خطاط: ميترا معنوي راد
At
the peak of our technological performance, the irresistible
impression remains that something eludes us - not because we
seem to have lost it (the real?) - but because we are no longer in a
position to see it: that in effect, it is not we who are winning out
over the world, but the world which is winning out over us."(Jean
Baudrillard, Tlie Perfect Crime, p71.)
A moment in the financial city, in an unspecific future. A city of
"appearances", where there is no distinction between the city &
"its double" - the human & the replicant! Replicants are the perfect
simulacra - a convergence of genetics & linguistics. Baudrillard
describes the simulacrum as "an operational double, a metastable,
programmatic, perfect descriptive machine which provides all the
signs of the real and short-circuits all its vicissitudes." (Baudrillard,
Simulation, pi 46,)
A city of pastiche - an aesthetic of quotation, incorporating dead
styles! Replicants have neither past, nor memory. There is for them
no conceivable future - only the present. The city on the other hand
attempts a recollection of the past, of memory and history - yet
without any critical insight.
A city of commodity. Privatisation is pushed to the limit. The
city is protected by private security forces - armed replicants. The
corporate army is colonising other planets. Companies are selling
shares in air. Natural food is a thing of the past. "White genes" are
on offer. Cyber sex is "normalised". "Happiness" is available on
prescription. Memories are for sale. The replicants are "claiming"
emotions - becoming more human than humans! And babies are
manufactured.
A white city, with death at it's heart. No more a question of
difference, but "indifference"! Corporations have exhausted their
means. Death is no more a natural progression of life. Life is
prolonged for the privileged, and cut short for the unprivileged.
A city without history, without desire, without illusion! The
problem is no longer, as Baudrillard says, "one of the changing
life, which was the maximal Utopia, but of surviving, which is the
minimal Utopia." (Baudrillard, The Perfect Crime, p.47.) But surviving
at
what price? Here the concern is not the old Romantic triumph of
the organic over the mechanical, but will there be enough room -
for both natural and artificial intelligence - for both the world and
its double!
ranslation:Nathalie Juan)
تحصيلات :فوق ليسلنس گرافيك از دانشگاه تهران
دارا درجه ممتاز از انجمن خوشنويسان
:فعاليتهاي هنري
مدرس انجمن خوش نويسان ايران از سال 1375
فعاليت در زمينه طراحي گرافيك از سال 1362
تدريس دردانشكده هاي هنري الزهرا- آزاد- هنر
:نمايشگاهها
دريافت ديپلم لوح افتخاراز جشنواره خوش نويسيجهان اسلام
شركت در 40 نمايشگاه خوشنويسي وگرافيك از جمله
دانشكده معماري, دانشگاه علم وصنعت - 1365
فرهنگسراي نياوران-1367
موزه رضا عباسي-1368-1371
نمايشگاه بين المللي تهران-1372
دوسالانه طراحان گرافيك موزه هنرهاي معاصر-1374
جشنواره خوش نويسي جهان اسلام موزه هنرهاي معاصر-1375
مركز همايشهاي بين المللي -1376
نمايشگاه قران كريم - 1376
نمايشگاه خوش نويسي بزرگداشت درويش - 1376
نمايشگاه قران كريم - 1378
دوسالانه طراحان گرافيك موزه هنرهاي معاصر-1378
نمايشگاه قران كريم -1379
نمايشگاه قران كريم درمركز همايشهاي بين المللي - 1380
نمايشگاه روز زن - 1380
نمايشگاه گلرخ موزه رضا عباسي- 1380
چاپ اثر در كتابهاي : كلك مشكين - خوش نويسان ايران- زنان خوش نويس-
ديوان پروين اعتصامي- سفال ايران- دوسالانه هاي گرافيك
چا پ اثر در مجلات : ادبستان - زنان- زن روز- روزنامه همشهري
انجام تحقيقاتي در زمينه گرافيسم خط- نقدو تحليل خوش نويسي و
چاپ 90 اثردر زمينه گرافيك وخوش نويسي
.