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At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in ...