نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 68 (زمستان 1399)

What is important in this study as the main purpose, is face believability in 3D computer animations. To examine this, the importance of face has been discussed according to four perspectives as follows: face reading and face language, body language and face position in it, the importance of face in communication and finally the importance of sense of sight. The reason for focusing this paper on 3D animation, in addition to the personal concerns of the authors, was to find a way to translate that trusted facial element into faces in 3D animation. Another reason for focusing on this type of animation is its increasing popularity in various areas due to its high flexibility, which continually changes its aesthetic boundaries. There are some presented numbers which show that even in the simplest models of communication, the face plays the most crucial role in conveying emotions. The notion of believability in computer animations and, subsequently, face believability, is another subject examined on the basis of Curie and Kania's view as the real motion picture, which provides a basis for the best description of real 3D computer animations. According to the concepts mentioned above, we try to provide solutions to enhance the believability of the faces in the animations alluded. The animator must know his character so well that he can recognize his personal reality in the moment. It is the role of the animator and his skills as an actor that can provide the audience with believable characters. This is more important in the face because it is the source of emotion and the believability of the emotion is very important to the audience. Uncanny valley, the most critical challenge of face believability in 3D computer animations, is also examined. What follows is an examination of two opposing viewpoints: one considers the universality of emotions to be true and the other considers it basically to be false. This study provides an opportunity to achieve practical solutions for the creation of believable faces. In the end, acting in animation is explored as an important element in conveying emotions to the audience; and attempts are made to develop methods of acting so that it helps to enhance the believability of the face. The results of this article show that humans are able to read each other's body language, and since the face conveys full meaning when it comes to emotions, it has a special place in body language and the believability of 3D animated characters. In addition to the method of Acting, Kennedy's perspective on acting, inspired by the concept of Morris, was also discussed in this article. Finally, it should be noted that what is most important in acting is the believability of character emotions. This is especially important when it comes to photographic realism.If the character's face is designed in harmony with its intrinsic characteristics, it will likely have a better chance of conveying the emotions to the audience. This can help character designers in animations to create more believable characters.

The possibility of mechanical recording and reproduction of the world by a camera is the turning point in the philosophical analyses regarding the representation of the reality in art. Disparate theories were proposed with respect to the realistic nature of photography and cinema due to the distinct nature of photographic and film imagery. This approach has led to the creation of the theory of film realism. The main figures of this powerful discourse including Dziga Vertov, Siegfried Kracauer, and André Bazin believed the cinema to be a realistic medium concentrating on the principle of the mechanical recording and reproduction of the world. Bazin believed in something even more by suggesting the hypothesis of the ontological relationship between photographic and film imagery. He maintained that the invention of the camera is more than just a technological event and it is the logical consequence of the natural evolution of the art towards realism. This approach faced significant challenges in the postmodern conditions and after the emergence of digital technology and theorists such as Jean Baudrillard proposed a new reading of reality and the role of modern technologies in its representation. Baudrillard challenged the idealistic principle of the representational system, i.e. priority of reality over imagery, using the new concepts including hyperrealism and simulation and lay the foundation of inverting this principle in the postmodern condition. He stressed that we are living in a world of objects and their representation. Accordingly, the present article carried out a comparative study on these two approaches in order to clarify the process of transformation of the concept of reality and its representation through the possibility of technological recording and reproduction of images. This comparative, analytical-descriptive, research was conducted with reference to the valid resources and aimed at clarifying these two approaches. This study also seeks to indicate that even though the film realism theory mainly focuses on the representation of reality, according to André Bazin, one of the most important figures of this theory and his like-minded theorists, there’s not much distance between realism and mimesis, because the inherent link between reality and imagery is their starting point in the realistic analysis of the cinematic imagery. Thus, the theory of film realism is concerned with the question of the essence and the relationship between imagery and reality in cinema in the framework of the traditional concept of representation. However, Baudrillard is of the opinion that reality has a fragile relationship with cinematic imagery and other forms of representation in the postmodern condition. The reality that can be easily manipulated using technological advances and digital cameras. This process leads to a new condition which Baudrillard described as Hyperrealism. A hyperspace in which the reality is a form of hyperrealism, due to the fact that not only the real is capable of being reproduced, but also it has already been reproduced by media such as cinema. This different analytical approach resulted in the creation of a new reading of the reality and its representation in the new media.

Since 1970s during which the psychoanalytical film criticism inspired a vast range of writings in various disciplines(Cinema studies, anthropology, philosophy and so on) the most popular approach was predicated upon the analogy between the Lacanian concept of specular image and the cinema image according to which the film analysts though of cinema screen as the Lacanian mirror. According to this approach-an gradually a model for studying film in a psychoanalytic manner- that was offered by Jean Louis Baudry, Reymond Bellour, Chrstian Metz, Peter Wollen and Laura Mulvey, the cinema spectator is compared to the infant who (mis)recognizes her/himself in her/his mirror reflection and identifies with it. The correspondence between the mirror image of self and the cinematic image provided theoretical grounds for some major psychoanalytical trends such as “the screen as the mirror” and “the Suture theory”. A number of post-modern thinkers, namely Slavoj Zizek revised the Suture theory and in doing so, they rediscovered and reapplied some Lacanian concepts and integrated them in the model. Their main goal were to- through the split which is believed to exist between the imaginary and the symbolic order exemplified in the split existing between the unconscious and the conscious identity represented in a mirror image of self- show the split between the interior and the exterior of the artificial identities that The other bestows upon its subjects. For some, this split that could be concluded from a cinematic experience shows that the Ideological Apparatus (Cinema discourse) fails to produce unifies subjects. The split, as a form of resistance as a happy yet bleeding wound remains forms a lack and leaves s stain on the cinematic image as well as it represents the impotency of the cinematic apparatus for making unified subjects out of its spectators. Such a split or lack was denied by some, like Gilis DeLeuze who posited themselves against Lacan and Lacanian approach to film, yet it seems that the analogy set between Lacan’s mirror and cinematic image has not drawn on a precise assumption of Lacan’s psychoanalysis. Sutue theory, with theorists such as Pier Odart and Zizek relyed on such analogy to try to analyze and explain the ways through which the split between the interior-exterior realm of the cultural-visual objects and the interior truth of the artificiality is sutured through the mediations of the desire of the audience and meanwhile reveals it. In this essay and through a comparative analysis across the Lacan’s texts and the remodeling of suture theory, the very basic presumptions on which the theory is based would be interrogated: Is the cinematic screen could be considered as a Lacanian mirror? To begin with, in the essay would be reviewed the ways through which a mirror image is constructed in the gaze of the viewer, then the nature cinematic image would be analyzed and subsequently the comparison between the mirror and cinematic image with regards to their relations to their viewer would follow and Under the new light the analogy would be observed and revised.

The complex abilities of pitch perception and perceiving discriminating pitches are vital to the music perception phenomenon. Comprehensive studies have investigated the influence of intervening silence in various dimensions and have indicated its effect on human auditory ability. The present study provides additional information on the pitch discrimination ability, and how silence between stimuli affects our perception. We neutralized various effective factors and assessed the effect of perceivable durations of silences (in the range of 500-2000 ms) on pitch discrimination ability in musicians; Distractive factors were reduced to refine the effect of intervening silence, and assess pitch discrimination accuracy in varying silent inter-stimulus interval durations precisely. By using factors such as pure stimuli, moderate frequencies, suitable durations, and favorable intensities, the efficiency of the experiment was optimized. Varying degrees of pitch differentials (5, 10, 25, and 50 cents) were used to estimate the effect of silence on pitch discrimination. In current experiment, participants included 36 female and 65 male undergraduate and graduate music students from Tehran University of Art and the University of Tehran (mean age=23.31 years, SD=4.46). They had passed ear-training courses, and played a melodic instrument for a minimum mean (SD) time of 9.15 (3.42) years. The difference limen for frequency was estimated for all participants (mean± SD= 8.2±2.88 cents). Since the results of multiple test attempts on one person should be considered related or dependent, Friedman test was used to compare the answers of each participant across different silent ISI durations. Moreover, Fisher’s exact test was used to correct all analyses. To assess the influence of auditory sensitivity and musical experience in our experiment, and to find any correlation between these factors and the effect of silence intervention, participants were categorized into two groups: one based on their baseline mean DLF (8.2≤ and >8.2) and another based on the mean years of their musical instruction (≥ 9.15 years or

The social science concepts arise from practical cases but they are a method for reading artistic works. Now a day with the juxtaposition of different domains of Humanities and Art, this relation has been mutual. Social science concepts sometimes originate from Artistic works and on the other hand, they can be read by these concepts. These works find depth by this reading. The Docile bodies' conception of Foucault which is originated from knowledge- power theory was made based on documentary cases from social history and has been used for reading political, social, and artistic works and events. Docile bodies concept has been the conclusion of performing discipline principles in garrisons, factories, schools, workhouses, and so on. This discipline which exerts on body، for improving and increasing the quantity and quality of the final product (work), degrades the human body to docile body and from this point, it can be compared with a puppet. The Marionette is one of the complicated puppets in making and animating also is one of the symbolistic kinds in meaning. It has a full figure because of the way of its animating which is from the top by strings. Then it can be so realistic and humanlike which makes it a suitable figure for any realistic play and also Opera. It seems Marionette from making to animating processes is similar to the docile body. This essay tries to find the visualization of these concepts in Puppet and distinctly marionette. Then it searches the characteristic of Docile bodies in Puppet. In this way, the discipline principles for Domestication are compared with Puppet in two phases; making and animating Puppet. From four discipline principles which Foucault explained, it seems two of them are visualized in Puppet making and two others in Puppet animating. The art of distribution is comparable to the studio of making puppets in which everything is arranged in a specific discipline. The puppet maker must be surrounded behind a woodturning table like the worker who is surrounded behind the sewing machine table. Control of activity which has four sections is comparable to the program of making puppets. It consists of Planning for the process of making puppets, determining a specific time for each process, designing movement in which continuity between body and movement is made, and Articulating for animating puppets like the relation between body and object. The organization of geneses is similar to recognizing puppets and training for animating puppets for achieving a docile body as a puppet. And the last is the composition of forces is similar to the final performance in which all puppets as docile bodies coordinate with each other for creating the play. The inevitable discipline of producing Marionette Opera makes Marionette as clearer visualization of the docile body. By this cognition, Puppetry Artists can coordinate these implications with his performance and uses it for conveying his ideas. Docile bodies that have different visualization in literal, social, and political cases, can be introduced as one of the implications of Puppet (Marionette Opera) and help Artists in creating coherent puppet performances.

 This study attempts to research the music’s relevant historical incidents according to the various available narratives. This study aims to analyze the variety of narratives and the relative understanding of the incident. Research method is based on comparative study of the narratives. Narrative has always been implied in art and history and therefore, a variety of ideas has been presented. Since, this study is related to history, narrative is not being considered in an artistic viewpoint. Narrative is among the most significant issues in science and the philosophy of history. Basically, most of the previous historical texts have been formed according to the tradition of narrative. The importance of the issue, chronology of incidents, their detailed provision and balance are the most significant factors. Variety of music-related narratives could be observed in historical resources. Hanging of musicians in the court of Amiranshah (Tamerlane’s son) is among one of these incidents. Structurally, incidents are sometimes contradictory in the introduction and main body of the story. Some authors used to add fun to a tragic story which could make the story more interesting. The process of incidents’ narrative is chronological-based, though, detail provision and their balance are not the same in narratives. The use of various narratives in one incident reveals the realistic nature of the incident; although, there has always been a wide gap between an incident and the truth of it. The narrative of hanging musicians in the court of Amiranshah and Abdolghader fled from the situation, demonstrates that despite the significant developments in music in Teimorid era, there has been no security for musicians in that time. Amiranshah’s mistreatment with musicians and blaming them for this behavior are the two significant points in this incident. Generally, two groups of narratives have been formed about this incident in the year 802 in lunar calendar. The first narrative is based on those historians’ records that have lived in the time of the incident’s occurrence; the second narrative is based on the mostly non-written evidence. It seems that the latter is less reliable than the former. Disagreements in recording the musicians’ names and the indefinite narratives are the reasons for this claim. It seems that despite the presence of Abdolghader among the other musicians of Amiranshah’s court; he has not been among those who were hung due to some unknown reasons. In this case, it could be claimed that Abdolghader’s credit before Tamerlan and reciting Quran is among the most significant reasons for saving his life, though; he fled the court to save his life. Tamerlane’s seven-year military expedition and his presence in Tabriz could be among the main reasons for Abdolghaer’s not seeking shelter in Baghdad; because Tamerlane intended to attack Baghdad and Sultan Ahmad Jalayer could not resist against Tamerlane. That is why Abdolghader decided in the right time to go to Tamerlane and recite him a verse of Quran in which the title is about forgiving the weak; he could save his life and explain his absence during the incidents.