Problem statement: Computer games are one of the latest achievements of communication technology that has a new approach in narration. PArticipation and the possibility of influencing the user by selecting two or more characters in the story narrative, not only has not removed this field from the traditional period and the linear course of narration in games, but has entered a new era with the introduction of its Interactive narratives. Interactive narratives in computer games fall under the Artistic trend, which, along with the importance of the aesthetic aspects of the narrative, tries to provide the fields of interaction with its story elements by providing an effective role in the formation of the story of computer games. Interactivity is one of the reasons for the penetration, attractiveness and high sales of computer games, and they believe that the interactivity factor separates video and computer games from other media. The role of the audience in forming the narrative is very broad. The narrative structure is also important in the formation of the audience's Interactive relationship with the games. The present research, while explaining the role of interaction and the importance of Interactive narratives in the structure of computer games, introduces its main elements.Research question: This research seeks the answer to the question of how to provide a model for Interactive computer games to give users an Interactive form.Research method: This descriptive-analytical research is based on the perspective of Roland BArthes in discovering the narrative structure and the three main levels of functions, actions and narration in Interactive computer games are analyzed in order to identify a model for making computer games and to identify the audience as the action of the narration and its guide should pArticipate through the helpers. In order to achieve the goals of the research, one of the first Interactive computer games named Mortal Kombat is analyzed. This game contains a series of narratives with a fighting genre, created in a fictional world by ancient gods in eighteen realms. In the video game industry of the 90s, it not only influenced the formation of Interactive media, but also contributed to the innovation and evolution of the fighting genre with its high-quality story and cinematic modes.The main plot is the fight in Mortal Kombat game, and in the form of branching, there are two sub-plots that are dependent on the main plot, making the core narrative of Mortal Kombat computer game. Based on Roland BArthes’ opinion, the core and catalyst functions, profile functions or actions, which are the prominent characters in each period of the game, and the informants, the effective place and time in the narrative flow of each successive period of the game, are specified in the above table. And users (players) before stArting the game by selecting one of the characters of the story, stArt their performance and activities under the fight. The achievement of victory has the main function of freeing the territory, conquering or combining the territory and becoming a hero, and the achievement of defeat includes the main functions such as conquest and death. Catalyst functions, in some periods of the game, are formed around the main functions. The profiles refer to the active characters and informants to determine the time and place in the narrative of each game period.Research results: The proposed structure for Interactive computer games is a combination of pearl narrative, branching narrative and narrative structure from the perspective of Roland BArthes, which includes progress, main, mediating, indexing and informative functions. Pearl narrative is a linear narrative and has its own limitations. The possibility of interaction for the user is limited and allowed to step-by-step choices. In the branching narrative, the progressive and progressive steps during the game require the definition of the main and intermediate functions as a roadmap for the user to expand the level of his involvement and choices and enter the desired path and the narrative in it. As seen in the structural analysis of the Mortal Kombat computer game, the narrative process from the beginning of the first period to the eleventh period and the add-on package ends with the final choice and freedom of the user in selecting the final fate and deciding on the victory of Shang Song or the God of Fire. The proposed structure of a combination of the structure of Interactive computer games is described below: The proposed structure of the Interactive narrative of computer games; A combination of narratives of pearls, branching and structuralism of Roland BArthes.               In this structure, the stages of the computer game take place sequentially (A, B, C, etc.), in each stage one or more progress (P) can be defined, each progress includes several core functions. (f1, f2, and...) and users play by selecting actions (i) and informants (e), and core functions and then by selecting the function (catalyst) (C) that has core functions (f, f2 and ...) and by obtaining the result of victory (R) it goes to the next stage. Reaching to the last stage is selecting the final fate and key characters and finishing the game by the users. The structure can be changed according to the narratives of the game and have more branches, the stages of the game, achievements, nuclear and intermediate functions or the number of profiles and informants can increase or decrease. In general, it seems that the narrative infrastructure in Interactive games combined with Interactive narratives may follow such a structure, thus by creating more paths in the narration flow, it exposes the users to more possible challenges. It makes the game more exciting and, more importantly, it creates more interaction between the game narrative and its actors and users. By proposing a structural model for the analysis and optimization of computer games, while helping users, designers, and critics in this field, it is possible to express pArt of the necessary fields for a correct understanding with Interactive narratives.   

Since new media, such as the Internet, enable interaction, pArticipation, and simultaneous presence in multiple locations, the New Art can be studied sociologically as small samples of society. This Article discusses two examples of Interactive Art: "emotional traffic" and "01," in which the internet plays an important role. Simmel's formal sociological theory is applied to qualitative content analysis. This study examines how virtual spaces created through technology correspond to social ideas in real life. To test this hypothesis, the qualitative content analysis findings will be compared with Simmel's theories. A virtual space is assessed through the concepts of distance, stranger, wanderer, self-expression, and maintaining one's self. Virtual spaces have different characteristics from traditional societies as well as a connection to the real world. Through analyzing the Artworks' process, it was possible to extract the commonalities and differences between the two spaces. Using the Internet as a medium helps the concept of "distance" and incompatibility with proximity and presence. Even though these interactions do not align with Simmel's concepts, it might be possible to reach the opposite of his interpretations while maintaining the interaction. By using technology, Simmel's concept of "stranger" approaches the concept of "wanderer" with fewer degrees of strangeness. Due to the control of the Artist, presence in virtual space resembles "stranger", but due to freedom of movement, physical presence resembles "wanderer". It is also seen according to Simmel's theory, that the complexity and quality of interactions are changed by increasing the number of pArticipants.

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.

David Rokeby is a prominent Canadian Artist recognized for his exploration in Interactive and computer-based Artistic works. Interaction, or interactivity, is an act occurring between two or more entities, phenomena, or processes that mutually affect each other. When two or more things engage in action and reaction, they are said to interact with each other. Interaction in objects can alter their state or influence the manner in which changes occur in objects. Additionally, in phenomena, interaction leads to the emergence of additional parameters that need to be considered in calculations. Interaction refers to the process of communication among individuals, objects, or systems. It is a fundamental aspect of human life and plays a significant role in various fields, including social, technological, and biological aspects. Cultural interaction involves the exchange of beliefs, customs, and traditions between different cultures. Intercultural interaction can lead to cultural dissemination, where elements of one culture spread to another through trade, migration, or communication. Generally, interaction is a multifaceted concept that encompasses a wide range of activities and disciplines. It plays a vital role in human society, technology, science, and the natural world, shaping our ways of communication, learning, and coexistence. Understanding and effectively managing interactions are essential for achieving successful outcomes in various aspects of life and knowledge. Interactive Art, also known as Art of interaction, is a form of Art that engages the spectator in an Artistic action to achieve its purpose. Some Interactive Artistic arrangements allow viewers to intervene in, on, or around them by giving them permission to do so. Others require Artists or spectators to become a pArt of the Artistic work in some way. Computer Art, or computer-based Art, refers to any type of Artistic work where computers play a role in its production or display. This Artistic work can be an image, sound, animation, or video, a video game, a website, or an algorithm. Many traditional Art fields are now integrating with computer technologies. Museums and Art venues worldwide, since their inception, have increasingly incorporated digital and Interactive Art into their productions. This innovative Art form continues its rapid growth and evolution through online subcultures and large-scale urban installations. Furthermore, active media audiences do not merely passively receive information; rather, they actively, often unconsciously, pArticipate in understanding the message in their personal and social domains. Interactive computer Art enhances the concept of a holistic mental worldview. This is achieved through the Artist's technical knowledge of computer programming. Computer software allows the Artist to access deeper levels of computer programming and requires them to base specific tasks, such as image manipulation, on a fluid mental model of the holistic and accessible aspects of the entire output of the work. Interactive Artists engage in changing the relationship between Artists and their media and between Artistic works and their audiences. These changes significantly increase the role of the audience in the Artistic work and diminish the authority of the author or creator of the work. Interactive Artists create relationships rather than finished works of Art. The ability to represent relationships in a practical way significantly adds to the expressive palette available to Artists. This power is further magnified by the fact that the actors themselves become the reference of the work. The works are somewhat similar to portraits, reflecting the mutual aspects of the actors and transformed to express the Artist's intention.In this research, the key aspects of Interactive audience engagement with computer-generated Art are examined and analyzed from the perspective of David Rokeby. Interactive engagement goes beyond the traditional inclinations of audience interaction, extending into the realm of mutual experiential discourse. The conventional view of Artistic interaction and audience perception suggests that the Artist leaves their mark on a specific object or message (Artwork), and others, including recipients, the general public, and critics, perceive, see, read, interpret, and evaluate it. However, the emerging technological and cultural environment in the new era challenges the distinction between dissemination and reception, creation and interpretation, giving rise to new forms of Art. These new forms allow individuals, who are no longer passive recipients in the traditional sense, to experience alternative methods, such as interaction, communication, and co-creation. This shifts the audience from a state of passivity to active pArticipation, transforming their role. Rokeby's perspective on Interactive engagement with computer Art emphasizes the role of the pArticipant as an active collaborator in the process of creation and meaning-making. He believes that interaction is a vital element in engaging the audience and challenging traditional concepts of passive spectatorship. This aligns closely with the description of the conditions of computer Art, where interaction adds elements such as creation, performance, and extended evaluation. David Rokeby has made a significant contribution to the field of Interactive computer Art, and his viewpoint has been shaped through his Artistic exploration and experimentation. Rokeby considers Interactive computer Art a means to explore the complex interaction between humans, technology, and the environment. This research aims to provide a coherent and patterned analysis of Rokeby's thinking, utilizing it in the conceptualization and execution of contemporary computer Arts with an emphasis on Interactive engagement with the audience.The research question is formulated as follows: "What are the key components of Interactive audience engagement with computer Arts from the perspective of David Rokeby?"This theoretical research employs a descriptive-analytical method with a qualitative approach, utilizing library and electronic document resources. The examined samples include several Interactive works by David Rokeby.The findings of the research indicate that David Rokeby's perspective on Interactive audience engagement with computer Art emphasizes active interaction, embodied interaction, dialogues, collaborative creation, reflection, awareness, technological mediation, sensory engagement, feedback, responsiveness, social and ethical consequences, and fluid boundaries. He also views Interactive computer Art based on active pArticipation, sensory engagement, feedback, reflection, social consequences, and the dissolution of traditional boundaries. Rokeby's works are primarily presented as installations, and this mode of execution provides a desirable and encompassing spatialization, allowing the audience to engage in a pArticipatory and discourse-oriented manner with the creator on the Interactive media platform. This facilitation, including active physical and multisensory actions, leads to cognitive reflections and conscious and unconscious perceptual structures in the audience and ultimately results in the extraction of new concepts. Rokeby considers Interactive audience engagement a means to actively involve with computer Art. By providing opportunities for interaction with Artworks, he encourages pArticipants to become active collaborators rather than passive observers. This interaction allows pArticipants to have a more comprehensive and transformative experience and create a deeper connection with the Artistic work. He also emphasizes the importance of active pArticipation in Interactive computer Art, believing that the audience should not be merely passive spectators but active pArticipants who engage with the Artwork through their actions and reactions. Through active engagement, pArticipants become co-creators and shape the outcome and meaning of the Artwork. Continuing with the analysis of David Rokeby's perspective on Interactive audience engagement with computer Art, it is crucial to delve into specific elements that he highlights as integral to this form of interaction. Rokeby places a significant emphasis on the role of interaction in fostering a collaborative and pArticipatory approach. He contends that interaction is not merely a one-way process where the Artist impArts their vision onto the audience; instead, it becomes a dynamic interplay between the Artist and the pArticipant. This dynamic involvement of the audience in the creation and interpretation of the Artwork challenges traditional notions of passive spectatorship. Furthermore, Rokeby underscores the importance of sensory engagement in Interactive computer Art. By incorporating elements that appeal to multiple senses, such as touch, sight, and sound, the Artwork becomes a holistic and immersive experience. This multisensory engagement goes beyond the visual appreciation of traditional Art forms, adding a layer of physical and visceral interaction. Feedback and responsiveness are additional key components highlighted by Rokeby. The Interactive nature of computer-generated Art allows for real-time responses to user input. This immediate feedback loop transforms the viewing experience into a dialogue between the audience and the Artwork. The Artwork, in turn, adapts and responds to the pArticipant's actions, creating a unique and evolving encounter. Rokeby's perspective also extends to the social and ethical consequences of Interactive engagement. As technology becomes an intermediary in the Artistic experience, questions of ethics and societal impact come to the forefront. The blurring of boundaries between creator and audience, as well as the dissolution of traditional norms, prompts a reevaluation of the social implications of Interactive computer Art. The notion of fluid boundaries is a recurring theme in Rokeby's perspective. Traditional distinctions between the physical and virtual, the creator and the audience, and even between different Art forms, become less rigid. This fluidity allows for a more expansive and inclusive Artistic experience, where pArticipants actively contribute to the creation of meaning. In conclusion, David Rokeby's viewpoint on Interactive audience engagement with computer Art transcends the traditional paradigm of Artistic creation and spectatorship. Through his emphasis on active pArticipation, sensory engagement, feedback, and the consideration of social and ethical consequences, Rokeby positions Interactive computer Art as a transformative and collaborative experience. By challenging conventional boundaries and fostering dynamic interactions, Rokeby's work contributes significantly to the evolving landscape of contemporary Art, where the audience becomes an active pArticipant, co-creating meaning and shaping the Artistic discourse.

Interactive Art, as one of the media of the new Art, leads to an audience’, s experience that is different from what has been experienced in the history of Art. The Interactive Art media emerged from the new paradigm (postmodernism) in the world of Art and gave new definitions to the same paradigm. Since the creation of a theoretical and philosophical framework for the complete reading of this Art seems necessary,the present Article aims to understand and explain the concept of experience in this Art by analyzing the theory of the Aesthetic experience of John Dewey’, s and adapting it to Interactive Art. John Dewey (1952-1859) is a contemporary American philosopher who called his philosophy pragmatism. Media from the perspective of Dewey is a mediator between the Artist and the audience. By hinting out the patriarchal significance of the author and changing his position, this media gave the audience a special, new, and unique definition of what we know about Art history. For this reason, this Art was faced with public pleasure both in the galleries and in the spaces outside of them, and was made available to ordinary people and pArt of their everyday lives. Dewey, by addressing the concept of human interaction and considering it as the foundation of aesthetic experience also emphasizing of the concept of technology, provides two important aspects in shaping the theoretical framework for reading Interactive Art. And answer the question what parameters of the audience’, s experience of Interactive Art makes them aesthetic and conceptual experience? In the other words if we give you the experience of Interactive Art as an example of Dewey’, s aesthetic experience, then what are the factors behind the link, similarity and interaction of this concept and its implications? It seems that perception Interactive Art can be considered as an example of aesthetic experience. Factors such as interaction, action and reaction, as well as the approached position of the author and audience, subject and object, instrument and result makes a common border between Interactive Art and Dewey’, s theory. On the other hand, the importance of the position of science and technology in this theory provides the basis for the study of Interactive Art as much as possible. The Interactive Arts bring the audience and her/his experience to the place of the author and the creator in a new place in the history of Art, thereby eliminating the boundary between the Art object and the subject. Due to the approached position of the subject and the object, as well as the subjectivity and objectivity in Interactive Arts, we cannot believe in the distinct tools and means which give rise to definite results. . Finally, an example of an Interactive installation called “, A-Volve”,the work of Christa somerere & Laurent has been introduced and studied as an example of a computer Interactive Art will be analyzed based on the theoretical framework of the research. A-Volve has become a complete example of Dewey’, s aesthetic experience through factors such as interaction (action / reaction), sense, rhythm and imagination.

Storytelling has always been a joint activity between parents and children. It provides many educational benefits such as improving children's language fluency, communication skills, cultural and emotional awareness and other aspects of cognitive development. As a result, many parents, due to their busy schedules, express their desire to use an automatic storytelling system that can help their children to engage in a beneficial way without any intervention when they need to focus on other tasks such as attending a work meeting or household chores. The present study, by focusing on the Interactive storytelling toy "StoryTick", analyzed the structure of this game and the extent of the child's involvement in creating the story, with a look at the theory of the reader within the text by Aidan Chambers, a theorist in the field of children's literature studies.

During the modern period, Art has undergone remarkable developments, the most important of which is a change of audience's standing from that of a passive consumer to an effective force that shapes the Artworks and gives them meaning. In other words, the ability to create a work of Art has gradually moved beyond the realm of the elites and into a more public sphere. Such a change of approach is mostly evident in the contemporary collaborative and Interactive Arts; the ones that basically come to existence through the pArticipation of non-Artists. It seems that we are facing a new definition of Art, which, like other social concepts that are mainly called 'intersubjective', defines itself in terms of exchange, interaction, and collaboration. Inter-subjectivity is a quality that results from freeing the awareness from the bounds of a subjective mind and making it face cognitive understandings of other minds, so as to reach a common meaning, where the world of 'I' transforms into the world of 'we'. Interactive Art binds the creation of the Artwork to the subjective and practical collaboration of the audience, by removing the process of Artistic creation from the monopoly of the subjectivity and creation of Artists. Thus, this study intends to respond to this question: how does the intersubjective horizon of Artists and the audience is established in the contemporary Interactive Art? It is assumed that beyond mere presentation of empathetic and shared content, the Interactive Art is the common characteristic of 'being' Artist, i. e. it portrays the ability to create a work of Art, and the 'creativity' in an intersubjective horizon. Interactive Art, which benefits from the mediation of technology, limits the direct intervention of the Artist, and removes the Artwork from the Artist’ s monopoly to some extent. Now, Interactive Art engages 'others' in the process of Artistic creation and guides the Artist from a solipsistic egocentrism toward an intersubjective interaction. The ability of 'creation of an Artwork' can no longer be regarded as an exclusive gift for the Artists. The public must be offered the opportunity of Artistic creation, even if under the guidance of the Artists. Moreover, Interactive Art is an 'experience-driven' action, meaning that the aesthetic perception is rooted within the 'process' of the creation, and the action of the pArticipant and the aesthetic experience resulting from interaction with the system are considered important. This study aims to explain the various aspects of intersubjective communications of the Artist and the audience in the contemporary Interactive Art. To this end, George Poonkhin Khut's Interactive project called 'The HeArt Library' has been selected for case study. As the theoretical basis of this Interactive Artwork, 'intimate aesthetics' uses a phenomenological approach to the experience of body, focusing on the confrontation of the audience with the 'body', and reflecting on it as the subject and object of contemplation. In this context, intimacy means introspection and maintaining of a close relationship with the body as the intermediary between awareness and existence; an attempt to soften the rigid boundaries of mind and body, and to reach a deep, new, and different understanding of the self; a contemplative return to the 'body', similar to what first appeared before us. The HeArt Library holds 'body' and the possibility of changing the physical perception as the essence of an aesthetic experience. In this project, the Artist has created an operational framework, and accompanies and guides the audience throughout their inward journey to create a new experience. In order to prove his conscious and dynamic self, the interacting audience, that stands before his own visualization, chooses a position, focuses on it closely, gives existence to the Interactive Artwork and determine its final form through the visible change that he produces in the Artwork's form (visualization of body). In this study, data were collected through documentary research, and examined through a descriptive-analytical method. In conclusion, the interacting audience of this work stands on a par with the Artist in determining and influencing the creation of the Artwork, through the visible change that they can consciously produce in the visualization of the body, and final form of the Artwork. In other words, the result of this Interactive experience belongs to both the Artist and the audience: the Artist's proposal for the creation of a new awareness (awareness of the body) and its materialization by the audience; a shared meaning and content that the audience contributes to its creation along with the Artist. In the Interactive work 'The HeArt Library', the creation and visualization of the bodily awareness has been shaped in the intersubjective horizon of the Artist and the pArticipating audience: in other words, the experience of the self and the body results from an intersubjective phenomenology. Not only 'creation' turns into a shared, intersubjective achievement, but also, the sharing of experience through the designing of body maps and dialogue with the Artist and the visitors, places personal perceptions of the experience of the 'body' at an intersubjective level, and expands and enriches the resulting awareness.

The ever-expanding capabilities of the computer, digital Art, and Internet such as scope, speed, and virtual interface interactivity have ushered in a new era in the use of new media for engaging the reader in semantic interpretation and socio-cultural issues.This paper presents a discourse analysis of two cases of Interactive Art basedon the use of new digital media: "01" by Nadalian and "Emotional Traffic" by Benayoun. Both samples are herein compared according to "Bakhtin’s Chronotope". The concept of "chronotope", also referred to as "time-space concept", is derived from Einstein’s relativity theory and is used for describing the intrinsic connectedness of temporal and spatial relationships in literature. This paper drew upon printed and digital library sources, content analysis approach, and Bakhtin’s Chronotope so as to conduct an analytical and comparative study on the two said samples. First, via an analysis of the interactions taking place in the samples, the principal discourse relationship in each case is extracted. Next, the temporal/ spatial relationships in the works are dissected and analyzed. Then, through a comparative analysis, the similarities and dissimilarities between the two cases are discussed. And finally, the method whereby the Interactive capacity of the Internet is utilized is explored.The results show that both cases enjoy the characteristics of Bakhtin’s dialogic discourse and showcase Bakhtin’s notion of self/other relations, as a structural hallmark of new Art. In both cases, the time-space continuum while maintaining the relations between same time and same place, another time and same place, same time and another place, and another time and another place in accordance with Bakhtin’s theory is observed, which is closely dependent on the usage of the Internet and other cultural technological facilities.

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. 

he purpose of the present study was to examine the effectiveness of expressive Art group therapy on interactional selfefficacy of foster children. The research design was quasi-experimental (pretest-posttest control group). The sample consisted of 28 primary school parentless and mal-treated girls living in special centers for these children in the city of Mashhad using convenience sampling. The pArticipants were assigned randomly into either experimental or control group. The pArticipants completed the Children's Self-Efficacy for Peer Interaction Scale (Wheeler & Ladd, 1982) before intervention and one week after.The experimental group received expressive Art group therapy for ten sessions (two 90 minutes sessions per week). The results of multivariate covariance analysis indicated that children of experimental group had better social self-efficacy in conflict situations and non-conflict situations than children of control group. The findings suggest that the expressive Art group therapy may be contributed to the increase of self-efficacy in foster children.