Soodeh Eshghi - Ph.D. Student, Department of Philosophy of Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran
Seyed Mostafa Mokhtabab Amrai - Professor of Dramatic Literature Department, Tarbiat Modares University, Tehran, Iran, Invited Member of the Philosophy of ArtGroup, Central Tehran Branch, Islamic Azad University, Tehran, Iran
Mohmmadreza Sharifzadeh - Associate Professor, Department of Philosophy of Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran

The issue of aesthetics in postmodernism, unlike modernism, denies the aesthetic independence ofpolitical, social, and cultural issues, and accordingly, the paradigm of uncertainty in the trajectoryof subversive discourses, without regard to objectivity and the issue of individual genius, resorts totechniques such as adapting and imitating previous ideas. Thus, it de-formalizes various culturalgenres that have themselves been influenced by the process of modernization of late capitalistcurrents at the international level in the process of distortion. In the meantime, the intertextualitycreated by language games and electronic media sub-narratives, relying on the multiplicity ofidentities, blurs the line between reality and imagination in an aesthetic understanding ofphotomontage images. The purpose of this paper is to interpret the word "creation" as an adaptationin the process of creating photomontage images in an aesthetic way and based on the paradigm ofthe pluralism of the late capitalist era. Accordingly, it raises the main question of whatinterpretation of the photomontage model depicts the accelerated and multifaceted approach to theproduction of cultural symbols aimed at capitalist modernization in the path of postmodernistaesthetic discourse? Therefore, in a qualitative approach and in a descriptive-analytic study,documented data based on common themes among the variables in the research topic have been analyzed by content analysis method to conclude that the accumulation of space and time due tolate capitalist culture with the central discourse of postmodernist aesthetics mixing path marks theatmosphere of cultural symbols that the idea of creating such a utopia of postmodernist atmosphereis compatible with the pattern of photomontage images and their imitation and fusion properties.

Adaptation; Paradigm of Cultural Pluralism; Photomontage Images; Postmodernist Aesthetic; Late Capitalist Culture