ABSTRACTAmong the different kinds of new computer arts, fractal art is one with a strong mathematical background. As an interdisciplinary genre, fractal art has been attracting the attention of artists, mathematicians and computer programmers in order to promote this newly generated algorithmic art. Fractal art on account of its young age, parallel to rewarding new creative works of art, is also experiencing steps of promotion itself gradually. While it is easy to study other phenomena by rattling off their described properties, here the study of fractal art requires a closer look at today's idea of art and its relation to society. In other words, the philosophy of fractal art has not yet frozen due to its still-continuing progression and thus might need further sociological investigations. This article discusses the aesthetic and artistic aspects of this kind of art. In this order, having described the mathematical background of fractals and given a short exposition of today's postmodernism, this paper w...
Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well. 1
طی دهة گذشته، فیلم‌‌های متعددی دربارة رابطة فرد روحانی و مردم در سینمای ایران ساخته شده که «زیر نور ماه، مارمولک و طلا و مس»، از نمونه‌‌های این قبیل فیلمها به شمار میروند. گرچه، این فیلمها تفاوتهایی با یکدیگر دارند، اما به نظر میرسد که به گفتمان مشترکی تعلق دارند. این گفتمان در پی مفصل‌بندی جدیدی از دال روحانی در شبکه‌ای از مفاهیم/دال‌ها (مردم، عبادت، اخلاق، راه خدا، خدمت به مردم و مردمداری و غیره) است که همچنان به سیاست میاندیشد؛ اما مسیر آن را از طریق تودة مردم جستجو می‌کند. بنابراین، به جای رابطة دوگانة روحانی-سیاستمدار، به رابطة روحانی-مردم-سیاستمدار میاندیشد که البته بعد سوم آن عمدا پنهان شده است. از این‌رو، می‌توان گفت که گفتمان حاکم بر فیلم‌‌های یادشده حاکی از نوعی تعامل اجتماعی و همگرایی روحانی با تودة مردم است. در این فیلمها، روحانی تلاش می‌کند که نقش سنتی خود را در جامعة مدنی (مدرنیته) بازسازی کند، ضمن آنکه هرگز به صورت مستقیم این پرسش را مطرح نمی‌سازد که چرا از جامعة مدنی (سنتی/مذهبی) دور افتاده است؟ به عبارت دیگر، در این دسته از فیلمها عنصر سیاست (قدرت) مطرح نمی‌شود و سیاست همچنان به صورت یک دال حاضر «غایب» است که هدایت‌گری را بر عهده دارد. در مقالة حاضر، نخست با خوانشی بینامتنی، عناصر گفتمانی «احیاء ارزشهای دینی در جامعه مدرن» استخراج و نوع مفصل‌بندی آن مطرح می‌گردد. سپس، این مسئله که این گفتمان برای پاسخ‌گویی به چه دشواری‌‌هایی از روحانی در مواجهه با جامعة ایران در دهه اخیر است، مطرح خواهد شد
During the era of Bush administration and post-September 11th anti-terrorism discourse, the movie 300 was one of the best exemplar of a close relationship between Hollywood pop culture products and the neo-conservatives’ political discourse of nationalism. From my point of view, 300 is not an example of outstanding artistic films, but a film that more than any other film contains an Iranophobic discourse, produced by Hollywood. The film is another example for ‘warfare-ization’ of public sphere and envisioning war as part of the people’s everyday life using pop culture products in U.S. after 9/11. Connecting war with collective memory, 300 brings war to the heart of everyday life. The Western or American youths should think that just like the brave and devoted Spartan soldiers in 300, they also fight for democracy, freedom, and glory. This film is full of cultural stereotypes on the Eastern and Iranian culture, in particular, their identity. For example, women are depicted as erotic objects. In contrast to the Spartan women who are free, brave, kind mothers and faithful wives, the Iranian women are represented as slavish, lustful, indecent, and homosexual. They look like the sexy dancers in nightclubs and discotheques. Using van Leeuwen’s approach in critical discourse analysis (2008), this paper is aimed at analyzing this film as a media text.
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