پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 954 |
| تعداد مقالات | 7,829 |
| تعداد مشاهده مقاله | 13,088,814 |
| تعداد دریافت فایل اصل مقاله | 9,271,425 |
بررسی نقش ویدیومپینگ ها در گرافیک محیطی قرن بیست و یکم با تکیه بر نظرات پل ویریلیو و لو مانوویچ | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 10، دوره 5، شماره 9، بهمن 1401، صفحه 130-145 اصل مقاله (1.04 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2023.41852.1191 | ||
| نویسندگان | ||
| مجید فدائی* 1؛ ریحانه سلیمیان2 | ||
| 1استادیار گروه عکاسی، دانشکده هنرهای تجسمی،دانشگاه هنر اصفهان، اصفهان، ایران، نویسنده مسئول. | ||
| 2دانشجوی کارشناسی ارشد عکاسی، دانشکده هنرهای تجسمی،دانشگاه هنر اصفهان، اصفهان، ایران. | ||
| چکیده | ||
| ویدیومپینگ‌ها یکی از شکل‌های نو و مؤثر در گرافیک محیطی شهرها به شمار می‌آیند. ویدیومپینگ را در تعریفی ساده می‌توان نمایشی از تصویر و حرکت و فضاسازی به همراه صدا با مفهومی ویژه در جنبه‌های گوناگونی همچون فرهنگ، اجتماع، سرگرمی بیان کرد. با توجه به اهمیت ارتباطات در شهرهای امروزی، ویدیومپینگ‌ها بسیار مورد توجه هستند. امروزه، بهره‌گیری از ویدیومپینگ‌های شهری برای زیبایی‌سازی و القای مفاهیم فرهنگی، اجتماعی و موارد مشابه عنصری مهم در پیشرفت فناوری‌های روز در زمینة ارتباطات جامعه انگاشته می‌شود. چرا که مخاطب را به سرعت درگیر پیام اثر می‌کند و آن پیام را در ذهن مخاطب ماندگار می‌نماید. با توجه به اهمیت و تأثیر ویدیومپینگ‌ها در گرافیک محیطی شهرهای امروزی، این مقاله به این مسئله پرداخته‌است که چگونه ویدیومپینگ‌ها در ارتباطات شهری امروزی به عنوان یک هنر و رسانه می‌توانند مؤثر باشند. به این منظور، از دیدگاه‌های پل ویریلیو فیلسوف فرانسوی در زمینه فناوری و هنر و همچنین دیدگاه‌های لو مانوویچ هنرمند رسانه و نظریه‌پرداز فرهنگ دیجیتال، با استفاده از روش تحلیلی و توصیفی به این نتیجه رسیده‌است که ویدیومپینگ‌ها، عاملی مهم در پیشرفت صنعت و فرهنگ یک جامعه با عملکرد بالا و مخاطبین زیاد در جهان هستند. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: گرافیک محیطی شهری؛ ویدیومپینگ (پروجکشن مپینگ)؛ نورپردازی؛ پل ویریلیو؛ لو مانوویچ | ||
| عنوان مقاله [English] | ||
| Investigating the Role of Video Mapping in 21th Century Environmental Graphics Based on the Comments of Paul Virilio and Lev Manovich | ||
| نویسندگان [English] | ||
| Majid Fadaei1؛ Rehane Salimian2 | ||
| 1Assistant Professor, Department of Photography, Faculty of Visual and Fine Arts, Art University of Isfahan, Isfahan, Iran, Corresponding Author. | ||
| 2MA. Student, Department of Photography, Faculty of Visual and Fine Arts, Art University of Isfahan, Isfahan, Iran. | ||
| چکیده [English] | ||
| Historically, avant-garde artists have always used new technology, tools, and materials to express their vision. Currently, video mapping is a technology that, in terms of our time and the current media environment, may seem that digital culture and the framework of new media are its recent background, but video mapping has an older history. According to Paul Virilio, it is impossible to separate the history of visual display (from which video mapping is one of its new forms) from the history of artificial light, due to their technological affinity. Video mappings are one of the new and effective forms of environmental graphics in the city with a deep and old history. Simply, video mapping is a display of an image, movement and setting with sound and a specific concept in different aspects like cultural, social, advertising and amusement. Due to the importance of communication in modern cities, video mappings are so essential. Today, the use of urban video mapping to beautify and instill cultural, social, etc. concepts is considered a significant element in the development of modern technologies for society's communication, which quickly engages the audience in the message of the work and makes it last in the audience's mind. Unfortunately, the review of reliable articles and texts in domestic publications and books shows that no complete and specific research has done in Iran in the field of video mapping and their role and impact on environmental graphics and video mapping is a new topic in Iran. It is essential to better understand and research this matter in Iran according to the progress of this type of 3D specialization in the world and the increasingly progress of this technology. Based on the demand and necessity and considering the importance and impact of video mapping in the environmental graphics of modern cities, this research has addressed the issue of how video mapping in modern urban communication can be effective as an art and medium. It is a qualitative research wherein analytical and descriptive methods have been used. It tries to examine the effect of video mapping and its appearance in 21st century environmental graphics based on the Paul Virilio’s opinions and by reviewing reliable domestic and international sources and documents and searching on websites. Le Manovich is a French philosopher in the field of technology and art, as well as a media artist and digital culture theorist. He concluded that video mapping is a fundamental factor in the development of the industry and the culture of a high-performing society as well as a large audience in the world. Virilio considers the man's perception of the environment is a daily and pre-determined understanding and states that the horizon of the human vision makes his understanding of the environment. He refers to man's understanding of geometric and non -geometric shapes before recognizing that shape. Thus, he draws attention to the things that apparently don't exist, not to those that do. In his opinion, this attention to the aesthetics of visible and invisible causes the emergence of noble and valuable works. Manovich also considers a work with a beneficial effect on the environment and the individual as a valuable work that can be a cultural work with influential and significant consequences. The findings showed that, according to the daily interaction of the citizen with the urban environment, cities are one of the most substantial factors affecting the citizens. In the 21st century, video mapping (with its historical background) can be an effective media in the fields of culture, social, advertising, decorations and even be personal. For example, in architecture, especially the architecture of buildings, one of the main applications of video mapping is at night, that can be as considerable as at day. Virilio's theory invites people to observe spaces and negative spaces and anti-forms instead of forms and sizes, as well as positive space and form, and gives equal importance to them. Video mappings can also have an impactful use in the same way. Thus, Using the passive, physically active, or metaphysically functioning video mapping in cities can create a memorable and effective scene both at day and especially at night and attract not only present but also absent audiences from all over the world. In addition, in Manovich's opinion, the layers of the media are cultural and computerized, so in the cultural layer, so in the cultural layer, the computer layer affects culture and literature. Therefore, new arts like video mapping have an impact on our culture and environment, using it has a specific and positive effect on our lives and our surrounding environment. The interactive feature of video mapping is one of the most influencial and seminal features of video mapping in environmental graphics, which engages and interacts with the audience. Thus, the role of the audience is powerful and impressive in the video performance process. With further investigation, the video mapping usage divided into some pivotal groups like advertising, entertainment and recreational, educational, decorative, and thematic (personal) groups. The advertising is the most well-known area in this field. Corporate companies and reputable brands use video campaigns to reach a large audience at the venue and even outside the scope of the video campaign, where the audience is absent. We see more fun and entertainment in competitions, games and various events. Educational video mappings convey tips, messages, and lessons well to the audience and can also take on an interactive mode, which is more effective in didactic items. Decorative video mapping in environmental graphics gives a detailed and enjoyable look and effect to the space, especially the urban environment, and attracts the audience to this space. Also, there are a range of video mappings used as personal and thematic items in parties. As a result, using video mappings in different and diverse groups is one of the indicators of the improvement of urban spaces, and environmental graphics have a positive cultural and social impact on citizens and audiences. So, it is worth paying attention to and using in modern man's society. | ||
| کلیدواژه‌ها [English] | ||
| Keywords:Urban Environment Graphics, Video Mapping (Projection Mapping), Lighting, Paul Virilio, Lev Manovich | ||
| مراجع | ||
|
اسمعیلی، فاطمه؛ چاره جو، فرزین؛ حوریجانی، نسیم (1399). «تحلیل و ارزیابی جداره های شهری با تأکید بر زیبایی شناسی بصری، با استفاده از روش شبکه بندی (نمونة موردی: خیابان انقلاب سنندج)». باغ نظر،17(82)، 65-78. Doi: 10.22034/BAGH.2019.165147.3934
بکرانی، ملیحه؛ مهدی زاده سراج، فاطمه. (1392). «مکانیزم نورپردازی بناهای تاریخی در زمینه شهری, نمونه موردی مسجد شیخ لطف اله». مرمت و معماری ایران (مرمت آثار و بافت های تاریخی فرهنگی)، 3(6)، 99-110.
حسینقلی، فاطمه (1391). موشن گرافیک در فضاهای شهری. فصلنامه علمی- پژوهشی هنرهای تجسمی نقش مایه، 5(13)، 93-102.
رهبرنیا, زهرا و نوری, اکرم. (1399). تاثیرپذیری مخاطب از جامعه در ادراک آثار هنری تعاملی با تکیه بر نظریه وندی گریزوولد. پژوهش نامه گرافیک نقاشی, 3(4), 86-97. Doi: 10.22051/PGR.2020.29397.1061
زیویار، پروانه (1394). ابعاد ذهنی استفاده از نور پردازی در بهبود فضای شهری کلانشهر تهران. فصلنامه علمی پژوهشی و بین المللی انجمن جغرافیای ایران، 13(44)، 188-199.
شاه قاسمی، احسان(1392). «پدیدار شناسی پل ویریلیو». مجله جهانی رسانه، 8(2)، 172-198.
مهدوی نژاد، محمدجواد، ارباب مژگان و ارباب مریم(1397). «نقش معماری نور و نورپردازی ابنیه در آوازه سازی و مدیریت چشم‌انداز شبانه شهری». فصلنامه مدیریت شهری، شماره 53، 270.
مهدوی نژاد، محمدجواد، و نیکودل، فهیمه. (1394). «تعامل زیبایی بصری و فناوری های نوین نورپردازی در معماری شبانه ساختمان‌ها». معماری و شهرسازی آرمان شهر، 15، 131-143.
References
Azuma, R. (1997). “A Survey of Augmented Reality”, Presence: Teleoperators and Virtual Environments, 6, 355-385.
Bakrani, M., Mahdizadeh Seraj, F. (2014). “The Mechanism of Lighting Historical Monuments in the Urban Context Case Study Sheikhlotfollah Mosque”, Maremat & Me’mari-e Iran, 3(6), 99-110, (Text in Persian)
Benjamin, W. (1935 and 2002). The Arcades Project, Translated by Howard Eiland and Kevin McLaughlin, London: The Belknap Press.
Carroll, J. M. (2021). Human Computer Interaction, Retrieved from <https://www.interaction-design.org/>
Catanese, R.(2013). “3D Architectural Video Mapping”, International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XL-5/W2, 165-169.
Danto, A. C. )1998 .(Beyond the Brilliant Box: The Visual Arts in Post-Historical Perspective, Berkeley: University of california Press.
Doane, M. A. )2002.( The Emergence of Cinematic Time. Modernity, Contingency, the Archive, Cambridge-London: Harvard University Press.
Dokshin, S. (2021). Applications and Costs of Video Mapping. Retrieved from <https://pogumax.com/video-mapping-applications-and-costs> (24 August 2021).
Esmaili, F., Charehjoo, F., Hoorijani, N. (2020). Analyzing and Evaluating Facades with a Special Approach to Visual Aesthetics Using the Grid Method (Case Study: Enqelab Street in Sanandaj), Bagh-e Nazar, 17(82), 65-78, Doi: 10.22034/BAGH.2019.165147.3934, (Text in Persian)
Exstasis (2020). Exstasis - 360° Projection Mapping in Palermo.Retrieved from<https://en.tripadvisor.com.hk/Attraction_Review-g187890-d24069313-Reviews-Exstasis_Diving_Into_Magic-Palermo_Province_of_Palermo_Sicily.html.>(26 May 2022).
Foster, H. (2004). An Archival Impulse (October Vol. 110), Cambridge, Massachusetts, United States: The MIT Press.
Grundhöfer A., Iwai D. (2018). “Recent Advances in Projection Mapping Algorithms, Hardware and Applications”, State of The Art Report- Eurographics, 37, 653-675. Doi: 10.1111/cgf.13387
Heavym (2020). Interactive Art Installation with Sensors. Retrieved from <https://www.heavym.net/interactive-art-installation-with-sensors/> (16 December 2022).
Hosseingholi, F. (2012). “Motion Graphics in Urban Environments”, Naghsh Mayeh, 5(13), 93-102, (Text in Persian).
Kuittinen, R. (2010). Street Art: Contemporary Prints, London: V&A Publishing.
Lovell, J., Howard .H. (2018). “Fairy Tale Tourism: The Architectural Projection Mapping of Magically Real and Irreal Festival Lightscapes”, Journal of Policy Research in Tourism, Leisure and Events, 1-15.
Mahdavinejad, M., Arbabi, M., Arbabi, M. (2019). “Facade and Urban Aesthetic Standards Bodies with a Focus on Indigenous Identity (Case Between Motahhari Square to the Intersection of Proof in Qom)”, Urban Management, 17(53), 269-290, (Text in Persian).
Mahdavinejad, M., Nikoudel, F. (2016). “Interaction between Visual Beauty and New Lighting Technologies for Nightscape of Buildings Facades”, Armanshahr Architecture & Urban Development, 8(15), 131-143, (Text in Persian).
Maniello D.(2014). Augmented Reality in Public Spaces Basic Techniques for Video Mapping, Brienza: Le Penseur Publisher.
Manovich, L. (2001). The Language of New Media, Massachusetts London, England: The MIT Press Cambridge, 18-61.
Manovich, L. (2021). Indeterminacy, Score, Performance. Retrieved from http://manovich.net (18 November 2021)
Monteverdi, A. (2018). The Mediaturgy of Videomapping. Retrieved from: https://www.researchgate.net/publication/329880000_The_mediaturgy_of_videomapping
Murwonugroho, W., Tyasrinestu, F. (2019). “Visual Playability In Jogja Video Mapping”, International Journal Of Scientific & Technology Research, 8(10), 3695-3700.
Rahbarnia, Z. Noori, A. (2020). “Audience Influence of Society on Perception of Interactive Art Works Based on Wendy Griswold's Theory”, Graphic Arts & Painting Research, 3(4), 86- 97, Doi: 10.22051/PGR.2020.29397.1061, (Text in Persian).
Shahghasemi, E. (2013). “Phenomenology of Paul Virilio”, Global Media Journal, 8(2), 172-198, (Text in Persian).
Virilio, P. & Parent, C. (1999). The Function of the Oblique: The Architecture of Claude Parent and Paul Virilio 1963–1969, Translated by Pamela Johnston, London: Architectural Association.
Virilio, P. (1991). The Lost Dimension, Translated by Daniel Moshenberg, New York: Semiotext(e).
Virilio, P. (2000). Dal Media Building Alla Città Globale: I Nuovi Campi D'azione Dell'architettura e Dell'urbanistica Contemporanee, Crossing n°1, Numero Monografico Media Buildings, Dec. 2000: 10-11. Print.
Virilio, P. (2005). Negative Horizon, Translated by Michael Degener, London: Continuum.
Virilio, P., Parent, C. (1997). Architecture Principe 1966 and 1996. Santa Monica, Calif: Form Editions.
Yoo H., Kim H. (2014). “One Study Of the Projection Mapping In Media Arts”, Advanced Science and Technology, 54(19), 73-76, Doi: 10.14257/astl.2014.54.19
Zaffarano, L. (2014). Bruno Munari’s Projection. Pt. I. https://www.arshake.com/en/bruno-munaris-projection-pt-i/ (Retrived 4June.2014)
Ziviar, P. (2014). “The Mental Dimensions of Use the Lighting in Improving Urban Space of Tehran Metropolis”, Geography (Journal of the International Society of geography), 13(44), 183-199, (Text in Persian).
URls
URL 1: https://www.gettyimages.co.uk/ (access date: 2018/02/24)
URL 2: https://lumen.club/top-7-projection-mapping-geometric-displace-videos (access date: 2015/10/12)
URL 3: https://www.onionlab.com (access date: 2013/10/12) | ||
|
آمار تعداد مشاهده مقاله: 307 تعداد دریافت فایل اصل مقاله: 242 |
||