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Nicolas Bourriaud introduced the terms ‘conviviality’ and ‘encounters’ into art criticism and advocated that instead of critiquing the ills of society artists should develop new ways of living and models of action within the existing reality.

Grant Kester redefined aesthetic experience as durational rather than immediate and introduced “a new aesthetic and theoretical paradigm of the work of art as a process – a locus of discursive exchange and negotiation”. Artists in dialogical practices aim to catalyze understanding, to mediate exchange and to assist empathetic identification and critical analysis; they are equal subjects in this dialogue. Their identities are not fixed and are being created and re-created through situational encounters in a changing world.

Ellen Dissanayake stated that art is universal human behaviour originating from the same source as love. In extensive evidence backed up by research she shows that “human newborns come into the world with sensitivities and capacities that predispose them to join in emotional communion with others”. Humans need to create and participate in arts. They are compelled to establish belonging, search for meaning, develop identity and competence for life through empathical connection with other people which can be and must be done through art.


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