جستجوی مقالات مرتبط با کلیدواژه « john dewey » در نشریات گروه « هنر و معماری »

Aesthetics of everyday life is one of the branches of aesthetic knowledge. Until the 20th century, classical aesthetics focused on the subject of visual arts and paid less attention to the formation of fine arts in the context of human and nature’s daily life experience. During the last few decades, a movement emerged that, by avoiding that one-sided art-oriented approach, tried to create a close link between the experience of fine arts and the experience of other areas of daily life. This led to the emergence of a new field of study called the aesthetics of everyday life. Pragmatist philosopher John Dewey explained his views on the concept of aesthetic experience of everyday life in the book Art as Experience. The main purpose of the article is to find out what is the beauty of everyday life based on John Dewey’s views. Therefore, after examining various concepts and theories about the aesthetics of everyday life, two analytical examples of the aesthetics of everyday life in the architectural art of traditional Iranian houses (Mollabashi House of Isfahan) and the art of poetry (Sohrab Sepehri) are examined. The result is that the aesthetics of everyday life is the “aesthetics of presence” which, when confronted with anything, both beautiful and ugly, causes a change in the type of human presence in the new global life with a haptic pattern. The compilation of this article is in the form of taking samples from library sources and reliable internet sites, and the research method is descriptive-analytical.

The entry of art into the daily life of societies remains today as a major common issue between artists on the one hand and urban actors on the other. The crossing of different forms of art in urban environment therefore remains the nature of art which enters the scene with an objective of creating beauty and by accepting this affirmation, it is thus formulated that the multitudes forms of art in the city, seek to aestheticize the urban in order to achieve their objective(s), although these objectives may differ for each form. Consequently, the hypothesis would be that urban art will not have achieved its objective(s) and will be marked with success with the user only when opening up to a grasp and a perception leading to the realization of an aesthetic experience.Thus, considering urban art as a power for the realization of an aesthetic experience in an urban environment and as a device for evaluating the urban landscape, what will be the criteria and indicators to be defined in order to develop a method for evaluating the quality of the realization of this experience and the amount of valuation of the urban landscape in the user's perception?Based on the theoretical trio of art-urban landscape-aestheticization, the research develops theoretical definitions likely to establish tools for the analysis of urban interventions. Based on the concepts and approaching them from a variety of angles, "criteria" are generated which, in turn, assess the feasibility of the aesthetic experience through "indicators". With a view to a realistic understanding of these theories used and of the method developed, four cases are selected in Tehran whose dimension, local situation and spatiality are entirely different; for study and analysis of the framework for achieving the aesthetic experience in an urban environment.

Interactive art, as one of the media of the new art, leads to an audience's experience that is different from what has been experienced in the history of art. The interactive art media emerged from the new paradigm (postmodernism) in the world of art and gave new definitions to the same paradigm. Since the creation of a theoretical and philosophical framework for the complete reading of this art seems necessary; the present article aims to understand and explain the concept of experience in this art by analyzing the theory of the Aesthetic experience of John Dewey's and adapting it to interactive art. John Dewey (1952-1859) is a contemporary American philosopher who called his philosophy pragmatism.  Media from the perspective of Dewey is a mediator between the artist and the audience. By hinting out the patriarchal significance of the author and changing his position, this media gave the audience a special, new, and unique definition of what we know about art history. For this reason, this art was faced with public pleasure both in the galleries and in the spaces outside of them, and was made available to ordinary people and part of their everyday lives. Dewey, by addressing the concept of human interaction and considering it as the foundation of aesthetic experience also emphasizing of the concept of technology, provides two important aspects in shaping the theoretical framework for reading interactive art. And answer the question what parameters of the audience's experience of interactive art makes them aesthetic and conceptual experience? In the other words if we give you the experience of interactive art as an example of Dewey's aesthetic experience, then what are the factors behind the link, similarity and interaction of this concept and its implications?  It seems that perception interactive art can be considered as an example of aesthetic experience. Factors such as interaction, action and reaction, as well as the approached position of the author and audience, subject and object, instrument and result makes a common border between interactive art and Dewey's theory. On the other hand, the importance of the position of science and technology in this theory provides the basis for the study of interactive art as much as possible. The interactive arts bring the audience and her/his experience to the place of the author and the creator in a new place in the history of art, thereby eliminating the boundary between the art object and the subject. Due to the approached position of the subject and the object, as well as the subjectivity and objectivity in interactive arts, we cannot believe in the distinct tools and means which give rise to definite results.  Finally, an example of an interactive installation called "A-Volve" the work of Christa somerere & Laurent has been introduced and studied as an example of a computer interactive art will be analyzed based on the theoretical framework of the research. A-Volve has become a complete example of Dewey's aesthetic experience through factors such as interaction (action / reaction), sense, rhythm and imagination.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. Human growth is perpetual, and so education should not be limited to a specific period of life, rather it should be a part of the process of life. The class and school years always come to an end eventually, however, the influence of social educational institutions must be continuous. Cultural and artistic measures such as applied theaters are useful educational tools that can have a great effect on the moral growth and social life capabilities of the citizens. Augusto Boal developed the idea of the Theater of the Oppressed (TO) to reach the starting point of change in life. TO provides an opportunity for people in society to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. This study was mainly based on secondary research using existing fundamental works on Dewey’s aesthetics and education philosophy, aiming to provide applied research for empowering Theater of the Oppressed (TO) and presenting solutions to increase its function. After a review of TO, the theater of the Rainbow of Desire was explored in a special section, showing that it is possible to improve the mental health of the spect-actors by creating sympathy among them and encouraging them toward expressive actions.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. According to Dewey, the sole purpose of education is to reform society and pave the way for social progress, thus demonstrating the necessity of education for the survival of society. Cultural and artistic venues such as educational theater are useful venues that can have great effects on moral growth and desired social change for their communities. Creative Drama provides an opportunity for people to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. Dewey's aesthetic and educational theories can be useful in increasing the social and artistic function of creative drama.This study was mainly based on secondary research using existing fundamental works of Dewey's education philosophy and aesthetics, aiming to explore the effect and importance of theatrical plays as a means of promoting education in schools and the community at large. The main features of applied theater are introduced and suggestions are provided to increase the effectiveness and function of this art form as a way to improve people's social lives. For this purpose, after examining the basic concepts of Dewey's philosophy (e.g. pragmatism, experience, aesthetics, education, and the role of theatrical plays in education) certain and specific aspects of the applied theater are introduced. This study also included a case study of creative drama based on Dewey's educational theories. By re-reading creative drama, suggestions are presented in order to use Dewey's educational theories, hoping to help artists to take proactive steps in the field of education aimed at social awareness and change.According to Dewey, students develop in an educational setting where they can experience and interact with the issue at hand. Each and every student needs to play a role and cooperate in their learning process. Dewey believed problem-solving to be the best teaching method, fitting individuals for life and empowering them to solve problems in their personal lives and their social interactions. Problem-solving was deemed the best teaching method by Dewey, which leads to creative drama and its effectiveness since its base foundation is formed around the theory of problem-solving. The first step in creative drama is to tell a story to students thoroughly. This paper seeks to show that when a story is told to students incompletely, in order to be completed by them in a creative drama, a problem will be formed in their minds, encouraging them to solve it. If the content of creative drama is presented to learners in full detail, their mental engagement with the content will be reduced, and, consequently, their ability and motivation to interact will diminish. Performing creative drama based on problem-solving exposes students to the problem in a creative manner; they are encouraged to cooperate and think to bring the drama to a desirable end. Placed at the core of problem in creative drama, students are forced to think and provide solutions that ultimately are skills that they will need in their own lives.

Transcending the confines of the playhouse, street theater expands its scope of influence over streets and communities and goes beyond the traditional rules of the classical stage to establish a deeper connection with different audiences. Street theater artists commit themselves to the realities and issues of society and use the street theatre as a medium to make a difference in the lives of those people with whom conventional theater fails to communicate due to political, economic, and cultural reasons. John Dewey’s views on aesthetics and education seem useful for improving the social and artistic function of street theater, because he prioritizes the functional aspect of art, maintaining that for things to be valued by humans, they need to both fulfill human organismic needs and pave the way for the improvement of lives. To Dewey, the job of philosophy was creating social change, which, he believed, is achievable through education. Based on his point of view, experience shapes the basis of education, the goal of which is to prepare individuals for active and positive participation in society and, as he puts it, “achieving greater growth”. Conducted as desk research, the present study consulted Dewey’s philosophy of aesthetics and education to offer pragmatic ways to empower street theater. The effort found that by relying on Dewey’s ideas and by portraying themes of everyday life, this form of theater can make use of its potentials to change lives and inspire the social, individual, and moral growth of citizens. Moreover, street theater can create empathy among members of society, making them a united whole when it comes to tackling social issues. It is hoped that the study use of Dewey’s philosophy as a source can help street theater artists become accomplished social activists who make society a better place.

Dating back to several thousand years ago, the Iranian garden is the outcome of the culture and thought of Iranians and has definite links with the ritual and religious beliefs of the country both before and after the emergence of Islam. Iranian garden is composed of almost static artificial and natural elements including fruitful and decorative plants, palace, stream, pool, fountain, terraces and encircling wall and street. The combination of these elements in space is in a way that a created main axis called ‘the garden street’ leads to the palace and shapes a framed landscape for the visitor when the stream flows through that and by linear implantation of trees on both sides. This way, the other mentioned elements have shaped the Iranian gardens of different regions of Iran covering a wider area than the current borders of the country, with more or less the same system. The subject of debate in this research is the investigation of the flimsy evidence that the constituent elements of Iranian garden in various temporal, geographical, cultural and ritual contexts, do not experience the equal effects and some of which remain rather fixed in any circumstances and some, like water, are so unstable that are specific to each garden on which the aesthetics of Iranian garden is based. This hypothesis has been evaluated in the framework of John Dewey’s valuation theory.