Bodily Absence

Isidora Papadouli
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Abstract

As restrictions due to the Covid-19 pandemic shaped a new reality in March 2020, virtual exhibitions became a powerful tool for museums and galleries to continue their public role and an excellent platform for artists to communicate their work to audiences. This paper examines how the viewer’s physical absence could add a factor to the loss of aesthetics and the experience of two-dimensional artworks when digitally delivered. The viewer’s body is analysed through philosophical theories of perception through movement as a contributing factor in experiencing two-dimensional artworks. The paper examines space, movement, and distance, which connect perception to one’s body in designing and delivering the most common 2D and 3D-360° virtual exhibition presentations. The paper examines participants’ interaction with the artworks based on recent research about how audiences experience online exhibitions during the pandemic. It discusses how the role of the viewer–visitor may change to that of just a user.
身体不适
2020 年 3 月,Covid-19 大流行造成的限制形成了新的现实,虚拟展览成为博物馆和美术馆继续发挥其公共作用的有力工具,也成为艺术家向观众传达其作品的绝佳平台。本文探讨了当二维艺术作品以数字方式传播时,观众身体的缺失如何会增加其美感和体验的损失。本文通过运动感知的哲学理论分析了观众的身体是体验二维艺术作品的一个促成因素。论文研究了空间、运动和距离,这些因素在设计和提供最常见的二维和三维-360°虚拟展览演示时将感知与人的身体联系起来。论文以最近关于观众如何在大流行病期间体验在线展览的研究为基础,探讨了参与者与艺术品的互动。论文讨论了观众--参观者的角色如何转变为用户。
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