point of view; And to ask the question, what is the relationship between truth and appearance in Richter’s painting and Lacanian psychoanalysis? Also, how Lacan’s psychoanalytic concepts are found to be helpful in the critique of Richter’s painting?
The method used is descriptive-analytical and based on data and information using library and Internet resources, based on the observation of Richter artifacts and their analysis with Lacan’s psychoanalytic approach. This article shows that Lacanian concepts can be generalized to Richter’s paintings.
There is no definitive truth and reality is perceived through the eyes and the organized system according to past experiences, the lack and desire of the subject.
All of our reference points, everything we talk about and whatever we do through them, are all not absolute truth but stereotypes.
Rashno Homayounfar, Shamsolmolook Mostafavi, Hossein Ardalani,
Volume 11, Issue 44 (12-2022)
Abstract
The contemporary philosopher Jean Baudrillard, one of the postmodernism theorists, considers representation in the contemporary world as a factor in the disappearance of reality. In his view, the main feature of new arts is not the expression of artistic beauty, but communication with the audience and expression of the artist’s ideas. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork.In this research, we have tried to answer questions such as how audience underestand an interactive work and how reproducing and interpreting signs in interactive art form the Baudrillard’s concept of Hyper reality. Also we try to answer the question of which factors convert the interactive art audience experience to hyper reality one? To achieve this goal, the present study uses descriptive-analytical methods and data collection using written and digital sources. We have examined some interactive art implemented in the prestigious Artech house and Flutter galleries in recent years to achieve concept of hyper reality in interactive arts.
The results show that interactive art can create an example of hyper reality experience for the audience and factors such as interaction, imagination, sense, subject and object, provide a common border between interactive art and Baudrillard’s theory of hyper reality.The lack of reference to the real world in these works demonstrates Baudrillard’s creation of the hyper reality in interactive art. The interactive art traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers the hyper reality world as their main goal. The audience is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. It immerses the audience in hyper reality world.
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