[-empyre-] nechvatal's viractual

["Tim Jaeger" <tim_in_flux@hotmail.com>]

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



nechvatal:

> 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
percepts.

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
actual
merge) - circumstances which are not quite historically
conditioned yet. To
do this, my computer-robotic assisted paintings focus on an
interface
between the virtual and the actual (the viractual) by putting
the classical
canvas in confrontation with informatics. But why?

_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com