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زیباییشناسی دریافت در هنر چیدمان تعاملی؛ خوانشی براساس نظریه ولفگانگ آیزر (مطالعه موردی: چیدمان تعاملی استخر شنای لئوناردو ارلیچ)
The Aesthetic of Reception in Interactive Installation Art, Read based on Wolfgang Iser’s Theory
تخصصي
Special
پژوهشي
Research
<div style="text-align: justify;"><span style="font-size:12px;"><span style="font-family:Tahoma;"><span style="letter-spacing:-.05pt;"><span style="color:black;">هنر چیدمان به عنوان یکی از شاخه</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">های هنر مفهومی، همواره بر ایده و مفهوم اثر تأکید دارد، در مواقعی برای جلب و همیاری بیشتر مخاطب از تعامل نیز استفاده می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">کند؛ این شیوه تماشاگر را به حضور در اثر دعوت کرده و این تعامل</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">گرایی سبب ایجاد مشارکت مخاطب و فعالیت</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">های ورای ذهنی می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">شود؛ این امر خارج کردن مخاطب از حالت منفعل و تبدیل او به حالت فعال و معناسازی در اثر را موجب می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">شود. پژوهش حاضر با هدف بررسی نقش تعامل مخاطب در دریافت زیبایی</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">شناسی اثر چیدمان تعاملی، به مطالعه چیدمان استخر شنا لئوناردو ارلیچ می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">پردازد که به صورت تعاملی ارائه و اجرا شده</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">اند. تحلیل و بررسی اثر مذکور بر طبق نظریه زیبایی</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">شناسی دریافت به</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">عنوان یکی از نظریه</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">های خواننده</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">محور ولفگانگ</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">آیزر، نظریه</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">پردازان مکتب کنستانس، صورت گرفته است. او نظریه شکاف</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">های موجود در آثار را طرح کرد تا اثبات کند مخاطب با پر کردن شکاف</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">ها، به اثر معنا می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">بخشد و تولید معنا توسط مخاطب از طریق فرضیه</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">سازی، استراتژی خواندن، حذف و برجسته</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">سازی صورت می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">گیرد. نظریه مذکور با توجه به طرح کردن شکاف یا جای خالی و خواننده محور بودن، با قواعد و استراتژی</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">های هنر تعاملی انطباق مورد نظر را دارد. این پژوهش با روش توصیفی-تحلیلی و با استناد به منابع کتابخانه</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">ای شکل گرفت و به این نتیجه نائل آمد که مخاطب در اثر چیدمان تعاملی، شکاف و جای خالی را احساس می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">کند؛ که با حضور در اثر، این شکاف پر شده و تولید معنا توسط وی صورت می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">گیرد؛ همچنین نظریه شکاف</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">آیزر هم</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">پوشانی کاملی با مراحل تعامل مخاطب با اثر هنری را نشان می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">دهد؛ همچنین جایگاه و اهمیت مخاطب در اثر در راستای تکمیل مفهوم و تولید معنا مورد توجه قرار می</span></span><span dir="LTR" style="letter-spacing:-.05pt;"><span style="color:black;"></span></span><span style="letter-spacing:-.05pt;"><span style="color:black;">گیرد.</span></span></span></span></div>
<div style="text-align: justify;">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. <br>
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.<br>
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.<br>
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.<br>
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.<br>
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.</div>
زیباییشناسی دریافت, ولفگانگ آیزر, نظریه شکاف, هنر تعاملی, هنر چیدمان
Reception, Aesthetic, Wolfgang Iser, Interactive Art, Installation Art
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35
http://kimiahonar.ir/browse.php?a_code=A-10-1-278&slc_lang=fa&sid=1
Farimah
Fatemi
فریماه
فاطمی
F.fatemi@alzahra.ac.ir
10031947532846005112
10031947532846005112
No
Ashraf sadat
Mousavilar
اشرفالسادات
موسیلر
a.mousavilar@alzahra.ac.ir
10031947532846005113
10031947532846005113
No