SANAL GERÇEKLİK SANATI VE SÜRÜKLEYİCİ DENEYSEL TİPOGRAFİ

Abstract

Sanal Gerçekliğin (SG) daldırma, varlık ve etkileşim özellikleri sanatçılara benzersiz olanaklar sunmakta, yeni yöntemler ve yorumlama biçimlerini keşfetme konusunda ilham vermektedir. Gelişmekte olan bir alan olarak SG’in potansiyelinin keşfinde, gelişmesinde ve evrilmesinde sanatçıların önemli bir rolü vardır. Sanatçılar, SG’i daha kavramsal boyutta ele alarak onu entelektüel bağlamda genişletebilir. Diğer yandan SG de sanata yeni söylemler, yöntemler ve ifade biçimleri geliştirmek için benzersiz olanaklar sunar. SG, sanatçıların algılama, sorgulama ve yorumlama biçimlerine yeni boyutlar katabilir. Kavramsal sanat kapsamında yazının gerek linguistic bağlamda gerekse görsel ifade biçimi olarak kullanımı, sanata yeni bakış açıları kazandırmıştır. SG’in yazı ve sanat birlikteliğine dahil olması durumunda kavramsal ve düşünsel bağlamda ortaya bambaşka sonuçlar çıkabilir. Yazı, sanat ve SG’in kesişim noktasının, farklı perspektifler yakalama ve yeni örüntüler keşfetme konusunda zengin bir potansiyeli vardır. Bu makalede, SG sanat projelerinde ana anlatı ögesi olarak yazının kullanımı deneysel bir tipografi çalışması olarak ele alınmıştır. Deneysel tipografi, geleneksel kalıpların dışında, keşfe dayalı, yeni görsel ifade biçimleri aramaya ve özgün bir anlatım dili bulmaya yönelik bir pratiktir. Bu bakımdan deneysel tipografiye dayalı SG sanat projeleri, yapılandırılmış imgeler olarak dilin sanattaki rolünü sanal ortam içinde keşfeden farklı içerikler ortaya koyabilir. Ayrıca, SG deneyimlerde yaygın olarak kullanılan görselleştime yaklaşımlardan daha farklı sonuçlar ortaya çıkmasını sağlayarak SG’in anlatım dilini genişletebilir.

Keywords

• Sanal Gerçeklik Sanatı
• Deneysel Tipografi
• Sürükleyici Tipografi

VIRTUAL REALITY ART AND IMMERSIVE EXPERIMENTAL TYPOGRAPHY

Abstract

The immersion, presence and interaction features of Virtual Reality provide artists with unique possibilities and inspire them to discover new methods and interpretation styles. Artists play an important role for the exploration, development and evolution of the potential of Virtual Reality as a developing field. Artists may consider VR in a more conceptual environment and expand towards an intellectual context. In addition, VR also offers unique possibilities to develop new discourses, methods and forms of expression for the artwork. VR may provide new ways of perception, examination, and interpretation for the artists. The use of writing both within a linguistic context and as a visual expression within the scope of conceptual art has brought new perspectives for the art. If VR is included in the combination of writing and art, there may be completely different results for the conceptual and intellectual context. The intersection of writing, art and VR has a rich potential for different perspectives and new patterns. In this study, the use of writing as the main narrative element in VR Artworks has been discussed as an experimental typography study. Experimental typography is a practice based on exploration, seeking new forms of visual expression apart from traditional patterns. It attempts to find an original language. In this regard, VR Artworks based on experimental typography may reveal various contents that explore the role of language for art as structured images in virtual environment. In addition, it can expand the narrative language of VR by providing results that are different from the visualization approaches commonly used in VR experiences.

Keywords

• Virtual Reality Art
• Experimental Typography
• Immersive Typography

References

1. Ambrose, G. and Harris, P. (2015). Typography. Lausanne, Switzerland: AVA Publishing SA.
2. Bailenson, J. (2018). Experience on demand. New York, NY: W. W. Norton & Company.
3. Baños, R. M., Botella, C., Alcañiz, M., Liaño, V., Guerrero, B. and Rey, B. (2004). Immersion and emotion: their impact on the sense of presence. Cyberpsychology & Behavior, 7(6), 734-741. doi:10.1089/cpb.2004.7.734
4. Bryson, S. (2013). Virtual Reality: A Definition History - A Personal Essay. Retrieved March 15, 2021, from https://arxiv.org/pdf/1312.4322.pdf
5. Chirico, A., Ferrise, F., Cordella, L. and Gaggioli, A. (2018). Designing awe in virtual reality: an experimental study. Frontiers in Psychology, 8, 1-14. doi:10.3389/fpsyg.2017.02351
6. Cruz-Neira, C. (1993). Virtual reality overview. ACM SIGGRAPH’93 Course Notes 23, 1-18.
7. Diemer, J., Alpers, G.W., Peperkorn, H.M., Shiban, Y. and Mühlberger, A. (2015). The impact of perception and presence on emotional reactions: a review of research in virtual reality. Frontiers in Psychology, 6(26), 1-9. doi:10.3389/fpsyg.2015.00026
8. Freeman, J., Lessiter, J., Pugh, K. and Keogh, E. (2005). When presence and emotion are related, and when they are not. In Proceedings of the Conference at Presence 2005. London, England. Retrieved March 11, 2021, from https://www.researchgate.net/publication/228744500_When_Presence_and_emotion_are_related_and_when_they_are_not

9. Gigante, M. A. (1993). Virtual reality: definitions, history and applications. In R. A. Earnshaw, M. A. Gigante & H. Jones (Eds.), Virtual Reality Systems (pp. 3-14). London, England: Academic Press.
10. Gobira, P. and Mozelli, A. (2018). Expansion of uses and applications of virtual reality. In Information Resources Management Association (Ed.), Virtual and Augmented Reality: Concepts, Methodologies, Tools, and Applications (pp. 1-17). Hershey, PA: IGI Global. doi: 10.4018/978-1-5225-5469-1.ch001
11. Kelley, B. and Tornatzky, C. (2019). The artistic approach to virtual reality. In Proceedings of VRCAI’19: The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry (pp. 1-5). New York, NY: Association for Computing Machinery. doi:10.1145/3359997.3365701
12. Lanier, J. (2017). Dawn of the new everything: encounters with reality and virtual reality. New York, NY: Henry Holt and Company.
13. Laurel, B. (1995). Virtual Reality. Scientific American, 273(3), 90-90. Retrieved March 8, 2021, from http://www.jstor.org/stable/24981732
14. McMahan, A. (2003). Immersion, engagement and presence: A Method for Analyzing 3D Video Games. In M.J.P. Wolf & B. Perron (Eds.), The Video Game Theory Reader (pp. 67-86). New York, NY: Routledge.
15. Mütterlein, J. (2018). The three pillars of virtual reality? Investigating the roles of immersion, presence, and interactivity. In Proceedings of the 51st Hawaii International Conference on System Sciences (pp. 1407-1415). doi: 10.24251/HICSS.2018.174
16. Raz, G. (2019). Virtual reality as an emerging art medium and its immersive affordances. In N. Carroll, L.T. Di Summa & S. Loht (Eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures (pp. 995-1014). Cham, Switzerland: Palgrave Macmillan. doi: 10.1007/978-3-030-19601-1_42
17. Slater, M., Linakis, V., Usoh, M. and Kooper, R. (1996). Immersion, presence and performance in virtual environments: an experiment with tri-dimensional chess. In Proceedings of VRST '96: ACM Symposium on Virtual Reality Software and Technology (pp. 163-172). New York, NY: Association for Computing Machinery. doi: 10.1145/3304181.3304216
18. Small, D. L. (1999). Rethinking the Book. (PhD Thesis. Massachusetts Institute of Technology, Media Arts and Sciences, Cambridge, MA). Retrieved February 29, 2021, from http://hdl.handle.net/1721.1/29143
19. Visch, V. T., Tan, E. S., and Molenaar, D. (2010). The emotional and cognitive effect of immersion in film viewing. Cognition and Emotion, 24(8), 1439-1445. doi:10.1080/02699930903498186
20. ELECTRONIC SOURCES URL-1: Rabimov, S. (2020). Tina Sauerlaender interview. Why first virtual reality art prize is perfect for 2020. Forbes. https://www.forbes.com/sites/stephanrabimov/2020/11/27/why-first-virtual-reality-art-prize-is-perfect-for-2020/?sh=6dac4d0d2027 (Date of Access: March 11, 2021)
21. URL-2: Alessio, J. (2013). Understanding the difference between type and lettering. Smashing Magazine https://www.smashingmagazine.com/2013/01/understanding-difference-between-type-and-lettering/ (Date of Access: March 2, 2021)
22. URL-3: Wainwright, L. S. (2018). Conceptual art. Encyclopedia Britannica. https://www.britannica.com/art/conceptual-art (Date of Access: April 24, 2021)
23. URL-4: Chalkroom by Laurie Anderson & Hsin-Chien Huang, The Tree Room. www.storynest.com/pix/_4proj/i_laCameraInsabbiata/p0.php?lang (Date of Access: April 4, 2021)
24. URL-5: Anderson, L. (2017) Interview: A Virtual Reality of Stories [Video file]. Louisiana Channel. https://www.youtube.com/watch?v=zHT016FbR30 (Date of Access: April 30, 2021)
25. URL-6: Chalkroom by Laurie Anderson & Hsin-Chien Huang, The Dance Room. www.storynest.com/pix/_4proj/i_laCameraInsabbiata/p0.php?lang (Date of Access: April 4, 2021)
26. URL-7: Sheets, H. M. (2017). Laurie Anderson interview. A Museum Where Giant Art Has Room to Breathe. The New York Times. https://www.nytimes.com/2017/05/26/arts/design/mass-moca-new-building.html (Date of Access: March 11, 2021)
27. URL-8: Autobiography by Huaisu (fragment), handscroll, ink on paper, 28.3 x 755 cm, 777. http://theme.npm.edu.tw/exh108/NPMxKMFA/en/page-4.html (Date of Access: April 16, 2021)
28. URL-9: NPM – National Palace Museum. (2019). Euphoria of Sight and Spirit. NPM x KMFA: New Horizons-New Media Art Exhibition. https://theme.npm.edu.tw/exh108/NPMxKMFA/en/page-4.html (Date of Access: April 30, 2021)
29. URL-10. The Spirit of Autobiography by Taiwan's National Palace Museum and HTC VIVE. http://theme.npm.edu.tw/exh108/NPMxKMFA/en/page-4.html (Date of Access: April 16, 2021)