تقابل ادراک مخاطبان اثر هنری از کشف و دگرگونی در نسبت با اصل تداعی و ساختار نشانه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ادراکِ نسبت میان نشانه و مفهوم عامل بسیار مهمی است که در فرآیند گذر از شناخت به بازشناخت مخاطبان، تقابل قابل توجهی را عیان ساخته و گویی دو نقش متفاوت از آن قابل استنباط است؛ آن چنان که در خلق یک اثر هنری، طراح به عنوان مخاطب اولیه موضوع مورد نظر، پس از گذار از شناخت ابعاد آن می کوشد که بیننده را به عنوان مخاطب ثانویه، در مرحله مشاهده به سوی تجربه بازشناختی هدایت سازد. بازشناخت، فرصتی است که نشانه در یک موقعیت بازنمایی شده و در مفاهیم جدید برای بیننده اثر تداعی می گردد. تداعی، فرآیندی تجسمی است که در آن شخص، به درک متفاوت مفاهیمی دست می یابد که یکدیگر را به فراخوان مشترک می طلبند. پژوهش حاضر با هدف معرفی انواع بازشناخت در نسبت با اصل تداعی که در راستای دگرگونی های دو سطح نشانه و مفهوم ایجاد می گردد، پرسش از چگونگی تقابل ادراک مخاطبان اثر گرافیکی از کشف و دگرگونی در نسبت با اصل تداعی و ساختار نشانه دارد؟ لذا به روش توصیفی - تحلیلی و با استفاده از منابع مکتوب و اسناد تصویری به شیوه کیفی، نشان می دهد که طراح، در راستای شناخت موضوع به دگرگون سازی ساختار نشانه ها پرداخته و قوانین تداعی نیز بیننده را به کشف و بازشناخت پیام هدایت می سازد.Contrast of Artwork Audiences' Perception from Discovery and Transformation In Relation to Association Principle and Sign Structure
Understanding the relation between sign and concept is an important factor in an artistic encounter, that always revealed a significant contrast in the process of transition from cognition to recognition and two different roles can be understood. As in creating a graphic work, Designer as the primary target audience, after the transition, it tries to understand its dimensions and the creation of the work, who view the viewer as a secondary audience, to guide the cognitive experience in the observation stage. Recognition is an opportunity for the token to be represented in a position and it evokes new concepts for the audience. In other words, the designer has transformed the subjective semiotic dimensions and viewer of discovery fields and recognizes it based on the principles of associative experience. Here, by association, is a visual process in which the person, Relate words and concepts that can recall each other. The importance of this issue also comes from that, In order to receive the message, from the initial theme to its transmission through artistic solutions the path and goals of cognition have been constantly changing through creative transformations. So we can associate a different truth in harmony and in the path of creative thinking. The Purpose of this study is to introduce different types of recognition in relation to the associative principle in order to transform the two levels of sign and concept. So how is it possible to contrast the audience's perception of artwork with discovery and transformation in relation to the association principle and the structure of the sign? This descriptive-analytical study using qualitative written sources and visual documents shows that the designer, In order to understand the subject, he has transformed the system of signs in terms of their shape, position and function, and The laws of association based on similarity, proximity and contrast also guide the viewer to discover and recognize the message. The answer to this question will come true when the designer has come to a complete knowledge of the subject after encountering the original, and then, through the transformation of the sign system based on deformation, position, or function, it represents a different aspect of sign and concept in the viewer's mind. The viewer has also stepped into the stage of recognizing sign and concept, relying on the rules of association based on similarity, recall and analogy of elements. With these interpretations, though, until now, the subject of the audience and its relation to the process of sign and concept perception have been examined from distinct perspectives, The approach of the present study is based on the centrality of the audience and its perception process in both the role of the designer and the viewer of the work. Also, due to the importance of the distinct role of both types of audiences in the relation between discovery and transformation with the association principle and the sign system, they have studied their cognitive and cognitive processes, especially in the field of graphics. For this purpose the images,
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