INTERACTIVE COMMUNICATION STRATEGIES AS TOOLS FOR UNDERSTANDING THE ART WORLD IN THE POST-LITERACY ERA

The paper argues the ways in which artwork representation to its agents (artists, critics, curators, and audience) in the new sociocultural post-literacy situation revises traditional art communicative systems. Relying on an understanding of art as a public communication, the new "art communication" or "communication in the art world" concept is presented in the forms of manifestos and special types of comments from the perspective of modern aesthetics. However, this characteristic does not represent an attempt to understand the traditional artist’s set sense in his communication, or at least this is not the agents’ first question, but a way of asking how, for example, ready-made or performances have become art. The problem the paper explores are the opportunities art gives for interaction and/or resistance in the global social sphere that give participants a new type of literacy (even we can speak about post-literacy). In other words, contemporary practice in modern art propounds the impossibility to speak of a concise, exhaustive standard definition that will help agents grant art status to new objects. As a result, it can be concluded that the artist’s new communicative strategies are many, not only one as in the past, and at the same time, they do not follow one another. This implies that to understand the strategies we should think in terms of a new post-literacy situation where there is not only one "alphabet". The paper concludes that the problem of Aesthetics as a science is not an expansion of its borders as seen and thought in art practice during the XX century.