Farhang bah ravāyat-i chishm: Persiska (Farsi) 1401

What constitutes the visual culture of the modern age is not easily visible. Borrowing the term "visual system" from Christian Maze, we raise the question of whether there is a unified "visual system" in the modern era. Or is it possible that several visual systems are competing with each other in the modern age? Because, as Jacqueline Rose recently noted, "Our past history is not a hard and fixed piece belonging to a single visual space, but with an implicit look, moments of turmoil can always be found in it." Indeed, is it possible in modern times to recognize moments like these, which are often repressed? If this is the case, then the visual system of modernity, instead of being a balanced and systematic collection of visual theories and methods, is better to be considered a controversial issue. In fact, perhaps modernity can be described by the separation of visual subcultures, which allows us to understand the multiple meanings of seeing in ways that we are just now able to understand. The new understanding that I am trying to propose can be the product of a radical reversal in the hierarchical structure of visual subcultures in the modern visual system.