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

This study explores the aesthetic manifestation of mono no aware, a term in Japanese philosophy and thought, in Japanese animation productions. This research explicates whether this concept is present within Japanese animations, and if so, in what manifestations. These issues are in the heart of the present research. Understanding this Japanese philosophical concept and examining its presence in Japanese animations can contribute to a better comprehension of the worldview that governs these animations.  The primary objective of this research is to explain the meaning of mono no aware in philosophy and aesthetics, and then to analyze the representation of this concept in Japanese animations. The study also delves into how the dramatic effect and manifestation of mono no aware are formed in Japanese animation. In addition, this research investigates how this concept manifests in the scene graphic and musical aspects of the investigated works. Furthermore, the present study examines the function of Mono no aware in shaping the characters of the animation's personages. The approach used in this research is descriptive-analytical utilizing library sources. The opinions of thinkers such as Motoori Norinaga and Onishi Yoshinori are examined to explain the main features of the mono no aware concept. Subsequently, two animations, To the Forest of Firefly Lights and Wolf Children, are analyzed using a semiotic approach. Images from these scenes are incorporated into the research for better clarification. The research findings are presented in two charts depicting the manifestation of the concept in each examined work. Despite the qualitative nature of this research, charts are included to illustrate a relative comparison between the two animations. These charts display the obtained scales of examined parts, including characterization, dramatic effect, scene graphic, and music. The research results indicate that in both animations, mono no aware is present to varying degrees, with a predominant manifestation in characterization and scene graphic, respectively. It is also evident, to some extent, in dramatic effect and music. The influence of narrative on all these aspects is crucial for obtaining these results. A significant secondary finding suggests that mono no aware is sometimes manifested in metaphors and legends within Japanese animation stories, such as Gin's fading in To the Forest of Firefly Lights or the death of the werewolf in Wolf Children. Sometimes manifestation of mono no aware is in the verbal literature and the behavior of the characters. Furthermore, according to the research findings, it has a fundamental role in the dramatization of a number of Japanese animations. These aspects not only provide a new perspective for the audience but also contribute to enriching and added layers of the narrative. Thus, it is apparent that Mono no aware can be manifested in Japanese animation, whether subtly or profoundly, over short or extended durations. Understanding the concept of Mono no aware proves valuable for comprehending the stories of Japanese animations and the art and culture of that region. Consequently, an enhanced realization of Japanese philosophy leads to a deeper understanding of the meaning of Japanese animations, suggesting a connection between Mono no aware and Japanese animations.

Contemporary semiotic knowledge seeks to study the signs and languages of communication, both verbal and verbal. Visual forces in visual arts are an example of communication languages that are capable of transmitting information that is sometimes out of the question. Certainly, the Holy Qur'an, as the highest written miracle, has, in addition to its linguistic codes, also used some of its visual arts to transmit divine message. Accordingly, the present research tries to examine it as a sign of communication using the descriptive-analytical method and the methodology of semiotics while revising the story of Adam in two surah Baqara and Taha's visual forces and linguistic codes. And to show the role of the stories of the Qur'an as a subjective universe in how to create a visual narrative of a verbal narrative. The study of Quranic data shows that The companions of visual arts can draw from the story of Adam various visual forces such as contrast, evolutionary repetition, angle of view, Kadrage, etc. as non-verbal signs, As well as focusing on the meaningful use of lexicals such as "Hobut= Down", "Naba= News", definitions, etc. as words containing visual forces, ultimately create a dramatic visual narrative from a pure verbal narrative as a raw material of visual arts.

With the importance of finding language in postmodern theories, architecture has been seen as a text. A text that conveys a set of values, thoughts and traditions along with it and has a language behind its curtain that talks to the audience and the audience tries to read its meaning and interpretation. Meaning is one of the most important topics that has been the subject of many researches in the fields of psychology, sociology, architecture, urban planning and landscape design, so that in the field of architecture, the place of meanings and the transfer of concepts in terms of extent and size, Form and function have been important. Today, with the emergence of the phenomenon of globalization, changes have occurred in cultural-social, political and economic fields, the most important of which is the cultural crisis and the crisis of identity and meaning. This has also caused the negation of the language of architecture in modern architecture, a language that has evolved along with other aspects of human civilization during history, and the modern architecture movement has turned away from it, as if it has reduced the vocabulary of architectural language to visual basic elements. The house has a special place in architectural structures. The interior mood of every house is like a way of speaking. Unfortunately, nowadays, with the advent of modernity and industrialization of societies, the house is viewed as a means of temporary work, and this has caused the house to take on a new meaning. In Iranian culture, "home" has been a place to manifest spiritual and cultural values ​​and a direct manifestation of the way of life and maintaining the family. As an important part of the architecture of the past, the traditional houses of Iran, taking into account the human needs, the location of its components has a meaning and concept for its users, and the impact of the meaning can be clearly seen, which makes the house more valuable. you will Among the different approaches to investigate the meaning of home, the four main approaches are judgmental phenomenology, environmental psychology, and social science approach. From the point of view of social sciences, which is more concerned with the cultural and social aspects of the house. In this approach, one of the methods that can be used to inspect the house is the semiotics method. The method of semiotics is one of the methods of examining meaning. Semiotics, as one of the methods of text analysis, seeks to analyze texts in terms of structured wholes and in search of hidden and implied meanings. In this research, architecture is understood as a text that consists of multiple layers, these layers are connected with each other in a systematic and process way, and from their coexistence, an integrated entity called architectural text is born. Semiotics recognizes the layers and sub-layers of the design through a sign in the design and makes it possible to read the design. Semiotics in the field of architecture can give a conscious aspect to people's recognition of the process of meaning. The architectural designer must know what he creates is interpreted and interpreted by the people. This awareness is in the stage of knowing about the environment and people's reaction to the architectural spaces, and during the design, it helps and guides the designer. Although the meaning forms only one layer of the experience of space and may not even be understood by people, but by mastering and being aware of people's mental interpretation, the designer can prevent the creation of unwanted and sometimes undesirable connotations in the urban environment.

In this essay, an effort has been made to investigate female signs and their changes on gravestones by Peirce's semiotic classification of a sign in three forms: icon, index and symbol. The main subject is to obtain changes of the signs and the reason why women’s pictures were prohibited to use in this respect.  In fact, not using female pictures as icon but substituting symbol and index instead of iconic pictures on women’s gravestones is a big challenge. Generally, the usage of shapes in the form of a sign had been common on gravestones. These signs include plant motives, animal motives, decorative motives and human motives. Some of these signs had been an indication of the occupation of the dead person in the time she/he was alive. The reason why these were used was probably due to the illiteracy of ordinary people and lack of ability in reading inscriptions of gravestones. Another striking sign in gravestones was gender segregation. How to show masculine and feminine based on non-linguistic signs on gravestones was a matter. Maybe, one of the biggest obsessions in the author’s mind from childhood was lack of using women’s pictures in obituaries or on gravestones; However, men were not faced with such limitations. After some time, when passing Beheshte-Zahra (the most famous and biggest cemetery in Tehran), I noticed lots of changes in the pictures of gravestones. Moreover, women’s pictures were used on gravestones. This happens in a period of time when women’s pictures in obituaries is not prevalent in contemporary Iran, or at least they are rare. Additionally, women’s pictures on gravestones are less than those of men. The main question of the research is: what have been the shape of the signs related to feminine gender on gravestones and what have been the changes in using these signs and what was the reason of these changes in the course of time? In order to obtain a better result, in each era, a comparison with men is done, as well. The conclusion indicates that index sign was used initially on gravestones which were attributed to Muslim women. The reason for using these signs was the approximate equal ubiquitous illiteracy among both women and men in retrospect. Thereafter, female icons and pictures were virtually used in a number of cities. If we decide to study women’s pictures on gravestones, it is necessary to make a separation between Muslims and other religious minorities such as Christians. Most of Armenian gravestones are kept in Jolfa Museum in Isfahan. In fact, all of these are drawings of gravestones done by Abraham Goorgenian before they were destroyed. Iranian Armenian women’s pictures were used on gravestones after Safavid period when they entered Iran. The remarkable point is that the ancient village of Armenians in Armenia lacked pictures. They began drawing pictures on gravestones just after entering Iran in Safavid period which is a noticeable point. Based on a document, there were Iranian women’s picture as an indication of an icon in some rural areas; however, they were few in number and this was not a general issue. In Qajar period, the time when using pictures and icons were prevalent on grandees’ gravestones, Mahd-i Olia’s iconic sign was not used on her gravestone while her name was written beside poems and Quranic verses; however, she was deemed as a powerful woman; which is conceivably an indication of religious prohibition. In Pahlavi period, based on the gravestones of some iconic figures, it seems that using iconic pictures was not prevalent for both genders. Among prominent women in Pahlavi period with high ranking cultural status, we can refer to Parvin E'tesami (1285-1320 HS), Qamar-ol-Moluk Vaziri (1284-1338 HS) and Forugh Farrokhzad (1313-1345 HS). These three renowned faces are chosen as samples in the first and second Pahlavi period. Parvin E'tesami was a great poet, Qamar-ol-Moluk Vaziri was a singer and a musician; and Forugh Farrokhzad was a great poet in her time. The first one belongs to the first Pahlavi period (demised in Farvardin 1320) and the other two individuals belong to the second Pahlavi period. Parvin E'tesami was buried in Qom, in one of the aprons of the holy shrine of Hazrat Masoumeh. Qamar and Forugh were both buried in Ẓahīr al-Dawlah tomb in Shemiran district. There are no women’s pictures on none of these gravestones. It is conceivable that Parvin could not have had any pictures on her gravestone because of her proximity to the holy shrine. However, by having a look at Qamar’s grave stone and that of Forugh, this surmise can be reinforced that using these kinds of pictures was no prevalent at that period of time. This guess comes true when looking at renowned faces in Ẓahīr al-Dawlah tomb. The interesting point is that on none of famous men’s gravestones, no picture is depicted as well. Then, it can be concluded that using picture on gravestones was not something common for the two genders at that period of time and one reason is due to absence of technology. If using picture had been common, at least one of the referred individuals should have had a picture on her/his gravestone.  In today Iran using iconic pictures is becoming common once again though the number of men’s pictures are more than women’s and the prohibition does exist in some cities. The prevalence of pictures in the last decade has been so vast that it has become common even in religious cities, but it is not common in some regions, yet. It is worth noting that there are not any official rules or circulars in cemeteries about using or not using women’s pictures. In other words, each cemetery decides in such situations based on its board of directors’ view. So not in all cities this matter is permitted and it depends on the laws of each cemetery. In some regions, there were some cases in which after creating picture, the family of the demised person demanded for changing the gravestone or eliminating the picture. In other cases, pictures were distorted by extremists; but today these actions have become rare. Apart from individual interest in having a writing or picture, individual beliefs and cultural bigotries of families, do not permit the usage of women’s pictures on gravestones. Actually, based on Shiate’s sharia and most Grand Clergy’s judgment, using women’s pictures is not forbidden provided that she is covered with hijab, her picture is not sin-provoking and there is no sign of disrespect to the dead person in it. Although using women’s pictures is not banned by most Grand Clergies, instead of women’s iconic pictures, many symbols of flowers, candles and candlesticks are used. Also, some people don’t use any pictures and signs at all. So, it should be noted that using picture is arbitrary these days. So, everybody does not use it necessarily. In Tehran, using picture is more common. Pictures of the dead are kept as a commemoration tool in each house when they are not present. So, it can be concluded that their usage is merely commemoration and not something sin-provoking or so. All in all, it is something personal. One is fond of that but others may abhor it exactly like social media in which some put their pictures on their profiles; however, others use iconic pictures or other signs for some reason.    It seems that the advancement of technology has been effective in this field. Additionally, as this period of time is the technology era, the necessity of creating pictures in each second of life is palpable and gravestone is not a part separated from other seconds of life. This research is fundamental in purpose research, descriptive-analytical and historical comparative in method and entity, and collection of information was based on library form and field studies.

Clothing is one of the most significant tools in formation and development of a culture. After the age of structuralism and modernism, the researchers in postmodernism era, have paid a peculiar attention to the past traditions, religion and the art of tribes. Accordingly, a wide range of studies have been done on patterns, symbols and art of ethnic groups. The semiotic approach was presented by Saussure and pierce’s view in the  first half of 20th century and was used in many applied researchers in order to read the structural and semantic system of signs and symbols in artworks. Analytical reading of tribal clothing with a semiotic approach, will face us with deep cultural layers and acquaints us with understanding the ideology and the native culture within the civilizations. In the research process, we will study the used elements in clothes (men’s and women’s) such as shape, color and motifs. Understanding symbolic signs, icons and hyper-icons in clothes, acquaints us with a set of valued systems and aesthetic, individual, social and cultural functions of ethnic groups. This research was done on 13 samples from some clothes and accessories of Lorestan ethnic groups in order to identify the signs and symbols in determining their culture, customs and clothing. The research is a qualitative- applied and its analysis is inferential- Descriptive. Collecting data was library and field method through Cultural Heritage library, museum of anthropology and traditional markets. The result of the studies show that in forming Lorestan tribes’ clothing, some factors such as national and religious beliefs, customs, religion and climate are effective. The influence of these factors in the shape, design, color, fabric and utilizing the combination of cultural- economic instruments in a piece of clothing indicates the complete Coverage, authenticity, beauty and respect of these ethnic groups on individuals and society.

One of the main problems in contemporary Iranian architecture is the loss of identity and its related factors, such as a sense of attachment to the place due to neglecting the semiotic aspects of architectural reading and design in instruction ideation. The design meaning and indicators are effective in creating identity, beauty, and pleasure in architectural work via giving rise to an internal perception of space. Semiotics provide the most important meaning factors and can effectively upgrade the sense of place for a better relationship between architecture and users. Using the principles of semiotics is one of the best solutions to investigate how meaning is granted to space. As the most distinct semantic factors in creating mental associations via relying on the concept of implication, symbols can effectively enhance the sense of place in relation to the audience. Thus, using semiotics from the perspective of the designer's relationship with the audience in instructing design can be a step towards granting meaning to space and creating a sense of place for the users. However,  the imitation and copying of samples result in a lack of identity and social culture. Ideation is one of the most seminal and most important parts of the design instruction process. Therefore, the negligence of the meaning in the design process can also affect the ideation process because the final design is the representation and reflection of the ideas. The ideas mentioned in the literature review, including "patterns of design," 'sign," and effective factors on readability," show that previous researches have neglected the semiotic approach in ideation. Therefore, there is a need for a semiotic approach. In this study, the first research question is: "what are the effective factors in the creation of ideation process" and the second question is: "How is the relationship between the effective factors in design instruction process based on semiotics." The factors of  'human,' 'time' and 'place' that are effective on mental images should be considered when semiotic is used. This research aims to correct the design instruction process in ideation levels using semiotics by emphasizing the users' perception.

The qualitative and quantitative research methods, path analysis, factor analysis, and modeling have been used in this research. The quantitive research method can be defined in two phases. In the first phase, the "cross-sectional survey" is used for exploring the user community, and the correlation method is used in the second phase. The survey study method begins without any presumption. In this article, the opinions of a group of architecture students and their professors on the research subject have been collected in the form of a questionnaire, and at the end, based on this information, concepts and effective variables are identified, and factor analysis is performed. The second phase of the research begins with the assumption obtained from the survey. This study is of descriptive-analytical type in terms of the method because, because in addition to showing the facts, the reasons for the problems are also explained.

According to the findings, "the research-oriented analysis" directly influences the dependent variable. Moreover,  the "aesthetic aspects" that act as the intermediary variable are influenced by the "research-oriented analysis" because the aesthetic aspects differ based on the social-cultural background. Thus, it is necessary to recognize the aesthetic aspects of the context's social culture through research-oriented analysis in the instruction process. On the other hand, it influences other factors such as "ideation" and "collective reading-oriented evaluation of the signs". Another intermediary variable that influences the dependent variable based on the model is the aesthetical aspect. One of the factors influencing the reading and perception of the signs is the psychological issues. Since the reading and perception of users are the main parts of semiotics, "the collective reading-oriented evaluation of signs" also plays as another intermediary variable in the formation of the model. This could increase the audience's satisfaction since their needs are met.  Also, the design idea is presented for the audience's collective evaluation, and the model forms the "research-oriented analysis" in case of dissatisfaction. That is because dissatisfaction with an idea shows inadequacy and/or imprecision in the identification of the context and the semiotic researches. Hence, the ideation is repeated until the audience's satisfaction is achieved in the evaluation stage.

The results show that "research-oriented analysis", "aesthetic aspects", "psychologists aspects", and "collective perception-based evaluation of signs" are the effective factors in the creation of the ideation process. The proposed model is introducing a cycle that concentrates on the evaluation of user's perceptions by signs.

The most problem in architecture world is caused by neglecting of the meaning aspects in design, because meanings are creating, identity, beauty and enjoyment of the architecture. Semiotics as the most important meaning factors, can be effective in upgrading sense of place for better relationship between architecture and users. semiotic means the science that searching the social function of signs and finding solutions for creating of meaning by structures of signs. This science having activity in three main level. These levels are ‘the study of signs, ‘the relationship between signs’ and ‘the knowing and reading of audiences’. ‘Knowing and reading of audiences’ aspect is very important in design process and ideation, because architecture as a grid of signs like every connecting thing is covering the collection of sense and concept, that transiting to the users and audiences by the intra-textual relationship. . For the using of semiotic, it’s should be attention to ‘human’, ‘time’ and ‘place’ factors that are effective on mental images and perception. The human factors of perception are formed from physiology, psychology, collective behavior, individual behavior, sense of place and sense of social. The place component are form, scale and function. Historical background, individual experiences and social incident are factors of time components.While the imitation and coping of samples are overcome mostly that this is resulting to lack of identity and social culture. The literature review shows that previous researches concentrate on process aspects for example saying the references of ideas, introducing the creation idea’s position in designing process. So meaningful approaches in idea are needed. This research uses the path and factor analysis for obtaining the goal of designing process correction in ideas levels by semiotic with perceptions of users. The first question is ‘what are the effective factors on the ideation of designing process by semiotic approach. The second question is searching the relationship between effective factors of designing process by semiotic approach. Population of interest in this research are experts and users of architecture designing education. The way of sampling in research is randomized cluster sampling. The amount of sampling is 200 person through teachers and students of Tehran universities. survey research way are used by questionnaire as the tools. The questionnaire as tool of paper is got by discovering information and data of the group of professors by the Delphi and documentation method. Delphi method is accomplished in 3 levels. The way of analysis of reliability in this research is Cronbach’s Alpha. Construct validity, content validity and facial validity are used in research. The sampling are doing between architecture students and their teachers in the famous universities of Tehran. The model shows that “semiotic” is the independent variable. Factor of “ideation” is the dependent variable and ‘psychology aspects and aesthetic aspects are moderator variables. The result shows that “research based analysis”, “aesthetics aspects”, “psychologists aspects” and “collective perception based evaluation of signs” are the effective factors in creation of idea process by semiotic approach. The most important factor that connecting components of ideation process by semiotic approach, is ‘perception’ of the signs.

Signs are the only meaningful tools of communication that their unique properties in affirmation of cultural and historical context reveals how human knowledge grows which can be investigated by emphasizing the relationships between the signs and their meanings with the outside world. Sign system and its relation to the signage process is a subject which discussing about it is possible based on dependency of sign investigation, the process of their emergence as well as the various implications of signs and their application.Charles Sanders Peirce is one of the thinkers who discovered these implications and access to the hidden meanings of signs, by classifying its features in figurative and symbolic forms, in a point of view as a sign system and has addressed the relationship between them in the ratio of the sign with the context of its occurrence and the interpreter as signage process.In this trend, the signs act in the form of visual media which the quality of their mission in transmitting the message depends on the recognition of the signs and their proper classification since each sign is, on the one hand, dependent on other signs and related components and on the other hand, is variable in terms of its application, which is presented in different communication textures corresponding to different cultures, civilizations. This leads to signs always being considered as a language. Also, different forms considered it to have a diverse linguistic structure with distinct functions. In this regard, the present study is trying to analyze the semiotics of the evolution of calligraphy to Persian calligraphy, relying on the two areas of the sign system and the process of signification. The main question is, how can one make the connection between the semiotic developments of calligraphy and calligraphy with the sign system and the process of notation based on their commonalities? Furthermore, what is the difference between the sign system and the evolution of Script into calligraphy? The main purpose of the research is to explain the fields of dependence of common roots between Script and writing with the semiotic system. Also, the sub-objectives of the research are that first, despite receiving structural differences, while there are fundamental components between the two, their unity in explaining a similar theme such as the sign is achieved. Then, in order to analyze the semiotics of the media course of script to calligraphy in relation to the sign system and the process of signification, to study and study the course of these developments. It also seeks to explain its effective capabilities as the inheritor of human deep thoughts and creativity from the earliest times of human culture and civilization to the present day, in explaining similar themes such as visual cues. With these interpretations, in spite of previous research, the necessity of such a study is based on the distinct analysis and reading of script to calligraphy developments, in a scientific framework and with a specific semiotic approach, which gives the opportunity to look at the history of Iranian art differently. Role is a sign that has remained intact, both in terms of theoretical foundations and in terms of aspects discussed. Therefore, the importance of studying and establishing the relationship between the two is an achievement that does not have a significant background. The methodology of this research is analytical and using the study of written library resources and visual documents and according to Peirce's views, it is among the developmental researches. It also qualitatively shows that the semiotic analysis obtained from the study of visual documents of script to calligraphy, makes it possible to understand its commonality with the sign system and the process of signification. To this end, due to the vastness of the historical scope of script and calligraphy developments, it has first tried to study and divide calligraphy developments in the stages of calligraphy, thought writing, transliteration and alphabet. Then the objective instance of the written visual cues and its implicit meanings in each period should be applied separately to the punctuation classification. For this purpose, the images have been selected from the statistical population of the visual documents of calligraphy transformation in such a way as to cover as much as possible the course of visual and symbolic developments of script to calligraphy from the beginning to the present. It also reveals more precise and tangible differences in sign differences and the goals of rising from their meanings. Because only with a proper understanding of the concept of sign and its effect during stylistic differences is the evolution of script to calligraphy, which can be examined to match the role of the sign with the desired practical and artistic process. The research findings show that script and calligraphy in the course of their developments have always created an innovative visual language that can be searched for in various symbolic, index, symbolic and abstract sign systems. However, the relationship between it and the process of signification and in the form of semantic belonging, manifestation and interpretation is also revealed.

Abstract Urban spaces are full of memories that are permanent in the minds of inhabitants and also visitors. Sometimes memories are individual and have a significant place in the biography of a person and sometimes are collective and common among all citizens and members of a society. Events in a city create memories and memories create lives. Memory-maker spaces of the past are forgotten or degraded. Therefore reduction of proper backgrounds for occurrence of urban events and social interactions has led to the reduction of dependency emotions of citizens to a space and cities are just a setting for frequent commutes. What inclines an urban space to memorability is subjective and objective evidences of semiotic templates. Today the signs are faded in urban spaces and this is a preface for amnesia of urban spaces and subsequently effects on the meaningfulness of urban spaces. Therefore the signs are important tools for continuity and transfer of collective memories. In this regard this research aims to investigate the concept of collective memory and its retrieval and comparison in urban spaces with semiotic approach. Content analysis and deductive reasoning are the main methods to create the mental grounds of the research. Confirmatory factor analysis in LISREL software is used for statistical analysis. Results of the research show that although at the moment the perceptual and social and semantic codes (perpetual-mental components and social-temporal ones) of the sense of collective memory in urban spaces of Hasan-Abad square and Azadi Square have the most effect in memorability, perpetual codes and social codes have the highest effect in Azadi Square and Hasan-Abad square respectively which is justifiable with regard to the spatial characteristics of these two spaces (logical codes).

Theater poster is one of inseparable part of the theater production in the modern era. Theater posters is not only an advertising to troupe stars or hall, but as the first element of theater that Approaches to the audience, like the other elements of drama and theater production, display information from the internal aspect of production to spectators and the audience. If the poster of the theater is not the theater’s first act, it’s an important one. The first information about the theater performs through the poster to the audience. Theater’s poster is not just an advertisement, an address, and so on. The poster invites us to the theater, tells us what kind of theater we are going to do (popular, political, intellectual, etc.) and many other information that can be presented in theater poster through dramatic action to the audience. Dramatic action is “a collection of events that together form the story and its original function is to reveal the character and the plot.” The above general definition of dramatic action makes two things clear: one is that the domain of dramatic action extends from the field of text and dramatic performances, and second that the transfer of the idea, the plot, and the theme through it is possible. Drama and dramatic action in two-dimensional arts such as poster is possible through different and intertextuality readings. A different aspect of the dramatic action on theater posters is that some graphic designers have been able to convey to the audience through dramatic action in the poster, theme or the essence of the dramatic effect. This study was conducted on descriptive- analysis method, theater posters designed by Michal Batory as a text, which is composed of different layers, based on the theories of semiotics is studied and tried to find a knowledge about dramatic action and transfer the theme and the concept of the theater in these posters.

Shahnameh Tahmasebi from Safavid era and Akbarnama related to the Mongol’s time are such master pieces of miniature in the tenth century which not only have the same structures but also identical outwards. This study is aimed to investigate these works performed by semiotic approach and based on the concept of dual opposition that is one of the basic concepts in the structuralism criticism and theories of linguistics and semiotics.in this system, everything depends on the relationship.the sing as a unite of signifier and signified, influenced by the culture too.
The questions of this investigation has shown as follow: 1- what kind of production essence does these master pieces incorporate?
2- From what extent Signs in the pictures that are each pairwise comparisons, grant signified to their signifiers and would make a relationship to the meaning area?
This project has been performed in a descriptive-analytic approach and library-based method.
Research and study on the miniatures of these two versions show that: Tendency to the limited space, priority of culture signs over the nature, crowd of people, compaction in the box and plan with a realistic view and assistance of the structural factors. On the contrary, characteristics such as display in the open space and lush nature, the systematic distribution in the figures, colors and components of an image, two-dimensional plan and creating a multi-dimensional space are the characteristics of the miniature in Shahnameh tahmasebi. This creates a kind 1o1f1 7symbolized narrative that is placed in front of described narrative of miniature of Akbarnameh.

As one of the branches of new art being practiced independently, the conceptual art, or at times merely called 'conceptualism', is a type of art wherein ideas and concepts take precedence over the traditional aesthetic, technical, and material concerns involved for the creation of the artworks. Taking into consideration the first examples of conceptual art, such as the 'One and Three Chairs' by Joseph Kosuth, photos play the main role in creating such works. This piece consists of a wooden folding chair, mounted photograph of a chair, and mounted photographic enlargement of the dictionary definition of 'chair'. Here, the question put before the audience was which of the above presents the real or virtual nature of an object or phenomenon, here being 'the chair'In conceptual art, it's the artist's idea that matters, not the artwork's object or theme. In fact, the conceptual art endeavors to highlight the intellectual and mental aspect of an artwork that reflects the artist’s intention. Nevertheless, such intention is not a clear, certain truth for the audience; on the contrary, any spectator can perceive a different meaning from the work of art or generalize its implicit concept.With the advent and development of diverse branches of new art between the 1960s and 1970s, photography was considered as one of the main mediums of the new art, particularly the conceptual one, due to its ease of availability, the possibility of recording the real time events and thus bearing witness to the reality. Semiotics not only involves what we refer to as 'signs' in everyday life, but also anything which 'stands for' something else. In a semiotic sense, signs may appear as words, images, sounds, gestures and manners. Semiotics tell us that we live in a world of signs and so, understanding this world without identifying the existing signs and codes is impossible. Semiotics is the key to the cognition of a work. It is the solution to grasp the meaning (s) of artworks, helps comprehend the implications, clarifies how symbols are created and what rules over them.Moreover, since photos are hard copy or digital copies of a real life subject, they themselves are considered codes which sometimes function as symbols and at times as indices and thus, play an essential role in conveying the concept and meaning of an artwork. The photo reminds works that have proceeded before and now an image is enough for its objective visualization and presence and frees the viewer from need to its presence. Due to the fact that in the contemporary era, photos are taken as one of the main mediums of replication, they have always been associated with and connected to the reality and hence, are sometimes categorized in semiotics as iconic or indexical symbols. Yet, such classification should not take the photo context as a separate, single entity. It seems that photos always contain a track of visible/concealed symbols of time conveyed through the recording of the reality.Through a survey of the significance of semiotics in conceptual photographs, the paper at hand intends to investigate Pearce's theory regarding the importance of implications in conceptual works of art. The question here is: What role photography plays in conveying the implications in conceptual artworks?A review of the research studies conducted indicates that as photo is considered a reality oriented document, it is somehow a fixed company to conceptual art. The study of theories of new Semitists like Saussure and Pearce as well as the implication of reality in photos show that implicit and explicit implication play an essential role in conceptual art. Roland Barthes propounded such implications as a 'significant achievement in the semiotic study of photography'. As a context, each photo can have a conceptual and implicit meaning besides a unique, explicit one. It's based on the recognition of these two implications, particularly the former one, that a photo should be examined. In other words, implicit implication of a photo or an image is totally dependent on the mental structure as well as the earlier individual, emotional experiences of the audience and is thus a personal, rather than collective, experience which is different from others. Implicit implications are manifold, while explicit ones are exclusive. Implicit implications depends on the personal background, earlier experiences and understandings of the audience (interpreter) against any given written or pictorial context such as photo or painting.This research employs a descriptive – analytical method and in some cases field studies to examine the data collected from library sources and filed studies and comes to this conclusion that since photos are considered real documents, they somehow constitute the main part of conceptual art. Moreover, as photos are the most accurate replications of real subjects, they are considered symbolical or indexical signs. As a result, they play an essential role in conveying the concept and meaning of an artwork. A photo reminds of past events and actions for which, the respective image sufficiently serves the objective visualization and consequently, eliminates the necessity for the real presence of the subject matter before the spectator. Due to the fact that a photo makes a silent, visual world for the audience, it does not impose its own perspectives on the spectator's mind. On the other hand, taking into account the fact all elements of photography are two-dimensional replications of daily, real life experiences, they are the best medium to employ symbols in conceptual art because in this type of art, the main emphasis is put on the artist's ideas.

Urban areas are significant elements in the structure of cities which can increase social interactions, identity and meaningfulness, formation of mental pictures and formation of the sense of collective memory. Urban areas show integrated structure of spatial organization of a city in which not only the connection of form and practice are to be considered, but also the meaning will find its place in whole complicated system of a city. Since forming the sense of collective memory has always been among the most basic qualitative principles and concepts in urban areas, finding a new approach to which can carefully explore the formative layers of urban areas is a priority. These layers are helpful in finding useful solutions for memorability of spaces and qualitative promotion of them.
Rollan Burt believes before any comment about the city, the technique of symbols should be utilized. With this new approach it seems it is possible to explore urban spaces and also to reach new solutions in the direction of the meaningfulness of a space and increasing the sense of collective memory. In this regard the objective of this research is to explore the concept of collective memory and its retrieval in urban areas with semiotic approach. Therefore the present research wants to discover the effective components on formation of the sense of collective memory on one hand and represent the conceptual template of semiotic on the other hand which is concealed in urban areas regarding the retrieval of memorability of urban spaces.Research is exploratory-explanatory and in the process of its decision making, an analytic comparison is used. Analysis of content and deductive reasoning is the main method to create the mental grounds of the research. Results express that the amount of memorability of Hasan-Abad square as an urban space based on the conceptual template presented in recent years and because of recent decisions of urban management has faded out. To retrieve the memorability, operational indexes of suggested semiotic templates in the frame of perceptual and social codes can revive the memorability of this square.

What we know today as architectural semiotics sub-field of semiotics and art in its shadow, no independent representation. Based on the theoretical concepts of architecture and alignment with the ideology of linguistic and semiotic need to explain the evident architectural semiotics explains. In this paper we analyzed the relationship between architecture and semiotics. Each social context (such as architecture), which carries a set of messages and relationships within the text by codes transmitted to the audience. These symptoms are encoded by the creator and reader (audience) on the basis of the social contract, subjective perception and point of view to decode the meaning of the text (Architecture) tries. Structuralist and post-structuralist semiotics provides two views. Signs to direct structural relationship between text and meaning are known. In contrast, post-structuralist semioticians, indirect relationship between text and knowledge and to explore the implication of their relations; in this paper, theories of semiotics, reading Architecture (text) from two perspectives about the analogy has been mentioned. The main focus of research on the meaning of architectural representation, which is composed of multiple layers of meaning, is. Meaning layers of float design and metaphorically, ironically, reflections and so on are intimate. Semiotic reading of architecture, to reproduce plan is based on the relationship between film and audience perceptions are based.

Today discussing about the semiotics has become an important issue for practitioners and theorists of surrounding urban, architecture and art. This study sought to analyze the semiotic space of Iranian theater as well as socially and culturally art of the past and now and also to recognize and understand the implications of the semiotic body type. The purpose of this research can contribute to the architectural space in contemporary theater in order to create a worthful space for Iranian plays. The sample, which has been analyzed in this study, is the one that has been created independently after the advent of Islam which has a specific space for its performances. These samples include Taziyeh as a ritual show. This descriptive - analytical study is based on theoretical evidence from Iranian performances. Library and Archives are data collection forms. Finally, after checking Taziyeh as Iranian show, we extract semiotic aspect items and through defining and redefining the patterns, the discussion of semiotic compliance is achieved. Accordingly, the theoretical framework of this research is the semiotic approach in dealing with the semiotics and investigation so that, according to some basic definitions that are used in semiotics is mandatory. These concepts explain various subjects for semiotic different emphasis and in the semiotics of all systems that play a fundamental role on this Science. In this regard for dramatic representation of reality in the show, conventional methods of linguistics and semantics are used in this context, Ferdinand de Saussure studies theorists such as Charles Sanders Peirce are the main comments on this issue. The research method is analytical documents. That utilizes the resources and documents available at the library's data collection, the history of the views expressed antecedents of the semiotics of the sign and the mark in a comparative perspective views to achieve a comprehensive definition and definitions Passion adapting the display space which will eventually show the way to represent signs on the Passion according to the definitions introduce semiotics. The research hypothesis is that the signs in Iranian theater with the kind of display location have a relationship with the executive. In terms of definitions and basic concepts of semiotics, which marks the first step is often overlooked examination the issue of whether the subject is really a sign or not? So we need to know what the symptoms To get the answer, first of all we briefly investigate differences between the signs and symbols: signs are discussed more generally than symbols. Symbols are informed from material factors and certainly do not have transceiver but sign is a form of symbol and also has a transmitter inform and receiver. In the result for comparing the theories, de Saussure and Pierce were examined in logic Saussure sign, signifying process based on freedom and voluntary association of two inseparable elements with phonetic impression (Significant) and imagine a concept (Signified). But unlike Saussure Pierce have the potential dynamic and fertile meaning and the same semiotic interpretation approach, Pierce notes that the categories of signs (icon, symbol, index) is not conclusive therefore interpretation of facilities is flexible Passion with a glimpse into structural semiotic Saussure, was benefited from highly performance language, agree and opposition reading of bad people and good people while colors and symbols are the same components which are performative and are unified under the forms of Taziyeh. Taziyeh is associated with dynamics of the symptoms that sometimes occur beyond the individual, flexibility of its core performance and passive benefits so in this case we are not facing with acting sign but we are facing with lots of passive action and this is why the dramatic peaks and landing is not dramatic situation but at the moment the scene is tagged weapons and people and … which realized in the form of "meta Semitic of theater ". The realistic foundation of Taziyeh is based on iconic sign, however we never spoke about trademark icon and symbol and index because sings in theater are different from look of each audience and it depends on the time, location, cultural. But since the show ritual rooted in the culture of a people and their religion is bound up with its main function, so this difference in religious views of the realistic theater to the public is different. Since quite a prominent figure in the religious views of the administrative structure is totally coherent theoretical doctrine can also be interpreted recent Semiotics. Performing sings symptoms such as props, people and movements in the level of dominance means sacred ritual mourning participation instead of maintaining any particular can only be referred to narrative. Function of metalinguistic dramatic works of the distinguished Taziyeh executive symptoms or interpretation is interpreted at the level of Semitic of Taziyeh.

Web development and entry of multi-level living space unilateral Based on information space، attention to aesthetics Respondent-driven is unavoidable. In the space of technological features and interactive environment of Web the creator and recipient status effect changes. Therefore، the focus on audience metrics we call elegance and structure popular in certain categories and updated with lubricating properties achieved. The ultimate goal of this research is to propose a way of getting audience feedback and analysis of the results is Respondent-driven to the achievement of aesthetic criteria. It is hoped that the results of this study may provide a new method for obtaining feedback from the audience with the possibility of extension and change of several variables، help the designers to design the Respondent-friendly and personalized websites. Transcending the graphics printed on a space with varying capabilities، sister technology، interactivity and hypertext، requires a different pattern of behavior based on the audience. Placed on top of the audience، needs to consider differences in behavioral and cultural characteristics of each culture emphasizes. Extending these approaches in the context of interactive and diverse web that has major differences with printed graphics، using audience reception towards research and attention to aesthetics multi-trends consequently led toward globalization. The basic assumption is that the text in the Web context، New meanings are not fixed or innate، but at the moment it is received by the respondent are meaningful. Because of the interactive web environment، the audience as consumers of media content is not influenced by the cultural background to decode deals. What is known today as the culture of «discourse» of a dominant culture affected. By default it is the result of cultural differences get in contact with all cultural groups، common criteria can be achieved. This approach، in the defining of the cultural environment of a country، defined as «Singh» in his book by the dominant culture was performed. Research methods، descriptive-analytical، along with library research، field research was conducted. The three-stage model is designed. For the analysis of raw data obtained from interviews، reviews، convenience inductive content analysis using the proposed technique «Mayring» three general categories; Status Professional، Technical and aesthetic features has been done. As a result، Web pages have been raised as part of a new aesthetic. Thus، visual perception system to organize and measure the levels of cultural adaptation، three theories of semiotics، Gestalt and orthopedists affordance Semiotic analysis of visual elements، outlines the rules governing the internal pages of the site deals with the subjective perception of how audience interaction، was used. Implementation of these three studies showed that the Iranian audience is able to detect a signal patterns are derived from indigenous cultures. But more willing to make a simple site design is based on Gestalt laws and repetitive patterns are identified. In contrast، the lower the ability to reach out and explore the mysteries of behavioral interactions، websites are designed based on affordance interactive features. The result is higher quality and Semiotic in affordance earns low rating.