[Home ] [Archive]   [ فارسی ]  
:: Main :: About :: Current Issue :: Archive :: Search :: Submit :: Contact ::
Main Menu
Home::
About ARIA::
Journal Information::
Articles archive::
For Authors::
For Reviewers::
Registration::
Contact us::
Site Facilities::
::
Search in website

Advanced Search
..
Receive site information
Enter your Email in the following box to receive the site news and information.
..
:: Volume 10, Issue 39 (9-2021) ::
کیمیای هنر 2021, 10(39): 23-35 Back to browse issues page
The Aesthetic of Reception in Interactive Installation Art, Read based on Wolfgang Iser’s Theory
Farimah Fatemi , Ashraf sadat Mousavilar
Abstract:   (2844 Views)
Installation art is a subset of conceptual art that was recognized as one of the world’ s artistic styles in 1990s. This artistic style is always based on the idea and concept of the artwork that attempts to attract the audience directly. 
One of the methods for attracting the audience is interactive arts, so that the audience enters into the collaboration with the artist for creating the meaning. Interactive arts are a type of art form that requires the involvement of spectators to achieve its purpose. Some interactive art installations achieve this by letting the observer or visitor walk or be present at the center of artwork. This kind of art invites the audience to be present in the artwork and to create the meaning by filling the blanks or gaps. In addition, interactivity causes to create the collaboration and discoverer audience, it makes much more beyond mental activity.
The aim of the research was to find the role of audience interaction in interactive installation artwork. One of the artworks of Leonardo Erlich is interactive installation art, which was shown at the 21st Century Museum of Contemporary Art in Kanazawa, Japan. He created an illusory swimming pool that seems to be filled with water.
The analysis of this artwork was done based on the theory of reception aesthetic. Reception aesthetic is one of the reader- response theories which was proposed by Wolfgang Iser. He is one of the famous exponent of Reception Theory in contemporary literary field. This theory was evolved in 1967, while he was working in the University of Konstanz. He considered to some part of the text that make tendency for reading, or influence the reading. And also some part of the text which are important for understanding it. The reader’s role as a structured act refers to how reader fulfills the textual structures by causing them to converge within their imagination. In other words, the textual structure are connected and come to life when a reader takes part in the reading process.
He suggested the theory of gaps or blank in artwork, and also demonstrated that the audience creates meaning by filling the gaps. Whenever the audience fills the gaps in the artwork, the interaction is begun between them. Indeed, communicating and influencing by aesthetic is the most important aims in the artworks. Creating the meaning by the audience will be done through making hypothesis, reading strategy and then through removing and highlighting some parts of the hypothesis, meaning is created. This research was done by descriptive -analytic method and also by library information.
The result of the research indicated that the audience fills the gaps in interactive installation art through presenting in the center of the artwork. Creating a meaning will be done by the audience. Also the theory of reception aesthetic overlaps completely with the steps of the audience interaction in artwork. Finally, Reception aesthetic can determine one of the important features for contemporary art to analyze and criticize new art and contemporary artistic interaction.
Keywords: Reception, Aesthetic, Wolfgang Iser, Interactive Art, Installation Art
Full-Text [PDF 476 kb]   (995 Downloads)    
Type of Study: Research | Subject: Special
Received: 2021/01/16 | Accepted: 2021/06/28
References
1. احمدی، بابک ( 1383)، حقیقت و زیبایی، نشر مرکز، تهران
2. آزبورن، پیتر(1390) هنرمفهومی، ترجمه نغمه رحمانی، تهران: انتشارات مرکب سفید.
3. ایگلتون، تری. (1380)، پیش درآمدی بر نظریه ادبی، ترجمه عباس مخبر، نشر مرکز، تهران.
4. بنت، سوزان. ( 1386)، تماشاگران تئاتر نظریه‌ای در خصوص تولید و دریافت، ترجمه دکتر مجید سرهنگی، تهران: انتشارات نمایش.
5. بیگنل، جاناتان. (1393) نشانه، ایدئولوژی، رسانه، مترجمان: سید احمد الله اکوانی، محسن محمودی، ابوالفضل امیرور، تهران: پژوهشگاه فرهنگ هنر و ارتباطات
6. تسلیمی، علی. ( 1383) گزاره هایی در ادبیات معاصر ایران(شعر): پیشا مدرن، مدرن، پست مدرن، تهران: اختران
7. دیویی، جان(1393)، هنر به منزله تجربه، ترجمه مسعود علیا، تهران: چ2 نشر ققنوس.
8. راش، م .(1389)، رسانه‌های نوین در هنر قرن بیستم.ترجمه بیتا روشنی، تهران: نشر نظر.
9. ریشتر، مارینتی، اف تی، هانس، لویت، سل (1392)، آغاز بی پایان هنر مفهومی، ترجمه علی‌رضا امیرحاجی، تهران: چاپ و نشر نظر.
10. سلدن، رامان (1372) راهنمای نظریه ادبی معاصر، ترجمه عباس مخبر، تهران: طرح نو.
11. سمیع‌آذر، علیرضا. (1392) انقلاب مفهومی، تهران: چ2 نشر نظر.
12. شفق، اسماعیل، آذر پیرا، علی اصغر. (1396) «تحلیل شعر «آی آدم‌ها» و تفسیرهای آن بر اساس نظریه زیبایی‌شناسی دریافت»، فصلنامه نقد ادبی، س10، ش37، صص 161-135
13. شفیعی، ندا، رهبرنیا، زهرا. ( 1397) «خوانش چیدمان تعاملی تایپوگرافی«به منظور کنترل» از منظر اصول ادراک بصری گشتالت»، دوره23، ش2، صص 98-87
14. صبری، رضا. (1392 ) هنر محیطی تاملی در عناصر معنی دهنده به منظر، تهران: پیکر، چ 2
15. لوسی اسمیت، ادوار. (1384) مفاهیم و رویکردها در آخرین جنبش‌های هنری قرن بیستم، ترجمه علی‌رضا سمیع‌آذر، تهران: چ 4 نشر نظر.
16. مکاریک، ایرناریمل. (1394)، دانش‌نامه نظریه ادبی معاصر، مترجمان: محمد نبوی، مهران مهاجر، تهران: انتشارات آگه.
17. میرزا حسین، فهیمه، عظیم پور تبریزی، پوپک. (1394) «خوانش عروسک‌های نمایشی بر اساس نظریه زیبایی‌شناسی دریافت آیزر، نامه هنرهای کاربردی»، ش 10، 31-21
18. نامورمطلق، بهمن. (1387)، «یائوس و آیزر، نظریه دریافت»، پژوهشنامه فرهنگستان هنر، ش11، ص110-93
19. نظرزاده، رسول. (1382)، «هر متن ناتمام است (سیری در پدیدارشناسی نظریه دریافت مخاطب)»، فارابی، ش50، صص190-173
20. هارلند، ریچارد (1382)، درآمدی تاریخی بر نظریه ادبی از افلاطون تا بارت، ترجمه علی معصومی و شاپور جورکش، تهران: نشر چشمه.
21. Bialoskorski ,L. S. S. , Westernik ,J. H. D. M. and van den Broek ,E. L. (2009).Mood Swings:
22. design and evaluation of affective interactive. New Review of Hypermedia and
23. Multimedia, Vol.15,No.2,173-191.
24. Iser, Wolfgang (1972), "The Reading Process: A Phenomenological Approach", New Literary [DOI:10.2307/468316]
25. History, Vol. 3, No. 2, pp. 279-299
26. Iser, Wolfgang (1978),The act of reading a theory of aesthetic response, Routledge and Kegan Paul Publisher,London, UK
27. Iser, Wolfgang(2000).Do H Write for a Audience? PMLA, 115:3(May), 310-314 [DOI:10.2307/463451]
28. Shi, Yanling(2013). Review of Wolfgang Iser and His Reception Theory, Theory and Practicr in Language Studies, Vol3 , No 6, pp 982-986 [DOI:10.4304/tpls.3.6.982-986]
29. Kwastek, katja(2013), Aesthetics of interaction in digital art, London, Massachusetts institute of technology [DOI:10.7551/mitpress/9592.001.0001]
30. Paul, C. (2003). Digital Art, Thames & Hudson, London
31. http://www.leandroerlich.art/
32. https://www.ignant.com/2016/01/07/an-illusory-swimming-pool-by-leandro-erlich/
Add your comments about this article
Your username or Email:

CAPTCHA



XML   Persian Abstract   Print


Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:

Fatemi F, Mousavilar A S. The Aesthetic of Reception in Interactive Installation Art, Read based on Wolfgang Iser’s Theory. کیمیای هنر 2021; 10 (39) :23-35
URL: http://kimiahonar.ir/article-1-1927-en.html


Rights and permissions
Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Volume 10, Issue 39 (9-2021) Back to browse issues page
Kimiya-ye-Honar
Persian site map - English site map - Created in 0.05 seconds with 37 queries by YEKTAWEB 4645