Ontopoetics

[2] It includes the perception of cues or signals, or the expression of actors, as well as "the construction of impressions on re-actors by the deliberate choice of attractive signifiers that communicate factual or illusory realities".

It is distinguished from panpsychism in the sense that it does not merely claim that the world is psychoactive but that it is responsive to us so that it can be called forth if engaged on an expressive plane, one of meaning and not merely of causation.

[7] As a concept, ontopoetics looks into the creative relationship between things and focuses on the poetic infrastructure of creation (e.g. order of an insect, structure of a seed, or the composition of a bird song).

[5] Aside from the cues, expressions, or signifiers made to communicate realities, ontopoetics also covers the "construction of imaginary situations by certain species" such as animal cheating, mimicking, and playing.

[2] This is attributed to the manner by which the paradigm produces a more dynamic and responsive self and poetic voice as experience and knowledge are directed by receptiveness, playfulness, and openness across human-nature divisions.

[11] Another conceptualization frames ontopoetics as a critique founded on the idea that the expression of being beyond what is representationally constructed as reality leads to the philosophical thought on art.

[12] The application of the Nietzschean ontopoetics to art is based on a conceptualization of reality that includes elements hidden behind a "veil" created by the interplay of institutions and false needs.

[15] His art took into consideration the onto-epistemic dynamics that lurk behind manmade structure-events, which invite the spectator to make the next move based on an analogy, assumption, or deduction.