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تاثیرپذیری مخاطب از جامعه در ادراک آثار هنری تعاملی با تکیه بر نظریه وندی گریزوولد | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 7، دوره 3، شماره 4، مرداد 1399، صفحه 86-97 اصل مقاله (1.71 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2020.29397.1061 | ||
| نویسندگان | ||
| زهرا رهبرنیا1؛ اکرم نوری* 2 | ||
| 1زهرا رهبرنیا، دانشیار گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| 2دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. نویسنده مسئول. | ||
| چکیده | ||
| اهمیت و جایگاه مخاطب در هنرهای تعاملی امری ثابت شده و ضروری است؛ چرا که تعامل مخاطب با اثر هنری به خلق معنا و مفهوم غایی می‌انجامد و اثر هنری را کامل می‌کند. بدین جهت برای شناخت و بررسی روند هنرهای تعاملی، تحلیل کنش و برخورد مخاطب، امری بسیار مهم است. یکی از وجوه رفتاری انسان به‌عنوان مخاطب در هنرهای تعاملی، ذات اجتماعی اوست. شناخت این جنبه منجر به شناخت جامعه و واکاوی روند تعامل بیش‌تر مخاطب با این نوع هنر اجتماعی و جدید می‌شود. در این پژوهش با تکیه بر نظریه وندی گریز وولد مبنی بر تاثیر ساختار اجتماعی یک جامعه بر مفهوم پایانی یک متن ادبی، تلاش شده است؛ تا ارتباط جامعه و مخاطب مورد بررسی قرار گیرد و این که، برخورد مخاطب با هنرهای تعاملی جدید تا چه میزان می‌تواند تحت تاثیر جامعه‌ای باشد که در آن متولد شده و رشد یافته است؟ شیوه این تحقیق از نوع توصیفی- تحلیلی ست که با استفاده از منابع کتابخانه‌ای و اینترنتی انجام شده است. ساختار جامعه بر کنش و برخورد مخاطبان با هنرهای تعاملی ارتباط مستقیم و موثر دارد. یک اثر هنری می‌تواند در جوامع متفاوت دارای معانی گوناگون و متنوعی باشد. نگرش و برخورد مخاطب با هنرهای تعاملی، سازنده معنا و برایندی از ساختار اجتماعی است که در آن رشد کرده و زندگی می‌کند. بررسی تاثیر ساختار و نوع جامعه بر مخاطبان هنر تعاملی می‌تواند راه‌گشای شناختی بهتر از متن جامعه باشد و تحلیل و شکل گیری هنرهای تعاملی را نیز ساده‌تر کند. | ||
| کلیدواژه‌ها | ||
| واژه‌های کلیدی: هنر تعاملی؛ مخاطب؛ جامعه شناسی هنر؛ هنر اجتماعی؛ وندی گریزوولد | ||
| عنوان مقاله [English] | ||
| Audience Influence of Society on Perception of Interactive Art Works Based on Wendy Griswold's Theory | ||
| نویسندگان [English] | ||
| Z. Rahbarnia1؛ A. Noori2 | ||
| 1Associate Professor of Art Research Department, Faculty of Art, Alzahra University, Tehran, Iran. | ||
| 2PhD student in Art Research, Faculty of Arts, Alzahra University, Tehran, Iran. Author | ||
| چکیده [English] | ||
| Interactive art is among the new coming arts in the present age in which the interactive and participatory aspect overcomes the aesthetic aspect. In interactive art, the audience follows in the artist's footsteps in creating the work. In essence, the audience complements and completes the concept. The importance and position of the audience in interactive arts is proven and necessary because the audience's interaction with the work of art leads to the creation of ultimate meaning and concept and completes the work of art. Therefore, to recognize and study the process of interactive arts, analysis of the action and attitude of the audience is very important. Some theories of art sociologists, especially those of Karl Marx, Michel Foucault, and Pierre Bourdieu, emphasize that works of art reflect the thought and culture of society, and that the result of social infrastructure is the work of art from the beginning of creation by the artist. Until the audience receives meaning, it depends a lot on the social personality of individuals and the structure of society. One of the behavioral aspects of man as an audience in interactive arts is his social nature. Understanding this aspect leads to understanding the community and analyzing the process of more interaction of the audience with this type of social and new art. In this study, based on Wendy-Wold's theory of the effect of the social structure of a society on the final concept of a literary text, an attempt has been made to examine the relationship between society and the audience. By integrating such a sociological approach of art, based on emphasizing the social dimension of the artist and the audience and the society that creates the work of art with the position and role of the audience in interactive arts, this study intends to influence society and its structure on the audience. In dealing with works of interactive art, so with the closeness of this topic to the views of Wendy Griswold, who has followed a similar theme in his critique of literary works, this research will proceed in parallel with his theory. What is questioned in this article is to what extent can the audience's encounter with new interactive arts be influenced by the society in which they grew up? To what extent does the political, economic and religious form and structure of a society affect the growth and promotion of interactive arts? And how can their interactive arts flow in the context of a society? The research hypothesis is the direct relationship of interactive arts with the structure of society and the direct impact of the type of society on the audience of interactive arts. This research is a descriptive-analytical method that has been done using library and Internet resources. The meaning and concept of an interactive work in different societies can have different and diverse approaches which creates different meanings and concepts. The diverse interaction of the audience leads to the creation of new art and concepts from which psychological and sociological results can be obtained. In order to achieve success and maximize the presence of the audience, many social components must be considered, and also to achieve the desired results, the interaction of the audience must be taken from social structures. Different feedback from the audience with one work provides the appropriate findings and results for the artists. Even the faint and inappropriate presence of the audience can itself create many new meanings. The type of society has a direct and effective relationship on the tastes, desires, perceptions and attitudes of the audience with interactive works. Wendy Griswold's theory of different social critiques of a literary work and the impact of society on the view of the audience in the interactive arts and its audience can be followed, the audience on the one hand as an individual in society and on the other hand the audience participating in it is an interactive art. In his view and practice in these arts, consciously or unconsciously, he also brings with him works of social components. Artists need dynamic and active audiences to be more successful in creating interactive arts, so they can attract more audiences by considering all the spiritual, sensory and moral aspects as well as the social aspects of individuals. Since the social components in each society are different from other societies, audiences from different societies also interact and create completely different works. As a result, according to Griswold theory, society exerts its social influences on the audience of interactive arts, which has a direct effect on their final perception and interaction. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Interactive Art, Audience, Sociology of Art, Social Art, Wendy Griswold | ||
| مراجع | ||
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Abbasi, F. (2014). Study of the Role and Position of Audience in Interactive Arts, Islamic Azad University (Text in Persian). Alexander, V. D. (2011). Sociology of the Arts: Exploring Fine and Popular Forms, Translated by Azam Ravadrad, Tehran: Shadrang (Text in Persian). Aslankhani, P., Hasanpour, M. (2020). Designing Methods of Interactive Cognitive Books and Promoting the Creativity in Preschool Children, Painting Graphic Research, 2(3), 18-30. doi: 10.22051/pgr.2019.24141.1025 (Text in Persian). Azarioun, F. & Akbari , M. (2017). Interaction between Literature and Art with Society from Adorno Viewpoint, Journal of Recognition, 74 (7-21) (Text in Persian). Brown, K. (2016). Interactive Contemporary Art: Participation in Practice. London:I.B. Tauris. Candy, L. & Ferguson, S. (2014). Interactive Experience in the Digital Age: Evaluating New Art Practic, London: Springer. Cerratto-Pargman, Teresa & Rossitto, Ch. & Barkhuus, Louise (2014). Understanding Audience Participation in an Interactive Theater performance, NordiCHI '14: Proceedings of the 8th Nordic Conference on Human-Computer Interaction: Fun, Fast Foundational. October, 608–617. Doroudi, F. (2014). An introduction to The Types of Criticism and Its Functions, Journal of Information & Communication Quarterly Book Review,3 & 4, 221-235 (Text in Persian). Eivazi , Z., Bagheri, A. & Aghababaei, E. (2017). Graphic Design based on the Sociology of Taste (Case Study: Tissue paper), Scientific Journal of Pazhuhesh-e Honar, 6(12), 53-63 (Text in Persian). Griswold, W. (1987). The Fabrication of Meaning: Literary Interpretation in the United States, Great Britain, and the West Indies, The American Journal of Sociology, 5, 1077-1117. Mouchtouris, A. (2007). sociologie du public dons le champ culturel et artistique, Translated by Hosein Mirzaee, Tehran: Nashre Ney (Text in Persian). Poonkhin Khut, G. (2006). Interactive Art as Embodied Inquiry: Working with Audience Experience, Creativity and Cognition Studios, 14. 156-169. Ravadrad, A. (2001). A Critique of the Social Determination of Art As a Central Problem in the Field of the Sociology of Art, Honar-ha-ye Ziba, 8, 4-17,(Text in Persian). Samadzadeh, M. (2016). Investigating the Effect of the Interactive Billboards on Audience, Alzahra University (Text in Persian). Sebti, S. (2016). Analyzing the Audience’s Action in “Interactive Art” Based on Philosophy, Alzahra University (Text in Persian). Zojaji, N. & Rahbarnia, Z. (2015). Factors Influencing Audience Attraction In Interactive Art: A Case Study of Daniel Rozin’s Work, The First International Conference on Innovation and Research in Arts and Humanities (Text in Persian). Walter, B & Marcuse, H & Adorno, T (2009). Critical Aesthetics, Translated by Omid Mehrgan, Tehran: Gam-E- No (Text in Persian). ▪ Williams, S., Derbyshire, J. & Wong, A. (2018). Me on the Map: A Case Study of Interactive Theatre and Public, Journal of Public Deliberation, 14. P1-13. URLs: URL1. Cet affichange interactif devient votre ami (2015) http://leblog.wcie.fr/ last seen in 2019/4 URL2. McDonalds piccadilly signs (2009) http://www.adsoftheworld.com. Last seen 2019/4. URL3. Nikes unicef treadmill billboard (2017) http://billboards.bemediagroup.com/the-best-interactive-billboards. Last seen 2019/4.
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