philosophy
Mehrdad Ahmadi; Mohamadreza Asadi
Abstract
Heidegger believes that the subject of representation is essentially a subject that wills the represented in every representation in a way that the expansion of the domains of human representation and going through the reality and determining it as a subject is directly related to the expansion of his ...
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Heidegger believes that the subject of representation is essentially a subject that wills the represented in every representation in a way that the expansion of the domains of human representation and going through the reality and determining it as a subject is directly related to the expansion of his will and expression of his will in the world. When Nietzsche answers the question of what is the being of beings with the will to power in fact he expresses the hidden source of all representational tradition which was unsaid to him. For Heidegger, the will to power brings subjectivity to its end. and end which culminated in our technological age of reducing humanity to be a representation of a greater will that Heidegger calls will to will. But the article approaches the problem just mentioned not as a distinguished phenomenon but treats it totally in the tradition of the west as emerged in the light of the essence of truth as dominant in Rome. Having this in mind, we argue that the technological age is the reversal of representational relation which delivers man over the darkest night of his destiny and consequently decentralizes him in favor of a bib picture of the world which is able to give a coherent narration from everything. It is this inhuman and also technological narration that extracts the subjective will of the representing subject.
somayeh Nasri; Ali Moradkhani
Abstract
The development of modern art and contemporary art criticized the concept of representation, which dominated art philosophy for nearly two millennia. Accordingly, the classical conception of representation was no longer able to analyze the new artifacts that emerged from the formation of modern ...
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The development of modern art and contemporary art criticized the concept of representation, which dominated art philosophy for nearly two millennia. Accordingly, the classical conception of representation was no longer able to analyze the new artifacts that emerged from the formation of modern art. Arthur Danto is among the twentieth-century art philosophers reevaluated "representation" taking into account contemporary art. The current paper aims at explaining Danto's conception of art as a representation based on the book “The Transfiguration of the Commonplace”. Danto believes that in today's art we see the emergence of real objects in artworks and other art is no longer merely the representation of reality but the real objects themselves that have become artworks. He views artworks as symbolic expressions that embody themselves. Thus, the current paper explains why Danto proposed this theory and stating how he devised another interpretation of the concept of representation and explained that concept distinct from its classical conception. The importance of Danto's view in this regard is to examine contemporary art samples based on a new interpretation of the concept. The importance of Danto's view in this regard is to examine contemporary art samples based on a new interpretation of the concept. This article also mentions a case study of contemporary artist Jeff Koons.
