پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 967 |
| تعداد مقالات | 8,010 |
| تعداد مشاهده مقاله | 13,573,668 |
| تعداد دریافت فایل اصل مقاله | 9,616,333 |
پساپدیدارشناسی دُن آیدی در تبدیل نقاشی به فناوری دیجیتال | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 1، دوره 10، شماره 1 - شماره پیاپی 19، خرداد 1404، صفحه 4-17 اصل مقاله (1.44 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.50001.1641 | ||
| نویسندگان | ||
| کوثر کریمی کلیشادی1؛ مرضیه پیراوی ونک* 2 | ||
| 1کارشناس ارشد پژوهش هنر، دانشکده پژوهش های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
| 2استادگروه پژوهش هنر، دانشکده پژوهش های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
| چکیده | ||
| تاریخ تحول تمدن بشری نشان می‌دهد که همزیستی هنر و فناوری در هر زمانی وجود داشته است. هنر دیجیتال، هنری است برآمده از میان تاریخ هنر و تکنولوژی که همراه با پیشرفت فزاینده فناوری مرزهای پیشین خود را دگرگون کرد. زبان نقاشی در حال حاضر دچار تحولات فراوانی شده که ماهیت و بیان آن در قالبی جدید ارائه می‌شود و شاهد یک تغییر پارادایم اساسی هستیم. در نگرش پساپدیدارشناختی دن آیدی بر اهمیت شناخت فناوری در زندگی انسان تأکید دارد و روابط انسان با فناوری را در چهار نسبت تجسد، هرمنوتیک، غیریت و زمینه بسط می‌دهد و نحوه شکل‌گیری آن‌ها توسط فناوری را برجسته می‌کند. پژوهش حاضر با استفاده از رویکرد پساپدیدارشناسی و نگرشی بینارشته‌ای به دنبال ایجاد پیوند میان فلسفه و هنر نقاشی می‌باشد و برای دستیابی به این هدف از روش تحقیق توسعه‌ای جهت فهم تأثیر فناوری‌های دیجیتال بر هنر نقاشی بهره گرفته شده است. در این چارچوب، نسبت تجسد با هنر سایبورگ هم‌راستا شد، جایی که مرزهای میان بدن و فناوری در هم شکست. نسبت هرمنوتیک با هنر فراکتال پیوند یافت، که در آن جهان از رهگذر نشانه‌ها و کدنویسی‌های دیجیتال تفسیر شد و معنایی نو آفرید. نسبت غیریت گفت‌وگویی پویا میان انسان و ماشین را رقم زد و در فناوری‌هایی چون هوش مصنوعی، مواجهه انسان با دیگری را آشکار ساخت؛ و در نهایت، نسبت زمینه با واقعیت مجازی هم‌خوانی یافت که جهانی موازی خلق کرد و در آن ادراک و تخیل در هم آمیختند. | ||
| کلیدواژه‌ها | ||
| پساپدیدارشناسی؛ دن آیدی؛ فلسفه تکنولوژی؛ فناوری دیجیتال؛ نقاشی دیجیتال | ||
| عنوان مقاله [English] | ||
| Don Ihde's postphenomenology in converting painting to digital technology | ||
| نویسندگان [English] | ||
| kowsar karimi kelishadi1؛ Marziyeh Piravivanak2 | ||
| 1Faculty of High art research and entrepreneurship, Art University of Isfahan. Isfahan, Iran | ||
| 2Professor, Department of Art Research, Faculty of Advanced Studies in Art and Entrepreneurship, Isfahan University of Art, Isfahan, Iran. | ||
| چکیده [English] | ||
| The present study, using a post-phenomenological approach and an interdisciplinary perspective, seeks to establish a link between philosophy and the art of painting; how post-phenomenology can be used to understand and study the transformation of painting into digital technology. To achieve this goal, a developmental research method has been employed to understand the impact of digital technologies on the art of painting. The history of the development of human civilization shows that the coexistence of art and technology has existed at all times. Digital art is an art that emerged from the history of art and technology, which, along with the increasing progress of technology, has continuously expanded and transformed its previous boundaries. The language of painting has currently undergone many changes; its nature and expression are presented in a new format, and we are witnessing a fundamental paradigm shift. In the post-phenomenological perspective, Don Ihde emphasizes the importance of understanding technology in human life and expands human relationships with technology in four dimensions: embodiment, hermeneutics, otherness, and context, highlighting how they are shaped by technology. The findings of the research indicate how the artist and the audience will be integrated in these four relationships with technology in digital painting. Following Don Ihde’s post-phenomenology foundation in the transformation of painting into digital technology, the first relationship, or the relationship of embodiment, will be discussed in terms of how digital painting blurs the boundaries between the body and technology and how works of art are created by digital tools. In the second relationship, or hermeneutic relationships, we interpret and make sense of the world using digital or coded signs and symbols. Then, in the third relationship, or otherness, the way we relate to the other in digital painting, such as encountering different technologies, will be examined. In the fourth relationship, or context, it will be shown how technology mediates the way we interact with the world of painting and our experience of painting. Introduction The increasing growth of technology in the twentieth century has brought about profound changes in the relationship between humans and the world. Today, digital painting, as a new form of visual art, has become the mainstream of contemporary painting and can be widely used in different fields. Don Ihde, one of the most prominent contemporary philosophers of technology, believes that a comprehensive analysis of human experience in this technology-saturated world requires a thorough examination of the relationship between humans and tools, as well as attention to its consequences. Post-phenomenological research, therefore, considers technologies as mediators or creators of human-world relations and, by examining how technologies mediate in the world of human life, takes a more comprehensive view of user experience. This requires discovering the ways in which technology shapes our identities, relationships, and experiences, as well as highlighting the potential consequences of our reliance on it. By conducting this type of research, we can gain insight into the impact of technology on our lives and develop strategies to leverage its positive capabilities while mitigating any negative effects. Methodology Descartes' philosophy insisted on the importance of rationalism, which constitutes the main feature of modernity. Behind the mathematical view of the world, modern technology embodies a form of instrumental reason, seeing everything as an object to be used and mastered. However, Husserl changed Descartes' philosophy, and unlike Descartes, Husserl's phenomenological method aimed to describe the structure of consciousness and became an important philosophical tool for analyzing perception, knowledge, and subjectivity. Heidegger identified gaps in Husserl's philosophy, and ultimately Ihde utilized these philosophical methods to design his work. Given that intelligent systems have their own complexities and that dealing with these types of systems requires a rich and efficient philosophical apparatus, Don Ihde's philosophical framework, or his post-phenomenology, has features that provide special possibilities for engaging with these types of systems. This way of thinking seeks to negate any foundationalism; in a sense, the basis of post-phenomenology is the emphasis on non-foundationalism. Instead of thinking in terms of alienation, it considers mediation. Science and technology, rather than simply distancing us from the world, help shape relationships within it. Discussion This research showed that digital technology profoundly redefines the artistic experience of painting through the relationships of embodiment, hermeneutics, otherness, and context. Ihde’s philosophical framework suggests that digital technology in the art of painting creates a complex and multidimensional connection with humans. By recreating the artist’s body as a dynamic medium in the realm of creation, digital tools, on the one hand, increasingly expand his physical and creative capabilities, and on the other hand, they may immerse the traditional sense of touch, that direct contact with canvas and paint, in an aura of pallor. Fractal patterns, born from mathematical algorithms, enable the creation of multi-layered and visually rich meanings; However, dependence on these algorithmic structures may confine the artist’s spontaneity and creative intuition within the constraints of predetermined rules. In relation to otherness, artificial intelligence, as a semi-independent agent, opens up new horizons for creativity by creating works that sometimes exceed the boundaries of human will; but this independence also raises questions. Ultimately, virtual reality elevates the experience of painting from a two-dimensional surface to a multi-sensory and immersive space, creating an interactive and dynamic world for artistic creation and perception. Conclusion For Ihde, we are immersed in technologically designed environments, and our bodies are inseparable from our experiences in these environments. Following Don Ihde’s foundation of post-phenomenology in the transformation of painting into digital technology, we note that Ihde’s post-phenomenology provides the researcher with the tools necessary to expand and explore the relationships between humans, tools, and the world, proposing four relationships. Ihde calls the first the relation of embodiment, where we observe the combination of humans and technology. In this regard, we have seen that digital painting blurs the boundaries between the body and technology, as artists use digital tools to expand their creative expression and explore new forms of embodiment. In the hermeneutic relationship, humans read an abstract representation by the computer; this refers to the interpretive process through which we make sense of our experiences. An example of the hermeneutic relationship in the post-phenomenology of digital painting can be seen in a world where lines of code become brushstrokes and keystrokes poetry. The concept of otherness in post-phenomenology is brought up in the context of artificial intelligence through the ways in which technologies are often understood as separate and distinct entities from humans. Some AI systems can create entire paintings based on input data or parameters. Finally, in relation to context, technologies are implicit conditions that affect the environment as if they were the context in which we find ourselves. In this regard, digital paintings can be viewed on a variety of devices, from smartphones to large screens, and can even be experienced in virtual reality. Museums and galleries may remain vital, but the digital age has created a new wave of art that is accessible to anyone with an internet connection. | ||
| کلیدواژه‌ها [English] | ||
| Post-phenomenology, Don Ihde, Philosophy of technology, Digital technology, Digital painting | ||
| مراجع | ||
|
کتابنامه
آیدی، دون (1388). پدیدارشناسی تکنیک، ترجمه مراد فرهادپور و صالح نجفی، اطلاعات حکمت و معرفت، 4 (8)، 15-20.
طباطبایی، مرتضی، و توکلی، غلامحسین (1397). تقسیم پساپدیدارشناسانه روابط انسان و تکنولوژی از نظر دون آیدی و ظرفیت‌های آن برای اخلاق کاربری تکنولوژی. فصلنامه (علمی- پژوهشی) پژوهشهای فلسفی دانشگاه تبریز، 12 (23)، 43-61.
عالی گلوکانی، شیرین (1397). «زیباشناسی ماشین در هنر قرن بیستم با تکیه بر آراءِ دن آیدی». رساله دکتری گرایش پژوهش هنر، تهران، دانشگاه الزهرا.
کاجی، حسین (1392). فلسفه تکنولوژی دون آیدی: پاسخی به دترمینیسم تکنولوژیک. تهران: شرکت نشر کتاب هرمس، چاپ اول.
مریدی، محمدرضا (1394). مجموعه مقالات هم‌اندیش: هنر نرم‌افزاری. تهران: فرهنگسان هنر، چاپ اول.
وندز، بروس (1394). هنر در عصر دیجیتال. ترجمه مهدی مقیم نژاد، و محمدعلی مقصودی، تهران: انتشارات سوره مهر.
هاشمی، سیدعلی، و منجمی، علیرضا (1398). «بررسی تکنولوژی «سیستمهای هوشمند» مبتنی بر فلسفه پساپدیدارشناسی دون آیدی». پژوهشگاه فرهنگ و اندیشه اسلامی، فصلنامه علمی پژوهشی ذهن، 83، 54-25.
یوسفی، سیمین سادات (1398). «جایگاه سایبورگ در آثار هنرمندان معاصر». پایان‌نامه کارشناسی ارشد، تهران، دانشگاه الزهرا.
Broeckmann, A. (2016). Machine Art in the 20th Century. Massachusette, Massachusette Institute of Technology. Publisher: The MIT Press. Borst, E. M. (2009). Cyborg Art: An Explorative and Critical Inquiry into Corporeal Human-Technology Convergence. PhD Thesis. Philosophy at the University of Waikato. Garousi, M. & Kowsari, M. (2014). Fractal art and postmodern society. Journal of Visual Art Practice, 10:3, 215-229. http://dx.doi.org/10.1386/jvap.10.3.215_1 Ihde, D. (1979(. Technics and Praxis, Dordrethch: Riedel, Boston studies in the philosophy of science. Ihde, D. (1990). Technology and the Lifeworld: From Garden to Earth. Bloomington, Indiana Series in the Philosophy of Technology, Indiana University Press. Ihde, D. )2007(. Listening and Voice: a Phenomenology of Sound, Athens, Ohio Universitty Press. Lin, Ch. L. & Chen, S. J. (2020). Efficacy of Virtual Reality in Painting Art Exhibitions Appreciation. Applied Scienced, 10, 3012, 1-15. http://dx.doi.org/10.3390/app10093012 López de Mántaras, R. )2011(. Artificial Intelligence and the Arts: Toward Computational Creativity. Artificial Intelligence Research Institute (IIIA), Bellaterra, Spain. Moens, B. G. )2018(. Aesthetic Experience in Virtual Museums: A Postphenomenological Perspective. Studies in Digital Heritage, Vol. 2, No. 1, 2:68-2:79. https://doi.org/10.14434/sdh.v2i1.24468 Rosenberg, R. (2016). Notes on Nonefoundational Phenomenology of Technology. Georgia Institut of Technology, Atlanta, Foundations of Science, Vol 22 (3):471-494. https://doi.org/10.1007/s10699-015-9480-5 Schofield, D. & LeRoy, N. C. L. (2018). Representing Robots: The Appearance of Artificial Humans in Cinematic Media. Journal of Arts & Humanities, Vol 07, Issue 05, 12-28. https://doi.org/10.18533/journal.v7i5.1345 Verbeek, P. P. (2005). Beyond the Human Eye, Technological Mediation and Posthuman Visions. in Proceedings of AIAS Conference “Mediated Vision”, eds P. J. H. Kockelkoren and P. Kockellkoren. (Veenman Publishers en ARTez Press), 1–7. https://ris.utwente.nl/ws/portalfiles/portal/5404955/peter-paul_verbeek.pdf Verbeek, P. P. )2008(. Cyborg intentionality: Rethinking the phenomenology of human–technology relations. Phenomenology and the Cognitive Sciences. Vol 7 (3), 387-395. https://doi.org/10.1007/s11097-008-9099-x Vindenes, J. & Wasson, B. (2021). A Postphenomenological Framework for Studying User Experience of Immersive Virtual Reality. Virtual Reality and Human Behaviour, Vol 2. https://doi.org/10.3389/frvir.2021.656423
URLs: URL1. https://artsandculture.google.com/story/mwXhfHJMDsJseg(Access Date:2024/10/15]) URL2. https://www.artsy.net/artwork/hajime-sorayama-untitled-3 Access Date:2024/10/15]) URL3. https://futurism.com/meet-neil-harbisson-the-first-cyborg-who-also-hears-color Access Date:2024/10/15]) URL4. https://arthur.io/art/neil-harbisson/beethoven-fur-elise Access Date:2024/10/15]) URL5. https://parametric-architecture.com/how-to-keep-your-house-warm-in-winter/ Access Date:2024/10/15]) URL6. https://designwanted.com/ai-da-ai-artist/ Access Date:2024/10/15]) URL7. https://www.researchgate.net/figure/Char-Davies-Osmose-immersive-virtual-environment-1995-Immersant-wearing-a_fig1_321414551 Access Date:2024/10/15])
| ||
|
آمار تعداد مشاهده مقاله: 56 تعداد دریافت فایل اصل مقاله: 6 |
||