نوع مقاله : مقاله پژوهشی

نویسنده

• محمد حسن پور

استادیار گروه صنایع دستی، دانشکده هنرومعماری، دانشگاه سیستان و بلوچستان زاهدان، ایران

چکیده

بیان مسئله: حس لامسه، کلید درک حضور در جهان­است؛ چرا که بدون آن انسان در ارتباط با پیرامون خود بیشتر شبیه به­یک ناظر است. لامسه حسی­است که با تمام جسم قابل دریافت­است و درک آن آمیخته­است با انواع حس­های دیگر انسانی. از همین­رو پژوهش­گران حوزه­هنرهای بصری از اصلاحی باعنوان لمس دیداری (haptic visuality) در فهم اثر هنری نام می­برند.
روش پژوهش: برهمین اساس، با تکیه بر تاریخ اجتماعی لمس که در آن چگونگی ادراک لمسی مردمان گذشته در برابر جهان درتیررسِ توجه مورخان قراردارد، به­تحلیل جایگاه ادراک لامسه­ای (haptic perception) و لمسِ دیداری در فهم عکس­های اجتماعی به­عنوان اسنادی تاریخی می­پردازیم؛ به­این پرسش اساسی پاسخ می­دهیم­که چگونه می­توان بجز قوه­ی دیداری، کارکرد تمامیت بدن­را در درک ملموس عکس­ها و روند تأثیرگذاری چنین درکی­را در تفسیر و تأویل آن­ها مورد مطالعه­ی تحلیلی قرار داد؟ این­موضوع به­ویژه آن­جا اهمیت به­سزای خودرا عرضه می­دارد که در تحلیل آثار عکاسانه­­ی خصوصی و خانوادگی، کارکرد عاطفی و بازیابی خاطرات­را در روند تأویل عکس­ها مدّنظر قراردهیم؛ دراین­جا، انگاره­های لمسی به­دوصورت "استعاری" و "جسمانی" ازطریق احساسات فهم عکس­را میسر می­سازند.
نتیجه: در تحلیل عکس­های اجتماعی، ادراک لامسه­ای و حواس غیردیداری غالباً نقش مهمی­را نه­تنها در تحریک خاطرات گذشته، که در فعال­سازی و شکل­دادن به­آن­ها بازی کرده و اَعمال بدنیِ مبتنی بر علاقه­را به­واسطه­ی حس لامسه به -و از- بستر عکس منتقل می­سازند.

کلیدواژه‌ها

• ادراک لامسه‌ای
• عکس‌های اجتماعی
• عکس‌های خانوادگی
• لمسِ دیداریِ عکس
• تاریخ اجتماعی حواس

موضوعات

• ویژه نامه تاریخ اجتماعی و هنر

Extended Abstract

The Haptic Perception and Social Photographs Analysis

Haptic perception is one of the most complete human sensory manifestations because it involves all human senses in the process of understanding and recognizing the world, and in a way it can be said that in the process of tactile perception, the whole body is involved in communication and interaction with its environment. The philosophical concept of touch is considered as a sense that induces proximity as opposed to distance, which is directly related to the Visual perception. A concept that equates touch with skin contact as a sense of proximity, and vision as a sense of distance.

The sense of touch has an important place in how the work of art is understood. The importance of mindfulness in understanding works of art, especially tactile perception, is that they help to discover man's place in the world and how he is present as a present-in-the-world being. In relation to physical works, and especially photographs, tactile perception, which considers a variety of tactile perceptions, will have a more precise application than tactile sense, which is limited to physical touch: the way we feel touch both on the skin and inside the body. It is tactile perception.

Social photographs, and especially private and family photographs, which typically serve as a memorial in modern society and act as memory-object, can place memories in the form of the object of a photograph in front of an individual beholder. They are very close to the aspects of mental imagination and tactile memory. In other words, one of the basic aspects of the function of memories is tactile associations that can make their appearance in the mind of the beholders alive and present, And connects the mechanism of memory to the world of human life. This feature is completely unique in private and family photos. In addition, some retouches and manipulations on the photographs seek to stimulate any kind of tactile associations in their beholders. For example, the increasing use of "warm colors and tones" in color photographs, or photos with "sepia" tone, which usually evokes a memorable and old atmosphere, or the warm details of a refreshing morning with members of family, the use of bright and warm tones on face, etc., all indicate that the memory of the photograph is alive in the beholder's mind. Warm tones and colors are associated with health and life, and are therefore effective in maintaining and mentally rebuilding good memories of the past. The non-visual senses often play an important role not only in stimulating memories, but in activating and shaping them.

Although there are always difficulties in conveying a physical feeling in the context of visual artworks, visual effects can convey perceptual values through the subject and its representation style. So we conclude that in the analysis of social photographs, tactile perception, and non-visual senses often play an influential role not only in stimulating memories, but in activating and shaping them, and by promoting interest-based physical activity, the tactile sense transmits to and from the photo frame. In other words, in the process of interpretation of private and family photographs, and in general, social photographs that are relevant to the lives of people, there are two distinct tactile functions: in the metaphorical touch of the photograph, the act of understanding is possible through the visual values of the frame and their function due to the power of touch. Color and brightness values, texture, contrast, even the aging and physical decay of the photograph’s emulsion and paper provide its tactile perception. Physical touch, the action of the touch takes place physically, in which both the tactile perception of the photograph, determines reaction by activation of the memories that relate to the person or object and what he or she experiences, and causes a deeper understanding of the photograph.

In both, tactile perception of the photos, by activating memories related to the person or object and what he or she has experienced, determines his or her reaction and leads to a deeper understanding through interest-based and mediated bodily actions. It makes haptic perception.