The sense of place in real and virtual spaces and its role in the meaning making and experience of artworks

Document Type : Research Paper

Author

Applied Art Faculty , University Of Art, Tehran

Abstract

The experience of an artifact can only be contained in space, and the interpretive trade between the audience and the work of art, forming aesthetic and semantic relations only occurs in a space. The emergence of concepts such as the virtual reality, has challenged the certainty of the senses, and the well-known human experience of the space dimensions And it has made it necessary to rethink and review the traditional ways of sense analysis -so far more defined in architectural and urban discourse, with a physical approach-This paper examines the role of space domains in the interpretation of art from a phenomenological and descriptive-analytical perspective and explores the role of truth and authority in producing the aesthetic meaning and experience of the work. In this paper, the main issue is the analogy of the physical and mental understanding of a place and its effects on the understanding of artwork and How human perceptions of the reality of place and perception of art have evolved through the design of virtual spaces? The results of dimensional exploration of space that deal with the relationship of the work and the audience have led to the pathology of deleting the actual dimension of the place in the representation of the work. this creates a crisis called human deconstruction, and the attempt to experience the effect only in the immaterial dimension reduces the observer's experiences to a lower level of perception. In the experience of a work of art, during the process of making sense of a historical object or any work of museum value, three pillars are known to be effective in communicating between the work and the audience. The first two part of this relationship is the work and the audience and The third part can be considered the place. We are discussing it in this article. The performance space is the context in which the experience of the work, its meaning, and the whole interpretation of the work are formed by audience. But today experience of place is not necessarily physical experience and is not defined exclusively through its dependence on physical components. In this case, space, as a factor in meaning making and interpretation, can be physical and tangible, or subjective and virtual. It can be argued that the foregoing issue is the product of the present age and has not been such a subject until the last century. Because the experience of the museum space, which until then was only influenced by the physical presence of the artist at the show, is now being challenged by the evolution of the art form. As the audience's intellectual infrastructure changes from the experience of the work, many spiritual concepts and physical realities of the museum and artwork are viewed in a different way. As museums of the present age seek to familiarize their audiences with the subject matter, nature, and meanings of the works in various ways, the importance of one's physical presence in the material "place" in relation to the representation of the work is questionable.

Keywords

References

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Journal of Fine Arts: Visual Arts
Volume 26, Issue 2
August 2021
Pages 71-79

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