جستجوی مقالات مرتبط با کلیدواژه « مخاطب » در نشریات گروه « هنر و معماری »

Currently, the film production and distribution industry, affected by the spread of the Coronavirus and the conditions caused by it, in addition to the decrease in the number of viewers in cinema halls, faced the challenge of not losing audiences, with an alternative called the home show network. The spread of the coronavirus and the subsequent quarantines, as well as spending time indoors, caused many people to watch movies and TV series on the home television network and become consumers of the products of home television companies. Even before that, with the rise of heterogeneous productions (in different and more entertaining genres) in this network before 2018, there were discussions about the necessity of monitoring their productions, but the spread of the coronavirus has changed the process of evaluating and monitoring the productions of the home television network and Obviously, it accelerated VOD. This medium’s unique features could play a significant role in improving the education process, transfer of concepts, entertainment, and optimal provision of free time. It is important to consider the impact of the message of this powerful image media on public opinion, its reflection, and performance, particularly in terms of education, culture, and socialization. Audio and visual media, due to their internal nature to reach a large number of audiences and also have the characteristic of speed in learning and transferring concepts, are powerful tools for sending messages to audiences, shaping public opinion, and preparing it to overcome national crises, and this is important. Their social responsibility is rooted in it. This research aims to investigate the reasons for the increase in the audience’s approach to using the products of online home viewing platforms, with a case study on Filmnet, Filmo, and Namava institutions, to analyze and analyze the social and cultural effects of their activities.

Hermeneutic theory and criticism are one of the important theories and criticisms of art and literature. The term hermeneutics or the science of interpretation and interpretation has entered the field of visual arts from the field of literature. The polysemous of this word indicates the types of uses that this word has been used for. Hermeneutics is defined as an attitude, knowledge, method and art that deals with the understanding of the world, human and text. Texts and works of art are open to interpretation, and the goal of interpreting and understanding works is to reach their true meaning. The science of hermeneutics was first used in the interpretation of the holy books and then entered the literary and artistic fields. From the point of view of this science, understanding and interpretation of phenomena are inseparable from each other, texts and works of art are opened in interpretations and their hidden aspects are revealed by interpretation. The purpose of interpretation is to understand the works and obtain its true meaning; Therefore, achieving meaning is associated with the process of understanding.As an interpretive creature, man also tries to communicate with phenomena by understanding and interpreting them. (These phenomena can be the holy texts of the books of the prophets or books of philosophers or works of art.) But in reality, what is the ultimate goal in interpretation and hermeneutics is to achieve the true meaning of the phenomena. Shapes, images, signs, social customs and in general any phenomenon that is made by nature or man are placed in the position of interpretation and understanding. For understanding the world made up of forms and colors that are constantly changing, transforming, giving birth, expanding and transforming, man gives meaning to them or he discovers their meaning. So, the act of interpretation is done with the significance of the phenomena. The meaning is hidden in the text and the work, and the interpreter is required to find the hidden meaning in the work. The works and texts guide the commentators to understand the interpretation methods.Therefore, the text and artwork have always been the subject of interpretation; And man as an interpreter is always interpreting the phenomena around him; But due to the existence of different understandings in a person, there have always been multiple interpretations of a work. Therefore, the important question raised here is what is the position of the text or the work of art or even the creator of the work in hermeneutic science? Are the interpretations as countless as the number of people, and it is the audience of the work of art that determines the meaning of the work? Or that the author or the artist is the main pillar in the interpretation and the interpretation is formed based on their thinking. Can the text or artwork determine which interpretation is valid and which is not? What is the validity of these valid and invalid interpretations? Is it possible to determine a certain basis for the interpretation of works of art by summarizing the opinions of different thinkers during different centuries and classifying them? Therefore, the purpose of compiling this research is a critical and analytical reflection on the opinions of hermeneutic thinkers and the bases of achieving the true meaning of the work.The purpose of this research is a critical and analytical reflection on the opinions of thinkers about hermeneutics, its role and place in the interpretation of phenomena and especially works of art. Therefore, firstly, the works and ideas of the first thinkers in the field of hermeneutics are investigated and a brief history of hermeneutics and its types are introduced. Then, by dividing hermeneutics into two historical periods, classic and modern, the theorists have been categorized. Hermeneutics has been examined in terms of the subject and its types, and by summarizing the opinions of theorists, an attempt has been made to reach a certain basis in hermeneutic criticism, so that with its help, a criticism appropriate to the work can be presented. After summarizing and classifying the opinions of thinkers and examining the science of hermeneutics in the world of art, it has been tried to present specific models of hermeneutics and its criticism in the field of visual arts. Research shows that hermeneutics, as a knowledge in obtaining the meaning of phenomena, always plays an important role in determining the meaning of works of art. But paying only to each aspect of the author, the audience and the text in hermeneutics reveals only a part of the meaning of the work; Therefore, despite the modern hermeneutics that determines the meaning only in the interpretation horizon of the interpreter, the text and the author also have a central role in determining the meaning of the work.

New multimedia art, while using new media technologies, seeks to explain a new visual language that is different from the visual language of previous art media and focuses on the role of the audience in presenting the work of art. In these works, the audience finds a special place and their interaction with the work becomes the main focus of multimedia art performance. Therefore, how the audience performs in the new multimedia art and the type of interaction with the multimedia work is the main issue of the present study and the main purpose is to identify and explain the type of audience and how they interact in presenting these works. Therefore, the new multimedia works of Ahmad Nadalian, who has used the components of Iranian culture and art, were studied as Iranian examples in this field to answer these questions: Who is the audience for the new multimedia art? And how does the audience interact with new multimedia art? This research seeks to answer the two questions of what the type of audience is and how they deal with multimedia art, in a combined method of qualitative and quantitative nature. Regarding this exploratory subject and fieldwork, the main focus was that the initial information was obtained based on both library and field methods. The tools used for both methods were filing and semi-open interviews. The statistical population is based on different backgrounds and principles of research or the same audience based on the classification of art audiences in different periods based on four statistical indicators, namely: artistic perception, literacy, social class and age in both men and women. Two cases were made as simple possible choices. The presented samples were selected from the works of Nadalian as a contemporary Iranian artist in this field, and four samples of the works, representative of the artist, were used from his site and personal archive. Also, for the analysis and analysis of the research, the qualitative analysis method of the interviews was conducted in depth.Multimedia art, unlike traditional forms of art where the audience interaction is only a mental event, using traditional media and many new media, including the Internet and other digital processors, aims to turn passive watch by the audience in understanding of the work from a viewer into an active participant or interactor. New multimedia art that has been provided to different segments of society based on modern technologies, has provided the capacity for the presence of society in the field of art. In the multimedia art of other art galleries, there are not many economic and geographical barriers to work; the understanding and praise of the sublime art / culture have not been given to the bourgeoisie as a unique social action. To answer the questions, the method of qualitative research with exploratory nature was used. The studied works that were collected through library resources and the artist's archive were analyzed by qualitative content analysis. The statistical population of the study, based on the indicators set for men and women in terms of conditions of age, artistic perception, general literacy, and social class, consisted of sixteen people who were interviewed on four works by Nadalian. Finally, the results showed that multimedia art, due to the connection it establishes with a wide range of audiences, covers a wider field of audiences and audiences from all walks of life contribute to the presentation of the work and the audience. The specific becomes the general audience. Audiences, according to different backgrounds, have a different action from the multimedia work, which ranges from games and entertainment to searching and discovering the secrets hidden in the work. The field of Nadalian works is wider than museum works or pieces presented in galleries. Nadalian's new multimedia art is open in structure, employs multiple perspectives and media, and gives the audience equal privileges while thinking. On one hand, multimedia art is a mass media that gets rid of the limitations of museums and art galleries, which avoids any hierarchy. On the other hand, as stated, Nadalian's field of works is wider than museum or gallery presented works, so it is not specific to the affluent and educated people. In addition, the quality of the game and its fun strengthens its interactive nature and attracts more audiences. The new Nadalian multimedia art is structurally open, utilizing multiple perspectives and media, giving the audience equal opportunities to think. Nadalian has been able to make good use of the possibilities of multimedia art and to establish a connection between the qualities of art and play and to recreate traditional media in a new format and sometimes with a touch of entertainment.

In contemporary terms, the body was used as the object of art. The performances have a message and sometimes refer to sexuality and highlight the fact that the human body can be used as a canvas. Some used images of others on their bodies to integrate them with body art, such as Hannah Wilke, who used images of herself and her mother on her body. Performance art can be seen as the evolution of other arts such as cosplay, which were drawn from entertainment to creating a work of art. This depicted the presence of the audience in a space and its participation to examine various feelings and results. The performance art movement integrates elements of various arts through the body of the artist. This research points to the investigation of the effect of each of the elements of performance art in the types of mixed arts in Abramović's works. The art of performance, which is called live art in some Anglo-Saxon countries, is branched from the visual arts, but while it is close to the show, it is very different from it in nature. Being alive, real and in the moment and emphasizing the use of the performer's body as artistic material is one of the main features of performance art. The art of performance started from visual arts and painting. After some time, this group of artists came to the conclusion that their art has become commercial and is only bought and sold by merchants. To prevent this, they proposed body drawing as a solution, in such a way that she began to roll on the white surface with her body, to which music was added over time. Over time, the art of performance opened a path for itself and found its fans. This art contains many other arts in its heart, which has caused the emergence of special features for it, but the effect of each of these features on the performance art itself is different. This research aims to extract each of the features and specify each of them in Abramović's works answer the question of what is the most effective contributing factor for each of these features in Abramović's works.The research method in this research is a combination of qualitative and quantitative nested type, which is chosen in the qualitative stage of selecting Abramović's performances by means of Delphi, a future study with three phases (brainstorming, limitation, selection). Their weight is calculated for each of the works and selected works are selected as the examined sample. Sampling at this stage is based on a purposeful and preference system. After selecting Abramović's performances, the quantitative stage begins. In this stage, a questionnaire with a Likert scale is compiled and distributed to each of Abramović's works. The sample size is 384 informants who were selected from a society with the criterion of entering the research and according to the upper limit of Morgan's table. The results are analyzed in JMP software by means of descriptive and inferential statistics. The results are presented in the form of comparison. Validity is calculated with CVR=0.76 and reliability with Cronbach's alpha (0.78).The research findings include two parts: qualitative and quantitative findings. In the qualitative findings, the expert panel is requested to first study the features extracted in the theoretical bases and to clarify the types of performance art works of Marina Abramović. Give a score of 1 to 10 according to each of these features and the ability to check. In the next stage, the experts were dealt with as a separate panel and they were asked to rank the works selected by each panel. Experts are asked to rate the works on their board's editing lists; Average rank is calculated for each item. In each list, evaluation is done using W Kendall and this continues until they reach an agreement and some of the variables of the first round are removed.In the quantitative findings, the coefficient of determination of each of the characteristics in relation to each of Abramović's works is done separately to determine the range of the variables. The highest concordance of answers and the lowest amount of range after the narration of the performer and improvisation belong to the focus on confusion, and the lowest concordance of answers and the highest range are found in the feature of stillness.According to the results specified in this research, it was found that the various features of performance art have high coefficients and the majority of features have appeared in different ways in her works, but the use of stillness in her works has been different. Sometimes as a determining role and sometimes as a secondary factor in Abramović's works; but according to the obtained results, the majority of the respondents consider the characteristics of the works to be the narration of the performer and improvisation. In general, according to the obtained results, it can be understood that the coefficients of the characteristics are higher in the performances where the audience has a greater determining role, and the more the audience and sensory involvement, the more the effects of higher coefficients are noted.The uniqueness of Abramović's performance can be seen in challenging the audience. She considers the audience to be the main pillar of performance art, so that this art gets its meaning through the performer and the audience. These two important things cannot be separated, like the subject and the object in other works, they are directly next to each other and are a reason to define each other, and the art of performing art is a synthesis based on the art of the body, which in order to preserve its nature needs to include features that every artist shows some of them more in their work. Marina Abramović observes all the features in her works with high coefficients, but she considered the most obvious feature of her works to be improvisation, an art that appears specific and appropriate to the time and can respond to the present and the times. It is a performance and news innovation attracts the audience and arouses the maximum attention of the viewer as if it has distinguished him from the world. also, her own narration in her works plays a decisive role in creating her unique art. She breaks the boundaries of time and space with her body and from it. In her view, the body has the highest potential to attract the audience because the audience feels that nothing is represented and that everything is real and emerges in time. In domestic arts, the mentioned features can be used for the success of local arts in the form of performance art and try to increase the coefficients of these features in a special way.

The Indian jewelry is something beyond merely being worn to adorn the body, and acts as a medium of Indian tradition, historical identity, and culture. Nowadays, what receives much attention from every viewer in the Indian society is the simultaneous presence of different cultures that are not expected to be removed in India, but are extend in the heart of the historical-cultural changes of India, which are well manifested in the contemporary jewelry. Thus, the present study attempts to refer to Bakhtin’s dialogism approach as a method to study the works, and discuss how dialogism has emerged in perceiving the concept of contemporary jewelry. The goal is to understand their formation based on the concepts of dialogue; because according to Bakhtin, dialogue is a special way of viewing the world. Also, the manifestations of meaning in Indian jewelry may exist implicitly; therefore, considering a context at the center of another culture and as a result of dialogue, their understanding would be possible. The study findings have been obtained via a descriptive-content design, which states that the artist, once as a creator, enters into a conversation with the audience according to the types of speech and polyphony, and once again as an audience forms the text from the outside and communicates with “the other”. So, these works act as a material medium that gives a tangible artistic form to the dialogue and allows it to circulate in the society as a speech act between self and other or between the artist and the audience. Hence, there is no first or last word in the jewelry, and their meaning is endless. Finally, we as the audience look at these works in specific personal time and place, which were apparently created in 2020 by an Indian artist; however, in fact, it does not totally belong to the artist and always refers to the past.

In the developments of postmodernism and with the beginning of the discourse of the generality of art in cities, the relationship between the work of art, artist, audience and urban context with new relations becomes meaningful and due to new approaches of artists in the city, its relationship with urban institutions and a wide audience creates a variety of approaches in the field of works and theories of theorists. Cities as a context of discourse and multiculturalism, become a platform for the presence of art, and communication with a wide urban audience becomes the goal of art. In the midst of these developments, urban spaces, that previously designed only by urban organizations and their careful planning and collaboration with artists, became the context for the entry of various arts. The relationship between art and the urban has faded; the art-urban component is accompanied by the artist-audience component, and here the public art discourse begins. In the public discourse of art, which most theorists have defined as "public art," artists ideologically turn to the public context to communicate with a wider audience. Because, in addition to environmental contexts, Urbans were considered as a context for discourse with a wide audience, governments and urban institutions try to create a discourse context for art and intervene by creating a percentage for art works. However, urban developments in the postmodern period, which are based more on audience-oriented approaches and define the urban space in relation to the urban audience, do not consider most of the artworks of the public art genre in relation to the urban and the urban audience and after the first decades of this approach, the public art controversy begins. Its conflicts are mostly between urban theorists, audiences, artists and institutions that support art works. By Criticizing the works, they demand the coordination of art with the urban context, the cultural and pluralistic context of the city, the urban audience and its association with local institutions. Therefore, it seems that despite the semantic similarity in the basic components of urban art and public art, the mixture of these two areas and the semantic ratios of components such as audience-citizens, city-public spaces and institutions-artists are different. Because, despite its proximity to urban-public spheres, the discourse of public art is different from that of urban art and is based on artist-centered components. Therefore, it seems necessary to question the ratio of similar and different components in the two genres of public art and urban art, both in the semantics of the terminology for it and in its basic components that are the audience-environment and artist-institutions. Therefore, the purpose of this study is to answer what and how the art is in the public spaces of the city; through the two terms of public art and urban art, by examining the common and differential components of these two areas, which is based on terminology and analysis of works. The research method in this article is descriptive-analytical and comparative. It begins with the collection of historical artworks and documents related to the art of public spaces in the city and the extraction of its variables has been done by analyzing related texts and artworks in both: urban and public areas. Due to the interdisciplinary nature of the article, research, collection and classification of works and texts have been done by comparative study in two areas of city and art and to enter the main and semantic issues in these two areas, how and why the discourse of the generality of art in the second half of the twentieth century has been discussed historically and socially. Its semantic aspects have been studied in the terminology of public art and urban art and in terms of comparing the commonalities and differences between these two areas, the important semantic components that have been found in both how and why of Public Art and in the semantics of terminology, have been analyzed by comparing the artworks and discourses of this period. Examples of research have been selected from the important and prominent works in this field in the public spaces of the city and by analyzing and studying the previous fields of works and their turning to the public space of the city, public and urban questions have been studied. Researches show that the art of public spaces in the city, after the changes of postmodernism, freed itself from previous constraints such as: purely aesthetic, political, memorial, heroic, messaging, etc. and by re-reading the city and space, found a public context for its expression. Its expressive approaches, sometimes in the form of interactive installations, re-read the urban context. Sometimes, with the conceptual ideology of artists, questioned the meaning of place with Its presence. Sometimes the artist's conceptual idea became so original that changed the urban context and confiscated it in its favor, and sometimes expressed its message in relation to it. During this period, the city became a place for the narration of artists, audiences, and public and private institutions in the form of multiple contexts. Its space that moves structurally and identity between the past, present and future; created a multiplicity of time-space that is no longer imaginable in urban spaces. However, what separates the components of urban art from public art is the meaningful dependence and location of urban art to the public spaces of the city and its connection to the audience and urban life. Urban art transforms the spatial-local contexts of the city into a new context for the evolution of events and offers a new reading of the city and art to the audience present in the place. Interactive approaches between art and society predict the technological nature of new art, a futuristic function, and a place for the city. Urban art considers the urban components that have been, are and are becoming. In this multiple context, art is identified in relation to the location of the city and moves in the intermediate relationship between the artist-institutions and the audience. The confrontation with the city is sometimes personal, sometimes is through the institutions of the art world and sometimes is against the institutions of power; but it always participates in the urban landscape discourse. The components that in public art lead to the space-time of the place and the extension of the artist's idea in the audience, here become one with the space-time of the city and accept its container. Therefore, despite the widespread use of the term public art in the postmodern era and the application of the term public to works created in the field of urban landscape; the nature of the basic components of these two areas are different. In public art, priorities are understood in artist-centered and audience-oriented ratios; whereas in urban art, these proportions find meaning primarily in the location of the city and below the audience of the citizen. Where it was located, where it is and to where it extends. It is dynamic and evolving and transformative, participating in the artist's participatory idea, creating a new context for reading, and creating a new encounter with the event.

AbstractIn the text world, texts are in discourse with earlier and later texts. Signs, which are considered as one of the most powerful elements of the literary language of the "textual world", are constantly creating meaning in the process of companionship. In intertextual discourse and the absence of the author, there is no single interpretation of the text and no beginning to the text and its destination is invisible. It is only intertwined layers of text and audience readings, a reading which leads to creating innumerable meanings due to the nature of written texts. Barthes makes it possible for emerging the meaning through announcing the symbolic death of the author, as he found that the existence of the author always carries presuppositions which call the text to be judged; however, however, the literary work provides the possibility of objectifying meanings in the audience's sensory perception in the absence of the subject in a way that is inherent in literary language.

Interactive art, as one of the media of the new art, leads to an audience's experience that is different from what has been experienced in the history of art. The interactive art media emerged from the new paradigm (postmodernism) in the world of art and gave new definitions to the same paradigm. Since the creation of a theoretical and philosophical framework for the complete reading of this art seems necessary; the present article aims to understand and explain the concept of experience in this art by analyzing the theory of the Aesthetic experience of John Dewey's and adapting it to interactive art. John Dewey (1952-1859) is a contemporary American philosopher who called his philosophy pragmatism.  Media from the perspective of Dewey is a mediator between the artist and the audience. By hinting out the patriarchal significance of the author and changing his position, this media gave the audience a special, new, and unique definition of what we know about art history. For this reason, this art was faced with public pleasure both in the galleries and in the spaces outside of them, and was made available to ordinary people and part of their everyday lives. Dewey, by addressing the concept of human interaction and considering it as the foundation of aesthetic experience also emphasizing of the concept of technology, provides two important aspects in shaping the theoretical framework for reading interactive art. And answer the question what parameters of the audience's experience of interactive art makes them aesthetic and conceptual experience? In the other words if we give you the experience of interactive art as an example of Dewey's aesthetic experience, then what are the factors behind the link, similarity and interaction of this concept and its implications?  It seems that perception interactive art can be considered as an example of aesthetic experience. Factors such as interaction, action and reaction, as well as the approached position of the author and audience, subject and object, instrument and result makes a common border between interactive art and Dewey's theory. On the other hand, the importance of the position of science and technology in this theory provides the basis for the study of interactive art as much as possible. The interactive arts bring the audience and her/his experience to the place of the author and the creator in a new place in the history of art, thereby eliminating the boundary between the art object and the subject. Due to the approached position of the subject and the object, as well as the subjectivity and objectivity in interactive arts, we cannot believe in the distinct tools and means which give rise to definite results.  Finally, an example of an interactive installation called "A-Volve" the work of Christa somerere & Laurent has been introduced and studied as an example of a computer interactive art will be analyzed based on the theoretical framework of the research. A-Volve has become a complete example of Dewey's aesthetic experience through factors such as interaction (action / reaction), sense, rhythm and imagination.

As a director, Robert Lepage is keen to employ an international and unfinished creativity in his creation methodology, a process by which the performer-author/actor-creator, in combination with the audience’s reaction, is used as part of the development of his mise-en-scène. The audience’s pleasure is also controlled and formed in some specific and significant elements of Lepage’s mise-en-scène. In this paper, I explore the ways in which the audience impacts Lepage’s mise-en-scène, and discuss the relationship between audiences and his performers. In Lepage’s theatricality and mise-en-scène, there are some specific tools and devices such as image, music, physical expression, a collage of different languages, film, pop and projection videos, internet, advertisement, painting, digital technology, slide, camera for live feedback or parallel images, visual arts and audio images occurring simultaneously. These elements are adjusted by the audience’s attendance. Lepage believes that the audience now has a new way of listening to stories, a new way of digesting stories, a new way of understanding stories. This is managed by Technical Presence as a way of thinking about the roles and functions of a theatre audience, and how the audience can be used and engaged and become more than just an onlooker. Increasingly, Lepage’s mise-en-scenes are based on the dramaturgy of visual images, rather than verbal language, to engage the audience. However, diverse languages are added to his theatricality (some lines) during his tours to different countries. All of these communicative tools/ features engage with the audiences to serve as a unifying factor to tell stories that bring people together.The audience’s expectations and comments affect Lepage’s mise-en-scène in two ways:(i) An indirect association with the audiences through the performers’ suggestions and comments;(ii) A direct association with the actual and public audiences.However different signs are prevalent in different cultures which can lead, using Lepage’s method, to comprehension. Therefore, it is important to understand the codes and meanings of the cultures in each individual audience who would be dependent on particular experiences. The backgrounds of codes and events, attached to the cultures, are vital to finding content and further understanding. Regardless of the difficulty of understanding different languages in different countries, Lepage attempts to establish an understandable language through a variety of associations with international audiences, his performers and their cultures. In contrast to Barba’s and Brook’s approaches, Lepage attempts to receive the actual audience’s expectations openly. His work is on the process of developing during each night’s performance. On the one side, Lepage’s approach is close to Boal’s approach, and both are in a direct association with audiences. However, Lepage does not request the audience’s collaboration physically or in participation. For Lepage, the opening night is the beginning of rehearsals and performing is the rehearsal process. This is why he uses the term open or public rehearsal for performance. It seems there is no end in developing Lepage’s mise-en-scène unless Lepage decides to end his show. Overall, there are nine ways in which the audience impacts Lepage’s

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,

Uncanny refers to a paradoxical feature in which the object creates attraction and repulsion at the same time and creates a kind of hatred in the forces of cognition and may show itself in a disturbing way . and while it may seem familiar the stranger seems to be aiming at how happens in puppet performance which accelerates the three-way communication between the puppet, the puppeteer and the spectator and to believe that puppet or object is alive during the performance. For this purpose, at first, it realized the theory of perception which the audience is faced with an art work and he is understanding and interpretation in order to achieve a kind of established knowledge. and then, based on the theory of double vision that reveals the spectator's imagination to bring objects and puppets to life on the stage, the occurrence of an uncanny is explained. The research method is descriptive, analytical, foreign and domestic books and articles, and the use of library resources .The method of research is descriptive, analytical, foreign and external literature and the use of library resources. In this study, by considering the uncanny's meanings and by looking at the story of the "Sand Man " by Frederick Hoffman's how it will happen, he examines it in the area of the Puppet Theatre. Sigmund Freud is one of those who has seriously addressed this issue in the field of psychoanalysis. And published an article on this issue .It can be a change of personality, both male and female. On the other hand it can be dolls that are smaller than the main character but the fact is that brides are bigger than they represent. Because dolls can be a form of personality and there are multiple characters in each person .The characters are divided into several parts. A single character, a character who has lost and has to fight to gain identity and memory. The character must go deep into his childhood to understand himself and to deepen his memories and to discover the secret that lies within him In our dreams, our subconscious speaks to us and uses symbols to tell us how we feel. But our subconscious uses metaphorical images that have multiple meanings; Their shape reflects the unconscious self-consciousness of the personality. Because in an unconscious world like ours, it is not rational and details can have more impact than big events .The doll also has immortality compared to human, a puppet does not die but the human dies, but the scene is a place for the subconscious and the world is within the characters This enigmatic uncanny comes from the heart of the story itself, where it understands how the subconscious acts of magic and how it is hidden in the meaning of things, and that something else is replaced. Like the metamorphosis that happens in humans uncanny arise from the relationship between man and his subconscious and strive to create the subconscious within the scene with conflict and love and tranquillity.

Theatre and Performance Art has always been exposed to technological changes during its -2500year-old history. All of these changes have been made to improve the previous technology and did not disturb the form and matter of theatre. E.g. the invention and usage of electricity in theatre replaced the traditional method of lighting the stage with candle and oil lamps- this matter helped and enriched the performance art and its elements. In the late 20th century, with the formation of digital and cyber technology, the theatre artists could not stay away from its influence and tried to include this new found technology in performance art in forms of virtual or augmented reality (VR and AR). There have been many efforts in this field, but none has been able to be accepted as a common and accustomed method in theatre. Is this matter related to the flaws and imperfection of these technologies, or are VR and AR inherently in contrast with the form and matter of theatre- a form of art that is formed by the empathy and togetherness between the performers and the audience, whereas the VR audiences are called “users”? In this article, these questions will be studied based on similar researches and practical experiments on this matter, questions that can contribute to many new performances. To what extent can computer technology be used in theatre? Are there any limits to its usage? Will using VR or AR lead to the decline of performance arts? And can these works be called theatre?

Any attempt for defining and explaining the pillars of today's art is being in a cycle without beginning and ending ideas that created by the accumulation of intrinsic theories of history along with contemporary sociological theories of art. This difficulty when comes to its peak, the dominant trend of postmodernism, with doubt in all of the great modern aesthetic narratives, opens the way for the appearance of conceptual art as the supremacy of the idea on the artifactuality and plurality of new artistic forms. The forms that, each of which by critique or negation of fundamental concepts such as aesthetic object, aesthetic experience and aesthetic pleasure are autonomism claim.The present paper, with questions about the role of artist, artwork, audience and environment in today's art, leads to the conclusion that, the first, we must search a definition of today's art. The search that ultimately leads us to sociological definitions of art, in which not found theory that can be generalized to the plurality of art forms of today. New definitions of art such as George Dickey's institutional theory or functionalism of Monroe Curtis Beardsley, that one of them reduces the value of an art object to its acceptance in the artworld, and the other reduces it to political, social, psychological and aesthetic function, just they do remind of this point, that today's art still has its own broken foundations from its earlier foundations and has not totally left the realm of aesthetic experiences. Such an open and wide context that, in turn, disregards the difference between truth and narration, continues to use the paradoxical way of using scientific data such as quantum physics and chaos theory to uphold its attitudes and, more than anything else, has employment to spontaneity of the artistic phenomena, by relying on the horizons of the new media and network, which simultaneously speaks of interaction, conflict and understanding between thoughts, it leads to the appearance of an institutional discourse in which an overall framework for presentation and influence of mentioned elements will be provided. This institutional discourse, in a general attitude, firstly is confirmation under the title of postmodernism, and then distinguished in the general title of conceptual art. Conceptual art, allows the artist that before the beginning to create artwork, to ask questions about the quiddity of art. Under the title of Conceptual Art, art work also becomes a process in which nothing is predicted at the beginning or the end. In this cycle, the audience plays the same role that the artist has toward his work. Today's audience, with attending inside the artwork, become a living and continuous interpreter of the artwork. In between, the environment as well, no just conventional places, such as museums and galleries, which considered to be as an inclusive and expanding space that allows the artist to deepen his free association with the place, audience, artwork, and in an artistic expression.

The mysterious nature of mirrors has always been and attractive for artists to choose as their subject matter for the creation of the artwork. This is not just due to their reflective quality of their surroundings but also because of their capability to change such reflections. Today, mirrors and knowledge about them are being used beyond their reflecting feature more than any time before. Mirrors have coexisted mysteriously with the art and have found their special meanings in different cultures in the same way that art has enveloped other sciences, like psychology, politics, and technology. The complexity of mirrors and their ability to reflect things in a unique way is contrary to their simplicity. Therefore, their impression on their audiences varies from person to another. In other words, this method of “deconstructive reflection” (as Derrida has named it), can be explained as: the hidden meanings of signifiers that are constantly suspending and floating; the subject finds its meaning only through its division, multiplication, and expansion in space and floating in time. Using mirrors in the field of interactive arts can represent the relationship between the artist and his inner and outside world. The involvement of mirrors in artworks can be a way of representing the audience by the artist, in a way that the presence of the artist/author is unavoidable in some of the new artworks. This form of indirect interaction within the symbols, signs, and/or archetypes in the art work can create a multi-layered relationship with the audience. Moreover, such interaction between the audience and artwork makes the role of artist even more effective and also creates a new form of perception and understanding for the audience. In this essay, attempt has been made to study and analyze the roles and functions of mirrors in the new interactive arts. Therefore, the author has proposed a method to examine the potentials of the poststructuralist ideas, such as Roland Barthes and Derrida’s, and if they are employable on Post-modern art. Furthermore, the paper seeks to respond to the literary idea of “The Death of the Author” and if we can perceive new meanings from artworks through this Barthesian debate. To this purpose, the research studies the roles of mirrors in the post-structuralist framework and Barthes’ theory of “The Death of the Author”. Hence, on one hand, this essay challenges this Bathesian theory in the interpretation of contemporary artworks, and on the other, analyzes mirror’s functions through Derrida’s post-structuralist theory. Finally, this essay concludes new responses to the author’s transformational role in the relationship with the audience and artwork. Through this relationship, the paper presumes that not only the author is not dead or absent in the art work-audience relationship but also exists in a more effective way through his indirect interaction with his audience. Interactive arts, including those that involve functional mirrors, are appropriate candidates for this research elaborating upon the thoughts and ideas of post-modern theorists like Barthes and Derrida. The data required to conduct this research has been gathered through the desk study of library resources taking descriptive-comparative method. The statistical population includes six examples of interactive arts created during the past decades. The works selected are sufficient to support the paper’s hypothesis and also extend it to the aforementioned theories.

The present study aims to explain the role of ethical content among the artists and general audience in terms of (1) ethics in an artwork; (2) relation of ethical elements with the artist as well as the audience. To this purpose, two questions can be formulated: 1. To what extent do artists pay attention to the role of ethics in the creation of artworks? 2. What effect does the moral component of an artwork have on the perception of the audience? The paper at hand has employed a descriptive-analytical method of research and the data has been gathered through the desk study of library resources as well as field survey (filling out questionnaires). The survey included two groups: (1) artists, art graduates and students at different academic levels from six prominent universities in Tehran and (2) general audience comprising of those with artistic background as well as the general audience studying in various academic levels and disciplines at different universities in Tehran. Three factors were considered in the selection of the general audience: (a) strategies in choosing the artistic style; (b) ethics in the creation of the artwork and (c) ethics and the audience. Using the Variance Formula and F-test, the results obtained included 49/59, 26/191, 81/346 respectively. Based on the statistical results, 2/65 of the first group approved the use of strategies and the choice of artistic style above 50% on average. A comparison of the opinions of the members of the same group showed that the use of the ethics in the creation art work is at 29%; i.e. less than the average level. These numbers indicate that in this group, considering the option of audience and ethics in the creation of works of art by 40.2 is consistent with their views. A comparison of the artists' opinions with respect to items such as their years of artistic activities, shows a difference of ideas among them.  However, the application of strategies and artistic style and ethics in the creation of artworks are different. A comparison of the viewpoints of the second group of participants in the study reveals that there is a relation between the rate of employing ethics in the creation of artworks with the author’s academic level. Ph.D. holders of non-art disciplines were more interested in strategies and styles (8.76) and B.A and B.S. holders were the least interested while those with master’s degree had the least interest in ethical factor (2.31). The analysis of the findings related to the art style and ethics indicates that the general audience expect 79%, 63%, and 83% more than average that artists should use style and the ethics for the creation of artworks and believe these are a part of the intrinsic value of the artwork. The statistic results show that the rate of the ethics employed in the creation of art works is lower than the average. There is a meaningful difference between pro-ethic public audience and artists who think of no limitation for the creation of the artistic work in terms of ethics. Standard deviation is higher with the general audience too. Experimental F, also shows the same opinion on the part of the non-specialist audience. The findings of the study indicate that the content-ethnics is not similar for the artists and audience. In response to the study questions, it seems that the ethical factor for general audience is more important than the artists. However, artists and specialist audience are on the side of creativity and artistic values of the artwork than the ethical issues. The conclusions drawn from the study, reveals that among the artistic community, there is no direct relationship between ethical values and aesthetical values of a piece of artistic work. However, the ethical values can be taken into consideration in theoretical and practical education of the art students to make a balance between ethics and artistic works.

Throughout the history of the philosophical life of art, some philosophers have used "play" to explain their philosophical and aesthetic views, but most of these scholars emphasize on the subjective aspects and corresponding subject matters. In the meanwhile, using Heidegger's concepts in the process of understanding, Gadamer attempted to illustrate the role of two-way involvement in the artistic experience, based on the concept of "play" and, cleanse the arena of art of subjective and modern epistemological perspectives at the same time. Considering the Gadamer's hermeneutic approach to audience’s interpretation and understanding of the artwork, several features of “play”, including: substantiveness of the play, seriousness in play, non-separation of subject-object, new creation and events, confinement in the rules of the play and free will at the beginning of the play can be extracted from his aesthetic views. To explain his talk about aesthetic comprehension, Gadamer has used the parable of "play". The aim of mentioning the issue of play in "truth and method" is to become familiar with the existence of objects which show that the dual divisions of subject and object are not enough to understand the world.. In fact, using this concept, Gadamer tries to display it since as the play is not merely a product of the subjectivity (the subjects of the play) of the actors, the hermeneutic understanding and experience is not just a product of human mental activity. As the actor can freely play a role in the play on the one hand, he is not free due to the participation in the play on the other hand. He should play this role within the framework of the rules and content of the play. The artist and the person who understands the work of art are not completely free in the face of hermeneutic experience. They act through the traditional framework which covers them. On the other hand, the play metaphor for Gadamer means the function in the context of the structure. The play is created when it is regular and bilateral or multilateral. In this case, the work of art is not a mere object and the reader is not a mere subject. Meanwhile, new arts, especially interactive art, have added to the flow of objectivity by inviting to enter the work through play and enjoy the experience of the work. In fact, Gadamer has raised these features in the context of performing arts in order to make the ontological features of the play tangible for audience. The present study is an attempt to investigate the feasibility of expanding the concept of play in interactive arts where the relationship between the audience and artwork has entered a new domain of participation. Drawing on the descriptive-analytical method and the library data collection methods, the present applied study mainly aims to apply the Gadamer's hermeneutic views about "player" on the interactive arts. Therefore, one of the interactive artworks (by Miguel Chvalier) presented at the UNICREDIT PAVILION exhibition in Milan in 2016 was selected as the case study.

Interactive art is among the new coming arts in the present age in which the interactive and participatory aspect overcomes the aesthetic aspect. In interactive art, the audience follows in the artist's footsteps in creating the work. In essence, the audience complements and completes the concept. The importance and position of the audience in interactive arts is proven and necessary because the audience's interaction with the work of art leads to the creation of ultimate meaning and concept and completes the work of art. Therefore, to recognize and study the process of interactive arts, analysis of the action and attitude of the audience is very important. Some theories of art sociologists, especially those of Karl Marx, Michel Foucault, and Pierre Bourdieu, emphasize that works of art reflect the thought and culture of society, and that the result of social infrastructure is the work of art from the beginning of creation by the artist. Until the audience receives meaning, it depends a lot on the social personality of individuals and the structure of society. One of the behavioral aspects of man as an audience in interactive arts is his social nature. Understanding this aspect leads to understanding the community and analyzing the process of more interaction of the audience with this type of social and new art. In this study, based on Wendy-Wold's theory of the effect of the social structure of a society on the final concept of a literary text, an attempt has been made to examine the relationship between society and the audience. By integrating such a sociological approach of art, based on emphasizing the social dimension of the artist and the audience and the society that creates the work of art with the position and role of the audience in interactive arts, this study intends to influence society and its structure on the audience. In dealing with works of interactive art, so with the closeness of this topic to the views of Wendy Griswold, who has followed a similar theme in his critique of literary works, this research will proceed in parallel with his theory.     What is questioned in this article is to what extent can the audience's encounter with new interactive arts be influenced by the society in which they grew up? To what extent does the political, economic and religious form and structure of a society affect the growth and promotion of interactive arts? And how can their interactive arts flow in the context of a society? The research hypothesis is the direct relationship of interactive arts with the structure of society and the direct impact of the type of society on the audience of interactive arts. This research is a descriptive-analytical method that has been done using library and Internet resources.     The meaning and concept of an interactive work in different societies can have different and diverse approaches which creates different meanings and concepts. The diverse interaction of the audience leads to the creation of new art and concepts from which psychological and sociological results can be obtained. In order to achieve success and maximize the presence of the audience, many social components must be considered, and also to achieve the desired results, the interaction of the audience must be taken from social structures. Different feedback from the audience with one work provides the appropriate findings and results for the artists. Even the faint and inappropriate presence of the audience can itself create many new meanings. The type of society has a direct and effective relationship on the tastes, desires, perceptions and attitudes of the audience with interactive works. Wendy Griswold's theory of different social critiques of a literary work and the impact of society on the view of the audience in the interactive arts and its audience can be followed, the audience on the one hand as an individual in society and on the other hand the audience participating in it is an interactive art. In his view and practice in these arts, consciously or unconsciously, he also brings with him works of social components. Artists need dynamic and active audiences to be more successful in creating interactive arts, so they can attract more audiences by considering all the spiritual, sensory and moral aspects as well as the social aspects of individuals. Since the social components in each society are different from other societies, audiences from different societies also interact and create completely different works. As a result, according to Griswold theory, society exerts its social influences on the audience of interactive arts, which has a direct effect on their final perception and interaction.