جستجوی مقالات مرتبط با کلیدواژه « art » در نشریات گروه « فلسفه و کلام »

The aim of this paper is to explore the ethical implications of artificial intelligence (AI) in the realm of art. Drawing on the philosophy and ethics of AI, this study examines the ethical challenges that may arise in the art domain. Given the increasing use and penetration of AI in the field of art, there is a need for more careful attention to the ethical dimensions of this phenomenon by scholars of art and philosophy. To achieve the objective of the paper, concepts such as AI, some of its techniques, and the ethical issues of AI in art are explained and analyzed using the analytical-descriptive method. The findings of the study reveal that ethical issues such as privacy and surveillance, manipulation of behavior, opacity and transparency, bias in decision systems, and automation and employment can be investigated in the field of art. These ethical issues are sometimes in conflict and sometimes in direct relation with each other. This study suggests that addressing the ethical questions of AI in the field of art requires addressing the ethical questions of AI in general.

In various philosophical perspectives, the concept of the essence and being of the universe is one of the issues that has always led to discussions and reflections among renowned philosophers such as Plato and Arthur Schopenhauer. Plato, focusing on the concept of ideas and the world of thought, and Schopenhauer, emphasizing the will and the concept of the "thing in itself," have created various views on truth and existence, each influenced by different philosophical and historical backgrounds. This article seeks to provide a deeper insight into the concept of the essence or "being" of the universe and the epistemological function of art within it through the study and analysis of the perspectives of Plato and Schopenhauer. By examining these concepts, the role and importance of art as a means of understanding and cognizing the universe are explored. On one hand, a look into Plato's philosophy and the concept of ideas and forms is presented to understand how art relates to truth and being, and on the other hand, Schopenhauer's perspective on will and the "thing in itself" and the role of art in understanding and visualizing these concepts are examined. Given that each of these perspectives is rooted in rich and sometimes complex philosophical thoughts, the writing of this article is dedicated to a detailed analysis of the concepts and a review of various sources related to these topics. It is hoped that these analyses can present the perspectives of Plato and Schopenhauer in the context of art and knowledge to the readers in the best possible way, aiding in a clearer understanding and enlightenment of our perception of the world and art.

Literature Review:

In the articles "Aesthetics and Art in Plato's Philosophy" by Abolhasan Ghaffari (2015) and "The Role of Art in Schopenhauer's Thought" by Mohammad Javad Safaian and Amini (2009), Plato's view on art and its levels, as well as Schopenhauer's view on the role of art in alleviating pain and suffering, have been explained. However, the comparison between these two thoughts, especially the epistemic function of art in understanding the essence of the world or the thing-in-itself, is a new approach addressed in this article.

     This article attempts a descriptive-analytical approach. After explaining the phenomenal world and the essence from Schopenhauer's perspective, the importance and position of art, the levels of art, and its epistemic function in Schopenhauer's thought are discussed by contemplating Plato's philosophy and his view on the relationship between art and understanding the truth of the world.

Schopenhauer, like Plato, regards this world as a manifestation wherein the essence is manifested; because behind the sensible, there is an inner and mysterious truth, the visible world is entirely subsidiary and dependent on it, and there is no intrinsic difference between this visible world and the essence for Schopenhauer, just as for Plato, there is no intrinsic difference between the natural world and the world of forms. Considering the degrees of existence and corresponding degrees and levels of knowledge, this world is a shadow of that world, and knowledge of this world is a degree of levels of cognition, and during the example, it is considered as the highest example. The essence or the being of the world for Schopenhauer is the will, but the will is not the same as the Platonic example because from Schopenhauer's perspective, the Platonic example, which is rational, is an intermediary between will as the essence and the visible. Whereas, Schopenhauer's will be not accessible to reason. This is where the role and position of art in Schopenhauer's philosophy become clear; because Schopenhauer, like Plato, believes in the epistemic function of art; because art for Schopenhauer is not the expression of emotions and feelings; rather, art is a particular understanding of reality. Art is directly and immediately, not with general and abstract concepts, seeks to reach the essence and being of the world, and with art as the power of inner thought, knowledge of the essence and will, namely, the inner and true reality of the world, is attainable. Therefore, Schopenhauer considers true art as the observation of the general and will. Furthermore, art can create a kind of deep thought in humans to free the mind from the captivity of desires and, as a result, transcend suffering and hardships in the superior world. Plato, considering the relationship between epistemology and ontology in art, like Schopenhauer, seeks to give authenticity to art. Plato, by raising the criterion of knowledge for the artist in creating an artistic work, shows that the arts, as it were, in different directions, are reflective of knowledge of truth and untruth. Therefore, for Plato, knowledge is the most important component in imitation; if imitation is based on ignorance and lack of knowledge, it has a reprehensible meaning, and imitation based on knowledge is desirable and preferred. Plato in the Republic considers imitation as a formative authority that can be multi-layered; that is, it can be close to the truth or far from it, and while being imitative, believes that to imitate well, one must know the truth. The closer an art is to the truth, the more valuable it is; therefore, any art indifferent to the truth is considered worthless.

The term 'industry' now signifies art in today's common understanding. Historically, 'industry' was employed in a broader sense rather than referring to art, and it underwent analysis and scrutiny by thinkers. For instance, in literary texts, it was depicted as a virtue, and in Islamic wisdom and Sufism, it was denoted as a profession imbued with sanctity, encompassing both physical and spiritual dimensions. Each Islamic sage and philosopher interpreted it similarly, leading them to view the creation of artificial works from a spiritual perspective. Undoubtedly, the primary source of discussions on industry, including the views of pre-Socratic critics, can be traced back to Greek sources. Qutb al-Din is undeniably indebted to these profound ideas within the realms of philosophy, ethics, and spirituality. This study, utilizing a descriptive-analytical approach, seeks to address the following questions: What is the relationship between industry and art in Qutbuddin's works? How does Qutbuddin's conception of industry differ from the contemporary understanding of art? The findings indicate that Qutbuddin's industry was associated with a profession, with a broad application, and he approached it from a perspective of spiritual conduct. According to this sage, the concept of art differs significantly from its contemporary interpretation. Allameh's classification of industries acknowledges that they all stem from knowledge, emphasizing that one lacking manufacturing knowledge would be unable to produce industries.

The modern world, by entering all areas of human life and placing itself in the context of reality, has narrowed the field to the transcendent so much that it seems that no trace of it has been left in the context of events. In order to get out of the crisis that has arisen, Sadr philosophy is an efficient figure who has based his ruling system on principles and principles that before him were less considered as the basis of a philosophical thought. The substantial movement of matter and the evolution of the soul from matter to the kingdom, the doubt of the existence and degree of the soul, the position of the imaginary world as a mediator between matter and reason, the union of the soul with the active intellect, His love affairs are among these principles. These principles and foundations have caused a considerable effect and a different attitude in recognizing art and explaining the process, and consequently, have become artistic products and have drawn a plausible boundary between the real and the vulgar.Sadra's special attention to the presence of the transcendent in the text of phenomena, philosophical explanation of the illustration of imagination in the creation of art and its meaningful middle position, human identity, human resemblance to God in the level of imagination, the two-way relationship between human love and art and holiness The field of original art is one of the achievements of this attitude.

The main issue addressed in the present study is whether Mullsadra, as a sage and philosopher, has a philosophical statement about art. The importance of the discussion of art is such that it has been discussed since the time of the early Greek philosophers such as Socrates and Plato, until the present time, and reflection on the nature of beauty and art has been part of the preoccupation of great philosophers. The Greek equivalent of art in ancient Greece was techne; the word techne in ancient Greece referred to techniques and crafts, both artistic and applied crafts. In this research, the thought of the founder of sublime wisdom, Sadr al-Din Shirazi, is investigated with a descriptive-analytical method based on the library method.

Mystical experience, which is one the types religious experience, has been one the manifestations of spirituality in human life and interesting topic for philosophers and mystics of all time.One of these philosophers is Maiden Ibn Arabi, a philosopher of the 7th century AH believed In discovery and intuition as the most important examples of religious experience.In his mystical ontological system,he describe existence based on how the perfect man percieves or finds it in his mystical experience. Examples of this experience can be seen in many cases, including in art.The nature and essence of art itself is a mystical issue and a empirical science and is considered as an intuitive knowledge.This research has been done descriptive analytical method and library studies to know the mystical principles affecting art.The concept of discovery ,intuition in the epistemological structure of Ibn Arabi and the value of discovery and intuition in art have been analysed. It can be said that the work of art is formed when the artist is inspired by the intuition and sense of the artist.At this stage, the artist needs imagination to achieve discovery and intuition.Finally artist has to apply ideogrammic elements in his or her works to materialize the imaginations.

Art is one of the most obvious mysterious manifestations of human culture and civilization Which has always overshadowed human life. in Schopenhauer's philosophy, art, as a part of This system, is presented in its interior and is an integral part of his philosophical system. This study is library method and content analysis seeks to examine the place of the art of Music in Schopenhauer's philosophical system. in order to achieve this, the whole category of art has been studied from the perspective of this Philosopher. the results of the studies Showed that in Schopenhauer's philosophy, art is no longer considered "art as art", but art Seeks to solve the problem of existence and as a means and passage for liberation from Domination of will to life, the principle of Sufficient direction and its face is proposed. Schopenhauer believes that music has no place and no illusion makes us familiar with a kind of Deep reality outside the place and, it has more power than other arts to raise us from this Sensual world. he considers music the best arts and architecture as the lowest of them. Because, music is not only ideas, but also will itself, and architecture, like the furthest place to ideas, is the lowest of the arts.

Ancient Greek culture, philosophy, and art are very important to Nietzsche. Despite his highly critical and radical view of the entire Western cultural tradition, he always praises ancient Greek culture as the noblest human culture. His attention to the ancient Greeks is largely a consequence of Nietzsche's central concern: the “crisis of nihilism”. Nietzsche seeks to eliminate nihilism through the creation of a Noble culture. His underlying idea of culture is Goethe's idea of “harmonious manifoldness” or “unity in diversity”. He emphasizes that in any era, a fundamental unifying factor can be the founder of a healthy culture; in his view, saints, philosophers, and artists are the main candidates for the foundation of culture. In this article, we try to show that in his first theoretical attempt to create a Noble culture, Nietzsche chooses an aesthetic perspective (thesis), but this perspective isn't satisfactory, so he changes his perspective and looks at culture from a philosophical perspective (antithesis). The opposition and at the same time, the coexistence of these two perspectives leads to a "synthesis": the harmonious alliance of philosophy and art to create a culture. The embodiment of this synthesis is the “philosopher-artist”; one who has “knowledge” and “creativity” at once; “future philosopher”; a creator of new values! In this paper, we try to show that this synthesis doesn't lead to a third thing, different from thesis and antithesis, in which contradiction and conflict have been settled; instead, this synthesis is exactly the same simultaneous opposition and harmony of these forces. This unity of contradictory forces is a recurring concept in Nietzsche's thought.

Iranian wisdom has always shone brightly in the intellectual realm of the thinkers and philosophers of this land. As history attests, Iran has been the wellspring of magnificent architectural marvels and ingenious responses to climatic, cultural, and environmental challenges. However, we find ourselves at a juncture where the architecture in this region no longer aligns with the foresight, stability, beauty, and respect for people that Persian architects have traditionally upheld. In this context, we present a qualitative research approach coupled with an analytical-historical interpretation method. Our goal is to construct a conceptual framework that delves into specialized aspects of this field, aiming to revive Persian native cultures and sciences. Fundamentally, we seek to reexamine the insights of Persian sages regarding the power of imagination in achieving artistic creativity, a form of pure imagination closely intertwined with architecture. The research findings demonstrate that art is profoundly linked to both independent and interconnected imaginations. Devoid of either, the wisdom within art loses its essence, rendering it meaningless. The elevation and potency of imaginative perception empower artists to consistently draw inspiration from the World of Forms and convey it through the language of art and wisdom. The journey of crafting an architectural masterpiece, in itself one of Latifa's Sana’at, a form of art, and an integral facet of human existence, is inexorably entwined with this path.

In the view of spiritual seekers, sincerity is the manifestation of divine interaction, signifying that no action should be undertaken except for the sake of God, and all deeds and words of the servant should be exclusively dedicated to God. Furthermore, sincerity bears the fundamental and foundational role in the individual and societal evolution of humanity, and the perfection, imperfection, health, and corruption of all stages and levels of this journey are influenced by this valuable virtue. This article seeks to address the question of the similarities and differences between two significant mystical texts, namely the elucidation of "Taa'rrof" and Qoshareh's treatise on the artistic function of the concept of sincerity, which is discussed in six sections: the analysis of definitions, the reflection of the Quran and Hadith on the subject of sincerity, the study of the meanings of sincere and sincerity, the levels of sincerity, the disadvantages and results of sincerity, and the relationship of sincerity with other mystical authorities. What is the nature of this relationship? Furthermore, the achievements of this research are to elucidate the extent of the artistic impact and convergence of Qoshareh's treatise with the elucidation of "Taa'rrof," which has been presented through the tangible influence or the interpretation and content extraction of various statements.

According to Islamic mystical reflections, the beauty of God is considered the foundation of the universe's creation, resulting in an inseparable link between beauty and creation. The present study aims to analyze human artistic endeavors in light of the divine creation concept, drawing from the mystical belief that 'humans are an image of Him.' This study seeks to introduce an appropriate approach to manifesting beauty in artwork and exploring the role of the artist in this context. Employing a descriptive, analytical, and interpretative methodology, we draw from Qur'anic teachings, Islamic mysticism, and theosophy sources to investigate the various levels of God's creation and the relationship between creation and the act of speech in the universe, humans, and the Qur'an (as His perfect manifestations). Furthermore, we consider the human existential faculties to analyze and explain the quality of beauty manifestation in artwork. To illustrate this, we study Isfahan's Hasht Behesht garden from this perspective. Through this study, we establish that the artistic act of humans, at the level of the heart (intellect), is connected to the beauty of the word-like and esoteric essence of the work. At the level of sensation, it corresponds to the beauty of the book-like and the exoteric form. Therefore, the stronger the relationship between these two facets, brought forth by the power of the artist's imagination, the more beauty emerges in the aforementioned work. However, lasting beauty consistently originates from the word-like aspect of the artwork, which is in relation to God, representing the beauty of God.

 Wisdom and philosophy in Iran have an ancient history. In ancient Iran, especially during the reign of Khosrow Anushirvan, a lot of effort was made to develop philosophy and wisdom in Iran. With the coming of Islam to Iran, this process continued until it reached Suhrawardi. Suhravardi is the link between the philosophy of ancient Greece, ancient Iran and the philosophy of Islam. By accessing ancient sources, especially Zoroastrian Avesta and Ferdowsi's Shahnameh, he created a remarkable link between Eastern and Western philosophy. As a revivalist of the wisdom of ancient Iran, with full knowledge of Iranian philosophical thought, Suhravardi presents a mystical interpretation of the personality and actions of the legendary heroes of Iran, such as: Ki Khosro, Fereydon and Kiyomarth. Also, Suhravardi's special attention to "Nooral Anwar" shows his affinity with the Quran and ancient Iranian culture. The description that Sohrvardi gives of Zoroastrianism and Zoroastrian concepts in terms of attention to light, fire, divine furnace, division of the world into two parts, Minoan and Gitian, as well as Zoroastrian angels, clearly shows the extent to which he was influenced by the wisdom of ancient Iran. In the discussion of aesthetics, Suhrvardi pays special attention to all aspects of "moral function", "world of example", "beauty and love" and "epistemology". which can be cautiously considered as a special science originating from "aesthetics". In this research, an attempt is made to reflect on the wisdom of ancient Iran and on the beauty and mystical love of Sohrvardi, relying on the philosophy of aesthetics.

The ideologues of the Enlightenment Dialectical, using the term Culture Industry, have presented it as a comprehensive description of mass and common deception in the capitalist system; An all-encompassing industry with an amalgam of imprisonment, incitement and deviation of public opinion in a seemingly rational and free society. The Culture Industry integrates all these intellectual and practical anxieties and disturbances in its commercial glamor, and by refining its product - which is a reflection of the directional, deceptive and antielitist propositions of the capitalism - it captures the mentality of society and popular culture. By following the path of cure through the two channels of art and ethics, a plan is inferred that can raise hopes of curbing the waves of the cultural industry, or safety against its pervasive dominance. Analyzing this path from the perspective of the founders of the Frankfurt School, the present article first describes the ideal relationship between art and ethics with the prospect of a successful exit from the fence of the cultural industry. But, and after a critical consideration of the moral-artistic consequences in question, the path drawn in Adorno's and Horkheimer's long reflections as a way out of the cultural industry seems to have failed in practice and even in an unexpected direction. It is self-defeating or contradictory, because: a) to resort to negative ethics and conceptual art will be disconnected from public culture. B) The fruit of this seclusion is limited to agora movements. C) This safe living world, as an integral part of the cultural industry, is still indebted to capitalist relations. This result, which is far from the demands of these philosophers, is the forced result of the relations governing the modern industrial society, which can bring its enemy to the inevitable trading market. In this process, the supply of cultural products is also recognized as part of the consumable distribution network. Works whose claim is to strengthen those with negative morality and (anti) aesthetic uniqueness are also entered in this market. If the preparation of these elitist products does not require exorbitant material costs and does not fall into the box office trap and culture market with an eye on the return of investment, it is at least prone to be imitated and even promoted by the owners of capital marketing. Because the speed of reproduction is a solidifying element for the consolidation of the culture industry. In this way and as a paradoxical situation, just as the inventor or user of environmentally polluting products promotes the use of bicycles to reduce pollution, the agents of the commodification of culture also offer outstanding products of modern art as an alternative to popular art and culture; to benefit from both products.

Ibn Sina's symbolic stories have always been considered as mystical allegories; The issue that has made the most important feature of these works, which is their story, less attention; If these works as works of art can fill the gaps in art-related topics in Ibn Sina's thought and illuminate new and different parts of Sheikh Al-Rays's thought on the subject of art. Among Ibn Sina's mystery stories, the status of the Risalat Al-Tair is different from other stories, a work that can be considered the key to understanding Ibn Sina's view of art. A work consisting of an introduction, the main and ending narrative, which is the story of captive birds that are looking for the end with their journey and behavior. In this work, Ibn Sina raises various issues that revolve around the axis of knowledge, knowledge, behavior, education and training; These issues are common to the issues raised in the Futwat Nameh in the type of view, expression and purpose. In this article, according to the topics and concepts discussed in the Risalat Al-Tair, this work has been examined with the principles and concepts presented in the Futwat Nameh  to determine why and how this work of Ibn Sina becomes a Futwatnameh for artists.

In the new world, metaphysical thinking, that is, conceptual thinking, proposition-oriented, logic-dominated, and as a technical matter, transferable and inter-subjective, has gained complete dominance over the globe, to such extent that the metaphysically obsessed human of our era has lost his familiarity and intimacy with any kind of spiritual knowledge, non-scientific, non-theoretical, non-objective and non-methodical, which was considered as a fundamental part of human experiences in historical theoretical traditions.This is while scientific knowledge which is objective and methodical cognition is not the only form of awareness but forms only a part of the human experience. Alongside scientific knowledge, as emphasized in all historical traditions other than metaphysical ones, spiritual knowledge forms a fundamental and inevitable part of human experiences.From Heidegger’s point of view, metaphysical subjectivism has led to the “homelessness” of modern humans. He refers to art and artistic experience in order to criticize metaphysical subjectivism and detach from it and to show that contrary to metaphysical thinking neither can we reduce the human to a subject (the agent of scientific and theoretical cognition) nor can we consider the world only an object for that subject for cognition purposes nor can we consider subject-object relation i.e., theoretical and scientific relation as the most important relation and the foundation of any kind of relationship between human and the world.This research attempts to show that in Heidegger’s thought by allowing the presence of “absence” in an artistic work the artists are not just preparing the scene for the occurrence of truth for existence but also by making us aware of the distinction between “existence” and “being” detach us from subjectivism which consequently will cause an opening window towards the spiritual matter.

From long before until now, sublimity along with beauty has been used to describe experiences such as infinity, fear, glory, death and etc. Among the scholars who have spoken about the subject of sublimity, Edmund Burke has altered the Western tradition of thought on beauty and sublimity, by distinguishing between the beautiful and the sublime. Kant has also devoted some parts of his book "Critique of Pure Reason" to studying the aesthetic experience of the sublime in an attempt to discover the fundamental foundations of experiencing pleasure and pain. Among contemporary philosophers, “Lyotard”, a French scholar and a prominent figure in postmodern philosophy, took Kant’s doctrine on sublimity and presented a new interpretation of it. He brought/introduced sublimity into the realm of cultural transformations and used it to describe postmodern society and the aesthetic experience of art. According to Lyotard, sublimity as an event can challenge the established linguistic games and break down the common rules and grand narratives of modernity.The present article intends to examine Lyotard’s point of view on sublimity with regard to his interpretation of the artworks of the famous artist Barnett Newman, to reveal the aesthetic aspect of sublime experience in his thoughts. It will also become apparent along the way why Lyotard has been called the sublime philosopher of postmodernity.

Hegel is one of the few thinkers who has thought about the art of sculpture. He has spoken concisely in his book Phenomenology of Spirit and extensively in his Lectures on Fine Art about sculpture. The common feature of these two texts is that the Absolute, which is synonymous with the Divine, in both, has been able to express self-conscious through Sculpture to the extent of the power and capacity of art. Hegel considers art to be over after the Romantic and believes that art can no longer represent the need of the Spirit because art is no longer an urgent need of the spirit. Modern sculpture is fundamentally different from Hegel's conception of this art. However, this new conception of sculpture can also be found in the heart of Hegel's thought. Hegel considers the art of sculpture as expressing and representing the divine order in different stages of history (including the history of religion and the history of art). In the art of modernism, the human body as a sanctuary and temple of the spirit has disintegrated, and the art of sculpture can no longer express the divine. In fact, the foundation of modern sculpture is humanism, and human individual and social affairs replace the divine. In this article, an attempt has been made to reflect on the relationship between the divine order and the announcement of the end of art by Hegel. Then the discontinuity of the expression of the divine command in modern sculpture is investigated. The results suggest that a secular conception of modern Sculpting can be extracted from the heart of Hegel's thought.

In ‘Allāmah Ṭabāṭabā’ī’s view, poetry and mentally-posited perceptions have such a close relationship with each other that he describes such perceptions through using poetic similes, allegories, and metaphors in his book of The Principles of Philosophy and the Method of Realism. This study explores the relationship between poetry and mentally-posited perceptions through referring to those works of ‘Allāmah Ṭabāṭabā’ī in which he discusses the theory of mentally-posited things. The significance of this relationship lies in the fact that, by investigating the relationship between these two variables in different philosophical, gnostic, and interpretive works of ‘Allāmah, one can inquire about the relationship of poetry and positedness with fact-itself truth. The findings of this study indicate that mentally-posited things are the same as Man’s poetic view of the world or an eye with which Man can see everything. This poetic world, while being irrational and non-inferential, can speak of truth through allusions. Accordingly, it can be claimed that the theory of mentally-posited perceptions in Islamic philosophy has opened a new window to attaining the knowledge of truth.

As justice and freedom are the pivots of Jean-Francois Lyotard’s thoughts, what he thinks of art can be a significant reply to the relation of art and politics. According to Lyotard the ruling power of metanarratives of modern societies has been over in post modern ones, since the metanarratives are problematic themselves and they cause some injustices. In order to resist against the metanarratives, Lyotard proposed desire. According to Lyotard desire can appear as different forms, a common thing such as an art. As Lyotard puts it, art is free of modern discussions and negotiations because of intending to be childlike or unconditional inhuman. In the other words human is like a newborn baby without being under any pedagogical method, like a white plate without any drawing on it, without any allegiance to any ideology with specific aims. It has natural needs and aims. This creature exists inside of every mature and immature human. Now art is like an event and wills this creature. What is meant by event is an occurrence which is not compatible with any predefined systems acquiring to reflective judgment being able to challenge the ruler system and manifest the differences. Accordingly, it eliminates the previous methods of explanation and wants to create a fairer world by prescribing new remedies. From this point of view, art cannot support and be the complement of policy making. After having studied, translated, and analyzed Lyotard's opinions and his commentator, this paper aims at clarifying this relation.