A lacunae world of incessant transmutation has emerged in art and established a seemingly unrestricted area of prodigality which I identify as viractuality. With the increased augmentation of the self via micro-electronics feasible today, the real co-exists with the virtual and the organic fuses with the computer-robotic. Consequently, I am interested in a new interlaced sense of artistic viractuality which couples the biological with the technological and the static with the malleable. As such, viractualism strives for an understanding and depiction of an anti-essentiality of the techno-body so as to allow for no privileged logos. Here images of the flesh are undone by machinic viral disturbances they cannot contain. Here thought detaches itself from the order and authority of the old signs and topples down into the realm of viractual reverie.
The concept of viractualism is concerned with the matter of visualizing aesthetic sensations linked to techno-sexual concepts. It is essentially a visual prosthetic then for both the viral machinic and the viral corporal dominion - virulent circumstances which are not historically conditioned yet.
Very essentially, the foundation of viractualism is that computer technology has become a significant means to making and understanding contemporary art. Consequently, I hope that we will investigate here art (in its many forms - including sculpture, performance, painting, video, architecture, literature, net art, and more) which addresses the merging of the computed (the virtual) with the uncomputed corporeal (the actual). This merging is what I call the 'viractual'. Hence the term "viractualism".
This concept of viractuality - and viractualism - emerged out of the Ph.D. research I conducted in virtual reality at the Centre for Advanced Inquiry in the Interactive Arts, over in the U.K. (*1) It begins with the realization that every new technology disrupts previous rhythms of consciousness. It is central to my work as an artist. In fact, for me, the viractual realm is now the authentic domain of art in light of the information age.
This space can be further inscribed as the "viractual span of liminality" - which according to the anthropologist Arnold van Gennep (based on his anthropological studies of social rites of passage) is the condition of being on a threshold between spaces. (*2) I wish to suggest that the term (concept) "viractual" (and "viractuality") may be a concordant conception helpful in defining this third fused inter-spatial place of the emerging viractual arts which is forged from the meeting of the virtual and the actual.