This paper examines the relationship between the environmental aesthetics approach backed by knowledge (ecological aesthetics) and the possibility of doing an action in favor of environmental conservation. It seems that even having such an approach towards the environment fails to sufficiently motivate people to protect the environment and nature, since there is a tension between the course of daily life and scientifically supported environmental aesthetics. In order to explain such tension, we tend to examine and critique ecological aesthetics (which is in some respects overlapped with environmental ethics) from the viewpoint of the philosophy of Wittgenstein, particularly with reference to his later work including the concept of formal life. Based on this concept, ecological aesthetics can be criticized and examined on three grounds: First, aesthetics is not able to create understanding or appreciation that leads to action. Second, the ecological concept added to reinforce the aesthetics, cannot support aesthetics in this regard and can even make things worse; ecological aesthetics, in fact, diverts aesthetics from its purpose (the purpose with regards to the environment, which is to motivate people to preserve nature) by trying to give it a strong objectivity. Third, the role of ethics in its current form in environmental conservation cannot be an active role.

As the issue of education is complicated and multidimensional, it seems necessary to review the thoughts of different scholars in this discipline, and to compare them in order to make better use of their ideas. Using analyticdocumentary method, the researchers intended to compare the ideas of Alfarabius, the Islamic scholar, and those of Rorty, a neo-pragmatist scholar. A considerable point is that, both of these scholars have presented important and valuable reflections on ideal society and anthropology, which have resulted in outstanding outcomes for education. In this piece of research, firstthe thoughts of Alfarabius on the issues of anthropology, education, and their attitude towards society were compared. Then, having explained their ideas on these three points, the researchers tried to analyze them carefully. The main purpose of this study was to find out the similarities and differences between the thoughts of these two scholars. The result indicated that both of these scholars considered social education as a significant issue. Moreover, both emphasized on man’s self-making and his role as agency in education. They also shared the same idea about esthetic approaches to teaching.

There is no doubt that great Persian poets such as Ferdowsi, Saadi, Hafez and Nezami are the architect, criterion, acid test and preserver of language, language identity and Persian eloquence. One of the cornerstones of Persian language and eloquence is Hafez Shirazi. Hafez’s poems have been studied and analyzed from different approaches. In the present study attempt has been made to examine the imposed restriction in Hafez’s speech and understand what methods exist in Persian language for creating restriction in speech to be worthy of attention as far as art's esthetics approach, eloquence and applied semantics are concerned. To do so, while extracting and categorizing restrictive cases and providing generalizable rulesare dealt, various issues have been conducted Hafez’s art and as enjoying the above linguistic techniques. Mentioning palaces in Persian language have been made more with yardstick of palace's eloquence in Arabic language without attention to Persian language specific structure whereas they have different structures in speech's highlighting. Furthermore, other cases also exist that have not been paid attention to. In the present study which has been carried out using descriptive analysis and quantitative and qualitative design aiming at attaining yardsticks and criteria for analyzing Persian literary texts in semantics approach. Therefore attempts have been made while examining the way comparing the principles in semantics with Persian language structure through data analysis, offering a model for artistic speech assessment is developed. To do so, following studying and examining Hafez’s sonnets and analyzing eloquence-syntax structure, some selections of his poems have been organized. Hafez uses restriction words constantly even though it may be regarded more ordinary and less importance in view point of literary criticism but in literature which is the arena for meta norms and escaping the norms, a master and rhetorician as Hafez even has enjoyed the above technique in a way that has not impaired speech. Therefore, the analysis of Hafez's poems from the point of view of semantics, especially bound and restriction, can be the grammatical and linguistic basis in Persian rhetoric.

Aesthetic evaluation seems to be very difficult in the present time because of the various and sometimes contradictory definitions of aesthetics. However, the experimental aesthetics approach, which is based on the experience and perception of the audience, can be very useful and effective in evaluating visual qualities. The experimental aesthetics is based on the mindset and conception of the observer, therefore it attributes the perception of beauty to the individual's mind and related factors to them such as age and gender. According to the experimental aesthetics, approach gender is one of the most important factors that affect aesthetic preferences. Due to the importance and worthiness of symmetry in Iranian Islamic architecture, in this essay, we researched particularly this visual componeResearch Question: Current research examines the relationship between gender and symmetry as one of the important visual components. In this study, we want to answer this question: what is the effect of gender on the evaluation of the visual preferences of the symmetry component in the façade of contemporary Iranian architectural buildings.

The research hypothesis has been tested using a questionnaire. To compile a questionnaire, 5 random prototypes of contemporary Iranian architectural buildings were selected and 7 groups, each contained 4 images and were produced by changing and manipulating the original images. Due to the interdependence and interaction of symmetry and complexity on each other, the symmetrical and asymmetrical images of each were tested in two simple and complex modes. Participants in the test were asked to arrange 4 categories of images in terms of their beauty priority from top to bottom. These 4 categories of images were "symmetrical and simple", "symmetrical and complex", as well as "asymmetrical and simple" and "asymmetrical and complex”.

The results show that "symmetrical and complex" images are typically the highest priority for individuals, regardless of gender, with the highest level of order and complexity. Symmetrical images usually look more regular. But that doesn't always mean simplicity. Sometimes by repeating the patterns and putting them together we can get more complex and new patterns that are very amazing and beautiful. As we see in Iranian Islamic architecture, this technique has been used a lot. In compiling the research questionnaire, more complex images were produced using the vertical symmetry of the prototype. These images were more detailed, more diverse, and had more fractures. The images created from the manipulation of the prototype, while having the desired complexity, were also regular. Therefore, according to Eisenhower's formula, it was predicted that visual preferences would be the highest priority.We must emphasize that this result cannot be generalized to the architectural group. Architects are more interested in the complexity and complex images compared to the other groups, and they have rated the "complex and asymmetrical" images as more beautiful ones. Although there is no difference between men and women in the choice of images, among the group of the architecture students but in the non-architectural groups (mathematics and liberal arts) Men compared to women have given higher scores to symmetrical images and symmetry is a very influential component in evaluating men's aesthetics preferences. But in women's visual preferences, complexity has played a more prominent role and women tend to choose more complex images.

The white spot lesion on the dental enamel is an optical alteration that compromises the esthetics of smile. It can be caused by many factors, among them, defects in mineralization and formation of tooth enamel. Resin infiltrants are agents that penetrate, by capillarity, through the pores of the demineralized or hypomineralized enamel, altering the refractive index (RI) of the tooth structure and totally or partially masking the appearance of the white spot. The aim of this work was to report the use of resin infiltration to minimize the visualization of white spot lesion, present in an upper central incisor, as a microinvasive approach for the esthetic treatment of deep enamel hypomineralization. A 20‑year‑old female patient sought care with the esthetic complaint of extensive white spot lesion on the buccal face of her upper right central incisor. The diagnosis established was a deep white stain associated with the incisor molar hypomineralization syndrome, and the treatment of choice for the resolution of the case was the application of the Icon® resin infiltrant (DMG, Hamburg, Germany). To reach the body of the lesion, three cycles of acid erosion, using 15% HCl, were necessary to obtain a satisfactory aspect of masking the white lesion. A camouflage effect of the deep white spot lesion was achieved with the use of the resin infiltration, without the need of additional and irreversible wear of the dental structure.

In recent years, the study of apartment buildings is important because of their growth in Iran. This issue has been neglected in contemporary architecture and landscape research. Previous studies show that one of the factors affecting the mood of apartment dwellers is aesthetic criteria. The purpose of this study is to redefine the aesthetic criteria in evaluating the residential facade of Tehran to improve the quality of experience of residents. To this end, in the first step, the aesthetics criteria of the facade were extracted from the literature on neuro-architectural research. In the second step, according to the mentioned criteria, the residents of the apartments were interviewed. This research is an applied study and its method is qualitative. Sixteen articles were content analyzed in a systematic review. Eleven physical criteria and 8 semantic criteria for the aesthetic of residential facades were extracted. Classification between criteria was done through open-ended interviews with 14 apartment residents in Tehran. Findings showed that among the physical and semantical criteria of the facade, “vegetation”, “color and materials”, and “surface of the openings” have a positive impact on the perception of the aesthetics of the facade. The results show that the residential facades of Tehran are at a low level in terms of semantic and symbolic aesthetic. At the same time, these facades are not acceptable in terms of emotional aesthetic and are only visually enhanced.

According to the approaches of landscape aesthetics developed in the twentieth century based on environmental psychology and experimental works, landscape and urban planning is of high priority . On the other hand, the effect of aesthetics on the perception, experience and changes of landscape is highly highlighted. According to researchoriented perspectives, aesthetics is very important for perception and experience of landscape. Aesthetics also affect the changes of landscape. Nowadays, aesthetics plays a significant role in the landscape architecture and is used as a driver to change the landscape in term of cultural values, social justice and environmental rights.. Aesthetics provide a new form of sustainable landscape and contribute to beauty, acceptance and make sense of the landscape. The objective of this study was to find the paradigm of landscape aesthetics in the future. According to the qualitative data of previous studies, to understand future researches in the field of aesthetic landscape, three different approaches should be concerned that are described in detail in this study. These approaches including phenomenological, psychological and ecological can shape the general paradigm of landscape aesthetic and determine the direction of the future researches in the field of landscape; therefore, this paper tries to answers these questions: what are the new approaches to study the landscape aesthetics? How these approaches can be used to shape the researches in the field of landscape aesthetics in the future? This is a descriptive-analytical study.. In this study, scientists’ views and intellectual typology of the past century have been collected by analysis of the approaches mentioned above. If the phenomenological approach is perceived as the exchanged type and the ecological approach as a holistic one, psychological approach is as psychological and evolutionary approach. According to the results of study on the future researches on landscape aesthetics, the approaches mentioned above are neither incompatible nor consistent. These approaches complement each other, but explain different aspects of landscape aesthetics.

The main purpose of this study is to introduce the different approaches and methods of urban aesthetics. The research method is comparative-analytical.This study indicates that there are four main approaches in urban aesthetics: the physical approach, the psychological approach, the expert approach and the public preference approach. The study introduces the techniques of each approach as well. The physical and expert approaches are similar in nature and are widely used in urban management methods. These two approaches can be used to convert the physical properties of urban landscapes to design parameters. The psychological and public preference approaches are also similar in nature and are widely used in substructure studies. The two can be used to understand the public’s perception of urban aesthetics and use the results to make decisions in planning urban design projects. The evaluation methods of these four approaches were analyzed in tow groups of expert preference (including descriptive, non- quantitative and quantitative lists) and public preference (including non- quantitative and quantitative lists and the index method). The evaluation techniques and tools have also been introduced for each evaluation method in this paper and thoroughly categorized. These techniques include direct and indirect ones appropriate for the four approaches in urban aesthetics.In general, the paper defines the framework of possible future studies in the field of urban aesthetics and helps researches choose the most appropriate approach in their studies.The aim of this paper is to introduce the different approaches and methods in urban aesthetics. The research method is analytical and comparative. It analyzes and compares different opinions in the field of urban aesthetics and its different techniques. Based on the conducted studies, four main approaches can be introduced in urban aesthetics: the physical approach, the psychological approach, the expert approach, and the public preference approach. This paper has carefully considered the methods for these approaches as well.The findings of the study showed that the public preferences and psychological approaches must be used as the main substructure approaches in urban aesthetics and the physical and expert approaches as complementary approaches.

This study intends to investigate the Benjamin`s foundations of teleological approach to history. Critical Aesthetics of Benjamin that later created the Negative Aesthetics, is based on Allegory; the Element that is product of Benjamin special approach to language. The concepts as Experience, Revelation and Messianism that have a special position in Benjamin`s philosophy of art, linking to gether and to Allegory, in a special form and are connected to his teleological approach to history. The history that is covert by affliction experience, will express by Allegory in art work, but critical aesthetics by expression this, intends to leads to a better status. This is the total program of critical aesthetics in cross of the facts to the more ideals. Finally, Benjamin accept the possiblility of historical discontinuity of affliction experience by art Allegory. This is the total program of critical aesthetics in cross of the facts to the more ideals. Finally, Benjamin accept the possiblility of historical discontinuity of affliction experience by art Allegory.

It is necessary to study the landscape from various perspectives in order to perceive it aesthetically. Most previous studies about landscape aesthetics are either based upon non-Iranian references (therefore, they are irrelevant to the primary sources) or follow approaches used in the mid- to late centuries. This fact undermines our perception of the beauty of the landscape. For instance, restricting landscape aesthetics to its celestial aspects and focusing on divine aesthetics might limit the understanding of its more tangible dimensions. Therefore, the study of landscape aesthetics via its tangible elements can lead to a deeper understanding of it. The Persian descriptive poems dating from 990 to 1042 AD (380 to 433 AH), which explore the landscape and its aesthetic aspects, can be assumed as references to the question of the Persian viewpoint of landscape aesthetics during that period. In this research, we have chosen the poems of Unsuri-i Balkhi, Farrukhi-i Sistani, and Manuchehri-i Damghani (three poets in the Ghaznavid court) as case studies. Then, interpretations of the poems are provided as well as depictions of the subjective landscape as described by the three poets. Comparison between the reconstructed images beside the cognitive descriptions of the poets reveals the aesthetic approaches in that period. This subjective study of landscape aesthetics during the above-mentioned period presents an aesthetic framework focused on mundane aspects. Despite the resemblances in all three poets’ points of view, one could not deny the obvious differences in their approaches toward landscape aesthetics. The differences include the structural and hierarchical approach of Unsuri, the dynamic and hedonistic approach of Farrukhi, and the natural and time-oriented approach of Manuchehri.