For at least several centuries, in the West, the artistic phenomenon has presented itself as follows: a person (the artist) signs a particular object or message (the work), which other persons (the recipients, the public, the critics) perceive, taste, read, interpret, and evaluate. Regardless of the function of the work (religious, decorative, subversive) or its ability to transcend that function and pierce the enigmatic and emotional core within us, it fits into a classic pattern of communication. The sender and the receiver are absolutely distinct, their roles are clearly assigned. The techno-cultural environment that is emerging, however, gives rise to new art forms, ignoring the distinctions between emission and reception, creation, and interpretation. It is only a possibility that has opened up through the current mutation, a possibility that may never materialize or only very marginally. One hopes, above all, to prevent it from closing up prematurely, before it has explored its rich diversity. This new art form allows what is precisely no longer an audience to experience other methods of communication and creation.