The Metaphorical Concept of Time in Interactive Art Installations Centered Around Van Gogh's Works

 
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.