The production and interpretation of signs in interactive art based on Baudrillard's theory, a case study of Team Lab group's Artworks

Document Type : Research Paper

Authors

1 PhD Student in Philosophy of Art, Department of Art Research, Faculty of Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran.

2 Associate Professor, Department of Philosophy, Faculty of Humanities, North Tehran Branch, Islamic Azad University, Tehran. Iran

3 Associate Professor, Department of Philosophy of Art, Faculty of Art and Architecture, Hamedan Branch, Islamic Azad University Hamedan, Iran.

Abstract

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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References

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Journal of Fine Arts: Visual Arts
Volume 28, Issue 2
June 2023
Pages 61-71

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