https://ira.guilan.ac.ir/ Interdisciplinary Researches of Art en daily 1 Sat, 22 Nov 2025 00:00:00 +0330 Sat, 22 Nov 2025 00:00:00 +0330 https://ira.guilan.ac.ir/article_8827.html Background: If the originality and unexpectedness of the work of art were principles that modernism paid great attention to, the formalist post-painting exhibitions held in the fifties were extremely repetitive. Gradually, modernity fell out of fashion. Stylism, the invention of new forms, and the purity and purism that had been the preoccupation of painters and modernism for years no longer flourished. An era that had spent years trying to establish a historical identity for itself was now disappearing and disappearing before the astonished eyes of everyone. Thus, conceptual art, in the general sense of the word, took on meaning in reaction and opposition to formalism, which, to its extremes, considered content, idea, and concept to be of little importance. This art was the product of successive and successful rebellions against the four characteristics of art: material objectivity, media expression, visuality, and independence, which modern art at its peak had proposed as the main foundations of art. However, conceptual art took into account some components of schools such as Futurism, Dadaism, Surrealism, and Constructivism that had emerged between the two world wars, and even changed or enhanced their meaning. In fact, art is not a concept that has suddenly become a part of the art and thought that preceded it. Rather, in critical thought, it has been the heir of the past and its continuation in other forms; but in other respects, it is negative, contradictory, indifferent, and in contradiction with the past. These characteristics make this research unrelated to theories that propose that postmodernity is anti-modern.Objectives: This study aims to extract and explain the continuous components of conceptual art, considering this rupture and classification of the types of negations that formed conceptual art. The question is, what continuous components have existed in conceptual art from the modern and pre-modern eras, and what developments and transformations have they undergone?Method: The present research is of a qualitative type, using a descriptive-analytical method and library resources. The method of analysis in the present research is based on propositional induction, and the content analysis method in this research provides an analytical typology and the necessary skills for qualitative analyses through data classification and finding input and output patterns. Content analysis is a method by which the required concepts can be extracted from the text and organized into regular categories. This method assumes that by analyzing linguistic messages, it is possible to discover the meanings and ways of understanding texts. In fact, the goal of conventional content analysis is to help generate research findings by paying attention to dominant and common themes in the data in a way that provides extensive, concise textual information and a precise and clear relationship between the research questions and the findings. Therefore, relying on the inductive content analysis method, first, all texts that deal with conceptual art were collected and then non-randomly, to identify the characteristics and features of conceptual art in the text, sampling was conducted and a checklist was taken. Then, specific patterns were discovered, relying on the connected components that have perpetuated the relationship between modern and pre-modern art and conceptual art.Conclusion: However, with the emergence of contemporary art from the 1960s onwards, which developed as postmodern art, the rules of modern art and aesthetics were subjected to fundamental criticisms of critical thought, and the concept of art, from the depths of negation and denial, such as rebellion against the work of art as an object of art, the specificity of the medium of art, the role of the cogito in art, the commodification of art, the inner gaze, quality, stylistic distinction, and the uniqueness of the work of art, made its existence clearer and more definitive. But the aspect of contemporaneity in conceptual art was not reduced solely to these rebellions and negations, but rather the transition from modern to postmodern religion (or, as Kekelen argues, from the religion of consumption to the religion of communication) was accompanied by associated components that developed and emerged within conceptual art from both the pre-modern and modern eras and sometimes emerged with changes and developments. Among them was representation in art, which had always been present in art in various ways, but this time it took on a new form and, with the dissolution of the boundaries between art, the art object, and the object of life, became identical to each other. It went even further and figurative art also transformed. In a way that man and sculpture, life and self-representation, were also assimilated pragmatically. Another connected component is the long-standing function of language in art, which also appeared in a transformed way in conceptual art. Before that, the Dadaists had used language in their works by playing with the rules of language in the field of art and also by using linguistic qualities such as humor, satire, allusion, imitation, and mockery. But in conceptual art, especially the art and language group, the artist, with the decline of the inherent tools of art criticism, took the position of the critic and thus stepped into the field of language and philosophy clearly, and the work of art also became a response to the essence of art and was in line with the definition of art. The tradition of English romantic landscape painting is another continuous component in conceptual art that was manifested in Land Art and, by subverting the limitations of painting, expanded the area of ​​the painting canvas to the surfaces of the earth and fulfilled the desire of the landscape painter about the presence of the audience in the landscape through the painting canvas. Also, some works of Land Art emphasize in some way the historical-mythical tradition of cultivation and the art of packaging. https://ira.guilan.ac.ir/article_8855.html Background: Environmental graphics, as an influential art form in urban life, hold substantial potential both spiritually and materially to elevate the community level. Many people view environmental graphics solely as a tool for information dissemination, often limited to wayfinding, guide signs, stands, and outdoor advertising. However, given its extensive scope, environmental graphics can serve as a leading medium for reaching excellence and guiding society toward spiritual and material dynamism. This article thus explores the role of environmental graphics in the excellence of contemporary society. The city and its environment have long been venues for cultural and artistic reflection. Environmental graphics align with two complementary missions: firstly, to prepare the environment for effective communication, enabling easy navigation and standardized accessibility to pathways. Secondly, it should fulfill roles like beautification and identity development within urban spaces. In this capacity, the urban environment becomes a powerful setting for both the spiritual and material enhancement of citizens, which transforms the environmental graphics into a functional and uplifting art form.method: This article employs a descriptive-analytical method to explore the characteristics of excellence in environmental graphics. The study considers aspects such as relaxation, vitalization, creativity, inspiration, and identity development—qualities that significantly contribute to achieving a more elevated, vibrant, and successful community. Information is gathered through a literature review, guided by the central question: What are the enhancing aspects of environmental graphics for society, and how do they function? The final results demonstrate that environmental graphics, as an art form closely linked with society, can prove both spiritual and material vitality in urban life.Results: One of the most profound impacts of environmental graphics is their ability to reinforce cultural identity. Cities are not just collections of infrastructure; they are living entities with unique histories, traditions, and values. Through murals, typography, and symbolic imagery, environmental graphics can weave local heritage into the urban fabric. For example, a neighborhood with a strong artistic legacy might incorporate street art and custom lettering into its signage, while a historic district could use motifs inspired by its architectural past. This approach not only beautifies the city but also fosters a sense of pride and belonging among residents. When people see their culture reflected in public spaces, they develop a deeper emotional connection to their surroundings, strengthening community ties and encouraging civic engagement. Beyond cultural expression, environmental graphics contribute significantly to the aesthetic transformation of urban spaces. Many cities suffer from visual clutter—generic signage, chaotic advertisements, and uninspiring facades that create a sense of disorder. Thoughtfully designed environmental graphics can counteract this by introducing harmony and creativity into the urban landscape. Colorful wayfinding markers, artistic street installations, and cohesive branding in public areas can turn mundane spaces into visually stimulating experiences. Research has shown that aesthetically pleasing environments reduce stress and enhance mood, making cities not just more functional but also more enjoyable places to live. A well-designed bus stop, for example, is not just about providing shelter—it can incorporate local art, clear information displays, and even interactive elements that make waiting an engaging experience rather than a chore. However, beauty alone is not enough; functionality must go hand in hand with design. Standardization in environmental graphics ensures clarity and accessibility, preventing visual confusion that can arise from overly artistic but impractical designs. A balance must be struck between creativity and readability—signage should be instantly recognizable, typography should be legible, and color schemes should follow universal accessibility guidelines. Cities like Copenhagen and Zurich excel in this regard, using minimalist yet expressive design systems that maintain consistency while still allowing for artistic flair. When environmental graphics adhere to these principles, they create intuitive, user-friendly spaces where people can navigate effortlessly, regardless of language or cultural background. The intersection of cultural storytelling, visual enhancement, and functional design is where environmental graphics truly shine in urban settings. By embedding local identity into public spaces, elevating aesthetics, and maintaining high usability standards, cities can transform into more inviting, efficient, and emotionally resonant places. As urbanization continues to accelerate, the thoughtful integration of environmental graphics will be essential in shaping cities that are not only livable but also inspiring—spaces where people don’t just exist, but truly feel at home. In essence, "excellence" in this context refers to growth and flourishing. It is referred to as a move towards a specific goal. By improving the quality of urban life and creating a pleasant setting for residents, environmental graphics foster growth and flourishing. This field establishes a conducive environment for mental growth through motivations such as relaxation, inspiration, identity development, and creativity. Additionally, by promoting material aspects such as urban tourism development, it also facilitates economic growth.Often referred to as "experience graphic design," environmental graphics aim to create an engaging environment that resonates with people. They intersect with fields like industrial design, architecture, and urban planning, requiring graphic designers to collaborate across disciplines on environmental graphics projects. Environmental graphics also encompass interior and landscape design, linking to industrial design, urban planning, and behavioral psychology. Thus, environmental graphics can be seen as the interface between art and technology in the urban space, incorporating digital displays, urban lighting systems, interactive devices, and more.Conclusion:The present study gathers information using a descriptive-analytical approach through library sources, drawing on books, articles, and electronic media focused on environmental graphics, public art, and urban tourism to access the latest insights into the role of environmental graphics in urban life. Key variables, such as environmental graphics, enhancement, relaxation, creativity, and others, are defined and analyzed systematically. The case studies were selected randomly based on their effectiveness in demonstrating the impact of environmental graphics on urban life quality.Given the enhancement potential of environmental graphics, this article examines these capabilities, introduces them, and evaluates their impact on society. The objective is to showcase the latent possibilities that can pave the way for a more elevated environment. This research is conducted through a descriptive-analytical method. https://ira.guilan.ac.ir/article_8879.html Introduction: The art of inlaying is called the art of placing metals and precious stones on other metals and it is considered one of the richest and ancient artistic methods in the history of Iranian and Indian art. Niello art in Iran and Bidri art in India are methods of inlay in metalwork, and the final results of both methods produce a black color on the surface of the base metal. This similarity in the final products of the Niello and Bidri methods in both countries necessitated the need to conduct the present study. Familiarity with different artistic methods and styles is also essential for researchers in the fields of applied arts and traditional arts, as well as artisans and this research has attempted to provide artisans with the necessary technical and empirical knowledge to introduce the practical technical points of Niello or Black Enamel metalworking techniques and the Indian Bidri art. Therefore, the objectives of the present study are to identify the characteristics of the creation and execution of the Iranian Niello and Indian Bidri artistic styles, as well as to recognize the similarities and differences between the styles.Background: Searches show that no study with the exact title "A Comparative Study of the Manufacture Technique of Niello (Black Enamel) in Iran and the Bidri Art of India" has been found. But numerous studies have been conducted on Niello and the present research is considered an original and innovative study in terms of its comparative approach in the technical study as well as the construction and execution of Iranian Niello metalwork (black enamel) and Indian Bidri art. This point distinguishes the present research from existing studies.Research methodology: In the present study, Iranian Niello art and Indian Bidri art have been studied in two different geographies using library, documentary, and field information with a descriptive-analytical and comparative approach and the choice of Iranian Niello and Indian Bidri art techniques was purposeful, and the data analysis method is qualitative.Discussion and analysis: The results of the research show that the Iranian Niello metalworking method is a combination of metal sulfides and an alloy of the elements silver, copper, lead, and sulfur and the Armenians of Tabriz and the Mandaean Sabeins of Ahvaz manufacture and produce it with differences in the amount of these elements. Engraving is also the most important method used to create grooves on the surface of gold and silver metals to create decorative motifs. In the case of Indian Bidri art, engraving is also an important method of creating grooves and decorative motifs on metal made of zinc and copper alloy and Silver and gold inlay is applied to the engraved parts and the main factor in blackening is the oxidation process, and artists blacken the final work by immersing it in a paste-like mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native Bidar clay. Also, the final product in both countries consists of a two-tone silver and black or gold and black; while the blackening agent in Niello art is an alloy of silver, copper, lead, and sulfur and in the Bidri art, oxidation and a paste mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native clay are used as blackening agents. The basic material of the work among the Armenians is silver, the Mandaeans use gold and silver, and the Indian Bidri art uses an alloy of zinc and copper or an alloy of zinc, copper, lead, and tin.The differences and similarities between the two artistic styles are presented in Table 1: https://ira.guilan.ac.ir/article_8922.html Simple Abstract: The concept of the sublime, rooted in the philosophical reflections of Edmund Burke and Immanuel Kant, denotes a meta-cognitive experience that evokes awe and reverence through encounters with grandeur that surpasses everyday comprehension. In contemporary art, innovative materials like mirrors have redefined this concept. Anish Kapoor’s mirror installations, with their infinite reflections and subtle temporal delays, create tangible experiences of boundlessness and existential depth. However, prior studies have largely focused on theoretical or survey-based analyses, overlooking direct observation of audience interaction with these mirror spaces. This study aims to: 1) elucidate how Kapoor’s mirror installations redefine traditional notions of the sublime through boundless reflections, and 2) identify indicators of enriched sublime experiences based on observed audience behaviors. Employing a qualitative, descriptive-analytical approach, data were gathered from visual documentation (photographs and videos from exhibitions at venues such as the Guggenheim Museum and Millennium Park, Chicago), as well as critical texts. Data were analyzed via qualitative content analysis (open and axial coding). Findings reveal that these installations reconstruct the sublime as an existential experience by blurring the boundaries between reality and illusion, while active audience engagement—through reflective behaviors and curiosity—deepens this experience. This study bridges a research gap in analyzing audience interaction, highlighting the role of novel materials in contemporary aesthetics and inspiring interdisciplinary explorations in art and philosophy.Theoretical Background: The sublime, a cornerstone of aesthetic philosophy, originates in the works of Longinus, Burke, and Kant, evolving into a central theme in contemporary art discourse. Kant (1764/2003) distinguishes between the mathematical sublime, tied to incomprehensible scale, and the dynamical sublime, arising from encounters with nature’s overwhelming power. Both evoke a sense of human limitation juxtaposed with rational transcendence (Kant, 1764/2003, p. 156). Postmodern thinkers like Lyotard and Adorno reframe the sublime as an encounter with the ineffable, linked to epistemological crises and subjectivity (Shinkle, 2013). In contemporary art, the sublime transcends philosophical abstraction, becoming a lived experience. Barnett Newman’s (1948) essay “The Sublime is Now” posits artists as bearers of this experience, using minimalist forms to evoke transcendent presence (Newman, 1994, p. 137). Similarly, Robert Smithson’s Spiral Jetty and Richard Serra’s Matter of Time create visceral, spatial encounters with scale and power, redefining the sublime through physical immersion (Serra, 2001). Kapoor’s mirror installations extend this trajectory, using reflective surfaces to dissolve boundaries between self, other, and environment, aligning with Baudrillard’s notion of mirrors as tools for exploring simulated realities (Baudrillard, 1994). Unlike prior studies, which often adopt theoretical or sociological lenses (e.g., Pakzad, 2018; Zepke, 2011), this research uniquely focuses on direct audience interaction, offering a novel perspective on the sublime’s experiential dimensions in Kapoor’s work.Objectives and Research Questions: This study pursues two primary objectives: first, to delineate the mechanisms by which Kapoor’s mirror installations redefine traditional concepts of the sublime through infinite reflections; second, to analyze observational evidence of audience interaction to identify factors enhancing the sublime experience. The research questions are:How do Kapoor’s mirror installations, through boundless reflections, redefine traditional concepts of the sublime?Based on observed audience behaviors and reactions, what indicators confirm the deepening and enrichment of the sublime experience?These questions address Kapoor’s innovative use of mirrors and the active role of audiences in meaning-making, contributing to contemporary aesthetics and interdisciplinary art-philosophy studies.Data Collection: The research adopts a qualitative, foundational approach with a descriptive-analytical framework. Data were sourced from: 1) visual documentation, including photographs and videos from official exhibition records at prominent venues such as the Guggenheim Museum, Tate Modern, and Millennium Park, Chicago, focusing on ten purposively selected mirror installations by Kapoor for their high reflectivity and interactive potential; and 2) critical texts, articles, and reports from reputable databases. Data collection tools included a structured observation checklist to record visual and conceptual attributes of the works and a note-taking form to extract insights from written sources. The purposive sampling of ten works ensured representation of diverse forms and meanings, capturing the essence of Kapoor’s mirror-based oeuvre.Analysis and Discussion: Data were analyzed using qualitative content analysis, employing open and axial coding to extract themes related to the sublime, boundlessness, and audience interaction. The analysis reveals that Kapoor’s mirror installations, such as Cloud Gate and Sky Mirror, redefine the sublime by creating infinite reflections that blur spatial and temporal boundaries, evoking Kant’s mathematical sublime through perceived boundlessness and the dynamical sublime through awe-inspiring ambiguity (Kant, 1764/2003). For instance, Cloud Gate’s curved, reflective surface merges the viewer’s image with the sky and urban environment, fostering a surreal experience of infinite space (Hughes, 2010). Observational data highlight audience behaviors—such as prolonged pauses, exploratory movements, and verbal exchanges about shifting reflections—as indicators of a deepened sublime experience. These interactions, marked by curiosity and awe, transform viewers into active participants, aligning with Bishop’s (2005) concept of the audience as a co-creator of meaning. The installations’ reflective surfaces serve not only as visual tools but also as existential mediators, prompting introspection about identity and humanity’s place in the cosmos, resonating with Lacan’s (1977) theories of self-recognition. This dual engagement—individual and collective—enriches the sublime, making Kapoor’s work a pivotal contribution to contemporary aesthetics. The study fills a gap in prior research by directly analyzing audience interaction, offering insights into how material innovation shapes aesthetic experiences. https://ira.guilan.ac.ir/article_9098.html Introduction: The Khavaran-nama, composed by Ibn Hassam Khusfi Birjandi, is an epic poem centered around the life of Imam Ali (A.S.). Written in the style and structure of Ferdowsi’s Shahnameh, this literary work offers a unique opportunity for the convergence and coexistence of religious heroes and national mythological figures. The main point of intersection between these two texts lies in their mythological portrayal of two prominent figures: Imam Ali, the sacred figure of Shi'a Islam, and Rustam, the legendary and national hero of Iran. The author, writing in the 15th century (9th century AH), seeks to preserve national identity while simultaneously expressing his religious beliefs by replacing mythological and national characters with real historical figures from Islamic and Shi'a tradition. The illustrated version of Khavaran-nama serves as a treasure trove of heroic scenes that raise questions regarding the logic behind the selection of these particular visual moments. Previous studies in this field have mostly focused on aesthetic analysis or the influence of earlier artistic traditions. Given that Joseph Campbell’s theory of the Hero’s Journey has become a widely accepted framework for analyzing mythological character development, this study aims to offer a new narrative-visual analysis of Khavaran-nama through the lens of Campbell’s mythological structure—particularly his model of the Hero’s Journey. To understand how these elements are integrated, it is essential to examine the mythological character development—especially the stages of the hero's journey. The theoretical framework of this study includes two key approaches: First, Joseph Campbell’s theory of the monomyth, which outlines the universal pattern of the Hero’s Journey in three stages—departure, initiation, and return. This process involves the transformation of the hero through symbolic trials and encounters with the collective unconscious. Second, the study draws on narrative analysis of visual art in Islamic-Iranian illustration. According to this approach, painters are not merely illustrators of text but creative interpreters who reimagine the story through visual signs and symbols.Objectives and Questions: This paper discusses the potential overlap between Campbell’s ideas and the visual scene selection in the illustrated manuscript of Khavaran-nama, based on the above-mentioned frameworks. This approach not only offers a novel interpretation of the work but also provides a foundation for comparative studies between Islamic-Iranian art and mythology. Since Campbell’s Hero’s Journey model is considered a valuable tool in analyzing mythic character development, and understanding the illustrator’s method of selecting pivotal moments is critical, an analysis of the Khavaran-nama miniatures in light of this theoretical alignment proves highly insightful. The objective of this research is to analyze the miniatures of Khavaran-nama as visual representations of the epic and explore their alignment with Campbell’s Hero’s Journey. Accordingly, the study seeks to answer two primary questions:  1. Is there a structural correspondence between the illustrations in Khavaran-nama and Campbell’s universal Hero’s Journey model? 2. If such alignment exists, how are Campbell’s concepts manifested in the depictions of Imam Ali (A.S.) within the illustrated scenes?Methodology: The research methodology is a mixed approach, combining narrative content analysis, comparative alignment with Campbell’s stages, and semiotic examination of the miniatures. The statistical population comprises all 115 illustrations remaining in the original manuscript of Khavaran-nama, preserved at Golestan Palace. The sample analyzed consists of 75 miniatures in which Imam Ali (A.S.) is depicted as the central heroic figure. Each of these 75 illustrations is examined for its narrative content, its overlap with the stages of Campbell’s Hero’s Journey, and the symbolic elements present in the imagery.Results: The findings are presented in tabular form, accompanied by selected images that serve as representative examples. The results of the study directly address the main research questions. According to the findings, all 75 miniatures depicting Imam Ali (A.S.) in the Khavaran-nama correspond to the "initiation" stage of Campbell’s Hero’s Journey. Two of these miniatures, in addition to representing initiation, also include elements pointing to the "departure" stage. Within the initiation stage, all 75 illustrations fall specifically under the "Road of Trials" sub-stage. However, some of these also exhibit features related to other sub-stages of initiation: one image contains elements of "Crossing the First Threshold," one reflects "Belly of the Whale," 14 show "Atonement with the Father," 14 include motifs of "The Ultimate Boon," and 66 portray aspects of "The Return with the Elixir." The study concludes that the illustrator(s) of Khavaran-nama deliberately chose scenes that primarily align with the "initiation" and "transformation" themes of Campbell’s Hero’s Journey model, emphasizing the spiritual and symbolic evolution of the hero. https://ira.guilan.ac.ir/article_9148.html Introduction: "Contemporary art" has dominated the art world with new visual practices since the 1960s. In the meantime, "postmodernism" as a paradigm assumed the task of shaping contemporary artistic practice and its defining institutions. Postmodernism achieved this through legislative institutions and experts, defining and determining normative behaviors in the form of educational instruction, thus expanding its desired art world. The present study addresses this question: How has the structure of the art world and the thought of postmodernism, as a dominant paradigm, affected the construction of contemporary art and the spiritual system that governs it over the past few decades? To answer this question, the contemporary art world, its institutions and agents must be studied. The present study seeks to build a framework for understanding this issue by using Max Weber's "Sociology of Religion." There, Weber refers to the role of religious forces and the relationship between religious ideas and aspects of human behavior in the construction of society. The institution of the church and its priesthood are very close to the institutions of the contemporary art world and the special work of the critic-historian. To this end, we analyze in a case study the impact of the special work of the critic-historian (Hamid Kashmirshekan) on Iranian contemporary art.Problem Statement: Since the early 1990s, new developments have occurred in modern Iranian art. In these years, some artists, influenced by the new atmosphere and imposed isolation, found an opportunity to reflect on the variety of art that they had been rapidly and excitedly involved in years before. This coincided with changes, albeit relative, in the socio-cultural atmosphere of this period. Outside Iran, since the mid-1990s, the cultural approach and macro-politics of Western art in dealing with non-Western art had changed. Issues of sexual, ethnic, linguistic identity, etc., underwent fundamental changes, and contemporary art, claiming plurality, freedom, and equal opportunity, transformed itself into the dominant model. These factors caused another era of art to begin in Iran in the early 2000s and the birth of Iranian contemporary art. In fact, "Iranian contemporary art" as part of the new realm of contemporary art should be considered under the claim of postmodern pluralism and the creation of a new geography of art. "Postmodernism" as a dominant paradigm assumed the task of dominantly configuring contemporary artistic practice, its defining institutions, and the concepts and patterns that governed it. This new art was based on reflection and criticism of identity, especially new and contemporary identity. Although this "identity" and its problems and how to deal with it were defined in a way that the dominant paradigm defined, in any case, this new paradigm also influenced the work of young artists over the next decade.Background: The issue of the present research is the influence of agents and experts on the [contemporary] art world. Paul Crowther (2002), in his article “Against Curatorial Imperialism,” speaks of postmodernism and its rules as external factors that influence contemporary art. Crowther refers in particular to the special work of the curator. Pierre Bourdieu (1993), in his article “The Market for Symbolic Commodities,” studies the art world, addresses the issue of the art market and agents and experts in art, and draws some connections with the sociology of religion by Weber.In the field of studying contemporary art institutions in Iran, Mehdi Qadernezhad (2018) in his doctoral dissertation “The Possibility of Autonomy of Contemporary Art: The Role of Postmodern Culture in the Formation of Contemporary Art Commodities” seeks to analyze how the dominant pattern of the era is constructed in contemporary art by comparing the two worlds of religion and art and its factors and agents. Hamid Kashmirshekan (2017) also deals in detail with contemporary Iranian art and how it began, expanded, and developed, and in doing so, he engages in a kind of theorizing of contemporary Iranian art. The present study, looking at all past research, specifically focuses on the role of the critic-historian in the development of contemporary Iranian art practices.Methods: We take the theoretical framework and analytical tools of this article from Max Weber's sociology of religion.Results: Postmodernism seeks to create a world in its own image. For this existence/emergence, it needs to gain legitimacy. The emergence of the commodity of identity and its use for commodity art is the solution to postmodernism and its spiritual apparatus to gain legitimacy in contemporary art. Here, identity is a tool for expanding the idea of ​​the commodification of art, and of course, it is one of the existing tools-solutions. The goal of authority-power is always to construct normative and formatted behaviors and rules. Behaviors that are necessary for the construction of a specific and defined commodity. Identity and identity tools are one of the easiest ways to construct a commodity of contemporary art, and in the narratives proposed of contemporary Iranian art, and especially in Kashmirshekan, this issue is introduced and theorized in the form of identity discourses. Kashmirshekan’s project and the new art system thus seeks to construct the concept of “Iranian contemporary art” that has a specific framework and reflects certain rules-behavior, a behavior that leads to the construction of something like a “commodity.” For example, in contemporary art, concepts from power to difference, from writing to the will to know, from sexual identity to local-ethnicity, etc., that is, what is called the “theory-oriented” movement, are normalizing identity-oriented determinations that are presented in the form of a commodity and help the artist-subject in a simplified creative action and regulatory/normative visual behavior. Together, these help to form dominant and specific behavioral patterns in contemporary Iranian art. Patterns that can easily be seen in today’s art. Needless to say, the artists that Kashmirshekan refers to in this book are themselves the best students of this new order and correctly implement the signs and rules. https://ira.guilan.ac.ir/article_9197.html Introduction: The Enigma of an Enduring Image: Edward Hopper's Nighthawks (1942) has transcended its status as a masterpiece of American art to become a transmedial cultural icon. The image has moved beyond museum walls, embedding itself so deeply in the collective memory of Western culture that it is continuously reproduced across diverse media, from cinema and literature to advertising and internet parodies. As Gail Levin (1995) notes, the work has become the definitive symbol of urban alienation in the modern era. However, the painting's exceptional fame and unparalleled staying power present a profound enigma for researchers: why has this particular image, among thousands of other representations of loneliness and alienation, achieved such an iconic status? What hidden mechanism within this static frame has enabled it to become an active, self-replicating element in the cultural ecosystem? While traditional art historical and sociological analyses have described the painting's social content (the "what"), they have failed to explain the cognitive and cultural mechanisms of its influence (the "how"). This research aims to bridge this analytical gap by addressing these fundamental questions.Central Thesis and Theoretical Framework: A Cognitive-Cultural Co-evolutionary ModelThis study argues that the enduring power of Nighthawks lies not in a single factor but in a process of "cognitive-cultural co-evolution." This model is based on the hypothesis that the painting's success is the product of a powerful synergy among three key elements: 1) an optimized visual Vector, 2) a profoundly resonant diagnostic Message, and 3) a fertile cultural Medium. To dissect this process, an interdisciplinary theoretical framework is employed, resting on three main pillars:Memetics: Drawing on Richard Dawkins's theory (Dawkins, 1976/2016), the research analyzes the painting as a "memeplex" (a complex of memes) that possesses highly efficient features for survival and replication in cultural competitionCognitive Science and Art: Inspired by Andy Clark (2008), the artwork is treated as a "cognitive artifact"—an external tool that organizes our mental processes and aids our understanding of the world.Intermedial Translation Theory: Using Bolter and Grusin's concept of "remediation" (2000), the process of translating the painting's "cognitive code" into cinema is analyzed not as a simple copy but as a creative reinvention.Part One: Anatomy of the Memetic Vector (The Cognitive Structure): The success of Nighthawks as a "mind virus" is first and foremost indebted to its engineered and optimized structure. This structure consists of three intertwined codes:The Graphic Code: The painting's visual simplicity and power ensure its survival. The human brain is optimized to process simple, high-contrast patterns (Arnheim, 1974). The composition is easily reducible to fundamental geometric shapes (a yellow triangle against two dark rectangles). This structural simplicity, combined with the stark contrast of light and shadow (Chiaroscuro), creates exceptional "cognitive stickiness" (Heath & Heath, 2007) and makes the image extraordinarily memorable.The Narrative Code: If the graphic code imprints the image on the mind, the narrative code keeps it active for a long time. Hopper creates a masterpiece of "engineered ambiguity." By eliminating any specific narrative details, he creates a "narrative vacuum" that intensely activates the viewer's "Theory of Mind" (Frith & Frith, 2005). We unconsciously begin to construct stories for these archetypal, anonymous characters, transforming from passive observers into active collaborators in meaning-making. This "open-source" quality vastly increases the meme's potential for adaptation and mutation.The Atmospheric Code: The painting's ultimate power lies in its heavy, intangible atmosphere. The absence of an entrance, the transparent yet impenetrable glass, and the visual silence of the scene create a sense of suspense, entrapment (claustrophobia), and a voyeuristic position for the viewer. This "unresolved heavy silence" generates a persistent emotional state in the viewer's mind that lingers long after seeing the image.Part Two: Analysis of the Diagnostic Message (The Cultural Content): This efficient visual vector carries a highly precise and multi-layered message that resonates deeply with the experiences and anxieties of modern society. Nighthawks is a diagnostic document of the multiple crises of modernity:The Urban Crisis: The painting is a powerful statement on the experience of alienation in the modern metropolis. It depicts a city that, in Georg Simmel's terms (1903/1950), forces the individual to adopt a "blasé attitude." The cold, inhuman architecture transforms the city from a "community" into an indifferent "landscape."The Social Crisis: The work visualizes Émile Durkheim's concept of "anomie" (1897/1951)—a state where social norms are weakened and individuals, despite their physical proximity, exist in absolute psychological isolation. The painting accurately diagnoses the process of social "atomization."The Existential Crisis: On an individual level, the painting portrays the existential angst of modern man. The brightly lit diner symbolizes the material comfort and security of modernity, yet this prosperity fails to fill the spiritual void and sense of meaninglessness felt by the characters.The Communicative Crisis: The large, transparent window paradoxically foretells a society where everything is visible, yet nothing is truly understood. In Michel Foucault's terms (1977), this space is an inverted "Panopticon," where transparency becomes a tool for control and separation.Part Three: Translation and Evolution in the Cinematic Medium: The combination of an optimal vector and a resonant message is not sufficient to create an icon; the meme required a fertile medium for replication. American film noir of the 1940s and 1950s became this ideal environment due to an "ecological convergence." Noir filmmakers, grappling with the same post-war anxieties and pessimism, needed a visual language to express this dark mood, and Nighthawks provided it in a ready-made form.This translation was a creative adaptation. Film noir transformed Hopper's static, existential isolation into a dynamic, criminal paranoia:Lighting: Hopper's stark Chiaroscuro was translated into low-key lighting with moving, threatening shadows.Framing: The asymmetrical composition and diagonal lines were translated into Dutch angles and constricted frames to heighten the sense of fatalism and entrapment.Space: Hopper's quiet, still diner became a site for deadly conspiracies and clandestine meetings.After being established in the classic noir period, this "Hopperian language" continued to mutate and evolve in contemporary cinema. Key case studies demonstrate this evolution:Pennies from Heaven (1981): By literally inserting its characters into the painting, the film transforms Nighthawks from an image into a reified, "shared cultural place" in the collective consciousness.Paris, Texas (1984): Wim Wenders removes the Hopper code from the urban environment and transplants it to the vast American landscape, mutating "urban alienation" into "existential alienation in open space."Blade Runner (1982): Ridley Scott projects this code into a dystopian future, evolving human alienation into "post-human" alienation in the age of technology.Conclusion: The Legacy of a Self-Replicating Diagnostic Code: Ultimately, this research demonstrates that the exceptional success of Nighthawks is the product of a complex co-evolution between its cognitive form (the vector), its cultural content (the message), and its media context (the medium). The painting became an icon because it was a perfect "cognitive tool": simple enough for transmission, deep enough for contemplation, and flexible enough for adaptation. The ultimate legacy of Nighthawks is not just the image itself, but its diagnostic code—a powerful visual template for representing modern alienation that has now become part of our cultural DNA. The artwork reminds us that the most powerful works of art are not those that merely show us the world, but those that become the tools with which we see and understand it. https://ira.guilan.ac.ir/article_9234.html Introduction: In the evolution of philosophical theories of art, the notion of the active audience has become a key concept for understanding how meaning is created through artistic interpretation. Traditional approaches often viewed the audience as a passive receiver, while modern aesthetic and hermeneutic theories emphasize its creative role in reconstructing meaning. This study seeks to explore how the audience, as a conscious and interpretive participant, contributes to the process of meaning-making in the interaction between the artwork and its recipient. The research also investigates how individual and cultural presuppositions shape the interpretive process and lead to the production of multi-layered meanings in art. By situating the discussion within the philosophical context of hermeneutics and reception theory, this paper aims to redefine the audience’s role from a passive observer to an active co-creator of meaning.Statement of the Problem and Objectives: The central problem of this study is to determine how an active audience contributes to the recreation of meaning in the interpretation of artistic texts. The research focuses on the dynamic interaction between the artwork and the perceiver, highlighting the mutual influence of cultural, psychological, and linguistic factors in the formation of meaning. The objectives of this paper are:To analyze the philosophical foundations of audience activity in meaning-making;To examine how interpretive presuppositions affect the perception of art; andTo conceptualize interpretation as a creative and ongoing process rather than a static act of understanding.Theoretical Framework: The theoretical foundation of this research is based on philosophical hermeneutics and reception aesthetics. Friedrich Schleiermacher’s early hermeneutics (1819) established interpretation as a methodological process rooted in understanding the author’s intent and linguistic structure. Later, Martin Heidegger (1927) transformed hermeneutics into an existential inquiry, proposing that interpretation is a fundamental mode of human existence. Building upon Heidegger, Hans-Georg Gadamer (1960) developed the concept of the “fusion of horizons,” asserting that meaning arises through the dialogue between the interpreter’s pre-understandings and the historical context of the text.In parallel, Hans Robert Jauss (1982) and Wolfgang Iser (1978) emphasized the audience’s creative role in the formation of aesthetic experience through their “horizon of expectations” and “implied reader” theories. Roland Barthes (1977), in his essay The Death of the Author, further advanced this idea by declaring that the locus of meaning lies not in the author but in the reader’s interaction with the text. Together, these theories provide the philosophical backbone of this research, demonstrating how the artwork, language, and audience coexist in a continuous interpretive dialogue.Methodology: This study employs a qualitative and analytical-descriptive methodology. The research is theoretical in nature and relies on the close examination of primary and secondary philosophical texts. Data have been collected through library research and the systematic review of critical writings on hermeneutics, reception theory, and aesthetics. The works of Gadamer, Jauss, Iser, and Barthes serve as the main conceptual framework for analyzing how the interpretive activity of the audience shapes meaning in artistic communication. The analysis aims to reveal the philosophical logic behind the dynamic relationship between audience, text, and language in the process of meaning construction.Findings and Discussion: The findings indicate that interpretation is a creative and dialogical act, not a one-directional transmission of meaning. The audience, through its horizon of expectations, reconstructs meaning by integrating personal experiences, cultural values, and linguistic familiarity into its engagement with the artwork. The study demonstrates that:The dynamic and fluid nature of the artistic text enables the continuous re-creation of meaning across different contexts.The pre-understandings and cultural background of the audience significantly shape the interpretive process, leading to multiple possible readings.Language acts as both a medium and a co-creator of meaning, as its openness and ambiguity invite diverse interpretations.This dialogical process between text and audience forms the essence of modern hermeneutics, transforming art into a living field of interpretive encounters. The results confirm that meaning does not preexist within the text but emerges through active participation and interpretive engagement.Conclusion and Contribution: The research concludes that the active audience is an indispensable factor in the ongoing creation of meaning in art. Meaning arises not from the text alone, nor solely from the interpreter’s consciousness, but from their interaction within a shared linguistic and cultural space. The study validates the hypothesis that the audience, through its interpretive activity, generates multi-layered meanings that evolve with each new encounter. The findings also affirm that cultural and experiential backgrounds play a decisive role in shaping interpretation, turning hermeneutics into an ever-renewing dialogue.The main contribution of this study lies in redefining interpretation as a creative and collaborative process rather than a static understanding of the artwork. It also highlights the necessity of considering language not merely as a neutral vehicle but as a vital participant in the interpretive act. By emphasizing the reciprocity between text and audience, this research opens new perspectives for philosophical aesthetics and provides a conceptual framework for analyzing artistic meaning in contemporary contexts. https://ira.guilan.ac.ir/article_9235.html Background: Cinema has consistently provided a fertile ground for philosophical exploration, where visual images, narrative structures, and symbolic forms become vehicles for the revelation of deeper theoretical discourses. Unlike written philosophy, which often relies on conceptual rigor and systematic argumentation, cinema engages with audiences through a complex interplay of sound, image, and affect. This makes it particularly suited for staging the collapse of meaning, the ambiguity of symbols, and the play of interpretation. Among contemporary filmmakers, Tim Burton stands out as an artist whose distinctive visual universe—dominated by Gothic motifs, eccentric characters, and surreal narrative frameworks—resonates strongly with philosophical and cultural debates. His films resist conventional realism and instead offer fantastical narratives where reality is consistently destabilized and hybridized. Burton’s cinema has been widely appreciated for its popular appeal, yet it also contains significant philosophical depth. The interplay of light and darkness, innocence and monstrosity, fantasy and critique in his films makes them appropriate texts for philosophical inquiry. Of particular interest is how Burton challenges culturally embedded binaries. In doing so, his work aligns remarkably with the concerns of poststructuralist philosophy, especially Jacques Derrida’s deconstruction. Derrida’s intellectual project sought to unravel the stability of metaphysical oppositions—presence/absence, life/death, good/evil—showing how these categories are never pure but always already contaminated by what they exclude. This theoretical framework provides a productive lens through which to interpret Burton’s oeuvre.Objectives: The primary objective of this research is to apply Derridean deconstruction to the analysis of Burton’s films, focusing specifically on Edward Scissorhands (1990) and The Nightmare Before Christmas (1993). The study aims to show that Burton’s cinema undermines the binary oppositions that structure cultural discourse, thereby destabilizing notions of identity, morality, and aesthetics. By foregrounding ambiguity, contradiction, and hybridity, Burton opens cinematic space for new modes of meaning-making that correspond to Derrida’s notion of différance—the endless deferral and displacement of meaning. Additionally, the study seeks to demonstrate the cultural relevance of Burton’s deconstructive aesthetics. In an era marked by identity crises, shifting moral frameworks, and the collapse of traditional cultural categories, Burton’s films mirror the postmodern condition. His characters, stories, and visual environments provide allegories for contemporary anxieties about belonging, otherness, and the instability of truth. Thus, beyond the theoretical exercise, the study intends to situate Burton’s cinema within the broader cultural transformations of late modernity.Methodology: This research adopts a qualitative, interpretive approach grounded in philosophical hermeneutics and film analysis. Edward Scissorhands and The Nightmare Before Christmas were selected as case studies. The analysis relies primarily on Derrida’s concepts in Of Grammatology (translation by Abdolkarim Rashidian, 2024), complemented by Noël Carroll’s Philosophy of Art (translated by Fouad Rouhani, 2015) and Paul Shalman’s Philosophy and Cinema (translated by Khashayar Dihimi, 2017) to strengthen the theoretical foundation. Additionally, interdisciplinary perspectives from Cinema as Philosophy (Bordwell & Carroll, translated by Mehdi Shahba, 2019) are referenced to bridge philosophical theory and cinematic text. This combination of sources enables an in-depth analysis of Burton’s films both aesthetically and philosophically. The theoretical framework relies heavily on Derrida’s writings, particularly Of Grammatology (translated by Abdolkarim Rashidian, 2024), as well as secondary sources in philosophy of art and cinema. Noël Carroll’s Philosophy of Art (translated by Fouad Rouhani, 2015) provides the aesthetic grounding necessary to bridge philosophical concepts with cinematic forms. Paul Shalman’s Philosophy and Cinema (translated by Khashayar Dihimi, 2017) offers insight into the philosophical reading of film narratives. Finally, Cinema as Philosophy (Bordwell & Carroll, translated by Mehdi Shahba, 2019) helps integrate interdisciplinary approaches, demonstrating how cinema itself can function as a mode of philosophical discourse. Analytical tools include close reading of visual motifs, character construction, narrative structures, and thematic oppositions within the films. These are interpreted through Derrida’s key concepts—différance, undecidability, and deconstruction—to reveal the underlying philosophical dynamics.Findings:Inversion of Binaries: In Edward Scissorhands, Edward embodies a paradoxical condition—innocence coupled with destructive potential. His scissor hands, both creative and violent, reflect Derrida’s notion of contamination within binaries. He is both self and other, accepted and rejected, human and non-human. Similarly, in The Nightmare Before Christmas, Jack Skellington destabilizes the boundary between sacred (Christmas) and profane (Halloween). The narrative demonstrates that joy is infused with fear, and celebration with darkness.Genre Hybridity: Burton deliberately resists fixed generic categories. Edward Scissorhands combines romance, fantasy, Gothic horror, and social satire, while The Nightmare Before Christmas merges the musical with stop-motion animation and dark comedy. This fluidity resonates with deconstruction’s rejection of rigid boundaries, highlighting the openness of meaning and the instability of categories.Instability of Meaning: Both films generate ambiguity rather than closure. Characters embody indecidability, refusing simple classification. Edward cannot be neatly categorized as hero or monster, while Jack is neither villain nor savior. Their identities remain suspended, reflecting Derrida’s claim that meaning is always deferred, never fully present.Cultural Reflection: Burton’s cinema mirrors contemporary cultural conditions marked by pluralism, hybridity, and crisis of identity. The collapse of fixed categories in his films reflects broader social realities where individuals navigate shifting values and fragmented cultural landscapes. His films, therefore, are not merely aesthetic artifacts but cultural allegories of late modern uncertainty.Conclusion: Through Derridean deconstruction, Burton’s films emerge not simply as narratives of fantasy but as enactments of the instability of meaning. Characters and stories embody différance, highlighting the perpetual play of interpretation. By inverting binaries, blending genres, and foregrounding ambiguity, Burton’s cinema destabilizes the very structures through which audiences seek coherence. This analysis underscores that popular visual media, far from being philosophically trivial, can engage profoundly with theoretical discourses. Burton’s films illustrate that cinema functions not merely as representation but as a performative site of meaning’s collapse and reconstruction. His work resonates with poststructuralist critiques of metaphysics, challenging audiences to embrace undecidability and discover beauty within monstrosity. Ultimately, the study concludes that Burton’s cinema contributes to philosophical inquiry by dramatizing the instability of cultural symbols and the perpetual reconfiguration of meaning. In a world where traditional categories of identity and culture collapse, Burton’s aesthetic of hybridity invites viewers to live with ambiguity, to recognize the impossibility of final meaning, and to appreciate the poetic richness of undecidability. https://ira.guilan.ac.ir/article_9275.html Persian miniature painting is a distinctive and highly refined form of art, marked by unique aesthetic qualities that have drawn the attention of audiences and scholars for centuries. In Iran, miniature painting enjoys an ancient and rich heritage, its origins deeply rooted in the region's cultural and historical traditions. Throughout different historical periods, this art form has undergone numerous changes, developments, and fluctuations, shaped by social, political, and artistic contexts. Its pinnacle is widely recognized to have occurred during the Safavid era, when the artistic sophistication, expressive power, and thematic diversity of miniatures reached an unprecedented level. It would still take many years before the art of cinema could celebrate a two-hundred-year legacy, for cinema is comparatively young when placed alongside the six classical arts that preceded it, including painting. Cinema, in its relatively short existence, has drawn significant inspiration from these earlier art forms. It has absorbed their principles, distilled their stylistic and conceptual essence, and transformed them within its own framework, emerging as an independent medium. Among these influences, painting has left an unmistakable mark on the aesthetic vocabulary of cinema, granting it a unique visual identity. In the contemporary era, this mutual influence has even reversed in certain ways, with artistic practices in painting showing responses to cinematic language and imagery.From its earliest days, cinema attracted the attention of critics, theorists, and artists, becoming a subject of rigorous scholarly examination. Researchers have extensively investigated how the various fine arts, including painting, have influenced cinema’s development. Yet, one less explored—indeed, rarely addressed—avenue of research involves identifying cinematic-specific elements that are traditionally regarded as exclusive to film, and then tracing them back to see if they manifest in earlier, pre-cinematic art forms. In other words, while much has been written about what cinema borrowed from painting, investigations into the reverse scenario—finding inherently cinematic traits in ancient visual traditions—are sparse. This is the gap that the present study seeks to address. Cinema captivates its audience by virtue of its narrative construction, its ability to generate motion and avoid static presentation, its arrangement and framing of characters within the shot, and its unique capacity to transform any point in time into the experiential “present.” Through editing, mise-en-scène, and visual composition, cinema enables viewers to feel that the past is unfolding right before their eyes, in real time. Such qualities exert a profound emotional and cognitive influence on the viewer’s perception of story and space. Understanding how different art forms influence and reshape one another, and recognizing the transformations they undergo within these interactions, is of great importance — both for creators seeking inspiration and for audiences striving to engage more deeply with the works they encounter. Persian miniature painting, drawing from the vast reservoir of Iranian culture, literature, and artistry, stands as one of these time-honored traditions. It has flourished for centuries, attracting not only Iranian art lovers but also admirers from the global community. Miniatures of various historical periods — and particularly those of the Safavid dynasty — are prized for their extraordinary craftsmanship, narrative sophistication, and symbolic richness. The narrative strategies of miniature painting, its arrangement of figures and objects within the frame, and its layered compositions often produce scenes that have a striking affinity to cinematic storytelling. The visual spaces they create seem dynamic, inviting the viewer’s gaze to move from one element to the next, thereby implying the passage of time and suggesting events beyond what is explicitly shown. These “motion-infused” compositions, though rendered in a static medium, evoke the kind of filmic atmosphere that we typically associate with moving images. Such works make evident that Persian miniature painting not only predates cinema but also exhibits qualities remarkably similar to those later developed in film. It is important to note that the chronology of these two art forms places miniature painting far ahead in historical terms. Cinema was born only after centuries of miniature painters had perfected their craft, built an intricate visual language, and developed sophisticated techniques of storytelling through still imagery. This temporal relationship invites a compelling question: how did certain elements we now categorize as “cinematic” exist long before the medium itself was invented? And what does this reveal about the universality of visual narrative principles? The present research embraces an interdisciplinary objective. Its principal aim is the examination and identification of cinematic elements embedded within Iranian miniature painting. By crossing disciplinary boundaries between art history, film theory, and visual culture studies, the study hopes to shed light on the shared language of these two seemingly different media. The methodology adopted here is qualitative, built upon a descriptive-analytical approach. Data was gathered from extensive library-based resources, as well as archival materials in both audio and visual formats. Employing purposive sampling, the research selected a range of exemplary Persian miniatures, focusing on works that are especially rich in narrative and compositional complexity. These pieces were subjected to detailed scrutiny, with each visual and narrative element analyzed for correspondence with cinematic principles. The findings indicate that cinema and Persian miniature painting share numerous defining characteristics. Both engage in visual storytelling that can be comprehended without the aid of textual narration, relying on the arrangement of figures, the interplay of gestures, and spatial relationships to move the narrative forward. Scene construction in both arts shows attention to thematic coherence, with spatial organization often mirroring emotional and symbolic content. Multi-layered compositions are another shared hallmark; they lend depth and dimension to the imagery, encouraging the viewer to interpret meaning across foreground, middle ground, and background. Equally prominent is the use of symbolic colors — hues carefully chosen not only for aesthetic appeal but to convey specific thematic or cultural meanings. In both cinema and miniature painting, color serves as a crucial narrative signifier, guiding mood, atmosphere, and audience interpretation. Furthermore, an acute attention to fine details enhances the overall integrity of the work, reinforcing its identity and narrative clarity. https://ira.guilan.ac.ir/article_8949.html Introduction: The word modern, which has been used more than ever since the beginning of the 20th century, conveys newness and belonging to the present and is in contrast to traditional thing that prides itself on its roots in the past. Modern man submits to the dictates of his reason and considers having a new method based on reason as a certain and definitive value. Accordingly, from the beginning of the 20th century to the present, or in other words, the contemporary period, a kind of value emerged in the making of artworks using new methods, and various movements claimed that they could bring the artistic form in a new way and even convey new meaning in the work. Gradually, a wide range of methods of artistic construction and criticism were formed, which sometimes completely contradicted each other, while all of them sought novelty. This issue became the cornerstone of postmodernism; that is, this school emerged from the idea of ​​fragmentation and lack of coherence in the collection of various modern methods, sometimes rejecting them and sometimes praising them.Research Questions: Postmodernism, in its search for answers to the fundamental questions of modernism, does not find them in abandoning traditional methods to achieve something new, but sees in change. In such a way, the past before the past may again become changed and new; that is, a combination of the originality of past music, which is sometimes heard as a quote from the works of the past, and an understanding of the thinking of a contemporary composer that carries the sounds of the present. Therefore, the analysis of postmodern music could be significant in understanding the methods of evolution in artistic expression. The issue becomes important when it comes to how an Iranian composer was able to create a connection between something new and old or modern and traditional methods, and what is his understanding of these concepts?Research Hypothesis: Accordingly, the piece Canon in Four, the author's fourth work, has been selected for analysis until the answer is reached; the word canon has been used since the Middle Ages in introducing musical works and is quite old, and the phrase in Four, which is used instead of in D minor, for example could be seen in the title of modern musical works and is therefore quite new. This phrase, which could indicate the stage or sequential nature of the musical structure, is more than anything linked to the concepts of serialism and total serialism. The basic principle of serialism is that each tone in a series can only be heard once until all the other ones are heard in order. They could follow each other and form a melody line, or be presented simultaneously and form a harmony. Therefore, the tones in a series have the same value. Total serialism uses this method for other elements of music as well, and unlike serialism, which uses past forms of expression, suppresses them, which requires the modification and adjustment of a postmodern perspective.Research Literature: Postmodernism in philosophy refers to a discourse that developed in the 1960s under post-structuralism; both schools are the result of the critical thinking of Jacques Derrida and Michel Foucault about rationalism, but postmodern music has a different history, and it is sometimes very difficult to explain its criteria and set a boundary to separate it from modern music. However, the combination of forms and methods of expression from different eras and genres in the past and present, mockery, and the creation of internal contradictions are the characteristics of postmodern music. This music finds meaning in the plurality of structures and the absence of a single method, and its aesthetics have an open understanding of any sound experience, while it is accompanied by people's attention to the types of music of the day. For example, Luciano Berio, who seems to be one of the first postmodern composers, in the third movement of the Sinfonia uses, in a manner similar to collage, a collection of different parts of the works of composers before him and creates a changed and new music from their combination. In fact, his work is a combination of different eras and genres in the past and present, organized in the form of his own compositional method.Research Method: This article has an analytical basis and is in line with the structure of the perspective article in the form of artistic theorizing. Accordingly, while using a selection of critical literature related to modern and postmodern music as well as their interpretation, in the parts related to the introduction of the piece Canon in Four, the composer's views are used in order to conclude from the relevant critical literature. Of course, the author intends that the topics discussed in this article will be of interest to more specialized readers as well, and therefore the necessary specialized points are expressed as much as possible, and the discussion of the structure of the piece from a comprehensive perspective is considered, that is, from the perspective of how its elements are arranged and combined.Research Results: By examining the existential and structural concepts of the piece Canon in Four, we could identify the characteristics of postmodern music; one of them is the approach to the past; in fact, something new is based on its origin in the past, and in this case, using the canon technique on the vertical axis of the piece could create such stability; however, the composer has also used the series of figures that could be similar to the bass ostinato in Baroque music or even Isorhythm in Medieval music. His view of the foundations of modernism in the piece is also noteworthy, and although he uses serialism and total serialism on the horizontal axis of the piece and also uses the unique technique of composer Webern in limiting structural elements and composer Berg in returning to the sound quality of tonal music, he is trying to make these so-called modern methods new and even considers them to be somewhat outdated; For example, he uses the serialization of larger elements such as figures, which is rare and even unprecedented in serialism, or in the dynamic series, he uses only an intense sound level, which is a behavior for psychological impact on the players and a completely new approach.The composer also gives a special place to his aesthetic desire in the piece Canon in Four, and this is close to the serialism of Schoenberg's perspective. Accordingly, the piece is not only formed in a dry and cogwheeled way, but only the choice of silence between figures based on the composer's desire could transform the mechanism of organizing sound elements into a kind of algorithm for creating countless music, which shows the multiplicity of inferring form and meaning in postmodern music. Also, in line with Schoenberg's perspective that serialism is a method for composing like the past by reviving traditional forms, the overall structure of the piece Canon in Four is formed as ABA. So the postmodern composer, under the shadow of the concept of the global village, uses new and old techniques and methods with a self-referential attitude to compose music. https://ira.guilan.ac.ir/article_9274.html  Introduction: In times of crises and social pandemics, various media outlets, including radio, play a vital role in raising awareness, providing education, and promoting public health. Modern medicine today emphasizes health and the well-being of healthy individuals rather than focusing solely on diseases or patients. Mass media serve as one of the most common communication platforms for reaching large audiences and striving to reform, improve, and transform health-oriented behaviors and lifestyles. Since radio is an accessible medium capable of delivering information to people in both rural and urban areas, it continues to be regarded as one of the essential and public media worldwide, even in the era of new technologies. Many countries have relied on radio stations to combat the spread of fake news and misinformation about COVID-19. In addition to fostering public trust, radio has contributed to disseminating scientific facts about epidemics and their consequences, while also providing education and information about the novel virus to its audiences. This study, focusing on the COVID-19 epidemic in Iran, examines the role of Radiosalamat in informing and educating audiences during the quarantine period.Background: Numerous studies have been conducted on the role of mass and social media, the examination of fake and real news, media coverage, and media consumption patterns during the COVID-19 pandemic. Yasamin and colleagues (2023) investigated the performance of the Islamic Republic of Iran Broadcasting (IRIB) during the pandemic and emphasized the necessity of health-oriented education in national media as one of the key factors in addressing the COVID-19 crisis. Anvar, Soltanifar, and Aghazadeh (2022) also examined the responsibility of the media in managing the pandemic. Doroudlou and colleagues (2022), aiming to assess the overall role and responsibility of radio stations in combating fake news during COVID-19, researched media literacy and misinformation. Hernandez (2020) identified radio as a vital and indispensable medium for information dissemination and raising public awareness during the COVID-19 crisis. Furthermore, Michalis Kouyoumdjian (2014), employing Dependency Theory, explored the impact of radio on imagination in Turkey through the experiences of 101 radio listeners.Research Objective: This study aims to explain the impact of Radiosalamat on patients’ lives during times of crises, including the COVID-19 pandemic, and to identify the fundamental needs of audiences regarding access to health-oriented information.Research Question: What has been the role of Radiosalamat in educating colorectal cancer patients during the COVID-19 pandemic, and how has this target audience received and utilized the educational content distributed by the broadcaster?Methodology: The present study employs a descriptive analytical method with an audience-centered approach. The study population consists of patients diagnosed with colorectal cancer, and the medium under investigation is Radiosalamat. Data were collected through observation, library resources, interviews with target patients, and the use of Radiosalamat programs related to COVID-19 during the years 2019 and 2020.Target Audience: Colorectal cancer is the third most common cancer worldwide and the second leading cause of cancer-related death, primarily affecting individuals over the age of 50, with an average age of 64 at diagnosis. A family history of colorectal cancer or polyps increases the risk of developing the disease, and raising awareness among these groups can help reduce mortality. The use of modern surgical techniques, early detection, adequate treatment, and preventive health programs play a crucial role in improving patient survival and prognosis. Moreover, in critical situations such as the COVID-19 pandemic, these patients are more vulnerable, and education and information dissemination through mass media, particularly radio, can enhance awareness and reduce risk.Result: During the COVID-19 pandemic, Radiosalamat, as a flexible and low-cost medium, played a significant role in educating and informing colorectal cancer patients. The widespread reduction of surgeries and disruptions in the treatment process highlighted the necessity of utilizing radio for prescriptive and interactive education. Radio programs were delivered in live, produced, simple, and mixed formats, and their effectiveness was enhanced through the participation of colorectal specialists and surgeons, the use of simple language, appropriate timing, and the creation of interactive spaces with listeners. Considering the characteristics of the target audience, such as higher average age, illiteracy or visual impairment, and limited access to new media educational content needed to be tailored to their social, economic, and lifestyle conditions. These programs not only improved awareness and reduced patients’ anxiety but also enabled direct interaction with specialists, serving as a model for managing similar crises in the future. Moreover, the COVID-19 experience demonstrated that selecting a specific audience and designing targeted programs can play a crucial role in enhancing health literacy and improving patients’ quality of life.Conclusion: Ultimately, it is concluded that during pandemics, the audience should be regarded as a collective phenomenon. Moreover, the selection of the primary audience must be based on the significance of the media message as a trusted source, so that the necessary education can be effectively delivered to the target community, particularly to more vulnerable groups such as colorectal cancer patients. https://ira.guilan.ac.ir/article_8828.html Background: Recent developments in music education suggest that the use of mobile technologies can overcome the temporal, spatial, and structural limitations of traditional methods. The question that arises is whether a structured and organized model has been designed for integrating mobile technologies into music education. Traditional music education, while possessing many positive attributes, also has drawbacks and limitations. One significant limitation is that scheduling options may be more restricted, as students are typically confined to teachers within their geographical vicinity. Additionally, the costs associated with in-person classes are higher in many cases compared to other methods. Overall, attending physical classes is not feasible for everyone due to various constraints, including time, age, geography, and financial factors (Gherheș et al., 2021). Given the numerous challenges that traditional, face-to-face education faces in today's era, professionals in this field are continually seeking solutions to address these issues. Generally, three approaches to music education can be identified: traditional education (face-to-face and in-person), blended education (combining in-person and online learning while utilizing technology), and online education (completely technology-based). Some studies have acknowledged the positive effects of the blended approach on music learning compared to other methods (Cruywagen & Potgieter, 2020; Jenkins & Crawford, 2021). Objectives: Given the aforementioned details, it is essential to explore a method for teaching music using technology. Therefore, this research emphasizes the non-traditional approach based on technology and mobile learning, aiming to meet the needs of a significant number of individuals interested in learning music who, for various reasons, are unable to attend blended or face-to-face classes. The subsequent discussion will address the impacts of such an approach in the field of music education. The importance of conducting a systematic review on mobile technology-based music education is paramount, especially in light of the increasing integration of mobile technologies into daily life and education. Traditional music education methods are becoming inadequate for many learners who cannot attend in-person classes due to various constraints. This study aims to address this gap by identifying and analyzing mobile technology-based music education models developed between 2010 and 2024. The focus will be on evaluating their effectiveness, benefits, and challenges, ultimately highlighting the critical role of this approach in advancing music education.  Method: To outline the research background, the PRISMA method-based systematic review was used. The review was conducted with four main objectives: (1) identifying music education models based on mobile technologies, (2) analyzing these models, (3) identifying challenges and barriers, and (4) providing improvement suggestions. Initially, studies with a high degree of similarity were reviewed to ensure the novelty and innovative aspects of the research. Subsequently, related studies were extracted and analyzed to provide a research background. After conducting a comprehensive search across databases such as Scopus, ProQuest, ERIC, Web of Science, Magiran, NoorMags, Civilica, Irandoc, and Jihad Daneshgahi, covering the period from 2010 to 2024 for English articles, 544 articles were identified, 23 of which met the criteria for in-depth analysis. The sources also included scholarly research articles, peer-reviewed academic journals, conference proceedings, doctoral dissertations, and theses. Result: The results indicated a variety of models in virtual music education, music education games based on mobile technologies, blended and smart learning environments, and deep learning algorithms. The findings also revealed the positive impact of integrating mobile technologies with music education on student engagement, flexibility, access to diverse resources, collaborative learning, skill development, and music comprehension. The design of educational models should include components such as the use of instructional design models, alignment of learning objectives, the use of multimedia, development of rich, interactive, and multifaceted content covering theoretical concepts, historical knowledge, technical skills, and musical works. It should also provide opportunities for feedback and interaction between teachers and students, integrate elements of gamification and game-based learning to maintain motivation, and consider individual differences. However, challenges such as infrastructural issues, limited access to technology, lack of teacher preparedness and skills, and reduced student motivation in online classes, as well as limitations of virtual education and technology integration, were noted. To improve the situation, further research, technical infrastructure development, teacher training, and financial support are necessary. The results indicate that research on mobile technology-based music education models has primarily been conducted in Asian countries, with China leading with eight studies, followed by Turkey with seven studies, and Iran with three studies. Additionally, a few studies were carried out in Western countries, including Australia (two studies), the United States (two studies), and Finland (one study). Overall, it can be concluded that East Asian countries, particularly China, have the largest share of research in the area of mobile technology-based music education models. Studies highlight the necessity of a focused approach when shifting from traditional to online music education, taking into account teaching methods, technology, and students' skills to improve learning outcomes. In Iran, significant research gaps exist, as many studies concentrate on music's impact on other fields rather than on advancing music education strategies. Notably, Mohammadian's thesis on educational software for music learning is particularly relevant to this research. Conclusion: This systematic review shows that despite the rapid growth of mobile technologies, their application in music education requires greater richness and coherence. Studies demonstrate the design of various models in this area, but challenges such as weak infrastructure, insufficient teacher readiness, limited student engagement, and poorly designed content persist. However, there are rich opportunities for personalized learning, simulating safe environments, and providing real-time feedback through intelligent algorithms. To realize this potential, it is essential to develop learning models and train professional teachers. There is also a need for policies to improve internet access and online tools. Finally, recommendations and opportunities are discussed, focusing on teacher education and the development of localized models aligned with learning needs. https://ira.guilan.ac.ir/article_9168.html Abstract: This study revisits multisensory aesthetics in contemporary Islamic art, foregrounding the role of non-visual senses—sound, touch, smell, and taste—in artistic experience and meaning-making. Traditional historiography of Islamic art, dominated by ocularcentrism, has marginalized embodiment and the intangible. Employing postcolonial, embodied, and phenomenological frameworks, the article analyzes how contemporary Muslim artists transcend visual media to reconfigure sensory paradigms in cultural, ritual, and digital contexts. Through qualitative, context-sensitive comparison of artworks from Iran, Turkey, Egypt, Pakistan, Malaysia, and Morocco, it argues that multisensory art redefines Islamic aesthetics while resisting mono-sensory modernism. Findings reveal that embodiment and overlooked senses, intertwined with technology and historical memory, reconstruct the intangible and generate concepts like "sensory journey," "perceptible aura," and "tactile aesthetics." These insights expand Islamic art studies, positioning art as a site for reviving suppressed collective memories. Introduction: Recent scholarship on contemporary Islamic art has embraced the "sensory turn," shifting from visual-centric analyses to multisensory and embodied inquiries. Christiane Lange (2022) calls to historicize senses in the Islamic world, critiquing ocularcentrism for sidelining olfaction, tactility, and audition. Nilay Ergin (2014) and Patricia Blessing (2022) similarly advocate re-readings of non-visual patterns. Yet a comprehensive framework that integrates postcolonial and phenomenological approaches under an embodied lens to analyze multisensory contemporary Islamic art is missing—a gap this study addresses. Key questions are: (1) How do artists use auditory, tactile, and olfactory media to forge multisensory experiences? (2) How does embodiment reshape subjectivity, identity, and postcolonial resistance? The study advances (i) a theoretical model for multisensory Islamic art analysis; (ii) a poststructural critique of visual hegemony; and (iii) links between digital technologies and sensory legacies. Methodology: This qualitative research uses context-sensitive comparative analysis of selected contemporary Islamic artworks. Purposive criteria include: (i) emphasis on non-visual media (sound, touch, olfaction/gustation); (ii) representation of postcolonial identity and resistance; (iii) innovation blending digital technologies with Islamic sensory heritage. Data come from sensory analyses, artist statements, critiques, archives, and field observations where possible. The analytical framework synthesizes Merleau-Ponty’s embodied phenomenology, postcolonial theory (Said, Bhabha, Spivak), and multisensory aesthetics (McLuhan, Howes), with triangulation through historical sources and expert consultations. Literature Review: Sensory Aesthetics in Art The sensory turn challenges ocularcentrism, emphasizing multisensory complexity (Howes, 2005). Laura Marks’s work on haptic visuality and tactility extends to multisensory media, while Enfoldment and Infinity links new media to Islamic motifs. Howes’s sensory ethnography and Classen’s cross-cultural mappings are foundational. McLuhan frames media as sensory extensions and Salter examines interactive installations. Unlike cinema- or ethnography-focused studies, this research applies these frameworks to contemporary Islamic art with an emphasis on resistance. Postcolonial Studies on Islamic Art Said’s Orientalism reveals Western discursive control; Nochlin critiques colonial fantasy in 19th-century painting; Naficy theorizes accented embodiment in diasporic cinema. This study flips the lens to center Muslim artists’ multisensory agency as counter-discourse. Gaps and Innovations Existing literature lacks an integrated model merging multisensory aesthetics, embodiment, and postcolonial critique for contemporary Islamic art. Innovations here include combining Benjamin’s notion of aura with haptic theories, foregrounding resistance through non-visual senses, and tracing technology–memory interactions that reconstruct the intangible. Theoretical Framework Multisensory Aesthetics This framework contests visual primacy (Jay, 1993) and treats art as an interplay of senses (Howes; Marks). Haptic visuality, Islamic auditory and olfactory traditions, and digital mediations form analytic nodes. Embodied Phenomenology Merleau-Ponty positions the body as the primary locus of perception; sensory immersion evokes bodily memory. Naficy’s accented embodiment and Rancière’s distribution of the sensible inform readings of multisensory resistance. Postcolonial Sensory Experience Orientalist discourses exoticize non-visual senses; multisensory art reclaims heritage, giving voice to subaltern memory and trauma. The synthesis treats multisensory practices as political embodiment that reconstructs intangible Islamic heritage. Historical Sensory Precedents in Islamic Culture From the 8th–14th centuries, sacred spaces like Isfahan’s Jameh Mosque integrated geometry, acoustics, and light. Calligraphy implies tactile rhythm. Philosophers (e.g., Suhrawardi) and Sufi practices (sama) fused motion, sound, and scent. Ritual uses of attars and poetic forms mediated spiritual senses—precedents that contemporary artists rework. Analysis of Selected Works Using sensory historiography, selected works highlight non-visual resistance, heritage revival, postcolonial embodiment, and digital sacrality:   Chadi El-Tayeb (Morocco), Perfumes of Exile (2022): An olfactory sequence (rosewater → petroleum → tear gas) embodies colonial memory and enacts "olfactory resistance." Fereshteh Tehrani (Iran), Echoes of Silence (2021): 364 speakers recreate suppressed female recitations; bone-conduction and spatial sound enact sonic embodiment. Zohra Bukhari (Pakistan), Eve’s Table (2020): A gustatory performance using laddu cultivates "gustatory solidarity." Ahmad Matin (Malaysia), Touching Light (2023): Haptic gloves and AR simulate calligraphic touch, fusing Suhrawardi’s light with digital tactility. These works model alternative Islamic modernities, redefining sacrality and reclaiming intangible heritage through multisensory practice. Discussion and Findings: Multisensory art reconstructs intangible collective memories and rituals by mobilizing overlooked senses as cultural carriers, activating embodied memory. The selected works—shown in international venues such as the Islamic Arts Biennale—demonstrate how multisensory strategies resist sensory hierarchies, enact postcolonial subjectivities, and bridge technology with ritual memory. Concepts emergent from the analysis (e.g., "sensory journey," "perceptible aura," "tactile aesthetics") provide tools for future research and curatorial practice. https://ira.guilan.ac.ir/article_9276.html Introduction: Visual language serves as a universal form of communication that transcends words, expressing meaning through imagery, symbolism, and perceptual cues. Alfred Hitchcock’s Rear Window stands as one of the most exemplary works illustrating how visual storytelling can evoke suspense, emotion, and philosophical contemplation. Rather than relying on dialogue, the film draws its power from elements such as mise-en-scène, composition, lighting, and camera movement—all of which direct the viewer’s gaze and shape their psychological engagement. The narrative centers on Jeff, a temporarily immobilized photographer who observes the lives of his neighbors from his apartment window. This confined yet revealing perspective becomes a vehicle for exploring voyeurism, surveillance, gender relations, and the blurred boundaries between perception and reality. The present study examines Hitchcock’s visual strategies in Rear Window and interprets their significance for cinematic language, audience psychology, and cultural discourses surrounding observation and power. Theoretical Background: Alfred Hitchcock’s Rear Window has been widely examined within academic discourse as a pivotal work at the intersection of cinematic form, spectatorship, and social theory. John Belton (2000) underscores the film’s complex engagement with voyeurism, emphasizing how Hitchcock compels the audience to share in the protagonist’s act of looking, thereby implicating the viewer in the moral and psychological dimensions of surveillance. From a cognitive perspective, David Bordwell (1985) interprets the film as an active process of visual interpretation, wherein spectators construct meaning through prior experience and perceptual inference. Kevin S. Brennan (2018) extends this analysis through a formalist lens, identifying Hitchcock’s precise manipulation of framing and camera movement as key mechanisms for generating suspense and audience involvement. Guinó et al. (2003) situate Rear Window within a broader sociological framework, suggesting that the narrative mirrors real-world limitations in interpreting social behaviors from fragmentary visual cues. Furthermore, Michel Foucault’s (1977) theories of surveillance and power relations offer a critical framework for understanding the film’s depiction of observation as a mode of control, connecting cinematic representation to societal concerns about visibility, authority, and discipline. Complementing these perspectives, cultural analyses have examined Rear Window in relation to postwar constructions of masculinity and the psychological underpinnings of voyeuristic desire (Cambridge University Press, 1999). Collectively, these theoretical approaches establish a multidisciplinary foundation for the present study, framing Rear Window not only as a landmark in film aesthetics but also as a penetrating commentary on the ethics of watching and the dynamics of social interaction. Research Objectives and Questions: The primary objective of this study is to examine how Rear Window employs visual elements to navigate the interplay between observation, reality, and ethical reflection on privacy. The key research questions are: How do mise-en-scène, lighting, camera movement, and framing contribute to suspense and ethical tension? In what ways does the film spatially reflect the division between public and private spheres? How does the spectator’s identification with the protagonist complicate notions of participation and responsibility in acts of looking? Hypotheses: It is hypothesized that Hitchcock’s use of restricted camera perspectives and compositional strategies not only intensifies narrative suspense but also challenges conventional ethics of spectatorship, highlighting the tension between casual observation and intrusive surveillance. Additionally, these visual strategies are proposed to reflect broader sociocultural anxieties surrounding authority, visibility, and resistance within mediated spaces. Data Collection: The research employs a qualitative, interpretive methodology grounded in close, scene-by-scene visual analysis. Selected sequences were chosen for their narrative centrality and recurrence of visual motifs associated with spatial framing, lighting dichotomies, and sound orchestration. Supplementary materials include screenplay passages, critical reviews from the period, and scholarly discussions addressing Hitchcock’s cinematic techniques. Discussion: The analytical findings illustrate that Rear Window operates as a meta-cinematic investigation into acts of looking and being looked at. The spatial structure—organized through a network of apartment windows—becomes a symbolic device that delineates physical and psychological boundaries while simultaneously fostering connections emblematic of modern urban existence, oscillating between intimacy and alienation. Variations in lighting and color intensity articulate emotional tension and moral complexity, blurring distinctions between everyday observation and concealed voyeurism. The film’s auditory design—comprising environmental sounds and intentional silences—amplifies its atmosphere of vigilance and uncertainty. The spectator’s identification with Jeff’s gaze situates the audience within an ethically ambiguous position of shared surveillance, compelling reflection on the limits of visual access and the morality inherent in observation. The narrative’s climax forces recognition of the social and psychological consequences of such acts. Extending beyond aesthetic interpretation, this discussion integrates Foucault’s theories of power and surveillance to elucidate how Hitchcock translates the mechanics of control and visibility into cinematic form. The film’s engagement with these ideas presages contemporary discourses on digital transparency, data collection, and mediated presence. Conclusion: This research offers an interdisciplinary reading of Rear Window within the context of Persian film scholarship, contributing a nuanced understanding of its visual logic and conceptual sophistication. The study contends that the film transcends its suspense genre to emerge as a philosophical exploration of perception, authority, and interpretation. By transforming a confined apartment setting into a locus of visual and ethical inquiry, Hitchcock demonstrates cinema’s capacity to express complex psychological and sociocultural issues without reliance on dialogue. The findings substantiate the initial hypotheses: the restricted perspective aligns the viewer with the protagonist’s investigative gaze, provoking interpretive engagement while anticipating ongoing debates about privacy and control. Moreover, the portrayal of gender interactions reveals Hitchcock’s subtle critique of social power structures. Ultimately, Rear Window endures as a seminal text for examining cinematic language, perceptual psychology, and the politics of surveillance, with its interrogation of who observes, who is observed, and what meaning is derived from observation remaining critically relevant to both film studies and contemporary society. https://ira.guilan.ac.ir/article_9313.html Introduction: Borders, as geopolitical phenomena, not only serve as dividers of nation-state sovereignty but also play a prominent role in shaping spaces, places, and human relations. Major developments in global politics over recent decades have fostered an interdisciplinary interest in borders, and many visual and interdisciplinary artists have engaged with the theme of borderscapes in their work. Although the concept and approach of the “borderscape” largely align with the framework of political geography, it presents borders as non-territorial, mobile spaces based on human flows and interactions. In this perspective, a border is not understood as a fixed location but rather as a dynamic and fluid landscape that extends beyond the demarcation line, traversing peripheral areas and territorial continuities, a landscape that is not confined to a specific space and is continually transforming and being redefined. Within this perspective, the study and analysis of landscape photographs of border walls and fences, as artistic objects, requires an examination of the factors that shape the geography of the border through the enclosure of spaces. Landscape photography, by capturing borderscapes as security spaces, represents violence and population control, and creates the possibility for a critical and ethical examination of border walls and fences as security apparatuses of the state. Objectives and Research Questions: The objective of this research is to examine the approach of the borderscape in landscape photography as a critical strategy for revealing violence and generating ethical reflection in the audience. This research attempts to answer the following two questions: How does landscape photography reveal the latent violence in the borderscape? How does the borderscape, in landscape photography, enable the possibility of ethical reflection for the audience? Case Study: In order to address the research questions, the United States–Mexico border wall, as a prominent example of organized violence, provides an appropriate context for examining borderscape photographs. The focus of this research is the examination and analysis of the series of photographs, Cantos of the Border, by Richard Misrach as a concentrated case study. This series is an interdisciplinary project prepared in collaboration with Guillermo Galindo, a Mexican multimedia artist, and aims to provide a critique of the policies and campaigns for constructing the wall during the presidency of Donald Trump. The project consists of two main sections, an exhibition and a project book, each designed to provide a comprehensive experience of the borderscape. In this research, the focus is on analyzing selected images from the project book, and the analysis is conducted using a critical aesthetic approach. The critical aesthetic approach, with a focus on the emotional and affective experience of the border, enables the revelation of hidden dimensions of violence in borderscapes and creates a context for eliciting ethical reflection in the audience. Methodology: The present study is qualitative in nature, based on a fundamental objective, and was conducted using a descriptive-analytical method. The research data were organized theoretically from library and documentary sources, and the images were collected from electronic resources. In this study, drawing on theoretical texts and previous research, the concept of the “borderscape” is examined. The United States–Mexico border wall was selected as a prominent case for examining this approach, as it has been both a site of structural violence and a stage for multiple artistic representations. The research population comprises the works of the photographic series Cantos of the Border by Richard Misrach. From this series, three images were purposefully selected because they possessed the greatest visual capacity for critical aesthetic analysis in terms of composition, ambient light, and the form of natural and human-made elements. Additionally, these images, by featuring appropriate signs as Foucaultian apparatuses of security, demonstrate the distribution of power, control, and surveillance within the borderscape. Results: The results indicated that landscape photography provides an effective framework for visualizing the violence and surveillance mechanisms embedded in the borderscape. The dual nature of the borderscape, by revealing and enabling the simultaneous experience of binary oppositions such as “self and other,” “security and threat,” and “presence and absence,” creates a context for critical reflection and the consideration of political and ethical issues for the audience. Analysis of three photographs from Richard Misrach’s Cantos of the Border revealed that through the use of critical aesthetic strategies and the display of tension between visual beauty and structural violence, Misrach transforms the borderscape into a field of inquiry, resistance, and ethical reflection. This approach aligns with Michel Foucault’s concept of “security apparatuses”; Misrach presents walls, fences, and border patrol markers as security apparatuses to reveal both the limitations of the border and the lived experiences of those inhabiting or traversing these spaces. Furthermore, he enacts a form of political performance within the realm of landscape photography, demonstrating that the walls are not merely fixed structures but complex sites of emotion, rupture, trauma, and resistance. In his works, aesthetics and politics coexist closely, enabling the use of imagery for critical examination and the representation of the complexities of power and violence at the border. The study of Cantos of the Border shows that Misrach portrays the U.S.-Mexico border not as a static space, but as a dynamic and challenging landscape where aesthetics functions as a strategy for political resistance and critique. https://ira.guilan.ac.ir/article_9603.html Background: Sarghozasht-e Musiqi-ye Iran by Ruhollah Khaleqi is one of the foundational texts in the historiography of Iranian music, yet its importance exceeds the limits of conventional historical narration. The book may be read as an effort to formulate a modern system of musical knowledge in Iran. Rather than merely recounting musicians, styles, and historical developments, Khaleqi organizes Iranian music into a coherent field of knowledge through classification, explanation, educational argument, and cultural valuation. In this sense, the work participates in the making of what may be called a modern Iranian musical episteme. This study approaches Khaleqi’s work through Michel Foucault’s discourse theory in order to show that Sarghozasht-e Musiqi-ye Iran is not only a documentary account of music history, but also a discursive intervention in the formation of “national music” in modern Iran. From a Foucauldian perspective, discourse does not simply reflect reality; it produces the conditions under which certain statements become acceptable as truth. Accordingly, Khaleqi’s language, categorizations, and institutional commitments can be understood as mechanisms for defining what counts as legitimate musical knowledge in twentieth-century Iran. The historical background of this process is the broader cultural modernization of late Qajar and Pahlavi Iran, when questions of national identity, scientific knowledge, institutional education, and modern cultural policy became increasingly central. Within this context, music was redefined from a mainly oral and master-apprentice practice into an object of writing, teaching, analysis, and national representation. Previous studies have mostly examined Khaleqi as a composer, educator, or cultural reformer. Other works have discussed the discourse of Iranian traditional or national music in broader sociological terms, but fewer studies have analyzed Sarghozasht-e Musiqi-ye Iran itself as a discourse-producing text. This research addresses that gap by focusing on the epistemic structure of the book and by interpreting Khaleqi’s project as part of the intertwined relationship of knowledge, power, and cultural identity. Objectives: The main objective of this research is to analyze the epistemic and discursive structure of Ruhollah Khaleqi’s musical thought in Sarghozasht-e Musiqi-ye Iran. More specifically, the study seeks to answer the following question: how did Khaleqi, through the production of a distinct discursive order, contribute to the formation of the concept of national music in Iran? A second objective is to examine how Khaleqi transformed musical knowledge from an oral and experiential tradition into a written, teachable, and institutionally legitimized body of knowledge. The research also asks how his work links music with broader concepts such as science, education, nationhood, authenticity, and modernity. The underlying hypothesis is that Khaleqi’s contribution was not limited to preserving or narrating Iranian music; rather, he played a central role in constructing a modern regime of musical truth in which the “national musician” emerged as a new knowing subject. Method: This study adopts a qualitative method based on Foucauldian discourse analysis. The corpus of analysis consists primarily of the two volumes of Sarghozasht-e Musiqi-ye Iran, supplemented by Khaleqi’s notes, theoretical writings, and selected secondary studies on Iranian music and discourse. Data were collected through documentary research and close reading of the text.  The analysis focused on three interconnected levels. First, it examined the language of the text: key terms such as “scientific music,” “national music,” “authenticity,” and “education” were studied as discursive markers that define the boundaries of valid knowledge. Second, it explored the institutional dimension of Khaleqi’s project, especially the role of music education and the establishment of the National Music Conservatory in legitimizing a new musical order. Third, it analyzed the production of subjectivity, asking how the text imagines and constructs the ideal modern Iranian musician as a disciplined, knowledgeable, and nationally conscious subject. The study is theoretically grounded in Foucault’s concepts of discourse, power/knowledge, and the production of truth. Rather than treating Khaleqi’s book as a transparent historical source, it reads it as an active site of knowledge production, where historical narrative, pedagogy, and cultural ideology intersect. Result: The findings show that Khaleqi played a decisive role in shifting Iranian musical knowledge from a traditional oral context into the realm of writing, theory, and institutional education. In Sarghozasht-e Musiqi-ye Iran, music is no longer presented only as an inherited art of performance; it is redefined as a field of systematic knowledge that can be classified, documented, taught, and evaluated. This transformation is one of the clearest signs of the emergence of a modern musical discourse in Iran. The analysis also demonstrates that Khaleqi’s discourse is structured around a distinction between legitimate and non-legitimate forms of musical knowledge. By privileging concepts such as scientific method, notation, disciplined training, and cultural refinement, he creates a hierarchy in which written, teachable, and analytically grounded music gains epistemic authority. In Foucauldian terms, this constitutes a system of truth: a set of discursive rules through which certain statements about Iranian music become valid and others become marginal (Foucault, 1980). Another major finding is that power in Khaleqi’s discourse does not function through direct domination, but through educational and cultural institutions. The conservatory, the pedagogical text, and the broader cultural apparatus of modern music become mechanisms for organizing musical knowledge and training new subjects. In this framework, the “national musician” appears as a new epistemic subject: someone who must master tradition, internalize scientific order, and embody national cultural consciousness. Thus, Khaleqi’s project links music not only to art, but also to nation-building and the reproduction of cultural identity. Finally, the study suggests that Sarghozasht-e Musiqi-ye Iran should be understood as more than a history book. It is a discursive text in which music, knowledge, and national identity are mutually produced. Its lasting influence on music education, scholarship, and criticism in Iran indicates that the epistemic order articulated by Khaleqi has continued well beyond his own historical moment. Conclusion: This research concludes that Ruhollah Khaleqi was one of the most influential figures in the formation of modern Iranian musical knowledge. Through Sarghozasht-e Musiqi-ye Iran, as well as through educational institution-building, he helped transform Iranian music into a modern field of knowledge connected to science, pedagogy, and national identity. His work made it possible to think of music not simply as an aesthetic or performative practice, but as a legitimate cultural discourse. From a Foucauldian perspective, Khaleqi’s significance lies in his role as a producer of discourse: he organized concepts, established norms of legitimacy, and contributed to the emergence of a knowing musical subject within a modern national framework. Therefore, Sarghozasht-e Musiqi-ye Iran may be read as a foundational text in the reproduction of musical knowledge through the intersection of power, education, and identity. The study ultimately shows that the history of music in modern Iran cannot be separated from the history of discourse, and that Khaleqi’s work remains central to understanding how national music was epistemically and institutionally constructed. https://ira.guilan.ac.ir/article_9659.html Introduction: In the contemporary world, packaging has become, beyond its protective and economic function, a cultural medium that carries signs, symbols, and identity narratives. As one of the Iranian souvenirs, Isfahan Gaz has cultural value both as an economic commodity and as a covering that represents collective memory in an objective form. The present study aims to investigate the extent to which Isfahan Gaz packaging has been able to represent elements of Iranian national identity and Isfahan local identity.Research background: Amini Harandi et al. (2014), in an article titled “Reforming Gaz Packaging by Modified Atmosphere Packaging Method,” which was conducted on Gaz packaging technology in Iran, emphasized technical aspects such as increasing product shelf life and improving transportation conditions. The findings of this group of studies show that the main attention of manufacturers is on the industrial functions of packaging rather than its cultural aspects. Karimipour and Sharifzadeh (2017), in a study titled “Culture-based Components in Iranian Handicraft Packaging Design,” also show that packaging designers in the field of handicrafts have focused more on national symbolic elements such as Islamic motifs and Kufic script, while local signs have been given less priority. This study highlights the lack of attention to regional and urban identities in packaging design. In an article titled “The Use of Iranian-Islamic Visual Motifs in the Design and Identity of Iranian Export Food Industries Packaging (Tea, Pistachio, Saffron),” Hammam (2019) emphasizes that packaging is one of the elements that give identity and represent culture and nationality. The main finding of the research shows that in the graphic design of Iranian food industry packaging, there is a lack of use of Iranian and Islamic visual elements, and at the same time, the use of these elements can significantly improve the quality and originality of packaging designs. The author also presented several proposed food packaging designs based on Iranian-Islamic motifs and various forms in this study. Zaryabi and Abeddoost (1400), in an article titled “Investigating the Reflection of National Identity in Iranian Packaging Design with Emphasis on the Component of Persian Calligraphy (Case Study: Selected Food Product Packagings of the Iranian Graphic Design Biennial 'Silver Cypress') analyzed the selected samples of the Iranian Graphic Biennial. The findings of this study show that Persian calligraphy, especially Nastaliq calligraphy, and modern typography methods are the most important indicators of representing Iranian identity in product packaging and can strengthen national distinction and identity in the global market.Conclusion: The present study sought to answer the question of to what extent and by using which signs, the packaging of Isfahan Gaz has been able to represent elements of Iranian national identity and Isfahan local identity. This research was conducted using Debord's three-fold theoretical framework of "representation", Baudrillard's "symbolic value," and Appadurai's "social life of the object". The analysis of 10 packaging samples based on defined indicators (patterns, colors, gender, durability, power of representation, and value migration) led to the following findings:1- Predominance of national identity over local identityIn most of the samples studied (7 out of 10), signs of national identity - including Islamic motifs, Nastaliq script, turquoise, azure, and gold colors - were dominant. Specific signs of Isfahan's local identity (such as images of historical monuments or city-specific handicrafts) were present in only 3 samples (a metal box with images of monuments, a hardbox with an enameled container, and a cashmere chest). This means that Isfahan's Gaz packaging, despite its regional naming, is more concerned with representing "general Iranian identity" than "specific Isfahan identity". This finding is consistent with the results of previous studies (Karimipour and Sharifzadeh, 2017) that pointed to the dominance of national symbols in handicraft packaging.2- Direct relationship between gender and durability with display power and value migrationThe analysis showed that there is a direct relationship between “gender of packaging" and " display power” from Debord’s perspective, as well as “social lifespan of the object” from Appadurai’s perspective. Packaging made of highly durable wood and metal both had stronger display power and were transformed into lasting objects (jewelry boxes, permanent vases, decorative frames) after consumption. In contrast, cardboard and plastic packaging, in addition to having weaker display power, were immediately discarded and lacked value migration. This finding confirms that packaging design with an emphasis on material durability can transform a fleeting consumer product into a lasting cultural product.3- Symbolic value beyond use valueAccording to Baudrillard's theory, in luxury items (wooden, metal, with handicrafts), the real value of the product was determined not by the weight or quality of the Gaz, but by the symbolic value of their packaging. Symbols such as enameling, cashmere, inlay, and knotting convey concepts such as "heritage", "authenticity", "handicraft", and "luxury", and the buyer of these products is in fact exchanging "signs of prestige and authenticity", not simply a traditional delicacy.