Direct transfer of ideas by the means and instruments of human
communication.

Communication - a warrant of existence.

Mail - mediator, and sometimes even cooperator in spreading artistic messages.

Creation - the very act of communication.

Idea and message: yes, but often also an object of certain plastic form and aesthetical nature.

Not "art on the brink of art", but art in the eye and spirit of art.

Without aesthetical, thematical and national fences.

Immanent rules of functioning of mail art.

New media - new artistic forms.

Not only a different form of artistic imagination.

Deprofessionalization and decommercialization of art.

New artistic sensibility sprouted beyond the domain and space of the known, traditional fine arts branches.

Different ways of comprehenssion of the contents and meaning of the being of art.

Changed function of artistic artifacts.

Compound of artistic expression with possibilities of mass media.

Pestilent creative energy of mail art.

Just an artistic hybryd?

Experiment in the very being of art.

To which extent the nature of the parcel can pose boundaries (limitation) in the creative work of mail artist?

Can and dare we to determine artistic phenomena just on the basis of their positions and roles in society?

Changed mode of experience in art.

To put the immanent poetics of mail art more and more to the fore of theoretical consideration and analysis.

Sharpened mechanisms of aesthetical perception.

It is time to abandon gradually and leave to history the simple and one-way definition of mail art by means of technical characteristics, means and ways of spreading.

Source of understanding and agreeing, action and imagination.
Constant expansion of experimental scope.

"Art of satisfaction and discovering".
(Ken Friedman)

Activating of the very structure of medim.

To consider once ogain the nature of communication.

Radical revaluation of fundamental assumptions of art.

Inheriting historical avant-garde, primarily Dadaism, mail art has grown into a compkletely new art discipline.

Search for special forms of communications.

Possibility of codification of visual and gestual signs.

"Beuuty is an information."
(Lotman)

In the being of mail art: ney sources, different criteriua.

Liberation of inaginative potentials and semantic wealth of message.

Action as a semantic gesture.

Dependance of human communication on objects and mediators.

Interpretation of meaning and signigicance of divergent spaces of experiment and researching reach in mail art.

Comprehension of the world through play and imagination.

Communicative artifacts - source of aesthetical information.

Feeling of cillective spirit in network and gently suppressing of individual artistic existence.

Elements of planetary thought and action in crucial preoccupation of mail art.

Awareness of possibilities of mass communication.

Keys of intermedial play.

Just "metamorphosis of art into communication media"?

Discarding of superficial and phenomenal layers of art of communication.

Toward sketching of new artistic anthropology and cosmology of mail art, his tougher poetical and theoretical founding.

Possibility of semiological approach to the basic elements and factors of mail art.

Denotative or conotative value of iconic segments in message.

Communication means and their own inner sphere and dimension.

Continuous experimental-researching dynamism of artist.

How and where the sense of communication is reflected?

Unconscious structures of meaning in gestures and messages.

Non-accepting the established and worn models of art.

Recognition of style characteristics of particular mail artists.

Close experience of media.

Spectrum of artistic actions and opening new experimental and creative possiblities in mail art.

Specific action of body and spirit, separated view, the planetary, media and communication.

Divergency of communication models.

Mail art work (gesture, message, action) as a multi-layered, compact and irepeatable structure.

Ludist projection of the world.

Art - means of communication and analysis of communicative mechanisms.

To try with defining of more distinct boundaries between mail art and other artistic discipline.

Power of information and form of the medium used.

Modification of aesthetical object in mail communication.

Problems of semiology of visual signs.

Radical themes and methods of artistic behaviour in mail art.
Insufficient aesthetization of communication media.

Multiple associative intensification of visual messages.

Mail art one of actional disciplines of mind.

Artist and art at the very source of art.

Creation of freedom in a non-awakened world.

Struggle between communicaton and chaos.

Role of language and linguistic elements in building of aesthetical structure of mail art.

How to avoid systems?

Ambivalent relationship to communication material.

Place and role of creative components in communication medium.

Planetary game and explosion of artistic avant-gardes.

Would the world be the world without communication?

Spendability, irony, self-sourceness, deconstructional metaphysicity - paradoxes of mail art.

Non-bordered spaces of research.

Formation of perceptive structure for reception and deciphering the messages.

Just an art of communication?

Desire for polemical conflict with the world where one exists.

Transformation of the object of research of art.

To insist, beside communication and ludic dimension, on imaginative and cognitive dimension of mail art.

Critical charge and aesthetical provocation.

Liberating power of creative energies.

Communicative activity and search for real aesthetical values.

1981.