پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 933 |
| تعداد مقالات | 7,667 |
| تعداد مشاهده مقاله | 12,518,509 |
| تعداد دریافت فایل اصل مقاله | 8,898,471 |
مفهوم استعاری زمان در چیدمان‌های هنر تعاملی با محوریت آثار ونگوگ | ||
| جلوه هنر | ||
| دوره 16، شماره 3 - شماره پیاپی 44، آذر 1403، صفحه 121-136 اصل مقاله (2.15 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2024.47140.2169 | ||
| نویسندگان | ||
| شادی مددی1؛ زهرا رهبرنیا* 2 | ||
| 1دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه ،تهران، ایران. | ||
| 2دانشیار گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران، نویسنده مسئول. | ||
| چکیده | ||
| رشد روزافزون چیدمان‌های تعاملی مبتنی بر فناوری‌های نوین دیجیتال، فصل جدیدی را در نمایش آثار هنری پدید آورده است. این پژوهش، به بررسی دو چیدمان واقعیت مجازی و دو چیدمان واقعیت ترکیبی با محوریت آثار ونگوگ و با رویکرد مفهوم استعاری زمان می‌پردازد. هدف، پی‌بردن به نحوة درک زمان توسط مخاطبان است و اینکه فناوری‌های مجازی، چگونه حرکت در زمان و همگامی با رویدادهای زمانی را در ذهن کاربر القا می‌کنند. بر اساس نظریة استعارة مفهومی جورج لیکاف و مارک جانسون، مفهوم انتزاعی زمان به‌صورت مکان و شیء در ذهن انسان ادراک می‌شود و گذر زمان نیز به‌صورت حرکت نسبی ناظر و مکان شناخته می‌شود. این مقاله در صدد پاسخ به این سؤال‌ها است که استعارة مفهومی گذر زمان به‌مثابه حرکت، در واقعیت مجازی و واقعیت ترکیبی چگونه تجلی یافته است؟ و چه نسبتی بین واقعیت مجازی و واقعیت ترکیبی برقرار است؟ روش پژوهش به‌صورت توصیفی-تحلیلی و نیز تطبیقی است. ابتدا چیدمان‌های تعاملی به تفکیک، توصیف شده و چگونگی شکل‌گیری مفهوم زمان و میزان درگیری مخاطب با هر کدام تحلیل شده و نهایتاً مطالعه تطبیقی انجام شده است. گردآوری اطلاعات به‌صورت هدفمند و آگاهانه از بین نمایشگاه‌ها و رویدادهای هنری با محوریت آثار ونگوگ بوده است، باتوجه به اینکه در واقعیت مجازی، مخاطب به طور کامل در دنیای مجازی قرار می‌گیرد و ارتباط حس بینایی به طور کامل با دنیای واقعی قطع می‌شود فرض بر این بوده است که با افزایش حس غوطه‌وری، استعاره مفهومی گذر زمان به‌مثابه حرکت در این چیدمان‌ها به‌مراتب مشهودتر و مؤثرتر از چیدمان‌های واقعیت ترکیبی باشد. نتایج نشان می‌دهند که در واقعیت مجازی، مخاطب به طور کامل از زمان و مکان خود منفک می‌شود که این امر در واقعیت ترکیبی به طور نسبی رخ می‌دهد. در واقعیت مجازی، زمان به‌مثابه مکان درک می‌گردد و شاهد حرکت ناظر هستیم؛ درحالی‌که در واقعیت ترکیبی، زمان به‌مثابه شیء درک شده و شاهد حرکت زمان هستیم. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: استعارة مفهومی؛ مفهوم استعاری زمان؛ هنر تعاملی؛ واقعیت ترکیبی؛ واقعیت مجازی | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| The Metaphorical Concept of Time in Interactive Art Installations Centered Around Van Gogh's Works | ||
| نویسندگان [English] | ||
| Shadi Madadi1؛ Zahra Rahbarnia2 | ||
| 1Ph.D. Student Art Research ,Faculty of Art, Alzahra University,Tehran,Iran. | ||
| 2Associate Prof,of Art, Faculty of Art, Alzahra University,Tehran,Iran, Corresponding Author. | ||
| چکیده [English] | ||
| Employing digital technology as a medium in the field of art requires artists to create and present their work digitally. The intrinsic characteristic of digital media is its interactivity, and by employing such technologies, it is possible to capture the physical actions of the audience and, based on that, direct the process of forming the artwork and its proper perception. On the other hand, human-centered virtual technologies, such as virtual reality and mixed reality, which have emerged with the aim of making human life easier and enhancing the perception of the surrounding world, have entered the art field. As a result, the world is witnessing installations that showcase new dimensions of their influence on human life and present innovative artistic expressions. This research, focusing on four virtual interactive installations centered on the works of the famous Dutch painter Vincent Van Gogh, investigates the formation of the metaphorical concept of time in these works and conducts a comparative analysis. By examining the features of the installations and comparing their differences and similarities, the study aims to determine how audience engagement in a virtual environment can influence the perception of the passage of time and how the degree of immersion affects this perception. Drawing on Lakoff and Johnson's theory of the conceptual metaphor of time, the research seeks to answer the following questions: How is the conceptual metaphor of the passage of time in virtual reality and mixed reality, centered on Van Gogh's works, formed, and how do these approaches differ or align? Considering that in virtual reality, the audience is fully immersed in the virtual world and their vision is entirely disconnected from the real world, it is assumed that with increased immersion, the conceptual metaphor of the passage of time will be more pronounced and effective compared to mixed reality installations. Based on online search results, it was found that Van Gogh's works are highly popular, making him a leading and famous painter. Numerous up-to-date installations are available that can be used for analysis and study. Among these, two samples of virtual reality installations and two samples of mixed reality installations were selected, for which sufficient information, explanations from the creators, and user feedback were available, all of which were useful for the analysis process. Therefore, the current research is a multiple case study, and the method of sample collection is purposive. The analysis of the research is organized into two parts. In the first part, each installation is examined separately using a descriptive-analytical method to explore the formation of the conceptual metaphor of time. The second part is comparative, analyzing the similarities and differences among these four installations in terms of technology and capabilities, the level of engagement and immersion, and, finally, the formation of the conceptual metaphor of time. Modern technology has opened a new chapter in human life through the use of digital tools and computers, making it possible to enter a virtual world. If we consider a continuous spectrum between the real world and a completely virtual world, all technologies within this spectrum are referred to as "extended reality." In other words, any technology or system that simultaneously incorporates elements of both the real and virtual environments is called extended reality. Extended reality is divided into three major categories: augmented reality, which is closest to the real environment; virtual reality, which is at the other end of the spectrum and closest to the virtual environment; and mixed reality, which lies between the other two. According to the Conceptual Metaphor Theory of Lakoff and Johnson, time, an abstract concept, is perceived metaphorically by mapping it onto an empirical field, usually a place or an object. This means that different time events are experienced as specific objects and places or as a limited area in space. Accordingly, the passage of time is perceived as the relative movement of the observer in relation to these places and objects. This relative movement is categorized as either the movement of time or the movement of the observer. If the observer is fixed and the time events move toward or away from the observer, it is called the movement of time. Conversely, if the time events are perceived as fixed objects and places, and the observer feels as though they are moving toward or away from them, it is called the movement of the observer. Therefore, if the observer is virtually transported to a place that belongs to a time event in the past, their mind can be prompted to pass through time, perceiving the past as either a place or an object. The results show that in the installations Step Inside Van Gogh’s Starry Night and the first part of The Garden in Zundert, there is a movement of the observer towards time events, and time is perceived as a place. In contrast, in the installations Meet Van Gogh in The City, The Bedroom, and the second part of The Garden in Zundert, we observe the movement of time, with time events experienced as objects. In all installations, except for the second part of The Garden in Zundert, the movement of time is directed towards the past, as if the observer is making a reverse journey through time. Additionally, it can be concluded that the high level of immersion in virtual reality installations forces the audience to disconnect more deeply and effectively from the current time and place, resulting in a more vivid experience of time's passage and the perception of past time events. On the other hand, in mixed-reality installations, this level of separation and immersion is lower. Thus, the researchers' hypothesis that the passage of time becomes more perceptible as immersion increases is confirmed. Another goal of this research was to explore the relationship between the two technologies of virtual reality and mixed reality in interactive installations centered on the works of the Dutch painter Vincent Van Gogh. In both cases, the audience moves from a passive state to an active one, with the possibility of interacting with the artwork, which increases engagement. Another similarity is that the presentation of the artwork is not limited to a specific museum, gallery, or location, meaning similar installations can be set up in different places simultaneously. Additionally, the issues of damage to the original artworks or their theft are also avoided. However, there are significant differences between these two technologies. In virtual reality, a completely virtual and three-dimensional world is created by the computer, and both the user and the artwork are entirely within this virtual world. In contrast, mixed reality involves the user being present in the real world, with virtual elements added to it. In virtual reality, the audience's sense of vision is completely disconnected from the real world and is focused solely on the installation, whereas in mixed reality, virtual elements are typically displayed on a two-dimensional screen. Moreover, to be immersed in the virtual world of virtual reality, it is necessary to use a head-mounted display, whereas in mixed reality, such a display is not required, and the use of other tools depends entirely on the design of the installation. Regarding the quality of the audience's engagement with the artwork, the highest level of immersion was observed in virtual reality, which completely separates the audience from the real world and ultimately leads to a strong emotional connection with the artwork. The audience fully feels their presence within Van Gogh's artworks. In mixed reality, however, a medium or low level of immersion is typically experienced, and at lower levels of immersion, an emotional relationship is less likely to be established. Concerning mutual interaction among the audience while using the installation, virtual reality does not offer this possibility due to the head-mounted display placing the user in a 3D world. However, this possibility is present in most mixed reality installations. Although such interaction can create a shared experience among the audience, it may also reduce immersion. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Conceptual Metaphor, Metaphorical Concept of Time, Interactive Art, Mixed Reality, Virtual Reality | ||
| مراجع | ||
|
منابع
استون، ایروینگ (1400). شور زندگی، ترجمه ابوالحسن تهامی، تهران: انتشارات نگاه.
اکبری، حمیدرضا و صالح‌نژاد، لیلا (1395). استعارة زمان به‌مثابه حرکت در مکان در اشعار سهراب سپهری بر اساس نظریة معاصر استعاره، فصلنامه مطالعات زبان‌ها و گویش‌های غرب ایران، سال 3، شماره 12، 16-1.
اکو، اومبرتو؛ ردی، مایکل؛ لیکاف، جورج؛ تیلر، جان رابرت؛ واینسهایمر، جوئل و مورن، ریچارد (1390). مبنای تفکر و ابزار زیبایی‌آفرینی استعاره، گروه مترجمان به کوشش فرهاد ساسانی، تهران: سوره مهر.
رفیع‌زاده اخویان، ریحانه؛ جوانی، اصغر و صافیان، محمدجواد (1396). تحلیل پدیدارشناختی واقعیت افزوده به مثابه رسانه در هنر معاصر (هنر واقعیت افزوده در دوسالانه ونیز و استانبول 2011)، هنرهای زیبا- هنرهای تجسمی، دوره 22، شماره 2، 30-21.
رئیسی، فاطمه؛ افراشی، آزیتا؛ مقدسین، مریم؛ حاجی کرم، آمنه و نعمت‌زاده، شهین (1398 الف). درک الگوی استعاری زمان در بین دانشجویان رشته‌های پزشکی و پیراپزشکی بر اساس جنسیت، سن و وضعیت تحصیلی، مجله علمی دانشگاه علوم پزشکی کردستان، شماره 24 مهر و آبان، 67-56.
رئیسی، فاطمه؛ افراشی، آزیتا؛ نعمت‌زاده، شهین و مقدسین، مریم (1398 ب). استعاره‌های مفهومی زمان و مکان در زبان فارسی: رویکردی شناختی-پیکره‌ای، فصلنامه مطالعات زبان‌ها و گویش‌های غرب ایران، دوره 8، شماره 1، 29-15.
زارعی، مریم (1396). به‌کارگیری تکنولوژی‌های مجازی در طراحی معماری: واقعیت مجازی، هفتمین کنفرانس بین المللی توسعه پایدار و عمران شهری، موسسه آموزش عالی دانش پژوهان پیشرو (غیر دولتی-غیرانتفاعی)، 9-1.
سجودی، فرزان و قنبری، زهرا (1391). بررسی معنا‌شناختی استعاره زمان در داستان‌های کودک به زبان فارسی (گروه‌های سنی الف، ب و ج)، فصلنامه علمی پژوهشی نقد ادبی، دوره 5 شماره 19، 156-135.
فورسویل، چارلز (1387). استعاره‌های تصویری در آگهی بازرگانی، ترجمه لیلی کافی، تهران: اداره کل پژوهش و آموزش سیما.
کوچش، زولتان (1398). استعاره: مقدمه‌ای کاربردی، ترجمه جهانشاه میرزابیگی، تهران: آگاه.
لیکاف، جرج و جانسون، مارک (1396). استعاره‌هایی که باور داریم، ترجمه راحله گندمکار، تهران: انتشارات علمی.
هاشمی، زهره (1389). نظریه استعاره مفهومی از دیدگاه لیکاف و جانسون، ادب پژوهشی، شماره12، 140-119.
Refrences
Akbari, H. and Salehnejad, L. (2016). The Metaphor of Time as Moving through Locations in Sohrab Sepehri’s Poems Based on the ontemporary Theory of Metaphor, Reaserch in Western Iranian Languages and Dialects, 3(12): 1-16, (Text in Persian).
Averbukh, V.; Averbukh, N.; Vasev, P.; Gvozdarev, I; levchuk, G; Melkozerov, L. & Mikhaylov, I. (2019). Metaphors for Software Visualization Systems Based on Virtual Reality, Augmented Reality, Virtual Reality, and Computer Graphics, AVR 2019, 60-70.
Bishop, G. & Henry, F. (1992). Research directions in virtual environments: report of an NSF Invitational Workshop, ACM SIGGRAPH Computer Graphics, 26 (3), 153–177.
Burdea, G. & Philippe, C. (2003). Virtual reality technology, 2nd ed., New Jersey: John Wiley & Sons.
Calvi, L. & Hover, M. (2018). Becoming Vincent: A multifaceted story in a multifaceted ecosystem, in Museum experience design - crowds, ecosystems and novel technologies (Springer series on cultural computing), 279-300.
Calvi, L.; Hover, M.; Ouwens, F, & Waalwijk, J. (2015). Visualising Vincent’s life: an engaging experience into Van Gogh’s heritage. Aesthetics of interaction: dynamic, multisensory, wise, 312–315.
Carmigniani, J.; Furht, B.; Anisetti, M.; Ceravolo, P.; Damiani, E. & Ivkovic, M. (2011). Augmented reality technologies, systems and applications. Multimedia tools and applications, 51(1), 341-377.
Eco, U., Reddy, M. J., Lakoff, G., Taylor, J. R., Weinsheimer, J. and Moran, R. (2011). Mabna-ye tafakor va abzar-e zibaee afarini esteareh, group of translators under the supervision of Farhad Sasani, Tehran: Sooreh Mehr Publication, (Text in Persian).
Erel, M. C. (2022). Interactive Art Installation for Togetherness, Bachelor’s Thesis, Creative Technology, University of Twente.
Feng, W. D. & Ohalloran, k (2013). The visual representation of metaphor: A social semiotic approach, Review of Cognitive Linguistics, 11(2), 320-335.
Forceville, Ch. (1994). Pictorial metaphor in advertisements, Metaphor and Symbolic Activity, 9(1), 1-29.
Forcville, C. (2008). Pictorial Metaphor in Advertising, translated by Leili Kafi, Tehran: Edare Kol Pazhoohesh va Amoozesh Sima, (Text in Persian).
Gong, Y. (2021). Meet Van Gogh in the City: Designing an Interactive Art Experience with Mixed Reality, Master Thesis, Design Engineering, Delft University of Technology, Faculty of Industrial Design Engineering.
Hashemi, Z. (2010). Conceptual Metaphor Theory as Proposed by Lakoff and Johnson, A Quarterly Journal of persian language and literature, 4(12). 119-140, (Text in Persian).
Johnson, M. (1989). Image schematic bases of meaning, RSSI (Researches symbiotic semiotic inquiry), Oregon: University of Oregon press.
Kolstee, Y. & Eck, W. (2011). The Augmented Van Gogh’s: Augmented Reality Experiences for Museum Visitors, 10th IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities, 26-29.
Kövecses, Z. (2018). Metaphor: A Practical Itroduction, translated by Jahanshah Mirzabigi, Tehran: Agah Publication, (Text in Persian).
Kromhout, R. & Forceville, C. (2013). LIFE IS JOURNEY: The source-goal schema in the videogames Half-Life, Heavy Rain, and Grim Fandango, Metaphor and the Social World, 3: 100-116.
Lakoff, G. & Mark J. (1999). Philosophy in the flesh: The embodiment and its challenges to wastern thought, New York: Basic books.
Lakoff, G. (1994). What is a conceptual system?, in The nature and ontogenesis of meaning. (Overton, W.F. and Palermo, D.S.), New Jersey: Lawrence Erlbaum Associate, Inc. 41-90.
Lakoff, G. and johanson, M. (2017) Metaphors we live by, Translated by Raheleh Gandomkar, Tehran: Elmi publication. (Text in Persian)
Lee, T. S. (2021). Getty Museum Family Room-Educational Issues on Scaffolding and Transfer of Learning. International Journal of Art and Design Education, 41, 201-215.
Milgram, P. & Kishino, F. (1994). A taxonomy of mixed reality visual displays. IEICE Transactions on Information and Systems, 77(12), 1321-1329.
Rafizadeh Akhavian, R. Javani, A. and Safian, M. J. (2017). Analysis of phenomenological augmented reality as medium in contemporary art (2011 Venice and Istanbul Biennials), Jornal of Fine Arts: Visual arts, 22(2): 21-30, (Text in Persian).
Raiisi, F., Afrashi, A., Moghadasin, M., Hajkaram, A. and Nematzadeh, Sh. (2018). Understanding of metaphorical time pattern among medical and paramedical students based on gender, age and academic status. Scientific Journal of Kurdistan University of Medical Sciences, 24: 56-67, (Text in Persian).
Raiisi, F., Afrashi, A., Nematzadeh, Sh. and Moghadasin, M. (2018). Conceptual Metaphors of time in Persian: A cognitive and Corpus-based Approach. Reaserch in Western Iranian Languages and Dialects, 8(1): 15-29, (Text in Persian).
Sojoodi, F. and Ghanbari, Z. (2012). Metaphor of Time in Persian Children Books (a, b, c Age Groups): A Cognitive Approach, LCQ 2012, 5(19): 50-70, (Text in Persian).
Speicher, M.; Hall, B. D. & Nebeling, M. (2019). What is mixed reality?, In Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems, 1-15.
Stamenkovic, D. & Jacevic, M. (2015). Time, Space, and Motion in Braid: A Cognitive Semantic Approach to a Video Game, Games and Culture, 10(2), 178-203.
Stone, I. (2020). Lust for life, Translated by Abolhasan Tahami,, Tehran: Negah Publication, (Text in Persian).
Vermeeren, A.; Calvi, L. & Sabiescu, A. (2018). Future Museum Experience Design: Crowds, Ecosystems and Novel Technologies in Museum experience design - crowds, ecosystems and novel technologies (Springer series on cultural computing). Springer.
Zarei, M. (2017). Application of Virtual Reality Technologies in Architectural Design Process, 7th International Conference on Sustainable Devlopment & urban Constructuion,1-9, (Text in Persian).
URLs
URL 1: Art Attack Wikipedia. 10th June, 2022 from https://en.wikipedia.org/wiki/Art_Attack
URL 2: Salvador Dali's "The Persistence of Memory" in VR | Art Attack Master Works. 10th June, 2022 from https://youtu.be/L4CVFxrrzFs
URL 3: Step inside Van Gogh's "Starry Night" with Virtual Reality! | Art Attack Master Works. 10th June, 2022 from https://youtu.be/Woc0GZkDa7k
URL 4: VRScout - Virtual Reality News and VR Videos. 10th June, 2022 from https://vrscout.com.
| ||
|
آمار تعداد مشاهده مقاله: 65 تعداد دریافت فایل اصل مقاله: 13 |
||