بررسی مفهوم نامکان از منظر «مارک اُژه» در عکاسی منظره شهری تهران در دهه 1380 (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ثبت شهر از همان ایام آغازین اختراع دوربین عکاسی مورد توجه قرار گرفته بود. از همین رو عکاسی شهری به عنوان سبکی مستقل از عکاسی خیابانی پدیدآمد و با پیشرفت حاصل شده در دوربین های جدید، امکان ثبت مردم در محیط پیرامونشان و چگونگی ارتباطشان با فضاها میسر گردید. سپس، به موازات گسترش شهرهاوشکل گیری فضاهای جدید شهری، مفهومی تحت عنوان نامکان شکل گرفت. تحقیق حاضر تلاش دارد تا پس از کسب شناخت دقیقی از مفهوم نامکان، از منظری نو به تجزیه وتحلیل مجموعه عکس های منظره شهری تهران دردهه ی80 شمسی بپردازد. دراین راستا، نظریه نامکان«مارک اُژه» به منظور مطالعه وتحلیل مجموعه تصاویر مورد نظر استفاده شد.«اُژه» شکل گیری نامکان ها را بازتابی از دنیای معاصر می داند و معتقد است اگر نتوان برای فضایی ویژگی های هویت، ارتباط و وجه تاریخی قائل شد، آن محیط به نامکان تبدیل می شود. برپایه این سه مشخصه بنیادین، تعمق در اندیشه های«اُژه»و بهره بردن از مطالعات تصویری که مسئله نامکان را برمبنای درک«اُژه» بررسی کرده بودند، عوامل سازنده سه مؤلفه یادشده مشخص شد. این پژوهش که پس از انتخاب موضوع با جستجوی کلیدواژه های مربوطه و بررسی و مطالعه مطالب مربوطه در تارنماهای مختلف خارجی و داخلی و فیش برداری از آنها و در نهایت تحلیل و مناسب نگاری متون به انجام رسیده است، تلاش دارد تا ویژگی های تمایز مکان را از نامکان مشخص کند وسپس تعیین کند که چگونه مفهوم نامکان درآثار عکاسان منظره شهری ایرانی نمایان شده است. یافته های پژوهش حاکی ازآن است که ویژگی های نامکان را دربرخی از آثارعکاسان منظره شهری ایران دردهه1380 شمسی که به عکاسی از فضاهایی چون پایانه های حمل ونقل(مترو)و حومه شهر پرداخته اند، می توان سراغ گرفت.The concept of Non-Place from Marc Augé's perspective in urban landscape photography of Tehran in the decade 1380s
After the invention of photography, urban landscapes and architecture became the focus of 19th century photographers. At the beginning of the 20th century, which was almost parallel to the peak of modernism, urbanization spread and significant developments at the city level came to the fore. On the other hand, the production and spread of light cameras with high shutter speed in the market prompted a number of photographers to, in addition to recording the changes, carefully examine the daily life of people in the streets and their actions with their surroundings through their lenses, which causes The number of images of urban landscapes increased. They wandered in the streets and newly born environments and waited to record the images with the desired results in a fraction of a second on the sensitive surface of the film at the right time and position. Curiosity was a valid reason for long waits to reach such subjects. Urban photographers narrated the presence of people in the streets and social actions as well as interaction with different spaces in the form of images. The increase in transformations and the emergence of technology caused the city to quickly enter a situation that " Marc Augé " refers to as "supermodernity". The characteristics of this new situation introduced by " Augé " is the excess of time, space and individuality. Due to the frequency of events and their becoming more complicated, as well as the acceleration of history, man cannot give meaning to his recent past.With the advancement of technology and the replacement of networked and uniform communication, as well as the reduction of human communication and the emergence of means of transportation, distance and spatial dimension lost their importance and every day man faced a lot of images, information and advertisements of various centers. Due to the spread of technology, people of the present age were attracted to easy and quick access, which brought the danger of global assimilation and caused urban spaces to lose their identity and soul. Today, people use these spaces only to meet their physical needs without forming a deep connection between them. They often go back and forth in these places with indifference and pass by each other with indifference.Such changes have led to a space crisis in the city. According to a number of theorists, such environments are known as " Non-Place ". According to " Marc Augé ", space is divided into two types of place and Non-place, which are in opposition to each other. What differentiates these two environments from each other are features such as history, identity and communication, the presence of such features is evident in the place, while Non-place lacks the mentioned features. As "Hypermodernity" is tied to the colonization of globalization, Non-place's existence is often seen as the loss of indigenous places in the region. The Non-place phenomenon destroys identity instead of shaping it. Therefore, people in Namkan are not recognized by their position, but find a temporary identity and somehow experience the feeling of freedom and anonymity of social individuality, and only sees an image of themselves in front of them. Such spaces create isolation and homogeneity, the collective identity is weakened and the individual becomes the creator of meaning. These distinct individuals are similar to each other, but they are not sensitive to each other and they are only together for a short period of time. In such environments, a person's way of communicating with the unknown is based on an individual contract, and it is required to authenticate by presenting an identity card, and after that, like others, he can achieve some kind of liberation in private. Also, in highways, chain stores, etc., a person communicates through words and text; For example, the signs that are placed on the road guide the person on the way. In fact, the quantity of communication is considered instead of quality, and it destroys any dependence and attachment to the space. Another thing that leaves no trace with the emergence of the Non-place is history. Due to the multitude of daily developments, there is no more time to give meaning to the past and only the present moment is felt. In fact, the past becomes a show and it cannot be understood in the form of a historical flow. From the point of view of " Augé ", the Non-place and the place do not induce a black and white situation, but because the Non-place appears and is defined due to the presence of negative characteristics in the place, it can be considered in a close relationship with the concept of absence. In fact, the Non-place has emerged as a new situation of the place. The intention of " Augé " in introducing the term " Non-place " was to consider a spectrum for the spaces that floated between the place and the Non-place. Therefore, the Non-place spectrum is always present as an integral part in everyday and contemporary life.This research, which was done after choosing the topic by searching for the relevant keywords and reviewing and studying the related materials in various foreign and domestic websites and extracting the files from them and finally analyzing and appropriate writing of the texts, it tries to identify the distinguishing features of the place from the Non-place and then determine how the concept of the Non-place has been shown in the works of Iranian urban landscape photographers. The findings of the research indicate that Non-place features can be found in some of the works of Iranian urban landscape photographers in 1380 AD who photographed spaces such as transportation terminals (metro) and suburbs.
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