Hans Robert Jauss in his theory of reception (rezeptionsgeschichte) explains how the artistic character of a new work demonstrate its effectiveness on the public, at any given time, by two factors:
- aesthetic distance
- SKYLINE CHANGE WAITING
where the distance aesthetic perception of distance is established between the new work el ' horizon waiting recipient, or all that the receiver expects the opera, based on their previous knowledge, relating to other work.
The work that is new, therefore, requires a change in the horizon waiting from the public to reduce the aesthetic distance.
"To the extent that this distance decreases, not by requiring the reorientation to no more conscience container of unknown experience, the work approaches the domain of art 'culinary' or an art purely for fun. The latter is, in terms of aesthetics of the use, characterized in that it does not require any change of horizon. Converge with expectations of a dominant taste preordained, that meets the demand of playing a "good family", which confirms the usual feelings. " (HRJauss "Literaturgeschichte als provokation)
Its artistic so it will be effective when the aesthetic distance, while declining to make the work comprehensible to the public, while at the same time
- NEWS 'KIND OF PROPOSED
- DEFORMATION OF RULES pertaining to the horizon waiting
So when anticonferenza net.futurista, performing the work, in itself innovative and detrimental to the "norms" of the traditional conference, it becomes effective precisely when the mediators (in the case of Antonio and Gianni Otranto), spoke to explain the character and nature of stimulus and provocation, thus changing the horizon waiting for the public adequately mitigate the aesthetic distance makes it incomprehensible that are too high and the work if too small makes the work artistically nothing.
