تحليل پديدارشناختي واقعيت افزوده به مثابه رسانه در هنر معاصر (هنر واقعيت افزوده در دوسالانه ونيز و استانبول 2011)

Analysis of Phenomenological Augmented Reality as Medium in Contemporary Art* (2011 Venice and Istanbul Biennials

حوزه رسانه نوين به گفتماني اشاره دارد كه با تكنولوژي و رسانه هاي معاصر پوشيده شده است. امروزه بسياري از هنرمندان با تكنولوژي ديجيتال به مثابه رسانه هنري سروكار دارند. واقعيت افزوده، فن روي هم گذاري نگاره هاي كامپيوتري بر نماي زنده جهان واقعي است. هنر واقعيت افزوده، به آثار هنري نمايش داده شده در محيط واقعي گفته مي شود كه از واقعيت افزوده به مثابه رسانه هنري استفاده مي كنند. به دليل تعاملي بودنِ هنر واقعيت افزوده، مخاطب آن به كمك كنش بدني خود به تجربه زيباشناختي مي پردازد. هدف از اين پژوهش، بررسي نقش بدن در تجربه هنر واقعيت افزوده است. نمونه هاي مورد مطالعه، برگرفته از آثار هنر واقعيت افزوده در دوسالانه هاي ونيز و استانبول در سال 2011 است. روش گردآوري اطلاعات در اين پژوهش، استفاده از سنجه هاي غيرواكنشي شامل عكس و تصاوير ويدئويي برگرفته از اينترنت است. در اين پژوهش با تبيين تمايز ميان دو مفهوم تصوير بدن و شاكله بدن نزد موريس مرلوپونتي، مشاهده مي شود كه در هنر واقعيت افزوده با استفاده از شاكله بدني، عامليت مخاطب اثر هنري به عنوان هستي تن يافته افزايش يافته است و التفات سوژه متجسد در مقابل رسانه، به شيء افزوده شده معطوف مي شود.

Phenomenology has been center of the tradition of continental European philosophy throughout the 20th century. Phenomenology، as we know it، was started by Edmund Husserl. Husserl proposed practice of phenomenology by “bracketing” the question of the existence of the natural world around us. Husserl's suggestion was followed by a flurry of phenomenological writing in the first half of the 20th century. Maurice Merleau-Ponty، one of the famous classical phenomenologists، expanded a rich variety of phenomenology emphasizing the role of the body in human experience. He concentrated on the “body image” and “Body Schema”، our experience of our own body and its importance in our activities. He refused Cartesian dualism between soul and body and believed to subject-body. Many artists deal with digital and electronic technologies as a medium that suggests creative ideas to them. One of the newest of these technologies is Augmented Reality. Augmented Reality is the art of super-imposing computer graphics over a direct or indirect view of the real and physical world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium. Since Augmented Reality Art is، fundamentally، digital art embedded into a real-world environment، it can easily be made interactive and animated. As the viewer must become involved in physically with the site to experience the artwork، Augmented Reality Art provides the embodied experience of the human body. Recent advantages in Augmented Reality applications have led to an important shift in the understanding of the nature and type of Augmented Reality and its novel areas of applications، such as Art. Although، the current progress in the field of Augmented Reality and Augmented Reality Art requires continuous logical and methodological attention. This paper is just a step toward understanding the concept of Augmented Reality Art. The goal of this paper is surveying the role of body in experience of Augmented Reality Art and provides a phenomenological analysis of Augmented Reality as medium in Contemporary Art. First of all، we will define Augmented Reality as a technology in new media era. Then we will survey it’s applications in activism، medical، and it’s Experiences for Museum Visitors .After that، we will describe the characteristics and the main aspects of Augmented Reality Art with a comparison between this new media art and pre-Augmented Reality Art. By using of contemporary interpretive and qualitative approaches to video analysis، we will analyze the natural data such as pictures and videos that has been downloaded from Internet. This videos show augmented reality artworks that were presented in 2011Venice and Istanbul Biennials. In the experience of Augmented Reality Art، the spectator is technically enabled to utilize the body schema to increase his agency as an embodied being. To improve this embodied experience، we have to develop a technology that is transparent that provide the transparency of directionality and the noematic one. The subject of this experience should not be able to see device or medium. Additionally، the object presented to subject must have the usual typology of perceivable object.