1 After Brunelleschi, after Alberti… Ryszard W. Kluszczyński University of Lodz, Poland Current metamorphoses in the audiovisual arts, resulting from the introduction of digital technologies into the realm of artistic practice, have already managed to affect all the elements and aspects of that particular field, reaching deep into the structure of the audiovisual experience. The transformation processes concern first and foremost the realized projects, i.e. the resulting works of art (and obviously the technological context of creation). However, they also influence the subjective, cultural conditions of experiencing works of art: the conventions, structures and perceptual-epistemological strategies, as well as the instruments that define the technological limits of reception. It happens more and more frequently that the aforementioned changes cannot be located unequivocally in one of the delimited ranges, but instead they affect (apart from the broadly understood apparatus) the structural dimension of the works – the sphere of the image and the constructed world – as well as the strategies of perception. The latter are occasionally adjusted to meet the conditions imposed by the work of art. Such instances result from the rules of image transformation (which construct both the visual discourse of the work and the condition of the presented world) defying the traditional conventions of perception, thereby defining a new perspective of the imaged world. Thus an image suggests new forms of perception, rather than conforming to the extant strategies (considered obvious or even natural). This results from mental epistemological structures being made apparent in the image structure – not as an effect of transposition (a result of projecting a primary, independent perspective on an artwork) but as an original (source) fact: it is after all the image that offers new strategies of perception. The abovementioned phenomena, increasingly common nowadays, may be fittingly illustrated by the work of Tamás Waliczky, especially his three computer animations - The Garden (21 st Century Amateur Film) (1992), Der Wald (1993) and The Way (1994) – presented jointly under the title Trilogy. In a manifesto published in 1990, Waliczky wrote: “If we approach the computer with our old way of thinking, (...) we will miss a magnificent opportunity to create a new world.” (Waliczky, 1990). In The Garden, as well as in The Way, the artist presents the effects achieved by employing the opposite solution, i.e. treating the computer technology as a “new means to