How to take advantage of the relationship between the actual movement and the imaginary movement to create interactive art works to enrich the field of contemporary painting art. | ||
| International Journal of Multidisciplinary Studies in Art and Technology | ||
| Volume 4, Issue 1, June 2021, Pages 1-26 PDF (1.34 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/ijmsat.2021.186777 | ||
| Author | ||
| Amira Mohammad Halloul | ||
| lecturer of drawing and painting at the Faculty of Specific Education - Alexandria University.Egypt | ||
| Abstract | ||
| Plastic art is not only a means for the artist to express what is inside him of ideas, but rather is a means that stimulates the viewer's senses, whether visual, auditory, or even by touching materials with their different touches, thus provoking other responses in the viewer such as imagination, understanding and emotion, which is called perceptual perception, There are limits imposed by the viewer's eye and determined by the process of feeling the effectiveness of the image, the lighting, and the movement in the work of art. Hence, the actual movement is one of the important elements that achieve the interaction of the viewer with the work, as with moving parts of the work, many forms appear, which gives new and innovative aesthetic dimensions. The research idea came based on the use of both illusory motion in lines and colors that depend on the structural properties of the shapes and their visual perception. In addition to using the actual movement, the viewer must move parts of the work to produce renewed and innovative shapes according to the viewer's vision, and from here the research problem can be identified in the following question: How can we benefit from the relationship between the actual movement and the imaginative movement to create interactive artworks to enrich the art of painting art? The researcher follows the descriptive and analytical approach regarding the theoretical framework of the actual movement, inspiration, and interactivity in artistic work in the field of painting art, and the experimental approach when applying the experiment, followed by the findings and recommendations. | ||
| Keywords | ||
| actual movement; imaginary movement; interactive art; contemporary painting art | ||
|
Statistics Article View: 281 PDF Download: 308 |
||
