پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 967 |
| تعداد مقالات | 8,022 |
| تعداد مشاهده مقاله | 13,607,836 |
| تعداد دریافت فایل اصل مقاله | 9,627,330 |
معناکاویِ آثارِ تکنولوژیکِ هنرمندانِ ایرانیِ مقیمِ امریکا بر مبنای دیدگاه ژولیا کریستوا (دو دهۀ اول قرن بیست و یکم میلادی) | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 12 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.47029.1576 | ||
| نویسندگان | ||
| شیوا فلاحی* 1؛ طاهر رضازاده2 | ||
| 1گروه هنر، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران | ||
| 2استادیار گروه هنر، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران | ||
| چکیده | ||
| امروزه تکنولوژی، علاوه‌بر کاربرد‌های تخصصی و روزمره، در عرصه هنر نیز نقشی تعیین‌کننده ایفا می‌کند و به عنوان رسانه غالب در جهان هنر رسانه نوین به کار می‌رود. هنرمندان ایرانی مقیم امریکا، فعال در عرصه هنر رسانه نوین، نیز از امکانات بیانگری تکنولوژی، در راستای ابراز دغدغه‌های جمعی خود، بهره می‌برند. آنان امور نمادین را ترانهاده کرده و معناهای تازه خلق می‌کنند، که با وضعیت آستانه‌ای و ترافرهنگیشان در پیوند است. در این پژوهش به این پرسش‌ها پاسخ داده می‌شود که ترانهادگی امور نمادین در این آثار چگونه رخ می‌دهد و نقش رسانه در فرآیند معنازایی کارهای هنری مذکور چیست؟ هدف از مطالعۀ پیشِ‌رو فهمِ کارکرد رسانه و عوامل روانکاوانۀ سوژۀ مهاجر بر ترانهادگی امور نمادین و فرآیند معنازایی است. پژوهش حاضر بر مبنای روش توصیفی-تحلیلی صورت پذیرفته و از شیوۀ کتابخانه‌ای در جمع‌آوری مطالب استفاده شده است. بدین ترتیب، آثار تکنولوژیک رسانه نوین این بر مبنای دیدگاه ژولیا کریستوا، در دو دسته چیدمان و غیرچیدمان، مورد خوانش قرار می‌گیرند. یافته‌ها نشان می‌دهند که رانه‌های روانی منفیت طرد هنرمند مهاجر در پیوند با مام وطن و همچنین رسانه‌های تکنولوژیک در ترانهادگی امور نمادین نقش بسزایی ایفا می‌نمایند. در آثار چیدمان، ویدیو، صدا، نور، و ابژه‌های تکنولوژیک، در کنار دیگر عوامل، کارکردی خاطره‌وار داشته، فاصلۀ خویش را با امر واقع حفظ می‌کنند و این‌گونه بر میل بازگشت سوژه تاکید می‌ورزند. از طرفی، در آثار غیرچیدمان، رسانه‌های تکنولوژیک، مانند رسانه‌های دیجیتال، ویدیو، و غیره، موضوع را از قید زمان رها ساخته، به امور کلی اشارت می‌کنند و بر سرپیچی سوژه تاکید می‌ورزند. | ||
| کلیدواژه‌ها | ||
| هنرمندان ایرانی مقیم امریکا؛ هنر تکنولوژیک؛ معناکاوی؛ ژولیا کریستوا؛ قرن بیست و یکم | ||
| عنوان مقاله [English] | ||
| Semanalysis of Technological Artworks by United States-Based Iranian Artist According to Julia Kristeva (during the Early Decades of Twenty First Century) | ||
| نویسندگان [English] | ||
| shiva falahi1؛ taher rezazadeh2 | ||
| 1Department of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran. | ||
| 2Assistant Professor, Department of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran. | ||
| چکیده [English] | ||
| Today, in art world, in order to express their ideas, artists use various ways, including bodies, technological, non-technological and everyday media. Every one of these ways influences the tone and the context of the artwork and, consequently, impacts upon the meanings of artistic works. U.S.-based Iranian artists of the first and second decades of twenty first century are no exception. Some of them have used technology in a specialized way to produce their artworks, while others have used technological media in non-specialist ways to express their ideas. Obviously, contents of works and artists' concerns differs in these two ways of creation, which separates their artistic worlds from each other. Therefore, the factors affecting the context of the works, as well as their interpretations, are different. In this study, as examples of the second category of works by Iranian artists living in the United States, the works of Sepideh Salehi, Shirin Khalatbari, Moreheshin Allahyari, Gelare Khoshgozaran, Keyvan Heydari, and Pantea Karimi are studied, in which technological media are used in a non-specialized way. Unlike the works of the first category, in this category of works, the media does not lose its importance under concepts, but rather, it increases the artist's expressive possibilities and the meaning of the works, by maintaining its application and characteristics. furthermore, one notices that the subject matter and content of these works are made up of cultural, social, religious, gender, political and economic concerns of their creators, which are directly connected to their transcultural position. Therefore, these works of art should be categorized under the of new media arts, which is different from the contemporary art world. Due to the transcultural position and the experience of the border situation, America based Iranian new media artists express concerns related to their homelands, host lands, immigrant groups and other more selected communities to which they belong or have converted. In this regard, they use the cultural symbolics of their homeland and host land. They, also, use means that can relate their attitudes on various collective issues as well as their lived desires and repressions. Moreover, in order to realize the concept of "return" and to extend the life of the symbolic mother after rejection, within the symbolic culture of the host, they make use of various forms and devices of transformation and combination of native cultural elements. For artistic expression, Technological media is of a particular popularity among United States based Iranian transcultural artists. On the one hand, these media use a modern language in the way of communicating and on the other hand, despite the artists’ concerns, which arise from their lived reality, they have many capacities regarding creation of intermediate and imaginary spaces. These artists either use the capabilities of technological media to express collective issues of no specific time and space, or, determining space and the reception scope of the viewer, create installations based on objects and elements of technological world to influence the audience and the way they experience an artwork. Therefore, considering the significance and importance of the concepts of media and subject, in the process of creating an artwork, as well as the transposition of symbolic elements in their formation, we tend to adopt Julia Kristeva's Semanalysis as theoretical framework in this study. It goes without saying that semanalysis is based on inter-textual relationships between creator, text and context. By applying this framework, we are going to find out, how does the transposition of the symbolic matters occur within the text of the artworks? Also, we want to see what is the role of the media in the process of signifying within those artworks? Answering these questions, we hope to find out the function of media in, and the impacts of the psychoanalytical factors of immigrant subject on transposing the symbolics and the process of signifying. Among the new media artworks of America based Iranian artists, there are some technological artworks that do not interact with the space, place or other objects around them; Rather, they express their assumed ideas independently of outer elements. So, according to Kristeva, here one does not encounter a dialogical text, but all one sees is the interaction of drives and desires. These non-installational works owe their integrity to the capacities of the media they use, their context, and their own inner characteristics; Therefore, when interpreting and studying them, the way and place of presentation, as well as the way they interact with the present reality and their surrounding environment, are not considered. They are embodied ideas of their creators and as a virtual or concrete reality owe their meaning to temporal and subjective matters. These subjective matters adopt the qualities of their media in order to extend their semantic possibilities, and since the new media artists have collective concerns, one could generalize them to social, cultural and political issues. Therefore, what plays an essential role in the interpretation of the technological non-installational works by United State based Iranians and the way they transpose symbolic matters in their works is the medium and the techniques by which it has been adopted. Through technological new media artworks, technological media are adopted to oppose oblivion bring about by the dominance of media, bombardment of images and subsequently, the growth of diversification, consumerism and premature expiration of objects and subjects. In this kind of works media may help the creator to be able to realize the conceptions of “recovery”, “return” and “disobedience”. On the other hand, these media are devices of narratives, which find new possibilities and, according to their usage, interfere with the meanings of the symbolics. Therefore, objects bear subjective meanings and make the movement of meaning go beyond the time--past or present--towards open meanings. Utilizing the device of installation in creating limited spaces enables the artists to use capacities of media in order to influence the audience and extend and strengthen the subject's range of artistic experience as much as possible. This way of controlling the space, by the artist, leads the audience to play with and manipulate objects and elements, which in order to create an impression and jouissance in him, improves the quality of the discourse and stretches the scope of the topic expressed by the creator to new dimensions of perception and signifying. This discourse is based on the symbolics that, upon formation of a work of art, their transcendental meanings are challenged and, in the confrontation between cultures and subjects with different backgrounds, they reveal new capabilities and different and dynamic aspects of life. In the artworks consisting of installations, the video gives a quality of transcendent to the installation and assumes for itself an unnatural and subjective narrative, similar to the function of memories. Diachronic videos in these works of art add to the personal and imaginative tone of the narrative, and doing so, the creator succeeds in retrieving memories in an individual and playful way, in response to the desire for negativity and return. In synchronic videos, however, beyond time and space, this narrative is general and carries collective concerns, and points to the concepts and nature of things. Lights also affect the quality and texture of space and by emphasizing and weakening the presence and determining the intensity, sharpness and texture of the elements of the work, they cause the contemporaneity of tone, fantasy, signifying or transposition of the matters used in the structure of the text. Voices refer to the absent in the structure of the text and emphasize spatial distance and the matter of absence. Photographs, in proportion to the other elements used in the creation of the work and the way they are used, target the subject's perception and, by emphasizing the uncertainty of essence and narrative, they remove explicit meanings and open the content to interpretation. | ||
| کلیدواژه‌ها [English] | ||
| United States-based Iranian artists, twenty first century, technological art, semanalysis, Julia Kristeva | ||
| مراجع | ||
|
| ||
|
آمار تعداد مشاهده مقاله: 6 |
||