Abstract
The central idea of considering communication within art is the assumption that if every creative process produces a territory that is potentially able to grow and open to its surroundings, it is necessary to include in the perception a performativity that allows all components of the author / work / recipient model to function. in a machine arrangement that makes it possible to think of perception decentrally from subjective sensation. We assume here that art is a specific type of communication, and communication is not necessarily art - communication is not equal to art.
It can be said that art is one of the forms of communication. But what makes artistic communication so special is that the communication here has a certain quality.
It is also no longer necessary to perceive communication as opposed to the reception, as we would return to the reduction of the strict division of space between the active subject and the giving object, thanks to territoriality it is possible to include its performative aspects. Communication is thus not limited as articulation and communication of as pure information as possible, but becomes above all a prerequisite for recognizing a qualitative change in the territory.
Thus, it is possible that even space, movement, noise and everything that we would consider inappropriate in ordinary communication can legitimately function in artistic communication. But how exactly do you interpret this idea? Performativity, or performance, are concepts that have become widely established in the context of contemporary science and art.
It is therefore necessary to clarify what specification of these concepts is drawn into the environment of artistic expression as a communication act