Experimental and subjective art in dialectical of performative communication

İn this thesis work,, I will refer to the role of subjectivity in the formation of art; by examining the social components in the development of art, and the interaction between art and science.By touching upon the disappearence of subjectivity in digital age, and immediately after by questioning the roots of art I hope that I will show up the disappeared subjectivity in art, and I will try to create a line about how it could be possible to make art to return to it's raw nature.Because of the fact that the humanism has put the human being into the center of the world, post-humanist human has destroyed the natural person. The person, who has been moved away from real experience and his/her emotions, is supposed to reach information via displays. This made not only the person become addicted to the technology, but also the art. Thus, the digital art emerges as a new form of a relation enabled with technology, instead of a new form of relation with art. This dependency; which stems from perceptions exposed to equalization in visual and objective environments; while threatening the subjectivity of individuals, also cause the art be in a vicious circle. If we consider the fact that, there are mobility of the subject, experiences, and emotional affects in the basis of the formation of mind and knowledge; also beside when we thought that the way to self and subjectivity passes through emprism, in order to contemporary art be social and creative it has become inevitable to develop a phenomena that is strengthened by social and kinesthetic comunication, emphasizing the emotions and experiences. In this context, by demonstrating the fact that art and the work of artist are developing when dialect of nature, self-motion, and physical contact with real life is in the nearest point, which is also a necessity for the formation of subjectivity.