تولید و تفسیر نشانه ها در هنر تعاملی بر اساس نظریه ی بودریار، مورد مطالعاتی آثار گروه تیم لب (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
امروزه به کارگیری فن آوری های نوین در خلق آثار هنری به گسترش رویکرد های تعاملی در هنر دامن زده است. نگاه خاص ژان بودریار فیلسوف معاصر و از نظریه پردازان پست مدرن به جایگاه فن آوری در زندگی بشر امروز ، زمینه را برای بررسی نظرات او در هنر تعاملی فراهم ساخته است. به اعتقاد بودریار نشانه ها و رمزگان در جامعه ی پسامدرن بر همه ی شئون زندگی ازجمله هنرتسلط یافته و او به کرات نگرانی خود را از فراموش شدن واقعیت جهان در بین وانموده ها و نشانه ها بیان نموده است. هدف از پژوهش حاضر این است که با تکیه بر مفاهیم کلیدی نظریات بودریار همچون وانمایی و ارزش نشانه و با بررسی دو نمونه ازآثار تعاملی گروه طراحان تیم لب، به این پرسش پاسخ داده شود، چگونه بازتولید نشانه ها و وانمایی مد نظر بودریار در هنر تعاملی رخ می دهد؟ برای نایل آمدن به این هدف، از شیوه توصیفی- تحلیلی و گردآوری اطلاعات با استفاده از منابع مکتوب و دیجیتال استفاده شده است. نتایج پژوهش نشان می دهد حضور و کنش مخاطب در هنر تعاملی و تفاوت دیدگاه و نحوه ارتباط او با اثر، نشانه های جدیدی را خلق کرده که بازتولید و تکثیر پذیری نشانه ها در کنار عواملی همچون تعامل، تخیل و حس مخاطب، منجر به محو تمایز بین وانموده و واقعیت و خلق نشانه های بی ارجاع به جهان واقع می گردد.The production and interpretation of signs in interactive art based on Baudrillard's theory, a case study of Team Lab group's Artworks
Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs.
The aim of research is by relying on the key concepts of Baudrillard’s theories such as simulation and sign value and by examining two examples of Team Lab designer’s interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources.
The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world.
In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created.
The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object.
The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology.
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