Interactive Art Analysis Based on Baudrillard’s Hyper reality Theory, a Case Study of Digital Interactive installation

The contemporary philosopher Jean Baudrillard, one of the postmodernism theorists, considers representation in the contemporary world as a factor in the disappearance of reality. In his view, the main feature of new arts is not the expression of artistic beauty, but communication with the audience and expression of the artist’s ideas. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork.In this research, we have tried to answer questions such as how audience underestand an interactive work and how reproducing and interpreting signs in interactive art form the Baudrillard’s concept of Hyper reality. Also we try to answer the question of which factors convert the interactive art audience experience to hyper reality one? To achieve this goal, the present study uses descriptive-analytical methods and data collection using written and digital sources. We have examined some interactive art implemented in the prestigious Artech house and Flutter galleries in recent years to achieve concept of hyper reality in interactive arts. The results show that interactive art can create an example of hyper reality experience for the audience and factors such as interaction, imagination, sense, subject and object, provide a common border between interactive art and Baudrillard’s theory of hyper reality.The lack of reference to the real world in these works demonstrates Baudrillard’s creation of the hyper reality in interactive art. The interactive art traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers the hyper reality world as their main goal. The audience is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. It immerses the audience in hyper reality world.