What characterizes communication—both verbal and visual—is the desire to transmit an idea accurately. Such transmission can only occur through an appropriate structure. Structure must be subordinated to the specific characteristics of the concept it conveys; therefore, it must adapt itself to the nature of the idea being communicated. In this sense, structure is not an autonomous or rigid framework, but a responsive and dynamic system shaped by conceptual demands.
This conclusion places a certain strain on traditional understandings of structure. We tend to imagine structure as fixed and inflexible. However, communicational structure within a sequence operates differently. In visual arts, it is precisely this structuring of sequence that defines both the mode of communication and the conditions of understanding.
Communicational structure manifests—whether successfully or unsuccessfully—in every object the visual artist creates. It is the underlying organizational logic that either clarifies or obscures meaning. Ideally, this structure bridges the gap between visual form and conceptual content, producing a unified coherence between what is seen and what is understood.
The next step in this investigation was to ask: Is there something beyond the individual image that communicates to us as spectators? Is there something operating beyond—or within—a sequence of images? The immediate answer was paradoxical: it exists “outside” the single image, yet “inside” the sequence.
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