جستجوی مقالات مرتبط با کلیدواژه "اپوخه" در نشریات گروه "هنر و معماری"

AbstractProblem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.Research The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.Research The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē. The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.

Images are able to show completely different things fromthemselves and have fascinated philosophers since Plato.Among the philosophers who have dealt with this field arephenomenologists, who approach images from differentangles. Some philosophers who study phenomenologicalaesthetics consider art as the perception of the visible.In this article, we try to answer the question, what is theimportance of art and aesthetics for philosophy, and howcan phenomenological concepts be used to understandabstraction in painting? Does phenomenology add anythingnew to our understanding of painting? Influenced by thefounder of phenomenology, Edmund Husserl, we draw onspecific concepts - horizon, phenomenological reduction,life-world, epoch - and show what the connection is betweenabstraction, the world, and phenomenological reduction.Abstraction shows the relationship between the world andthe horizon. Pictorial reduction reveals how the horizon ofthe world and surprises the viewer. Or how past horizonsmake up for our present experience. Relying on Husserlianframework and descriptive-analytical method, we must beprepared to look at artwork without any presuppositions, toset aside habitual expectations, and to react directly to thedynamic relationships of the visible elements of color andform. Thus, this reading works by reducing, eliminating,and concentrating, and it requires an active response, nota passive acceptance. In this reading, the work of art is anobject to motivate thought, but not in the way that inanimatenature, landscape, portrait, or narrative might be. In fact, ourjudgment of the effect depends on how the effect penetratesour consciousness and affects our feelings and thoughts.Thus, the artist, like a phenomenologist, moves away fromthe natural and everyday world and looks deeper into theworld, reviving the forgotten biosphere and filling the gapbetween consciousness and the world. In other words, theyboth rebuild the world and both return to the world. It thusrefers to the abstract concept of the return to the world and theinternal relations of the world that are not known. With thisreading we have shown that abstraction is not a separationfrom the world or nature, but a different experience of it.In fact, abstraction is a useful tool for expressing a varietyof experiences and ideas. In other words, abstraction maymean something positive, a “return” to a deeply globalrelationship, though not explicitly recognized. Also,considering the distinction between the phenomenologicalepoch and the aesthetic epoch, we conclude that the wholepainting is abstract and non-figurative. Finally, and surely arthas long been the subject of phenomenological philosophicalstudies, which in turn gives way to the expression of humanlife. However, the tradition of phenomenological aestheticsis still in its infancy and its identity is very fluid, and thepossibility of phenomenological aesthetics can still be posedas a living question.

Improvisation is a performance in the “moment” and without previous prediction which at least in the last century was the dominant form of Iranian classical music. However, existence of multiple versions and definitions of improvisation rob the opportunity of conceptualizing the scientific method. Thus, this study aims to reach a uniform definition of the concept. This study is based on the theories of the Austrian philosopher Edmund Husserl's transcendental phenomenology. This notion, as a research methodology, provides the steps in improvisation from start to finish leading to the creation of a musical work in details. In this study, the role of improvisation as a creator has the utmost importance, actually, the understanding of improvisation becomes possible on the basis of “understanding of improviser’s Life World ". The findings of this study renders the "Radif" as the model of Iran's traditional classical music so as to improvisation is taken into consideration on the Radif. The aforementioned issues can be summarized in “what is improvisation?”, or in other words, how can a comprehensive definition of improvisation be reached based on a methodology? For this purpose, the traditionalism’s belief (meticulous performing of Radif) as an approach referred to as natural approach in phenomenology is taken into consideration. Then, with the help of suspension of this approach, paved the way for the implementation of other phases of phenomenology with improvisation. Reaching to the essence of the given phenomenon (Radif) in the process of Eidetic reduction, summons our attention to the elements such as constituent’s intervals, melodic and rhythmic patterns in circulation of "Radif" that through them the essence or nature of a Goosheh is revealed. Then, the improviser was subjected to the phenomenological reduction and all meaning and validity of previously learned subject were taken away from him. This process provided a situation that improviser en counters the essence of the Radif in a pure sense, without any presupposition. The phenomenon appears to subject in two ways: a) something that is outside of our consciousness and is objective and b) something that shapes in our mind and consciousness. Thus, "eidetic reduction" phenomenon is rendered outside of the mind which leads us to its essence of nature. The consciousness of the subject is exposed to "phenomenological reduction", and is cleared of the assumptions and judgments. The final phase, in which subject and object are linked together, is an encounter between pure consciousness of improvisation, free from any supposition, with a phenomenon known as Radif. It is in this encounter that horizons, due to the expansion and development process, is revealed to the improviser and each horizon is followed by a new horizon. In fact, the expansion and development is a platform for demonstrating creativity which increases the possibilities of the improviser and assist him in exploring new possibilities as well. As a result, the implementation of improvisation with concepts like: epoche, reduction, intentionality, Life World, etc., provided a basis to explore the improvisation methodologically. This study is a qualitative method and has been conducted on library resources.