In this paper, I address the issue of the possible applicability of the ideas of Karl R. Popper’s social and political philosophy in the contemporary political life of postcolonial countries. Through reference to the reception of Popper’s philosophy in Central and Eastern Europe, I argue that Popper’s writings were effective in catalysing the political wholesale transformation by undermining Marxists’ pretensions to scientific status rather than through his anti-utopian and anti-revolutionary political recommendations. In the context of attempts to apply Popper’s ideas in postcolonial countries, especially Sub-Saharan Africa, I claim that the influence of Popper’s social thought on the politics of those countries may not be as effective as expected or desired.

Catharsis is construed as the moral affair in Aristotle’s thought, the emotionalsomatic discharge and cognitive awareness in Brecht’s theater and the informative conflict around the life EXPERIENCE in Vygotsky’s writing. John Cage, a prominent musician in the 20th century, also considers the core of his ARTISTIC thought to be the creation of a challenge for the audience’s perception in terms of the identification of musical EXPERIENCEs and performances. This paper aims to investigate the existence and concept of the cathartic EXPERIENCE in Cage’s works, and concerning this, employs a chronological and descriptive-analytical method and relies on library resources. The findings indicate three stages of changes in his thought, from distancing to motivating audience for intervention and finally, influenced by Zen, promoting the audience to the artist’s position as his own special method. In this way, Cage makes Catharsis as audience’s permanent EXPERIENCE in life.

The ARTISTIC creator has an instrumental role in shaping the ARTISTIC process and the origin of the artwork, is the inner EXPERIENCE of the artist and the artwork comes from the feeling, emotion, imagination and thought of its author. Given this, the current paper asks how Mahdism has a presence and standing in the ARTISTIC EXPERIENCE of Shiites. The answer is if the Shiite artist understands the messianic role in the intellectual and epistemological system of Shia - specifically Shiite mysticism, this messianic belief will influence his ARTISTIC EXPERIENCE and leads to the creation of fine Mahdavi arts. The expectation to create Mahdavi arts is solely based on a lifestyle and EXPERIENCE that Mahdism has a big role and presence in. In the absence of an internal love and absence of a deep understanding of Mahdism, the official ordering of an ARTISTIC work would not solely lead to creation of fine Mahdavi arts.

One of the points of strength of the approach of Dewey to art lies in the fact that he has a dynamic vision of the nature of art. The current essay seeks to provide an appropriate answer regarding the question of the diversity of forms of ARTISTIC forms in contemporary era based on the explication of creation of work of art focusing on the notion of aesthetic EXPERIENCE in the ideas of John Dewey. The nature of art it has a better capability as regards the explication of the diversity and evolutions of the forms of ARTISTIC expression in the contemporary era. What makes the meaning of the works with this extension understandable for the audience is the artist's taking advantage of the historical and cultural element called emotion. By changing the primary crude emotion into a refined emotion the artist takes advantage of the symbolic and meaningful systems and invites the audience to EXPERIENCE the life world. The work of art is an extra-real object in the world. In aesthetic EXPERIENCE selection and taking advantage of the past meanings and symbols enriches the form. Form unites the emotion, act of expression, media, and system of symbols, knowledge and interaction. Degrees of collection and connectivity of these factors and also communicative and contextual factors that constitute a spectrum of the forms and it is in this way that the form of work of art in the contemporary world goes beyond its material form

Abstract:Problem statement: The increasing use of artificial intelligence in the field of visual arts has led to the creation of innovative and diverse works of art. However, despite the widespread interest of artists in using this technology, its place and importance in creating an artwork has not been carefully evaluated. Among the central questions in this regard is the role of artificial intelligence in the formation of original works of art.Research objectives: The purpose of this research is to investigate the role and importance of artificial intelligence in creating original works of art. For this purpose, the works of Harold Cohen, who is one of the pioneers of using artificial intelligence in the art of painting, will be evaluated. Therefore, in the first part, the concept of artificial intelligence is briefly stated. Then the Chinese room thought experiment, which is one of the most prominent tests related to artificial intelligence, will be used as a tool to check the performance of the machine "AARON", created by Harold Cohen. In this test, "creativity", "awareness" and "EXPERIENCE" will be evaluated as the main components of producing original works of art. In the following, problems related to the role of the mentioned components in the performance of AARON will be listed. Finally, an attempt is made to present a new formulation of these fundamental concepts, despite the flaws in the works produced by AARON, it has an undeniable role in the creation of the artwork.Research method: In order to evaluate AARON's performance in the formation of the artwork, this research considers John Searle's approach and his Chinese room argument.Conclusion: Artificial intelligence plays an important and undeniable role in the production of original, innovative and creative works of art.

The article, while review French thinker, Jean Franois Lyotalr’s views, studies the influencial role of disharmonious factors such as, sublime cause, incompatibility and historic sign in art, polity and language fields, in order to unveil part of existing discontinuous and contingent relation among intending to create disorder in those processes relating, generally, to the institutionalization of culture sphere, and also within discourse frameworks, gender and language regimes and games in particular. This has produced those perspectives of the modernity’s great contradiction that indicates incomparability of knowledge and ethics.

The role of Mahdism lifestyle in the EXPERIENCE of artists As the creators of artwork and the artists' inner EXPERIENCE has a fundamental role in the process of formation and origin of a work of art, its effect is resulted from a feeling, emotion, imagination they owned. The question explored in this paper is what the position of Mahdism is in the Muslim artists' EXPERIENCE. In this article, we have tried to answer this question that an artists' belief in Shiite Mahdism can influence his ARTISTIC EXPERIENCE if they know the role of Mahdism in the intellectual and epistemological system, especially the Shiite gnosis, which eventually leads to fine Mahdist arts.The expectation to invent and create the works of art is just based on the style of life and EXPERIENCE of the artist which has Mahdism playing a prominent role and presence.In the absence of internal love as well as a deep understanding of it in terms of the EXPERIENCE of artist, (official) ordering of a work of art in it self, would not create a work of art.

We aim to explore emotions in response to artworks according to Ibn Sī nā 's philosophy. To arouse emotions and imagination are the main features that define an artwork in Avicennian philosophy. The issue finds expression mainly in his treatises on poetry and music. Among various styles of poems, Ibn Sī nā ' meticulously discusses emotions in his definition of tragedy and epic e. g. he holds words and the meaning of the styles would be composed in a way that arouses emotions like passion, pity, and sympathy. Thus, we seek to address the raised questions: what kinds of emotions are aroused in facing a work of art? What factors evoke emotions? How do emotions interact with the perception and judgment of the artworks and their beauty? The paper is divided into four parts dealing with the definition of form and beauty as the main elements of a work of art in Ibn Sī nā 's view, different types of emotion that a work of art can elicit the factors that evoke emotion, and the role of emotions in perceiving art. The findings reveal that the collaboration of the three factors of form, imagination, and human nature paves the way to evoke emotions. As the objective component, the artwork consists of Hosn-e-nazm (order), Hosn-e-ta’ lī f (beautiful composition), and e'tedā l (harmony) that elicit passion. Using more complicated designs and stories, unexpected endings, or specific figures of speech in poetry, for instance, are the techniques Ibn Sī nā suggest attracting the audiences profoundly. Imagination and human nature are the subjective elements that reflect more in cultural aspects. Ibn Sina believes that the feeling of happiness would be aroused when people of various regions find the musical rhythm in harmony with their cultural taste. Moreover, emotions in concert with cognitions are ways to understand the meaning and judge the beauty and value of a work of art.

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the ARTISTIC quotation" and elaborates the details in Hafez' poetry. What is an ARTISTIC quotation, how does its ARTISTIC aspect occur and what are its types? This article intends to respond to the mentioned questions. Our method is the descriptive method through the structuralism approach. The overall studies lead us to conclude that Hafez' ARTISTIC quotations have generally passed a balanced path both in narration and the poetic process; which is due to his tendency for moderation. And in these two-sided aspects considering the present situation, they have been united with several elements such as; the narrator, atmosphere, time and place setting, description, character, dialogue, incident, suspense, and the ornaments of the figures of speech like; metonymy, simile, style of finding the proper equivalent, metaphor, personification, paradox, irony, pun, phonemes, harmony of adjectives, equivocation, identification, convenance, contrast and many other figures of speech to be mentioned. Also examples of this technique cover a variety of divisions in his great poetry book depending on the basis of the definition in the details.

Today, imagery has a special place in the analysis and criticism of literary texts. This ARTISTIC tool which is one of the most important forms of expression in theology transmits ideas intuitively using fantasy and the figurative applications of the language. This transmission makes the meaning more tangible and helps to consolidate it in the audience's mind. In the present study, using the descriptive-analytic method, the visual effects of Fadak Sermon are examined in order to discover the status of image in the language of Hazrat Zahra (a. s. ) and to demonstrate its literary features. As the words of Her Excellency emanates from the purest of sincere feelings and the highest human emotions, the images in the sermon, along with tools such as imagination, motion and music, portray an impressive and complete picture of implications and suggestions to the addressee. One of the features of the verbal images of Hazrat Zahra (a. s. ) in this sermon is the frequent use of minor images. Metaphor is most used in the sermon to create imagery and is tailored to the understanding level of the audience of that period. The dynamic and innovative images used in this sermon are intended to guide people and show the breadth of thought and depth of vision of Hazrat Zahra (a. s. ).