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

Problem statement:

 Post-truth was the Oxford English Dictionary Association’s 2016 Word of the Year. In the post-truth era of 2016, the gap between reality and truth began to form a space of substitution with facts. Art in this space is another output that, as the development of an all-round visual medium evoking an immediate or credible experience beyond the boundaries of representation, enters the political game and serves the audience with alternative truths to understand the truths beyond the bounds of tradition.

What is the nature of the post-truth? And how does artwork in this post-truth world? This research aims to understand the nature of the post-truth era and investigate the performance of art in light of the complex nature of the post-truth era.

The research method is qualitative and descriptive-analytical. Data collection tools include observation and new scanning tools.

The results show that art has become a critical issue in the post-truth era. The art arena focuses on spatial relationships that put the audience at the center of a sensory game and becomes an idea that explores the dynamics of immersion in alternative facts. Immersion is timeless; this timelessness is a refinement of traditional boundaries between the audience, the media, and the artist’s personality.

In today's era, aesthetics is considered a branch of philosophy in which, among issues; Like the origin of the work of art, knowledge of art, etc. are examined. Sadrul Matalhin, one of the prominent Islamic philosophers; It defines beauty as something admirable. According to him, the origin of art is some of the names of Almighty God, and imagination is the origin of almost all works of art. Sadra discusses the power of imagination in detail and considers it as a bridge between man and the separated world of imagination. Therefore, by using this platform, the artist brings his desired content, which is separated from imagination, to a sensory emergence.Heidegger, the great Western philosopher, analyzes art in a non-subjective phenomenology method and believes that things emerge in the act of understanding.And on this point of view, in the book Origin of the work of art, he criticizes scientific aesthetics in which he reduces art to sense and sensual pleasures. He considers art to be the only passage that can establish a relationship with existence and make the object fully emerge.Both thinkers have a cognitive view of aesthetics and art; They consider art as the platform for the emergence of existence and give it an epistemological code. In this article, we want to discuss the affinities and harmony of aesthetics in relation to truth and art, between these two influential thinkers.

This study concentrates on the form of mockumentary and its relation to its content; focusing on its ability to represent the reality, in order to describe and analyze Mockumentary. In this study, the effect of the medium of cinema, is analyzed on mockumentary films through analyzing four successful mockumentaries, which all had achieved a considerable rating in IMDb and Metacritic. First, mockumentary is introduced and its features are described. Its relation to documentary cinema and fiction cinema is mentioned, their common features are considered and the potential and capacities of this genre are presented. Mockumentary as the name implies, has a very close correlation with documentary. In the first glance, mockumentary seems a copy which tries to get to the place of the reliable non-lying documentary, and waits until the documentary is made and then copies it, but in this research, it is emphasized that there are different philosophical perspectives about the Real and reality and its relation to the Truth, especially in contemporary philosophy. These discussions, challenge the authenticity and factuality of the mockumentary and documentary. According to Alisia Lebow, mockumentary might be the correct or more real form of documentary but through analyzing the theory of Alain Badiou in “Being and Event” we obtain the key concepts in his theory, which combines Set-Theory in mathematics and ontology. He suggests a kind of Meta-ontology based on Set-Theory. According to his definition of the Truth and the Real, and based on this duality (Truth/Real), a fair point for judging mockumentary can be found. Considering the relations and dualities between the key concepts in his ontology, a way of analyzing Mockumentary Cinema in recent years is offered; four successful samples in this genre have been analyzed, and meanwhile, some criteria for evaluating mockumentary films are achieved through them. A descriptive-analytic method is used to develop the argument. Initially, the definitions and presumptions about documentary are considered in order to clarify the different interpretations of this field, and then the different features in the form of mockumentary are studied. In Badiou’s words, Cinema of Mockumentary presents a void, which is an area for event to take place, which is made between documentary and fiction cinema. It is a void representing a lack of form. Mockumentary tries to fill this void by a new combination of fiction and reality. Mockumentary locates itself between documentary and fiction, and with the utilization of the techniques from both of them, makes a rearrangement in the boundaries of the documentary and fiction cinema. This new combination shows a new structure since it brings new dualities with the key concepts which mainly form the fiction cinema and the documentary. It suggests ways for finding better techniques in Documentary Cinema. The correlation between Documentary and Mockumentary, and their mutual influence on each other, results in the enrichment of both. In the present study, a variety of techniques and formal features in mockumentaries are identified through the analysis of four successful case studies.

Aesthetics as the essence of art has always drawn the attention of intellectuals, critics, and philosophers. It has also been approached directly or implicitly by traditionalists. Traditionalism is a twentieth-century western school founded by Guenon, Coomaraswamy, Schuon and practiced by Burchardt and Seyyed Hossein Nasr in Iran. The present study draws upon a cognitive approach to discuss some philosophical views and then examines the aesthetics-associated ideas of these five traditionalists. We attempt to criticize such views based on this assumption that the traditionalists’ views on aesthetics are ambiguous and contradictory and irrational and include expressions devoid of truth or reality.Ancient school philosophers’ definition of aesthetics is mainly substantive and points to tangible matters. Comparatively speaking, the definition of traditionalists is merely vague, emotional, and contradictory. Such conceptualization has been extended to architecture and other arts. In many cases, this definition has even gone too far and caused ambiguity However, the fact that many traditionalists have taken aesthetics for the truth itself is undeniable.

Recognizing the architectural works without the knowledge of the creator's soul is a subject that is contemplated today in the field of pathology of contemporary architecture. Since architecture is a phenomenon that is the creator and audience of a human being, it is important to address the issue of perception of the soul. Today, the confusion of architectural types, regardless of the self-examination of the creator of the work, allows any reading to be considered for any work, while the type of architectural soul based on what kind of epistemology can be based on the truth of whether the effect is centered or not. . Every work of thought is obtained, and any thought influenced by the perception of the soul toward the three subjects of man, the universe and God. Therefore, a work can be truth-centered, its thought oriented to the right, and then the thought can be right-axis, which is derived from the right perception of the world, man and God. Therefore, the present study is based on the method of documentary studies, analysis Qualitative content for analyzing and judging data extracted from verses, hadiths, and Islamic texts, and relying on Sadri's wisdom, introduces the cause of the truth-centered effects of Islamic architecture on how to perceive the soul of the architect, Creation of a kind of allegory in the soul of the architect has led to the creation of works that have the merit of union with the world. God has made man.

One of the most important contemporary theoretical approaches that can be used to analyze works of art is the theories of Jacques Lacan (1901-1980), a French post-structuralist psychoanalyst. By combining psychoanalysis, philosophy, linguistics, and anthropology, he analyzes the world of the human subject’s mind in a series of intertwined and extensive cultural and social relationships.This article aims to take a look at the painting-from-phtographs of the Gerhard Richter Foundation as a unique collection of contemporary artists from a psychoanalytic point of view; And to ask the question, what is the relationship between truth and appearance in Richter’s painting and Lacanian psychoanalysis? Also, how Lacan’s psychoanalytic concepts are found to be helpful in the critique of Richter’s painting? The method used is descriptive-analytical and based on data and information using library and Internet resources, based on the observation of Richter artifacts and their analysis with Lacan’s psychoanalytic approach. This article shows that Lacanian concepts can be generalized to Richter’s paintings. There is no definitive truth and reality is perceived through the eyes and the organized system according to past experiences, the lack and desire of the subject. All of our reference points, everything we talk about and whatever we do through them, are all not absolute truth but stereotypes.

The field of art criticism is very broad insomuch that a lot of various types of schools and ideologies have been in present over the years, and various approaches have emerged in this field. But they generally have humanistic and irreligious basis. Therefore, the vacancy of religious criticism and its divine principles and foundations, among approaches and types of art criticism, has provided the basis for questioning about what and how this criticism and its principles and characteristics are.This research is a fundamental theoretical one, and in terms of methodology is a libraries and analytical. According to this research, religion [in its true sense, means Islam] seems to be the proper basis for reading, interpreting, analyzing, and criticizing all human affairs, such as artworks. In addition, it does not have many other disadvantages that the other criticisms have. The basics and principles of this criticism can be deduced from the main sources and texts of religion. This article, is briefly concerned about what and some of the most important principles of religious criticism of artworks.

Statement of Problem: The confrontation of restoration and truth oriented to the problem of time is investigated in this article. With the erosion of the work in the environment based on the type of inorganic or organic matter, a question arises for the restorer, how is the truth evaluated in the worn-out work? The challenge of the existence of the work in the past, or its current state of deterioration as a truth, is a problem which the restoration always faces, and responding to it by time analysis can determine the approach and the selection of conservation method for the work’s survival. the current study aims to create a time oriented theory for determining the position of the truth of the work as an entity in the present or the past.
Research In this research, truth has been studied based on the theories of time, with the theoretical foundations of phenomenology. Accordingly, the truth hidden in the mask of the material of the work related to the human existence, and from other aspects, the truth as the existence of the work in the past or its current condition in the present has been discussed. With the phenomenological view, the dependence of truth on the human existence gives to the work a protective status. In addition, the theory proposed in this article determines the truth of the work as an existence in the present or past, based on time theories and can create the theoretical foundations for selecting suitable restoration methods to optimally protect and maintain the work. By accepting the theory of dynamic time, there is no past; there is only present time, and the truth consists in the entire existence of the work in the present, not a thing left in the past, that, by eliminating the surface layers of the work, the restoration pursuits it; the totality of the existence of the work in the present is conserved and maintained for transmission to the future. In the theory of static time, with a chronological look at time, there is past, and the truth of the work is its past. With a reference to valid documentation, the existence of the past of the work is restored in the present

The rebellious advent of photography and its consequent theoretical and critical discussions gave rise to new approaches and insights on the concept and nature of art as well as its relationship with the surrounding world and other philosophical discussions. Theorists and their contemporaneous artists have repeatedly questioned, analyzed and described photography as a kind of art within the short time from the invention of this new medium and have either accepted or rejected it. In addition, the nature of art from the very beginning of its development dating back to many years before the birth of photography and its connection with the truth presented a new medium to the philosophers who kept providing innumerable, and sometimes conflicting, interpretations in their treatises following the discovery this connection. Much focus was put on evaluating the missions and discovering the capabilities and boundaries of photography with its cut-off world after several decades when photography had found a relatively stable position among the arts. From the very beginning of its emergence, photography has always promised to depict visible realities and truth and claimed to represent and record them forever. For a long time, this claim was confirmed by the documentary property of the images captured by the camera. However, shortly after the advent of new technologies and using various features to manipulate images, this property confronted with a new challenge. The images had lost their past credibility and their legitimacy had been questioned by its critics more than ever. Gradually, the views of artists and critics have changed, mostly negatively, until they realized that the only mission of a photographer is not recording truth and the nature of this media is much wider and deeper of the old claim relies on visual accuracy of photographs. This article aims to describe and interpret three new and dominant contemporary approaches to photography and its nature. It seeks to review the perspectives of new thinkers such as John Szarkowski, Susan Sontag, and Roland Barthes about photography and its relation to truth and reality, and to analyze their thoughts based on their intellectual backgrounds. It also aims at describing Plato’s view concerning art and its relation to the logical truth discussed in the “Republic” treatise, and finally clarifying the relationship between photography and the ideational truth using a descriptive-analytical method by comparing the attitudes of these three theorists with Plato’s. The required data were collected through library studies and over the Internet and were analyzed qualitatively. This paper has attempted to define and interpret photography as an independent phenomenon based on the perspectives of John Szarkowski, Roland Barthes and Susan Sontag, since these three critics dealt with the same subject in three different contexts and their view points are now considered comprehensive enough to include all theories. This article also aimed to find the similarities and differences in the theories developed by three thinkers in order to achieve a more accurate interpretation and recognition of photography from their perspective.

Creation of art and architecture without considering of knowledge will be an incomplete creation. The kind of understanding and cognition in every worldview forms the process of formation and sustainability of thought. Knowledge is a familiarity with someone or something, which can include facts, information, descriptions, or skills acquired through experience or education. It can refer to the theoretical or practical understanding of a subject. It can be implicit or explicit; it can be more or less formal or systematic. In philosophy, the study of knowledge is called epistemology; the philosopher Plato famously defined knowledge as "justified true belief." However, no single agreed upon definition of knowledge exists, though there are numerous theories to explain it. Knowledge acquisition involves complex cognitive processes: perception, communication, association and reasoning; while knowledge is also said to be related to the capacity of acknowledgment in human beings. The eventual demarcation of philosophy from science was made possible by the notion that philosophy's core was "theory of knowledge," a theory distinct from the sciences because it was their foundation. Without this idea of the "theory of knowledge," it is hard to imagine what "philosophy" could have been in the age of modern science. Symbolic representations can be used to indicate meaning and can be thought of as a dynamic process. Hence the transfer of the symbolic representation can be viewed as one ascription process whereby knowledge can be transferred. Other forms of communication include observation, verbal exchange, and audio and video recordings. Philosophers of language and semioticians construct and analyze theories of knowledge ilm) is given great significance. "The Knowing" (al- ‘ ,علم : transfer or communication. Islam, knowledge (Arabic ‘Alïm) is one of the 99 names reflecting distinct attributes of God. The Qur'an asserts that knowledge comes from God. Knowledge which comes from intuition may lead to true creation. In other hand, true artworks have a true thought or intuition in their background. Recognition of Islamic art and architecture shows that target of perception was intuition and the target of creation was durability in artwork. Muslim artist understood the truth via intuition not science and tried to form her/his thought by geometry which born in her/his imagination so her/his creation was in the direction of existence. Senses were necessary but inadequate in her/his cognition process so they were sufficient near the Greek thought. Greek artist focused on characters of phenomena instead of theirs existence. So in the creation process they tried to explore these characters in geometrical face than in modern era, artist limited the understanding in mental by replacing the concept instead of truth, he/she doesn't attend senses and intuition. This research tries to show the position of truth and concept in the Islamic and modern art creation by cognition of Islamic epistemology and modern. Then it shows the reasons of sustainability of past Islamic works in different eras, and on the other hand, shows the reasons of modern variation thoughts and aims to consider the relation between object and subject via philosophy approach in every worldview.

In this article it would be tried to elaborate Alain Badiou’s novel view to the relationship between art and philosophy and furthermore to illustrate the role that “interpretation” plays in his novel view. Badiou believes his point of view toward this relationship to be the opposite of three visions which, to his eyes, have been the dominant views across western history of philosophy: didacticism, romanticism, and classicism. He thinks that in none of these three views the relationship between art and truth has ever been regarded as “singular” and “immanent”, that is to say, art has never been honored as the producer of a truth of its own. Badiou renders art such a status of having its own truth next to that of science, politics and love. This new relationship between art and truth brings about a new relationship between art and philosophy. In this new relationship, philosophy is neither art’s master nor its servant; it does not impose meaning on art from outside and its task is not to interpret or express the truths that art has reached to. According to Badiou, since artistic truth is restricted to art itself and since the truth is basically something contrary to extant meanings, therefore, philosophy cannot share or express through interpretation and illustration the truth that art produces. What philosophy does in relation to art is to draw a distinction between truths and doxas or “common beliefs”, and hence to declare the artistic truths.

According to the interpretation which is based on Being and Truth derived from Heidegger’s narration of history of Aesthetics, for the Greek, Art was a way to generate, to disclose, the beings; therefore, it was a way for the establishment of the truth. So the status of art was well-defined and the need to it was inevitable. In Plato’s thought – by his own conception of art and generation [poiesis] on the basis of the theory of Idea – art lost his early relation to truth, and then it was to decide on its status in the human life. This characterizes the beginning of Aesthetics. Moreover, Plato’s thought as the origin of Aesthetics has the elements characterized as the basic elements of Aesthetics; it means the entrance of Beauty to the definition of art and divergence among beauty and truth. During modern age and the emergence of subjectivism the divergence among the beautiful, the true, and the good had been completed and the artwork turned to an object of aisthesis. Therefore, art as the role of creating the beautiful and the aesthetic pleasure couldn’t have essential role in human life. This is the event characterized as the end of art in Hegel’s Aesthetics. However, The last phases of the history of Aesthetics is characterized by Nietzsche and Wagner’s attempts in order to make restitution for art’s necessity, though, Heidegger believes, these attempts couldn’t be successful.

The subject of quality and quantity of manifestation of Islamic identity in the architecture of Islamic era is one of the topics around which there are many diverse views among thinkers. Some scholars believe in the maximum reflection of Islamic contents in the architectural works of this age. Oppositely، some others thinkers express the minimum reflection of Islamic identity and deny the existence of any kind of relation between the contents of religion and these works. In this article، a third standpoint is presented on this topic، upon which، the belief in relative manifestation of Islamic content and identity in form and body of architecture of Islamic age is a logical principle. The article puts forth this basic principle that Islam as an intellectual and ideological school of thought has put forth certain conceptual facts on the domain of art which is reflected in the ideas and ideals of artists and architects. These basic and fixed facts can appear in thousands of phenomena in a relative form through a certain process with the creative effort of artists. In this article، while adopting a historical-interpretive approach، and joint utilization of reasoning-logical method and based on religious documented texts، this claim will be proved. The basic pillar in proving this hypothesis، is the principle of detachment of theoretical، practical phrases and examples in the Islamic wisdom which will be elaborated.

In the phenomenological analysis of art two main streams can be recognized: subjective phenomenology and non-subjective phenomenology. In order to do an aesthetic analysis, while believing that aesthetics is a science, the subjective phenomenologist of art corresponds to Husserl method of exploring meaning and essence in the realm of conscience; but for a hermeneutic phenomenologist, what is at stake is the essence of art and its relation to truth Among these phenomenologist groups Heidegger is granted a special status. He, on the one hand, connects hermeneutics with ontology, believing that it is through understanding that objects appear and the existence shows up itself; on the other hand, he relates phenomenology to “disclosure” which for him equals to being; hence, his phenomenology finds a hermeneutical dimension. This is the viewpoint of Heidegger in his famous book, The Origin of the Work of Art, by means of which he analyses the work of art. He criticizes scientific aesthetics in which the art is reduced to senses and the pleasures of sensation; contrary to this notion, Heidegger believed that it is through art that we can establish an ontological relationship with the past and would be able to understand the universe of a historical nation. On the whole, Heidegger recognizes art as the place for the event or happening of truth. This article tries to show how Heidegger, using hermeneutic phenomenology, analyses the artwork and, while opening new window to understanding of authentic relationship between art and truth, introduces the artwork as the place where the openness of being happens to human.

By contemplating upon Iranian art works (before and after Islam), one realizes that they have a close affinity and conformity, and at the same time mysterious relation with the religious beliefs of this land. Since art is considered to be a branch of knowledge and a result of essential comprehension of existence, art works were accordingly the product of knowledge attained by the mystic journey of the artist from truth to the material world and back. Hence, one has to refer to the idea of creation in order to gain knowledge about the concepts of art and beauty in Iranian pre Islamic and especially post Islamic beliefs. Based on the idea of creation, the universe stems from God and places the creatures in a hierarchical order. Each creature in this relational system has a particular relationship with the truth and beauty; hence, the art work and artist are in the same spectrum. The present article, after clarifying the connection between the truth and beauty and their relationship with art, artist, and art work in the Iranian-Islamic beliefs, tries to show that such an art results from an inner intuition, and therefore, its comprehension requires intuitive understanding which does not fulfill the sensational and rational mind. Finally the article makes it clear that due to a domination of quality over quantity in everything including letters and figures in post-Islamic Iran, calligraphy and architecture gradually gain priority over other forms of art.

Heidegger responds to the questions of the nature of art in a different way from the common and conventional methods in the modern time, which are commonly based on aesthetics. The route he takes to get close to the nature of art and the truth of art is a tortuous and hard one. This is so because, in his view, our understanding and appreciation of art, art works, and their relationship to us is veiled by the long historical ontic, Which is by itself a product of the ignorance of being. Heidegger views the history of the late two or three thousand years as the history of the ignorance of being. Ignoring being, man regards himself as the very being, views everything from his own viewpoint, and takes this viewpoint as the very truth. This tendency is quite obvious in our view of art and art works. Heidegger calls into challenge the most obvious and taken for granted concepts such as object and the objectness of an object, tools and their concept, man and his existence, Earth, and the concept of truth. Our perception of art and artworks is based on these named concepts and they have been created on the basis of this ignorance of being. To get into the nature of art, therefore, one should rise above these concepts and the related ignorance. To do so, Heidegger has found some methods in his phenomenological approach. The hermeneutic phenomenological Dasian method can be reduced to: let the objects present themselves, and do not impose anything on them. By putting numerous questions forward, he is to rise above the common concepts in order to allow the objects (whether art works, tools, Earth, truth, human nature or else) present themselves.

Considering and contemplating the concept of truth and its relation with art from Plato up to now, this article is to study Deridda’s approach to art and art criticism relying on the beliefs of the thinkers such as Kant, Heidegger, and Nietzsche. Surveying the correlations between the scope of art and extra-art, the article additionally clarifies Kant’s theory of paragon in the Critique of Judgment. Besides, the article analyzes some artistic works in order to prove Derrida’s deconstructive approach to art.

An artwork is a form of art truth, in other words, it is the emanate of the true form of art. An art work gets all its entity and essence from the genus of the form identity, the identity of art in turn stems from the true beauty and the true beauty is the mean source of substantial form of the achieved art. The artist invents a substantial, abstract, heavenly and ideal form of true beauty in his imaginary mind with his intuitive perception of the existence. This substantial form with all its entity receives its existence ‘on the base of the artist capacity, from the absolute and eternal beauty. That substantial form is the beginning and source of art work creation. An artwork interpretation is based on the mental system of the interpreter and the artwork interpreter first encounter’s the form of art and then interprets it on the base of the aspects which are achieved in the work. Artwork interpretation by different interpreters with diverse mental presuppositions leads to different and even contrast concept manifestations about a single work as a result an artwork especially in the field of literature is red and interpreted in different readings and diverse intakes. Any interpretation related to the sign and symbols used in an artwork is a mental reaction of us towards a context. Art context take its intrinsic truth from the art substantial form and reveals diverse meanings with different interpretation views understanding the mental system of a critic and artwork addressee can uncover the theoretical principles of the interpreter. An art form apart from the interpreter’s theoretical systems has an independent. Existence in the artwork which above all interpretations has intrinsic independence.