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

The unthinkable things prompt us to think and determine the boundaries of the thought. Thinking will play its role in the best way when it has the power to face all kinds of new concepts and images in its time without any effort to search for a specific or predetermined method to understand or order the world. Technology and art, with all their power and speed of transformation, have provided this possibility to humankind through various ways and tools. In art, we face affection in its purest form, which seeks to create new ways of thinking and influencing. Also, nowadays, various technological possibilities can help us think better, and by showing the repeatability of functions and thoughts, we can face the repetition of mechanisms differences and provide a basis for creating new techniques to help humankind. Therefore, as a meeting place of technology, art, and thought, cinema can offer many possibilities to represent modern thinking and its accompanying issues. The issue discussed in this article is the way of creating new concepts and analyzing them through cinema in the context of art technology, and always looking at the existence and impact of two concepts, namely transformation and unthinkable affairs. With research related to these fields, Deleuze considers cinema to be one of the most efficient methods to create and understand concepts in today's world and emphasizes its ability to create new possibilities and ideas. This article, to measure the limits of the action power of the art of cinema about the modern way of thinking and its technological tools, seeks to answer these questions in the framework of the theoretical current of humanism and whether it is possible to create from the perspective of creation. Could we take the cinema director as a philosopher? Or is a cinematic work dealing with a new issue or issues as reliable as a philosophical work or concept created with its argumentative method? And finally, to what extent is knowledge of today's technology necessary for thinking in our contemporary world? In this descriptive-analytical research, the latest available library and internet tools have been used.

Problem statement: Using semiotics as the theoretical paradigm of postmodernism in the design process, meaning gained importance which has been under-explored in the previous research. One of the points to be considered in contemporary Iranian architecture is the lack of attention to semantic aspects in the design process, which weakens the dimensions of identity. Deleuze has applied Pierce’s semiotics to describe the process of shaping the real environment in cinema. Before realizing the real-world environment, he sets an originary world (background) and explains its two components of power and quality. In this model, the real environment is formed as a kind of actuality, and because of the corresponding relations. Being inspired by the elements in the background as well as concepts and features of traditional architecture, designer start choosing appropriate layers and finally create their works. This study applied Deleuze’s perspective to survey five professional Iranian architects to analyze their works and how they chose their architectural layers.  Research Analyzing how professional architects in Iran select their design methods and identify the background components affecting their designs and how they use architectural context layers in creating their works.Research In this qualitative research, data collection was conducted through descriptive-analytical and analysis of documents related to the architectural design processes was carried out by “content analysis” method with a “layered semiotics” approach. The results indicated that professional architects in Iran are inspired by the concepts and features of past architecture. They further express more profound and comprehensive meanings and concepts through a modern understanding of different layers of architecture, especially the interpretive and aesthetic layers. They reflect the past in contemporary architecture.

Assistant Professor, Faculty of Art and Architecture, Islamic Azad University, Hamedan BranchThe impossibles are potential forces that go on to become actual and are on the verge of creation. Mediators also play a mediating and intermediate role between the potential and the actual creation, and well evident in architectural works. To better understand this concept, the present paper focuses on Eisenman's architectural structure and, in response to its challenges, adopts Gilles Deleuze's philosophical views, to portray the work of Eisenman as an architectural-philosophical process, revolving around one of Deleuzian postmodernist themes such as mediators and the impossible, which have a major impact on contemporary life. The main purpose of this research is to find communalities between Deleuze and Eisenman, and thereby to provide a reading of the latter’s work. To achieve this, the research uses analytical-descriptive method. After examining Eisenman's intellectual and practical context, it analyses three of his works, namely, the Cultural City of Galicia, the 2000 Church and the Wexner Centre for Arts, analysing the concepts of being and impossible. The main questions here are whether it is possible to analyse Eisenman's architectural work through Deleuze's philosophical approach, what is the relationship between the impossible and the mediators of Deleuze the poststructuralist philosopher and Eisenman the postmodern architect, and what is the connection between the impossible in Deleuze and Eisenman.The information is collected from printed, as well as digital sources. The results show that Eisenman's architecture shows how mediators which stimulate invention and creativity, unveiling the impossible, have managed to adapt with the needs of the environmental in accordance with contemporary thought. Due to their constant dynamism mediators are the ontological embodiments of the impossible, which is the foundation of the inner homogeneity and identity. In the meantime, human beings are not the subject of identification in a superior position, but they encounter them and find new capabilities and capacities in each encounter.

Architecture as a text reflects the ideas and values that can be used semiotics to understand its meanings.On the other hand, throughout the history of art, Philosophers and theorists have tried to explain the concept of form.Architects have also expressed this concept using various components.Since the 1980s, the form and shape of architectural works has seen dramatic changes.This is due to the human attitude type towards art. Gilles Deleuze has expressed the concept of form in a special way.Using Pierce's categories, he considers form as a kind of actuality and controversy that arises through the opposition between two things. According to the Components introduced in her thought, it is possible to cite the way in which the form is manifested and the formation of its types as an important tool in the meaning of the inner layers of architecture.

Recognizing the position of the theory's text semiotics, explaining the text of architecture and its influential layers on the formation of form from Deleuze's view and identifying the components of each type of form in contemporary architecture.

This research is a kind of theoretical research that In the data – gathering step, the descriptive-analytical method been used and in the analytical phase of the data used qualitative method (content analysis) and logical reasoning. After compiling the layered semiotics model, the architectural text of 10 works from public buildings of the last decade was tested.Then, the components that make up Deleuze's form and its types were explained and classified. By matching the influential text layers with the Components of various forms , the form of each of these 10 works was determined.

The research findings indicate that the text of the architecture is formed from several layers in relation to each other and a process of systemic layers (functional, economic, cultural, etc.) and process layers (Designer's mind, employer's opinion, environmental force, etc.). The systemic layers form the figure of the architectural text. The process layers of the architectural text try to communicate and link between the system layers. By reading and identifying the effective text's layers in forming 10 works of contemporary public buildings, the following results were obtained:In some works, with the assistance of power-qualities of the context and the use of text's layers (spatial system of traditional architecture, using the aesthetic features of traditional art and architecture, the diachronic Look in architecture, etc.) explicitly, a new situation is created. Which is familiar and recognizable to the audience of the works. These works fall into the category of large form (situation, action, new situation) in the category of types of Deleuze forms.In others, it creates ambiguity in the design by changing the usual cods, creating gaps and actions in the text's layers by deleting or subtracting a part of the cods, the play of signs and implicit implications.And in order to read the design and understand the meaning, the audience decodes and Reasons and inferences from it.These types of forms, small forms (action, (situation, new action) are types of Deleuze forms.In some designs, designers choose codes from usual data by transforming and changing situations (transforming situations) and with the help of large and small form components, creating an initial awareness in the audience's mind. And in different stages and situations, it expands this perception and awareness.The audience also achieves perception and awareness by figuring. These designs fall into the category of form's transformation.The results indicate that now contemporary Iranian architecture expresses a deeper and more comprehensive understanding of meaning by creating new cods by playing with signs in text's Various layers.

Tendencies towards poststructuralist (or postmodernist) planning theory have increased since the 1970s. Generally, planning theory has till now, engaged with Deleuze from two different perspectives. In one hand, there are planners such as Hillier who argue in favour of a reformist, step-by-step Deleuzian planning theory. These planners seek to apply Deleuzian concepts to hierarchical state-led, capitalist societies. On the other hand, there are planners such as Purcell who by highlighting the anarchistic dimension of Deleuze’s philosophy, argue that Deleuzian planning theory entirely rejects any state-led reformist planning and is essentially anticapitalist philosophy. This article argued that the two above-mentioned frameworks, i.e. Hillier’s reformism framework and Purcell’s anarchism framework, are, in fact, based on rational models of action and thought, which are in contradiction with Deleuzian philosophy. Although there are multiple concepts and metaphors in Deleuze’s philosophy that enables geographers and planners to ‘analyze’ capitalism-based social relations, two concepts of ‘desire’ and ‘the politics of desire’ should be considered as fundamental points of departure if we aim to develop a Deleuzian planning theory. Unlike Hillier’s point of view, Deleuzian concept of desire, as an unconscious force, is never reformist and reactive, but revolutionary and active. In addition, unlike Purcell’s anarchist point of view, the politics of desire does not aim to produce ethically stable subjects who seek to construct a rational order of community according to mutual aid and agreement. Rather, this kind of politics by its creative nature directed at deconstruction of social forms and orders like captialism and state.

The philosophy of Gills Deleuze provides to us an exuberant critical method to look deeper into the field of theater, because of its unique mixture of psychoanalysis, socio-economical critique, and basic aesthetic notions. However, this is the very reason that makes this philosophy so hard to understand. He is one the few modern philosophers who have developed a new ontology. In this article, we have focused on one of his most valuable concepts, Schizoanalysis, and attempted to use it in the field of theater studies. In their book, Anti-Oedipus Gills Deleuze and Philix Guattari introduce Schizoanalysis as a substitute for psychoanalysis. Schizoanalysis supposes Desire as the ultimate force that moves and changes the world. It is a critical method because instead of searching for the meaning of the human activities, it focuses on the deeper underlying structures that shape our unconsciousness and construct our subjectivity. For them, the subject itself is a product of desire, so instead of seeing an artwork as a manifestation of one's desire, we can say that the artist himself/herself is the real manifestation of the artistic desire. In other words, by using their approach, we can investigate the unconscious flows of desire within an artwork; regard it as a process of production and comprehend its Impersonal aspects. One of the outcomes of following this method is to deter from transcendent convictions and reach an immanent critique. Instead of historical and social norms for defining the quality of a specific theater, we can study its inner connections and flows of desire in a universal context.In this research, firstly we have surveyed the philosophical roots of Schizoanalysis in the thoughts of Deleuze and then tried to utilize it in the field of theater studies. In doing so, we have come upon a unique understanding of the non-representative theater. The theater of cruelty presented by Antonin Artaud is an example. One of the main aspects of Schizoanalysis is the way it deals with the notion of death. Deleuze and Guattari believe that Death is experienced unconsciously every day, and it is the reason that our flows of desire change and shift. The theater is a field that we can reshape these flows of desire and push them to the extremes, so when we face the idea of death in the theater, we confront the forces and intensities that makes it a universal concept instead of a mere dying of a hero on the stage. In other words, what are experienced in theatrical performances are the natural forces of life and death, which are applied to us every day. However, on the stage, they can be experienced on an impersonal level. Schizoanalysis is a way to decomposition an artwork to its desiring-machines, comprehend the way its flows of desire work and then reassemble it as a desire-product that can be consumed by the audience. In this article, we have presented the philosophical base necessary for this process and discussed it in detail regarding theatrical experiences.

This research intends to introduce the concept of man as a subject beyond rationalism from the perspective of Deleuze and Perls and to explain an analytical reading of postmodern man by reading a play centered on empiricism and Gestalt therapy in the field of psychology and the philosophy of empiricism. To investigate this, woyzeck’s play was selected as a successful example of the experience of evaluating the human concept in postmodern drama. In woyzeck, Georg Büchner evaluates the position of man from a psychological and philosophical point of view and proves that the place of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond something human or even the courage to become a mere empiricist. This article seeks to answer these key questions: “What is woyzeck’s view of modern man based on psychological and philosophical variables?” And “How can such an approach to the relation of human meaning and concept in drama be reflected in the quality of the characterization of the drama?” In this direction, the present study, while choosing woyzeck drama as a case study, intends to study the concept of man based on the philosophical meaning of living and the psychological experience of the individuality of this concept. Part of the foundations of research theory is based on theoretical foundations based on the theories of Jill Deleuze and Fritz Perls, which are specifically studied. I then turn to the philosophical and psychological approach to the human concept in Buchner’s drama, which has turned the drama into a unique play from an empiricist perspective. This paper will also attempt to achieve this goal in a comparativeanalytical manner using library methods and available resources. The results of the research show that the concept of man from the perspective of Jill Deleuze in Woyzeck’s play according to his definition of the subject position which is due to the subject being pushed back from centrality (subjectivism) in the human-animal process and Perls’s definition of human position in Gestalt psychology Emphasizing the possibility of immediate experience can be read in this play.

The creation of artworks by individuals depends on various individual and social factors. In this regard, due to the close relationship between artistic creation and physical and spiritual ability, issues regarding the possibility and how to create a work of art by people with disabilities are raised. Deleuze's philosophy affirms that the creation of a work of art does not require a special organization nor does it necessitate the physical development of mankind; hence, it is possible to create a work of art without an organized body and a disabled person can easily create a magnificent artwork through the power of his senses. This research follows a qualitative method and by the aid of library studies it seeks to study of the effects of photography of disabled photographers who describe the philosophy of the body without any parts as the main component of the art of photography to transfer the power of art, creation and scrutiny in photography. In this study, the works of Pete Eckert and Ahmad Zorkarnian as artists with disabilities are examined. The findings of the study indicate that people with disabilities can also create a fragmented but perfect artistic creation based on the view of Deleuze's body, which is based on emotion and senses. Relying on the philosophy of the body, physical disability does not prevent the creation of a work of art in photography; therefore, by understanding the concept of existence and sensation in art, people with disabilities can create works of art that are alive and spectacular.

To investigate the possibility of eliminating physical disability in photography based on Deleuze's body philosophy.To recognize the effect of physical and mental factors in creating a work of art.

Research questions

What is the role of senses in the works of art of the photographer according to Deleuze's body philosophy?What physical and mental factors play a role in the artist's creation of his works of art?

The question of the research is: what are the types of images and their correlated conditions of apparition in Deleuze’s ideas?

The research method is qualitative content analysis.

The purposes of the article are to clarify two types of image, the conditions of their apparition as well as to determine the type of image of a painting in accordance with its conditions. It is assumed that determining the conditions of their apparition helps to determine its type. So, to clarify the types of images, the conditions of their apparition are studied. A painting by a contemporary Iranian artist has been reexamined for explanation of the issue.

For Deleuze, there are two types of images: the movement-image and time-image. Movement-image is comprised of perception-image, action -image and affection- image. Time-image is also composed of recollection-image, dream-image, the thought-image also crystal-image. The first type of image focuses on moving, controlling and reflecting, absorbing the effects of things, depending on particular actions. In modern period the time-image is the basis of the genesis of pure time. The time-image is the type of image with a coalescence of virtual and real images formed by the axis of time on the basis of the genuine relations of forces and their affects. It is formed by the spontaneous activity of diagram through the indiscernible and indeterminate zones that is impossibility. the research path shows the condition of apparition of painting as image, like “Untitled” that are based on color-force, color-space, color-light, and time according to color relations. These conditions, show the arrangement of the coalescence of the actual image of the human being around the artist with the virtual image of ascension to emphasize the status of the contemporary man.The final image as time-image brings about the possibility to think about the new meaning to the concept of man.

Art in Deleuze’s ideas is a block of percepts and affects that is made in order to make audiences free from clichés. Performanceart works’ approach to social matters are to disarrange clichés, too. The aim of this paper is to analyze “Time” as an essential component in performance-art works to answer to this question: What potential is in artists’ approach to this component for expressing social matters? 
This qualitative research uses descriptive-analytical method and to elaborate Deleuze recognizes time as a qualitative component and he claims duration as true meaning of time that is in uninterrupted becoming. Then, by analyzing well-known performanceart works which emphasize on time, we found: artists, by framing their work, make audiences pay attention to duration and open hole of life and in result of it invite them for rethinking about all kinds of transcendentality which are maden by regimes of truth that govern the society.