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

This article discusses the presence and absence of objects in museums, based on J. Fontanilla’s perspective. The study analyzes museums outside of Iran and examines recent projects or museum scenarios that have addressed the issue of missing elements or absence, aiming to reduce various forms of absence. The research findings suggest that the dichotomy between presence and absence in museums is diminishing, due to evolving object representation policies, redefined museum missions, and the integration of new technologies. The evidence indicates that expressions of absence in museums are becoming more Non-material and Visible, and absence is now acknowledged alongside presence in museum contexts.

The concept of liveness is of great significance in performance studies. Traditionally, liveness had been defined in contrast to expressions such as “recorded” or “mediated”, in other words, the live was supposed to materialize in the absence of any sort of mediatization or it was associated with the bodily copresence of performer and audience in the same space and time. In line with such traditional definitions, live performance had been associated with realness and authenticity, while recorded or mediatized forms had been regarded as non-real or inauthentic. However, over the recent years, numerous scholars have theorized about this concept among whom Peggy Phelan and Philip Auslander can be mentioned as the most prominent. Auslander in his book “Liveness: Performance in a Mediatized Culture” raises the significant issue of the status of live performance in a culture dominated by mass media. He questions the traditional definitions of liveness and in particular challenges Phelan’s ontological view. The Present study aims to explore the concept pf liveness in digital performances and uses Auslander’s observations in “Digital Liveness” as its starting point. Since his ideas can be applied to several categories of digital performance particularly the categories involving human- machine interaction, robots and the internet, this research focuses on analyzing two works of Blast Theory, one of the pioneering artistic groups that create creative, inventive and interactive work, namely Kidnap and Karen which demonstrate different characteristics. The question this article aims to answer is: in what sense can these works be regarded as live in light of new findings in this field. The results demonstrate that although these two works cannot be regarded as live in the traditional sense of the word, they demonstrate liveness in different levels considering new spaces created by the utilization of new media and mobile communication networks. Furthermore, issues are raised regarding the authenticity of considering the real and the virtual world as two separate entities.

Re-reading the previous patterns in order to clarify how man relates to architecture and how he is present in the space, can provide a criterion for measuring and evaluating the desirability of the city space. One of these valuable models is the Bazaar, which play an important role in the cultural, social and economic life of the city and can be evaluated from both architectural and urban aspects. Among these, the Isfahan Bazaar in Naqsh-e Jahan Square complex has been selected.

Descriptive-analytical method along with space syntax technique and simulation has been used in "Depth map" software. The method based on graph theory, instead of describing the geometric characteristics (shape, size and distances) of the components of a system, explains the position, relationship between the shapes and how to configure those components as a whole.

Although the Bazaar alone does not have much difference in the maximum and minimum value of its syntactic values, which shows the coherence of the whole complex, nevertheless, the presence of the Naqsh-e Jahan Square in combination with the Bazaar is effective in improving all indicators except entropy (internal order).

Since the focal points of urban functions have the highest degree of connectivity and movement density, with the development of access (as the most important factor), density and diversity; It is possible to generalize the connection to the city structure and create solidarity between the urban elements, which results in prosperity, vitality and presence in the space.

Understanding an architectural space, by being attendance in that space and experiencing it closely, becomes a part of that space, watching it and moving in it. The attendance of man as the main resident or consumer of architectural space is also a two-way relationship between the human world and his space. The attendance of people gives character to public spaces and strengthens the character of such spaces from within. Thinkers also know quality by attendance in all directions, so that man rarely steps in it until he finds a desirable and satisfying space for presence. In a high quality environment, not only is attendance not mandatory, but also the tendency to spend more time on activities increases due to better conditions. In addition, a wide range of optional attendance and activities are performed by inviting people to stop, move, sit, eat, play, and so on. The attendance of people in a public space affects many issues, including economic, cultural, social, etc. related to that space and is the main factor in determining the success rate of that space. On the other hand, each urban space is related to its surroundings through its edges, in this regard, the spatial continuity at the edges is the main factor in determining the type and shape of the relationship with the surrounding space. Therefore, spatial continuity at the entrances of an urban complex as a part of the edge, can have a significant impact on increasing the presence in that complex. spatial continuity at the borders can affect the quality of the interior space and the desire of people to use it. This issue is especially important in relation to urban public spaces, where the main condition for their success is to increase the attendance of people within them. In this regard, bazaars as part of the structure of urban space, which play an important role in the economic, social and cultural prosperity of cities, are highly dependent on this issue. With this explanation in this research, the issue of how the effect of spatial coherence in the entrances of a public urban complex on the willingness of individuals to attend that complex is examined. In this regard, the traditional bazaar complex of Shiraz has been considered as a case study.The research method in this descriptive-analytical study is based on a combination of quantitative and qualitative methods in data collection and analysis, which depending on the nature of the analysis indicators in different sections, from observation, interview, questionnaire and software. Depthmap software was used to evaluate the various dimensions of the subject. Finally, the research results indicate that there is a direct relationship between spatial continuity in some bazaar inputs and the tendency to use those inputs for the attendance of users in the bazaar. Also, physical continuity, functional continuity and visual continuity are among the dimensions of spatial continuity at the entrances, which can play a role in the level of presence in an urban space (such as the market).

Since its inception, cinema, has been an ongoing process of creative development. Initially, it was a means of recording reality, but gradually the role of imagination became prominent. Over time, the role of reality and imagination in films became more distinct; films were organized and divided into two genres: feature or fictional films and documentary or real films. Each genre has grown such that they have their own followers and audiences. Filmmakers have expressed and implemented various innovative and exquisite methods in narration and form, in order to create styles in their works, and to entice audiences, critics and artists. Cinema is a phenomenon whose survival and future have been repeatedly questioned, but undergoing significant transformations within the industry, it is constantly redefining itself with new forms and creative processes. The historical course of cinema and the numerous examples indicate that this transformation has taken place with a variety of managers, filmmakers and creators, thus expanding their efforts with every possible method. Having purposeful methods in classical, modern and postmodern periods has led to the emergence of various attractions and dynamic presence of this media for more than a century. This continuous development over time has created a special idealism that has allowed cinema to remain an attractive and novel media among audiences. Its audience could have been gone long ago, if cinema wasn’t a dynamic media and if it had been repeating its classical formulas over and over again. Cinema is an art that has continuity, and dynamism with a constant relationship with either the society as a whole or the individual, thus connecting on all levels with its audiences. An audience may occasionally seek to be immersed in his/her imagination and to escape from social realities and maybe sometimes he/she seeks to understand real things through watching different genres and styles. Today's world is going toward redefining concepts and old limiting definitions are no longer held accountable. New filmmakers have broken the boundary between reality and imagination in order to make their works believable, and with different intellectual and ideological approaches they are trying to make new aesthetics visible in their works. The two-way cinema relationship depends on permanent environmental change that is affected by technology, ideology and media literacy; hence, cinema has become a fluid and dynamic media. This research was conducted with a fundamental purpose and the feasibility studying of the presence and interaction of the audience in the world of film and cinema. This content analysis method study is done through reviewing and interview method by gathering information from library resources and audiovisual archives. The result of this study shows that the audience is influenced by factors such as identification, credibility and pleasure that has a special status in each era and is influenced by the cultural, economic, political, and other factors. Thus the audience willingly or unwillingly places himself/herself in the film-world and tries to turn his/her presence into a more interactive and conscious one.

The Lack of social life and interactions creates many problems, leading to a lack of development of individuals, and consequently a lack of development of society. It is absolutely imperative, therefore, for people to be more and better present in the community. Given the fact that today’s dimensions of human social life are ignored, whilst in the past, these aspects were taken more seriously, this paper aims to explore and analyse the effective ways to create and strengthen sociability in successful historical cities in order to use them in modern urbanism and architecture. Accordingly, the historical fabric of Bushehr city, which has been one of the successful examples in presence of the people regardless of different cultures and religions, was selected as the study case. The questions are ‘what is the relationship between the urban body of the historical fabric of Bushehr with the presence and socialability of the people?’ and, ‘what factors causes this level of sociability? In response, the study was conducted using a combination of qualitative and quantitative methods in a descriptive-analytical way. The research structure was set up in two parts; The theoretical and literature section was done qualitatively and using library resources to extract the factors of the model. The field section was conducted quantitatively using a questionnaire and for testing model, using a binominal test in SPSS software and confirmatory factor analysis of users' opinions in Lisrel statistical software. Based on the research findings, the validity of the conceptual model was confirmed by convergent construct validity technique and its reliability was confirmed by composite reliability technique. The proposed model's fit of confirmatory factor analysis (5 Parts of the historical fabric of Bushehr including square, piazza, street, sidewalks and alleys and 4 factors affecting socialability including environmental comfort, security, welfare, diversity and attractiveness) based on factor loading of t, RMSEA, RMR, P-value, GFI, AGFI, etc., was confirmed at the confidence level, 95%. The results showed that the extracted model and its factors are suitable for measuring the amount of Socialability in the historical fabric of Bushehr, and among the factors, the index of welfare and diversity and attractiveness in the square space has the highest priority for users.

In the last decade, more than before, there is a need to find a solution to increase interest in attending mosques. With the modernization of human life, human’s spiritual need for worship has made them need to attend mosques. However, human beings are less interested in using and staying in these spaces than before. This research first seeks to find the answer to the question, what is the formal hierarchy of mosques during the Qajar period in Shiraz? And secondly, what are the principles of designing the physical elements of the mosque with an emphasis on form hierarchies in order to increase attendance? The purpose of this article is to find principles for designing mosques with emphasis on shape hierarchy in order to increase attendance. For this purpose, the principle of hierarchy in mosques was first discussed with field studies and library surveys. Then the design proposals were prepared according to the criteria of visual ecology obtained in library studies. These suggestions were evaluated in the form of a questionnaire among experts using the Delphi method. Then, the results of this questionnaire were analyzed in SPSS v25 software to check compliance or non-compliance, the degree of influence and the importance of the proposed solutions in the Qajar mosques of Shiraz. According to the analysis carried out in this research, the most effective solutions that can create a formal hierarchy, as a result of increasing spirituality and interest in attending mosques, are solutions such as increasing "additional and decorative elements" and "Make the roof lines more visible" in the design.

We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.

Ever since the emergence of drama in this world of possibilities, there has always been an affirmative or privative relationship between philosophy and drama. Among the thinkers who’ve approached to art based on this perspective, Martin Heidegger in his book The Origin of the Work of Art presented an ontological interpretation of ancient Greece’s tragedies and reflected on the relationship between drama and existence, in other words, the presence and absence of existence in drama. In this study, in order to understand the relationship between philosophy and drama based on ontology, we use the method of hermeneutic phenomenology and library sources to study the play of Mohammad Rezaei Rad based on the ontological relationship between Presence and Absence in Martin Heidegger's thought so that we can contemplate the relationship between philosophy and drama with an ontological approach in Iranian drama and explain the fundamental aspects of this work. For this purpose, we propose the hypothesis that the foundation of this play is based on the dialectic of presence and absence and the structural elements of this work are based on that foundation. We first consider the relationship between drama and philosophy and then describe the method. In our cognition, we reflect on what presence and absence is, and the approach goal of understanding is how these two concepts occur as the fundamental principles of the play. We will also implicitly show how it is possible to narrate the relation between human and the universe by examining the philosophical concepts and using them in drama.

Cities in today’s world have failed to meet the needs of certain groups despite the progress and development in their various dimensions. One of these groups is children, especially those who have autism spectrum disorder. Cities should be planned and designed in such a way as to allow the presence of this group of people. This paper examines examples of gamification in urban environments from many places throughout the world. Also, it summarizes the relationship between autism, gamification, and urban spaces by examining several examples of autism and offers suggestions for gamifying urban spaces for autistic children. This qualitative research employed the descriptive-analytical method to investigate the desirability of using the urban gamification approach for autistic children’s comfort and relaxation.  For this purpose, the data were collected from samples applied and previously implemented cases on this issue. The results are offered as suggestions for the gamification of urban places that are appropriate for autistic children so that the process of playing in the city can be implemented for autistic children while taking psychological, mental, and physical issues into account.

Current study concentrates on adolescents’ presence in urban spaces that can be a vital context for providing rich opportunities to develop a variety of personality characteristics. Today, due to ignoring this age group of urban studies in our country and its aftermath, inefficiency of urban spaces to meet their needs, adolescents’ presence is declining. So in this regard, the desirability of urban spaces from the perspective of adolescents’ presence aged 15 to 18 in Golsar neighborhood of Rasht, is evaluated based on the proposed model. Research method, has been descriptive-analytic and theoretical foundations through library and adolescents’ view analysis was carried out through questionnaire, focus group and map anchored interviews. By completing 271 questionnaires to assess existing urban spaces, we study adolescents’ movement and their activities, and then focus group and map-anchored interviews are used to test the quantitative method results. Quantitative data analysis, Spss and qualitative data was conducted using content analysis. Findings shows that the existing urban spaces do not have an adequate response to the indicators and 78.3% teens’ movement patterns are inactive. Their most important leisure activities were, internet activity, watching television and computer games. The results with emphasis that the proposed model can be a systematic and collaborative approach to assess urban spaces from the adolescents’ viewpoint show that adolescents’ presence in the existing urban spaces is declining because they aren’t compatible with their growth needs and this is a product of ignoring them from participation in the urban planning and design process.

The quality and meaning of life are continuously attached to the presence of elements, objects, things, people and concepts; the absence means denying and depriving the presence, has strengthen this concept, hence has been frequently presented in philosophy and art fields. The concept of absence as an art strategy has been presented at the context of many artworks, especially in the present century. In photographic contexts due to introducing the previous presence of things, ‘absence’ finds a referral function. But the main question here is that, how in the photographic contexts, we might be able to find the existence of historical narratives behind them, through the absence of elements and things?

Photographs as the ever-present contexts, whether on private albums or in art/ news studios, even on virtual social spaces, offer a variety of absences with different origins, and [therein] the historical analysis arising from it in these works would lead to a better understanding of the human social context. The research hypothesis here is that photograph as a historical context, when linked to and analyzed by the narratives surrounding it, would present the ‘absence’ as a means of denying the presence of suppressed forces in the social context, that potentially have the power to participate and alter the actions of every day’s life.

was done based on the social history of the photographic contexts, as in this approach, behaviors, events and beliefs, besides being part of daily life context, are also important in the process of historical research.

Absence in the picture frame, is able to represent the latent power behind the different social classes; Moreover, the standpoint of elements related to absence within the historical context and its continuation at photograph scale will be discussed and explained the way that photography exploits the absence as a modern concept to represent a different content and various readings.

The revelation of revelation in every territory has transformed the history of that community with tremendous transformations. This happened in Hijaz during the advent of Islam. The Qur'an influenced people's worldview both for content and as an innovative form of speech and writing. The present paper intends to examine the impact of the Holy Qur'an on the transformation of the aesthetic insight of the era of the beginning of Islam. Analytical descriptive method is descriptive and analyzes are based on the theory of "speech and writing distinction" by French philosopher Jacques Derrida. The main purpose of the article is to analyze the role of the Holy Quran as a new type of speech and writing in the evolution of the concept of beauty. In other words, how did the Qur'an make uneducated people reach the level of beauty in "calligraphy"? The findings showed that the cultural revolution of Islam, like most historical developments, took place over several stages. In four stages, the entire aesthetic landscape of the people of the land of Hejaz was transformed completely. The first stage: before Islam; the second: the revelation; the third; the beginning of the writing; the fourth: the artistic revolution.

Hermeneutic phenomenology is the establishment of existential relations. How these relations can be manifested in human being in the world is one of the most important concerns of philosophers, including Heidegger - the famous German philosopher. Hermeneutic phenomenology seeks to understand the experience of life and use it to improve conditions. To this end, the designer can provide a design in which the prior experiences and concepts are used to serve the basic needs of the product (the existing being). Certainty does not matter in the nature of hermeneutic phenomenology, but also its work is to describe and interpret the human experience in the world. So this research provides a description of phenomenology that can be linked to the world of products by applying it to the product design process. This paper intends to provide an interpretation of phenomenology that can be considered and implemented in the design process. In this regard, this notion is further clarified by elucidating certain steps from it that include 1.Temporality 2.Establishing a meaningful relationship with having-been, presence and futuristic 3.Establishing a network of existential relationship between human and product 4.Establishing a hermeneutical relationship 5. Disclosedness. The result of this paper makes it clear that not only can use the phenomenology approach in product design, but also the case studies show that the use of this method during the industrial design history has been able to influence the success of products in relation with users.

Liminality indicates a state of transition or being in between, as opposed to being at one. In architecture, it refers to a transition between two places on the way to arrive at a destination. The starting point of the present paper is tackling the reduction of the concept of liminality to ‘being at a threshold’, and thereby the threshold itself as a mere connection point and the neglect of is denotational range. The adopted method is qualitative accompanied with logical reasoning. After accurately defining the etymology of the term, and also a search for transitional zones in the literature, the views of significant architectural thinkers in this field such as Christian Norberg Schulz, Christopher Alexander, and Louis Kahn are further scrutinised. Although these thinkers have different perspectives towards the matter, they still share some common views. An investigation into their views shows that on top of wide-ranging meanings to ‘liminality’, there is also hierarchies in terms of objectivity-subjectivity. Liminality is also classifiable, it is shown, into four categories of the physical, the functional, the denotational, and the substantial. The paper then moves on to investigate concepts such as boundary, centre, and threshold in order to analyse the substantial and its relation with other realms. The results show that transitional zones tend to converge into the centre, which materialise in thresholds. These liminal materialisations set the limits for the adjoining centre. The investigation of the bi-existential characteristics of thresholds and their emblematic state proves the denotational stance of liminality, with its existential demand explained in relation with the audience after defining the substance of the concept at a more subliminal stage. To conclude, architectural liminality is hierarchical, and paying attention to its various denotational levels yields a deeper understanding of the concept.

Children are amongst the vulnerable strata of each society, as they are not capable of expressing their every need. Meanwhile understanding and paying attention to their desires is crucial and important for the future of both themselves and their society. Generally, children’s vital needs can be categorized as follows: 1. Physical care, that is a child’s need for home, food, clothing, and stuffs like that; 2. Need for support, that is a child’s need for support against hazards and difficulties; 3. Need for security, that is supporting the child and supervising his/her condition; 4. And emotional need, namely, the emotion and respect that a child needs in order to resist pressures. Therefore, security is one of the important needs of a child and an influential factor in the presence of him/her in public realms. The presence of children in public spaces can promote their physical and mental growth. Many of the psychologists believe that learning, in early childhood, is attained through free playing. Although there is no exact definition for free playing, it can be characterized as acting unplanned, unpredictable, voluntarily, and full of joy. Designing appropriate playgrounds can increase the presence of children in such places. Studies indicate that places which are most desirable for children include their home, gardens, streets around the neighborhood, parks, playgrounds and sport fields. A playing area is a kind of dynamic urban space, which means it is located inside a park or another public place and is not private; in such places the social interactions between children happens at its highest level. Playing areas, as encourage independent functions, can create the context for generating diverse games (adventurous and group games, water and mud play, drawing, motion-physical games, playing with tools, drama and social games, playing with ball, science games, playing with moving objects like bicycles, tricycles, and wagons, playing with natural elements, and …) appropriate for the age ranged from 1 to 6 at playgrounds in neighborhoods, and for the age range of to 6 to 15 at playgrounds in urban areas. According to Lynch, children learn more outside the school and in society. In his view, this kind of education is being lost in our cities. Schools environments cannot completely quench children’s needs for various activities. Because, regrettably, in schooling tradition of Iranians’, the children’s activities are dominated by the school in such a specific way that no free playing is recognized appropriate for them. All activities which are done in schools, if any, are not free and are temporally limited. Child care centers in urban areas, despite their spatial restrictions, can host children for 2 or 3 years. Today, one of the main purposes of day care centers is to take care of children and educate them, and due to their limited spaces and facilities, less time is spent on free playing. Therefore, to deal with this important issue, we have investigated the effect of lighting in play spaces on the presence of children in such areas. For this purpose, a case has been studied and an observation-based qualitative-quantitative method has been used. By interviewing about the presence of children and the factors affecting it, Fadak Park, located in the Municipality No. 8 of Tehran, has been examined. To do this, a documentary research approach were applied along with observational method and depth interviews. Then, 18 children were interviewed and to complete the research, also their parents were interviewed. Based on the theoretical saturation viewpoint, to prevent repetitive data, we limited the interview to 18 people and samples were selected randomly. To investigate the effects of lighting, we observed the Park on Sunday (uncrowded day) and Friday (crowded day) twice (once in the morning, and another time in the afternoon). Investigations show that one of the places in which learning can happen for children, are the public realms. Children’s learning in unofficial places increases due to the freedom of choice and discretion. Children can freely play in these areas and can be connected with their peers, with no temporal restriction. Thus, the presence of children in public areas, particularly in playgrounds, is of great importance, because they can interact with other children and play freely. On the other hand, the fear factor and night-time safety, are two influential elements which can decrease the presence of children in public spaces at night. Regarding the limitations and shortage of playgrounds for children, these areas must be altered to meet children’s needs. As the results of our investigations show, appropriate lighting can build a sense of security and safety in children and their parents, and subsequently result in an increased public presence and sociability.

Presence is taken to be a structural entity, the presence, the confrontation of all signifying systems the signifying systems, created both by production and reception (the spectators). The study of “presence” as a semiotic phenomenon suggests that the meaning of “presence”, as a sign, is generally understood in relation to other concerns, and all lie beyond the province of signification. Means are not static symbols, but exist only in a suspended animation or doubt. Then presence should not be seen as something fixed, but as the subjects of a constantly shifting interplay between theatrical signification and the context in which a performance take place. It is the very potential of theatre enable us to reflect upon and question the construction of “reality” in the contemporary world. The purpose of this article is to explicate some common elements relevant to performance [text, space, actor, language, object, audience] and the semiotics of “presence”.