پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 939 |
| تعداد مقالات | 7,735 |
| تعداد مشاهده مقاله | 12,732,252 |
| تعداد دریافت فایل اصل مقاله | 9,067,266 |
تحلیل کنش تعاملگرانه مخاطب با هنر رایانهای تعاملی از منظر دیوید راکبی | ||
| جلوه هنر | ||
| دوره 16، شماره 3 - شماره پیاپی 44، آذر 1403، صفحه 76-90 اصل مقاله (2.31 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2023.45057.2052 | ||
| نویسنده | ||
| سید محمد طاهری قمی* | ||
| استادیار گروه ارتباط تصویری دانشکده هنرهای تجسمی دانشگاه هنر اصفهان، اصفهان، ایران. | ||
| چکیده | ||
| دیوید راکبی هنرمند برجسته کانادایی است که به دلیل کاوش در آثار هنری تعاملی و مبتنی بر رایانه شناخته شده است. در این پژوهش جنبه‌های کلیدی کنش تعاملگرانه مخاطب هنر رایانهای از دیدگاه راکبی مورد بررسی و تحلیل قرار گرفته است. کنش تعاملگرانه از مجرای گرایشهای تعاملگرایانه نخستین نیت هنرمند در مشارکت دادن مخاطب در ایجاد و تغییر اثر هنری فراتر رفته و به مرحله گفتمان تجربی دوطرفه وارد میگردد. هدف از این جستار دریافت تحلیلی از تفکر منسجم و الگومدار و بهرهمندی از آن در طرحریزی و اجرای هنرهای معاصر رایانهای با تأکید بر تعامل کنشی با مخاطب است. پژوهش حاضر از نوع نظری بوده و به روش توصیفی - تحلیلی و با رویکرد کیفی و بهرهگیری از اسناد کتابخانهای و الکترونیکی به این پرسش پاسخ داده است: "کنش تعاملگرانه مخاطب هنرهای رایانهای از منظر دیوید راکبی دارای چه مؤلفههایی است؟" یافته‌های پژوهش حاکی از آن است که دیدگاه دیوید راکبی در مورد کنش تعاملی مخاطب با هنر رایانهای بر تعامل فعال، تعامل تجسم‌یافته، گفتگو و آفرینش مشترک، انعکاس و آگاهی، میانجی‌گری فناوری، درگیری حسی، بازخورد و پاسخگویی، پیامدهای اجتماعی و اخلاقی و مرزهای سیال تأکید دارد. | ||
| کلیدواژه‌ها | ||
| کلیدواژه ها: هنر رایانهای تعاملی؛ تعامل؛ کنش؛ دیوید راکبی | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| An Analysis of the Interactive Engagement of the Audience with Interactive Computer Art from David Rokeby’s Perspective | ||
| نویسندگان [English] | ||
| Seyed Mohammad Taheri Qomi | ||
| Assistant Professor, Department of Graphics, Faculty of Visual Arts, Isfahan University of Art, Isfahan, Iran. | ||
| چکیده [English] | ||
| David Rokeby is a prominent Canadian artist recognized for his exploration in interactive and computer-based artistic works. Interaction, or interactivity, is an act occurring between two or more entities, phenomena, or processes that mutually affect each other. When two or more things engage in action and reaction, they are said to interact with each other. Interaction in objects can alter their state or influence the manner in which changes occur in objects. Additionally, in phenomena, interaction leads to the emergence of additional parameters that need to be considered in calculations. Interaction refers to the process of communication among individuals, objects, or systems. It is a fundamental aspect of human life and plays a significant role in various fields, including social, technological, and biological aspects. Cultural interaction involves the exchange of beliefs, customs, and traditions between different cultures. Intercultural interaction can lead to cultural dissemination, where elements of one culture spread to another through trade, migration, or communication. Generally, interaction is a multifaceted concept that encompasses a wide range of activities and disciplines. It plays a vital role in human society, technology, science, and the natural world, shaping our ways of communication, learning, and coexistence. Understanding and effectively managing interactions are essential for achieving successful outcomes in various aspects of life and knowledge. Interactive art, also known as art of interaction, is a form of art that engages the spectator in an artistic action to achieve its purpose. Some interactive artistic arrangements allow viewers to intervene in, on, or around them by giving them permission to do so. Others require artists or spectators to become a part of the artistic work in some way. Computer art, or computer-based art, refers to any type of artistic work where computers play a role in its production or display. This artistic work can be an image, sound, animation, or video, a video game, a website, or an algorithm. Many traditional art fields are now integrating with computer technologies. Museums and art venues worldwide, since their inception, have increasingly incorporated digital and interactive art into their productions. This innovative art form continues its rapid growth and evolution through online subcultures and large-scale urban installations. Furthermore, active media audiences do not merely passively receive information; rather, they actively, often unconsciously, participate in understanding the message in their personal and social domains. Interactive computer art enhances the concept of a holistic mental worldview. This is achieved through the artist's technical knowledge of computer programming. Computer software allows the artist to access deeper levels of computer programming and requires them to base specific tasks, such as image manipulation, on a fluid mental model of the holistic and accessible aspects of the entire output of the work. Interactive artists engage in changing the relationship between artists and their media and between artistic works and their audiences. These changes significantly increase the role of the audience in the artistic work and diminish the authority of the author or creator of the work. Interactive artists create relationships rather than finished works of art. The ability to represent relationships in a practical way significantly adds to the expressive palette available to artists. This power is further magnified by the fact that the actors themselves become the reference of the work. The works are somewhat similar to portraits, reflecting the mutual aspects of the actors and transformed to express the artist's intention. In this research, the key aspects of interactive audience engagement with computer-generated art are examined and analyzed from the perspective of David Rokeby. Interactive engagement goes beyond the traditional inclinations of audience interaction, extending into the realm of mutual experiential discourse. The conventional view of artistic interaction and audience perception suggests that the artist leaves their mark on a specific object or message (artwork), and others, including recipients, the general public, and critics, perceive, see, read, interpret, and evaluate it. However, the emerging technological and cultural environment in the new era challenges the distinction between dissemination and reception, creation and interpretation, giving rise to new forms of art. These new forms allow individuals, who are no longer passive recipients in the traditional sense, to experience alternative methods, such as interaction, communication, and co-creation. This shifts the audience from a state of passivity to active participation, transforming their role. Rokeby's perspective on interactive engagement with computer art emphasizes the role of the participant as an active collaborator in the process of creation and meaning-making. He believes that interaction is a vital element in engaging the audience and challenging traditional concepts of passive spectatorship. This aligns closely with the description of the conditions of computer art, where interaction adds elements such as creation, performance, and extended evaluation. David Rokeby has made a significant contribution to the field of interactive computer art, and his viewpoint has been shaped through his artistic exploration and experimentation. Rokeby considers interactive computer art a means to explore the complex interaction between humans, technology, and the environment. This research aims to provide a coherent and patterned analysis of Rokeby's thinking, utilizing it in the conceptualization and execution of contemporary computer arts with an emphasis on interactive engagement with the audience. The research question is formulated as follows: "What are the key components of interactive audience engagement with computer arts from the perspective of David Rokeby?" This theoretical research employs a descriptive-analytical method with a qualitative approach, utilizing library and electronic document resources. The examined samples include several interactive works by David Rokeby. The findings of the research indicate that David Rokeby's perspective on interactive audience engagement with computer art emphasizes active interaction, embodied interaction, dialogues, collaborative creation, reflection, awareness, technological mediation, sensory engagement, feedback, responsiveness, social and ethical consequences, and fluid boundaries. He also views interactive computer art based on active participation, sensory engagement, feedback, reflection, social consequences, and the dissolution of traditional boundaries. Rokeby's works are primarily presented as installations, and this mode of execution provides a desirable and encompassing spatialization, allowing the audience to engage in a participatory and discourse-oriented manner with the creator on the interactive media platform. This facilitation, including active physical and multisensory actions, leads to cognitive reflections and conscious and unconscious perceptual structures in the audience and ultimately results in the extraction of new concepts. Rokeby considers interactive audience engagement a means to actively involve with computer art. By providing opportunities for interaction with artworks, he encourages participants to become active collaborators rather than passive observers. This interaction allows participants to have a more comprehensive and transformative experience and create a deeper connection with the artistic work. He also emphasizes the importance of active participation in interactive computer art, believing that the audience should not be merely passive spectators but active participants who engage with the artwork through their actions and reactions. Through active engagement, participants become co-creators and shape the outcome and meaning of the artwork. Continuing with the analysis of David Rokeby's perspective on interactive audience engagement with computer art, it is crucial to delve into specific elements that he highlights as integral to this form of interaction. Rokeby places a significant emphasis on the role of interaction in fostering a collaborative and participatory approach. He contends that interaction is not merely a one-way process where the artist imparts their vision onto the audience; instead, it becomes a dynamic interplay between the artist and the participant. This dynamic involvement of the audience in the creation and interpretation of the artwork challenges traditional notions of passive spectatorship. Furthermore, Rokeby underscores the importance of sensory engagement in interactive computer art. By incorporating elements that appeal to multiple senses, such as touch, sight, and sound, the artwork becomes a holistic and immersive experience. This multisensory engagement goes beyond the visual appreciation of traditional art forms, adding a layer of physical and visceral interaction. Feedback and responsiveness are additional key components highlighted by Rokeby. The interactive nature of computer-generated art allows for real-time responses to user input. This immediate feedback loop transforms the viewing experience into a dialogue between the audience and the artwork. The artwork, in turn, adapts and responds to the participant's actions, creating a unique and evolving encounter. Rokeby's perspective also extends to the social and ethical consequences of interactive engagement. As technology becomes an intermediary in the artistic experience, questions of ethics and societal impact come to the forefront. The blurring of boundaries between creator and audience, as well as the dissolution of traditional norms, prompts a reevaluation of the social implications of interactive computer art. The notion of fluid boundaries is a recurring theme in Rokeby's perspective. Traditional distinctions between the physical and virtual, the creator and the audience, and even between different art forms, become less rigid. This fluidity allows for a more expansive and inclusive artistic experience, where participants actively contribute to the creation of meaning. In conclusion, David Rokeby's viewpoint on interactive audience engagement with computer art transcends the traditional paradigm of artistic creation and spectatorship. Through his emphasis on active participation, sensory engagement, feedback, and the consideration of social and ethical consequences, Rokeby positions interactive computer art as a transformative and collaborative experience. By challenging conventional boundaries and fostering dynamic interactions, Rokeby's work contributes significantly to the evolving landscape of contemporary art, where the audience becomes an active participant, co-creating meaning and shaping the artistic discourse. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Interactive Computer Art, Interaction, Action, David Rokeby | ||
| مراجع | ||
|
منابع
آیتو، جان (1385). فرهنگ ریشه شناسی انگلیسی، ترجمه: حمید کاشانیان، تهران: فرهنگ نشر نو- معین.
ارسطو (1398). اخلاق نیکوماخوس، ترجمه: محمدحسن لطفی، چاپ سوم، تهران: طرح نو.
اکوان، محمد؛ چوبک، پریا؛ شریف زاده، محمدرضا؛ رهبرنیا، زهرا. (1400). واکاوی نگرش دلوز درباره هستی انسان و نسبت آن با مخاطب در هنر تعاملی. مجله پژوهش های فلسفی، (34)15، 83-99. doi: 10.22034/jpiut.2020.40279.2586.
حکیم, اعظم؛ رهبرنیا, زهرا (1400). تجربه زیبایی شناختی در هنر تعاملی (بر اساس نظریه جان دیویی)، نشریه هنرهای زیبا: هنرهای تجسمی، (3)26، 5-15. doi: 10.22059/jfava.2018.253942.665890.
دورانت، ویلیام جیمز (1387). تاریخ فلسفه، ترجمه: عباس زریاب خویی، تهران: علمی و فرهنگی.
دهقانی، آزاده (1387). چیدمان‌های تعاملی: تجربه‌های واقعی در فضاهای مجازی، تندیس، 124، 19-21.
رهبرنیا, زهرا و مصدری, فاطمه (1394). تأثیر رسانه‌های نوین بر تعاملی شدن هنر جدید با رویکردی به نظریه هنر در عصر بازتولیدپذیری مکانیکی. مجله جهانی رسانه - نسخه فارسی، 10(2)، -.
صافیان، محمد جواد؛ نوزاد، هما؛ اردلانی, حسین (1397). تحلیل هنر تعاملی با رویکرد پدیدار شناسانه از منظر مرلوپونتی. نشریه هنرهای زیبا: هنرهای تجسمی، (4)23، 5-12. doi: 10.22059/jfava.2018.249001.665847.
طاهری, محبوبه و رهبرنیا, زهرا (1397). رسانه هنر تعاملی در تبلیغات خدمات عمومی در گفتمان پسامدرن. مجله جهانی رسانه - نسخه فارسی، 13(1)، 93-113. doi: 10.22059/gmj.2018.68236.
غریبشاهی، محمد (1398). الکترواستاتیک و الکترومغناطیس مقدماتی تا پیشرفته، تهران: آوند اندیشه.
قادری, عرفان و مراثی, محسن (1393). پژوهشی در تعریف و تحدید انواع هنرهای مشارکتی- تعاملی. مجله جهانی رسانه - نسخه فارسی، 9(1), -.
لوپس، دومینیک مک آیور (1397). فلسفه هنر رایانهای، ترجمه: عرفان قادری، تهران: ققنوس.
مک لوهان، مارشال (1377). برای درک رسانه‌ها، ترجمه: سعید آذری، چاپ اول. تهران: تحقیقات، مطالعات و سنجش برنامه‌ای صدا و سیما.
نقیبزاده، احمد (1399). ماکس وبر، دانشمند و سیاستمدار، چاپ دوم، تهران: علم.
نوزاد، هما (1399). رهیافت تحلیلیِ هنر دیجیتالی‌تعاملی با تاکید بر ادراک بدنمند مرلوپونتی (مطالعه موردی: نمایشگاه هنرمندان و روبات‌های پاریس، جلوه هنر، دوره 13، شماره 30، 90-80.
ویلیامز، کوین (1392). فهم نظریه رسانه‌ها، ترجمه: احسان شاه قاسمی و گودرز میرانی، تهران: جامعهشناسان.
هو، آلفرد؛ لام، مانیکا؛ ستهی، راوی و اولمن، جفری (1399). کامپایلرها: اصول، تکنیک‌ها و ابزارها، ترجمه: عینالله جعفرنژاد قمی، تهران: علوم رایانه.
References
Aho, Alfred V., Lam, Monica., Sethi, Ravi., and Ullman, Jeffrey., (2020). Compilers: Principles, Techniques, and Tools, translated by: Einollah Jafarnejad Ghami, Tehran: Computer Sciences, (Text in Persian).
Akera, Atsushi., (2007). Edmund Berkeley and the origins of ACM. Communications of the ACM, 50(5), 30-35.
Aristotle., (2019). Nicomachean Ethics, translated by: Mohammad Hassan Lotfi, (3rd edition), Tehran: Tarh-e No, (Text in Persian).
Ascott, Roy., (2003). Is There Love in the Telematic Embrace?. Telematic Embrace: Visionary Theorie of Art, Technology, and Consciousness, ed. Edward Shanken, Berkeley University, California Press, 232-46.
Austin, J. L., (1975). How to do things with words, Cambridge Mass.: Harvard University Press.
Ayto, John., (2006). Word Origins: The Hidden Histories of English Words from A to Z, translated by: Hamid Kashanian, Tehran: Farhang Nashr-e No – Moein, (Text in Persian).
Cooper, Douglas., (1995). Very Nervous System: Artist David Rokeby adds new meaning to the term interactive. Wired Issue 3(03).
Durant, William James., (2008). The History of Philosophy, translated by: Abbas Zaryab Khoyi, Tehran: Elmi & Farhangi, (Text in Persian).
Gharib Shahi, Mohammad., (2019). Electrostatics and Electromagnetics from Basics to Advanced, Tehran: Avand Andishe, (Text in Persian).
Goodman, Bernard., (1993). Action, In Parker, S. P. (ed.). McGraw-Hill Encyclopaedia of Physics (2nd edition). New York: McGraw-Hill.
Iseminger, Gary., (2004). The Aesthetic Function of Art, Ithaca: Cornell University Press.
Krueger, Mayron., (1991). Artificial Reality II, Boston: Addison-Wesley Professional.
Lee-Cultura, Serena., Giannakos, Michail., (2020). Embodied Interaction and Spatial Skills: A Systematic Review of Empirical Studies.
Interacting with Computers, 32(4), 331–366.
Lopez, Dominic McIver., (2018). A Philosophy of Computer Art, translated by: Erfan Ghaderi, Tehran: Qoqnoos (Text in Persian).
McLuhan, Marshall., (1998). Understanding Media, translated by: Saeed Azari, 1st edition. Tehran: Research, Studies, and Evaluation of Islamic Republic of Iran Broadcasting Programming, (Text in Persian).
Munday, Daniel., Chandler, Rod., (2011). A dictionary of media and communication. Oxford: Oxford University Press.
Naqibzadeh, Ahmad., (2020). Max Weber, Scientist and Politician, (2nd edition), Tehran: Elm, (Text in Persian), (Text in Persian).
Ning, Anhang., (2017). The Concept of Art and Interactive Computer Art. Furman Humanities Review, 28(13), 48-65.
Nowzad, Homa,. (2021). The Analysis of Interactive Digital Art, Based on Merlea-Ponty Body Perception (Case Study: Artists and Robots Exhibition of Paris). Glory of Art (Jelve-y Honar), 13(3), 7-17, (Text in Persian).
Paul, Christiane., (2003). Digital Art, London: Thames & Hudson.
Rokeby, David., (1995). Transforming Mirrors: Subjectivity and Control in Interactive Media. Electronic Media. ed. Simon Penny. New York: State University of New York Press, 133-158.
Rokeby, D. (1995). Transforming Mirrors: Subjectivity and Control in Interactive Media. From "Critical Issues in Interactive Media", Edited by Simon Penny, available from SUNY press.
Soler-Adillon, Joan., (2015). The intangible material of interactive art: agency, behavior andemergence. In: Pau ALSINA and Ana RODRÍGUEZ GRANELL (coord.), Art Matters II Artnodes,16 ,43-52.
Tschumper, Gregory S., (2008). Reliable Electronic Structure Computations for Weak Noncovalent Interactions in Clusters. In Lipkowitz, Kenny B.; Cundari, Thomas R. (eds.). Reviews in Computational Chemistry, 26, 39–90.
Weber, Max., (1978). Economy and Society: An Outline of Interpretive Sociology, Berkeley and Los Angeles: University of California Press.
Williams, Kevin., (2013). Understanding Media Theory, translated by: Ehsan Shahqasemi and Goudarz Mirani, Tehran: Jami'eh Shenasan, (Text in Persian).
Wilson, George; Shpall, Samuel; Piñeros Glasscock, Juan S. (2016). Action, The Stanford Encyclopedia of Philosophy, Metaphysics Research Lab, Stanford University.
URLs
URL1: "Computers and Automation - Database of Digital Art". dada.compart-bremen.de. Archived from the original on 18 November 2018. Retrieved 11 April 2018. (شهریور 1402).
URL2: http://www.davidrokeby.com/VNSmontage300dpi.html (آبان 1402).
URL 3: http://www.davidrokeby.com/nchant.html (آبان 1402).
URL 4: http://www.bmolab.ca (شهریور 1402)
URL 5: https://www.linkedin.com/pulse/10-unique-digital-art-installations-thor-turrecha (شهریور 1402).
URL 6: https://www.arshake.com/en/interview-david-rokeby/ (آبان 1402).
URL 7: http://www.davidrokeby.com/handheld.html (شهریور 1402).
URL 8: http://www.davidrokeby.com/quaver.html (آبان 1402).
URL 9: http://www.davidrokeby.com/shockabsorber.html (شهریور 1402).
URL 10: https://www.wired.com/story/immersive-gameboxes-irl-cooperative-gaming/ (شهریور 1402).
URL 11: http://www.davidrokeby.com/gon.html (آبان 1402).
URL12: http://www.davidrokeby.com/Tuer.html (شهریور 1402).
| ||
|
آمار تعداد مشاهده مقاله: 158 تعداد دریافت فایل اصل مقاله: 57 |
||