[-empyre-] nechvatal's viractual

i've been catching some of this "viractuality" discussion...this is infinitely interesting, especially "organically soft tri (or poly) dimensional space" and going from the virtual to the real, back and forth, etc.

i caught an article in a magazine called SOMA about Afsheen Rais-Rohani's work and its applications in "real-space" architecture. He's been doing these mappings of bio-processes and what happens when things like say solar power have a direct effect on actual space architecture. (homepage is linked off of the MIT Media Lab site).

the viractual becomes a landscape of response when subjective reactions are measured and observed in relation to virtual models that intersect w/ the real, especially random, logic/process-driven works like architecture, or painting, where people inhabit structures that have been absolutely determined by programs, and where any author's hand acts as a mere translator. The cool thing about these works is how they try to place the infrastructure itself as the foreground, and use informatics and machine-code to map out coordinates, structures, and relations. Always about the machine. upping the ante that Warhol set when he completely invested himself in the Hollywood-celeb-producing machine and its refrains and innuendos as a basis for his work.

tim jaeger


I would enjoy hearing more about your ideas on "organicly soft
tri-dimensional space". It seems to adhere to my evaluation that
art now is
a matter of visualizing aesthetic sensations linked to
technological and
sexual concepts. Art-tech is essentially a mental prosthetic
then for both
the machinic and the corporal domain. The function of this
prosthetic (art)
is to create, by extenuation, different technological-aesthetic

Specifically in my case, my recent computer-robotic assisted
paintings are
an investigation into the sphere of the pan-sexual under the
conditions of
what I call "viractuality" (occasions where the virtual and the
merge) - circumstances which are not quite historically
conditioned yet. To
do this, my computer-robotic assisted paintings focus on an
between the virtual and the actual (the viractual) by putting
the classical
canvas in confrontation with informatics. But why?

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