شادی مددی

Employing digital technology as a medium in the field of art requires artists to create and present their work digitally. The intrinsic characteristic of digital media is its interactivity, and by employing such technologies, it is possible to capture the physical actions of the audience and, based on that, direct the process of forming the artwork and its proper perception. On the other hand, human-centered virtual technologies, such as virtual reality and mixed reality, which have emerged with the aim of making human life easier and enhancing the perception of the surrounding world, have entered the art field. As a result, the world is witnessing installations that showcase new dimensions of their influence on human life and present innovative artistic expressions.This research, focusing on four virtual interactive installations centered on the works of the famous Dutch painter Vincent Van Gogh, investigates the formation of the metaphorical concept of time in these works and conducts a comparative analysis. By examining the features of the installations and comparing their differences and similarities, the study aims to determine how audience engagement in a virtual environment can influence the perception of the passage of time and how the degree of immersion affects this perception. Drawing on Lakoff and Johnson's theory of the conceptual metaphor of time, the research seeks to answer the following questions: How is the conceptual metaphor of the passage of time in virtual reality and mixed reality, centered on Van Gogh's works, formed, and how do these approaches differ or align?Considering that in virtual reality, the audience is fully immersed in the virtual world and their vision is entirely disconnected from the real world, it is assumed that with increased immersion, the conceptual metaphor of the passage of time will be more pronounced and effective compared to mixed reality installations.Based on online search results, it was found that Van Gogh's works are highly popular, making him a leading and famous painter. Numerous up-to-date installations are available that can be used for analysis and study. Among these, two samples of virtual reality installations and two samples of mixed reality installations were selected, for which sufficient information, explanations from the creators, and user feedback were available, all of which were useful for the analysis process. Therefore, the current research is a multiple case study, and the method of sample collection is purposive.The analysis of the research is organized into two parts. In the first part, each installation is examined separately using a descriptive-analytical method to explore the formation of the conceptual metaphor of time. The second part is comparative, analyzing the similarities and differences among these four installations in terms of technology and capabilities, the level of engagement and immersion, and, finally, the formation of the conceptual metaphor of time.Modern technology has opened a new chapter in human life through the use of digital tools and computers, making it possible to enter a virtual world. If we consider a continuous spectrum between the real world and a completely virtual world, all technologies within this spectrum are referred to as "extended reality." In other words, any technology or system that simultaneously incorporates elements of both the real and virtual environments is called extended reality. Extended reality is divided into three major categories: augmented reality, which is closest to the real environment; virtual reality, which is at the other end of the spectrum and closest to the virtual environment; and mixed reality, which lies between the other two.According to the Conceptual Metaphor Theory of Lakoff and Johnson, time, an abstract concept, is perceived metaphorically by mapping it onto an empirical field, usually a place or an object. This means that different time events are experienced as specific objects and places or as a limited area in space. Accordingly, the passage of time is perceived as the relative movement of the observer in relation to these places and objects. This relative movement is categorized as either the movement of time or the movement of the observer. If the observer is fixed and the time events move toward or away from the observer, it is called the movement of time. Conversely, if the time events are perceived as fixed objects and places, and the observer feels as though they are moving toward or away from them, it is called the movement of the observer. Therefore, if the observer is virtually transported to a place that belongs to a time event in the past, their mind can be prompted to pass through time, perceiving the past as either a place or an object.The results show that in the installations Step Inside Van Gogh’s Starry Night and the first part of The Garden in Zundert, there is a movement of the observer towards time events, and time is perceived as a place. In contrast, in the installations Meet Van Gogh in The City, The Bedroom, and the second part of The Garden in Zundert, we observe the movement of time, with time events experienced as objects. In all installations, except for the second part of The Garden in Zundert, the movement of time is directed towards the past, as if the observer is making a reverse journey through time.Additionally, it can be concluded that the high level of immersion in virtual reality installations forces the audience to disconnect more deeply and effectively from the current time and place, resulting in a more vivid experience of time's passage and the perception of past time events. On the other hand, in mixed-reality installations, this level of separation and immersion is lower. Thus, the researchers' hypothesis that the passage of time becomes more perceptible as immersion increases is confirmed.Another goal of this research was to explore the relationship between the two technologies of virtual reality and mixed reality in interactive installations centered on the works of the Dutch painter Vincent Van Gogh. In both cases, the audience moves from a passive state to an active one, with the possibility of interacting with the artwork, which increases engagement. Another similarity is that the presentation of the artwork is not limited to a specific museum, gallery, or location, meaning similar installations can be set up in different places simultaneously. Additionally, the issues of damage to the original artworks or their theft are also avoided.However, there are significant differences between these two technologies. In virtual reality, a completely virtual and three-dimensional world is created by the computer, and both the user and the artwork are entirely within this virtual world. In contrast, mixed reality involves the user being present in the real world, with virtual elements added to it. In virtual reality, the audience's sense of vision is completely disconnected from the real world and is focused solely on the installation, whereas in mixed reality, virtual elements are typically displayed on a two-dimensional screen. Moreover, to be immersed in the virtual world of virtual reality, it is necessary to use a head-mounted display, whereas in mixed reality, such a display is not required, and the use of other tools depends entirely on the design of the installation.Regarding the quality of the audience's engagement with the artwork, the highest level of immersion was observed in virtual reality, which completely separates the audience from the real world and ultimately leads to a strong emotional connection with the artwork. The audience fully feels their presence within Van Gogh's artworks. In mixed reality, however, a medium or low level of immersion is typically experienced, and at lower levels of immersion, an emotional relationship is less likely to be established.Concerning mutual interaction among the audience while using the installation, virtual reality does not offer this possibility due to the head-mounted display placing the user in a 3D world. However, this possibility is present in most mixed reality installations. Although such interaction can create a shared experience among the audience, it may also reduce immersion.

The emergence of modern technologies in the past few decades has played a significant role in the way humans interact with the surrounding world. Nowadays, humans perceive and experience the world through tools, machines, and technology, and in this regard, "Don Ihde" has proposed a post-phenomenological approach that categorizes the relations between human and technology in four distinct types, which include embodiment, hermeneutic, alterity, and background. In the meantime, the concept of cyborg has been coined in the philosophy of technology. Cyborg in its original meaning refers to an entity that is a combination of a living creature and a technological tool, but over time the concept is attributed to modern human, who is in close interaction with technology at every moment, both physically and mentally. Thus it is the combined entity of human and technology which is experiencing the world. The emergence of the cyborg concept makes it necessary to review some traditional theories and definitions related to humans, because we are facing a creature that is partly human and partly, non-human.Traditionally, intentionality, a capability exclusively belonging to human beings, was a measure to distinguish humans from non-human creatures. With the emergence of the cyborg concept, "Peter-Paul Verbeek" has revised the issue and proposed different types of intentionality which partially include technology. From Verbeek's point of view, cyborg intentionality can be categorized in three distinct types, known as Mediated, Hybrid, and Composite Intentionality. Mediated intentionality is a generalization of Ihde’s fourfold of human-technology relations, and technology plays the role of a mediator between human and the world, so human perceives and experiences the world through technology intentionality. In technologies such as bionics, which combine humans and technology in such a way that they can no longer be separated from each other and create a new entity, we witness a Hybrid intentionality which is the result of the combination of human and non-human intentionality. In Composite intentionality, the technology experiences the world based on its intentionality and provides the result as a world to be experienced by the humans, which includes two different types. If the experience is a extension of the human senses to perceive the world, it is called Augmented, and if it is a kind of experience that human senses are not capable of perceiving, it is called Constructive.The application of modern technology in the field of art is also showing an increasing trend, and perhaps the most influential artworks can be found in interactive art installations. An interactive installation needs the audience's participation by being present and interacting with different components to complete a process, which brings a lasting experience to him/her, and the peak of this perception can be accompanied by a sense of immersion. Completion of an interactive art installation by the presence of a human shows that the audience becomes a part of this technological structure, which takes over his/her different senses and eventually transforms him/her into a cyborg. The quality of manifestation of cyborg intentionality in interactive installations is an issue that has been neglected in various research, and its analysis can clarify new dimensions for the designers of such installations.This research aims to answer these questions: How was the manifestation of the cyborg in the interactive installation of "Jardin de Lumière" formed and what is its effects on the cyborg-being of human? How can cyborg intentionality be analyzed and adapted in the interactive installation of "Jardin de Lumière" based on Peter-Paul Verbeek's views?To carry out the research, a descriptive-analytical method was adopted, and these criteria were taken into consideration for choosing the case study: the artistic nature of the interactive installation, designed and presented by non-Iranian artists, inspired by Iranian art, up-to-date and the use of modern technologies. To choose the case, the installations that have been presented in exhibitions and festivals during the last four years were examined and only the interactive installation of "Jardin de Lumière" met all the desired criteria. In addition, it is beneficial to form various types of cyborg intentionality.The interactive installation of Jardin de Lumière is designed by the Qatari artist "Ghada Al-Khater" and implemented in collaboration with the French creative studio "Bonjour Interactive Lab" in 2020 in Paris as a part of the France-Qatar cross program Year of Culture with the aim of sharing the culture and art of different nations. The design of the elements and motifs of the installation is inspired by the Persian garden and carpet. The installation is implemented on a relatively large platform and motifs are projected on it by the lighting system from the above. Motifs include static patterns and dynamic patterns while static patterns are inspired by Iranian carpet motifs, and dynamic patterns are inspired by Qatari and Middle Eastern flora and fauna motifs, and dynamic patterns are created according to the movement of the audience. In the center of the platform, there is a cylindrical element inspired by the Iranian garden basin, and its external wall acts as a convex mirror. In addition, a special music inspired by the ancient music of the pearl fishermen of Qatar called "Fajiri" and mixed with natural sounds is played in the environment of the installation as it can also be heard in the distance around it. Along with the music, an aroma derived from traditional Arabic perfumes is also released in the space as it can be smelled all around the installation.Analyses show that when the audience enters the surrounding area of the installation, before stepping on the platform, they begin to interact with the smell of the perfume and the sound of the music. If the audience has a lived experience with each of these elements, a world from the past is reconstructed in his/her mind. Thus a hermeneutic relation is formed and as a result we witness a Mediated intentionality. If there is no lived experience, these two elements only work as a call to the installation. Thus an alterity relation is formed and the intentionality belongs to the audience. When the audience steps on the platform, his visual sense gets involved with the installation and the relation related to the smell of the perfume and the sound of the music will be of the background type and intentionality is of the Mediated type.By stepping on the platform, the visual sense interacts with the three elements of static motifs, dynamic motifs, and convex mirror. The static motifs, which include the perimeter strip, the four triangular corners, and the central pattern, are projected by lighting technology from the above. The absence of technology will result in nothing to be experienced and perceived. Therefore, the world that is made available to the audience for experience is the output of technology and has manifested a Composite intentionality of the Constructive type. Dynamic motifs are also projected by the lighting system from the above, but they are created in real time depending on the location and direction of movement of the audience, under his/her feet, and disappear after he/she passes. These flora motifs look like to be part of human existence, which move with human, and their presence is linked to human presence. Therefore, humans and technology are combined in such a way that they create a new entity and hybrid intentionality. Convex mirror makes it possible for the audience to see their feet while dynamic motifs are created as well as the part of the platform behind them. Therefore, the technology extends the sense of vision, which manifests the Composite intentionality of the Augmented type.The results show that the concept of Cyborg should be understood beyond the integration of the human physical body and technology, and the integration of the human mind with technology can also be considered as the realization of Cyborg, which alters the perception of time and place. On the other hand, the manifestation of Cyborg is possible with the integration of technology and any of the human senses, as the visual, auditory, and olfactory senses all have such capabilities. The comprehensive design of the interactive art installation can manifest all three types of cyborg intentionality, including Mediated, Hybrid, and Composite, and one or more types can appear simultaneously in the successive stages of the experience. In addition, the appropriate design can continuously increase the engagement of the audience with the installation by involving more senses and ultimately by involving audience movements and body, presenting the sense of immersion and shaping a unique experience of hidden dimensions of the world in audience's mind.

Commercial advertising in the environment of social networks is an important basis in attracting the audience, current customers as well as potential customers, via visualcommunication. In such advertising, it is required to recognize visual metaphors according to structural and meaningpatterns. Academic studies of this type of metaphor have often focused on the literary aspect, but the typology of Phillips and McQuarrie examines the visual elements involvedin creating such metaphors.The research question follows the typological and qualitative analysis of visual metaphor by adopting descriptiveanalytical method to find out visual structure and meaningoperating in metaphors used in Instagram advertisements.Quantitative analysis also presents the distribution ofcomplexity and richness in a statistical sample consistingof 24 Instagram advertisements where visual metaphor isthe main design device. Phillips and McQuarrie typologyconsists of three distinct visual structures: juxtaposition,fusion, and replacement, having an increasing complexity,respectively. Meaning operation also includes three distincttypes of connection, comparison aimed similarity, and comparison aimed opposition, with an increasing in richness,respectively.Visual structure is about the physical arrangement of visualelements while meaning operation is described in terms ofthe instructions for inference they suggest. In juxtaposition,two elements are juxtaposed side-by-side with the samesize. Fusion is a kind of representation that the two visualelements are combined together and a new visual element isresulted which includes some parts of both elements. As thename shows, replacement is a situation which a visual element is absent and the other element is substituted instead.Complexity and richness are defined by the way the audience interacts with the design and the increase of each onerequires more cognitive activity by the audience to perceivethe content. Richness of a visual metaphor refers to ambiguity, multiplicity, and polysemy. The results show that thedesigners of commercial advertisements in Instagram social network have employed all three visual structures tothe same extent and the degree of complexity, and this issuedoes not influence the use of the visual structure. On theother hand, the amount of richness affects the number ofads. The meaning operation of connection which presentsthe lowest richness includes half of the samples. It meansthat designers prefer lower richness. Comparison operations, similarity and opposition, are employed in other halfof the samples and the number of adds with opposition isless than the number of ads with similarity operation. It isconcluded that the increase in richness is inversely proportional to the usage of meaning operation. Besides, the mostused type is the combination of replacement as the visualstructure, with connection as the meaning operation and itreached around 21 percent of designs. The combination ofjuxtaposition and connection is found in the second positionwhich is employed in 17 percent of samples. The least usedtype is the combination of replacement as the visual structure with opposition as the meaning operation which is onlyconsists of around 4 percent of samples.

Urban billboards are one of the most effective advertising media and due to the way that visual elements are used in them, they play an important role in attracting the audience. The use of visual metaphors in this advertising medium is very important and its recognition depends on understanding the interaction between visual elements and the way the message is conveyed. Little research has been done on visual metaphors in the field of Iranian advertising, and therefore their performance has been less studied in this field of art.Research

The purpose of this study is to investigate the visual representation of metaphor in terms of structural features in advertising billboards in Tehran. In this regard, a social semiotic approach based on visual mechanisms has been adopted. In addition, metaphorical analysis of interactive meanings is also examined. The main research question is whether the visual metaphors used in advertising billboards can be considered in accordance with certain visual mechanisms.Research

The research method used is descriptive-analytical. The purposeful selection of the statistical population includes 35 billboards in Tehran, the main design of which are visual metaphor.

The metaphors used in billboards have played the role of messaging through the interaction of visual elements, which are compatible with the visual mechanisms of the social semiotic approach, and their representation consists of certain structural features. The results of the analysis of the purposeful statistical population consisting of 35 billboards in Tehran, show that all billboards comply with one of the mechanisms. The actional mechanism -which is realized by substituting the conventional element with an unconventional element- has been most used, and on the other hand, the classificational mechanism that have numerous visual elements; has been less used.