To a behavioural Design, an other perspective for the 3D perspective of image synthesis to be immerse in new virtual worlds and to settle in its proper life.

The constraint of the art and the art of the constraint

Having taken the point of view of the organisation and the cybernetics according to a global vision of the process, the point of view of the numerical image used can show us the local interest of the process insuring its to become to short and average term.
The numerical virtuality forms from that there exists a support allowing the memorisation or the transfer of coded numbers with its material system and logistics of reading-handwriting. This coding of numbers, characters, pixels, colors, vectors, curves, textures, orders and instructions finds its representations in the numerical image under different forms and different modes of expression : images of objects, of environment and framework of life, of objects in their environment and framework of life, of texts (listing, program, dump memory), of data : calculated or direct measures (table of orders and control, table of parameters, choice, decisions, actions, database, 2D and 3D graphs), of presentation (PreAO, PAO, database, multimedia), and of representation (CAO, DAO, CFAO, CAAO). Disciplines assisted by computer (-AO) are going gradually to be assisted by the interactive multimedia (-AMMI).
If one observes the progressive technique development of representation in 3D such that :

stereo images :

stereo television images : left image separation and right by alternation in the course of the sweeping (60 images/seconds) and visualisation with appropriate glasses to liquid crystals playing the obturator role by rapid commutation.
the holograms :

lithographic printing of the depth :

The numerical Virtual allows generally only the 3D representation in 2D images, fixed or animated, accompanied by texts, sounds and movements.
The different modes of expression and supports of representation and presentation are following :

on screen or on paper of typical white and black graph (with its marks) ;

in the form of images of grey or colors;

by a text (program, scenario, script) describing forms, the movements, colors, textures and lightings as :

"

in 3D visualisation with three plans of projection on faces of the cube representing the 3D world (front, side and top view), and allowing creations and modifications of forms, colors, angle of vision, scale and lighting ;

by setting internal structure integration, visualisable with surfaces more or less transparent, particular forms with their textures to smooth appearance, granulise and their reflections more or less metallic, vitreous or stony+;

by setting in volume and in the stage, modifiable objects coming from the libraries, with their wired representations, to hidden faces, to shadowed or smoothed facets, their lightings and their shadowed rendering ;

by the placement in environment and in framework of life (integration in a video film)+;

by setting in interactive database multimedia, integrating the totality of information with pondered and valided links of the functions and under functions of the process of idea, simulation, realisation, manufacture, distribution and reorientation, and with artificial intelligence engines of assistance with the decision (to make or not to make a model?) ;

by setting connection with the concrete world ;

by animatting virtual objects with physical function

Fan-tasy, a gelicopter inspires a desktop fan to reach its full potential
(Latt Menees, Mississippi State University, north California, USA).

by animatting virtual objects like animals

Artificial Dolphins at the Central Research Laboratory of Hitachi Ltd (Tsuncya Kurihara) in Tokyo, Japan, where simulated life forms are animated by physically based modeling in real-time and are attributed to animated still objects as cars.

by capturing human motion and integrating it interactively to animate virtual objects, animals or characters.by special effects on video movie (lipsing, motion)

Smart Spaces of MIT Media Laboratory where the user pilote in real time,
through external fixed or tracking movie camera, a virtual bird in a video show.

Breath, the red and yellow M&M characters hold their breath in order to turn blue
(Lisa Rowan, WVS, Oregon)

Babe, the Making of, that the challenge was to give animals realistic human emotions
(Rhythm & Huees Studios, Los Angeles).

by giving virtual actors reaction

Real-time responsive synthetic dancers and musicians with an system for improvisational computer animation incorporating dancing, music speech and background sound
(Eric L. Singer, Ken Perlin, Clilly Castiglia, Media Research Lab, New York University).

by doing as it were the theater continue

Cyber Comedy Live, when the capture motion gives the synthetic actors the live in real-time
(Modern Cartoons).

by creating a land of fancy and legend

DragonHeart of Industrial Light & Magic where ILM developed to achieve lip-sync new software
that allowed the animator full interactive control of lips, eyebrows
and other facial features for Diva or monster character.

by chating on the web with interactived and programmed real time characters.

OnLive Travelor (Trudy Nicolay, Brian Blau, Steve Dipaola, at Cupertino in California)
at the Digital Bayou in "Utopia" booth at Siggraph 96 in NewOrleans,
where animated caracters on-line on the Web, who represente speakers in interactive conversation,
have variabled parameters to define there behavioral design
(forms, colors, expressions, personalities, temperaments).

by imaginating new virtual worlds to find new real social worlds

A new World of MBK where actors used seats and helmets to be connecte
in live and real time in a new world.

by creating with collective intelligence in connected worlds

Exploration Space, a virtual environment that allos users to enter into two different rooms
and virtually interact with each other in real time
(ATR MIC, Japan)

by setting in action in the concrete world allowing an interactive displacement in this virtual world according to the six degrees of liberty (three in translation and three in rotation) with the usage of a "polyagogic ship" favoring the interactive simulation, as well as the setting in depth, in space, in abyss, by the sensory-motive immersion.

Then the Virtual is more than a tool as computer : it is also a non material world where all possibles are possible by imagination and praxis.

Perspectives to short and middle term

Children do not hesitate to carry a helmet of numerical virtuality, to thread a data glove or a combination (body-suite), or to climb on an interactive platform, and they have very well understood what it concerns. Technical problems just begin to be resolved : possibility of stereo on helmet by two screens and a binocular optic or a screen and a double alternated hatches with angle of vision for each eye and synchronised obturation, where the non total immersion provokes eye-sight troubles (sickness, dizziness) and problems of utilisation in collectivity (permanent adjustment following the user) seems to be finished.

Manufacturers have already prepared the future, and methods of work profitable begin to stabilise : the great projects will be made on work-stations with simulation on helmet or in hall,

and the local adaptation, the control on site will be made with the help of a portable with color screen containing the last version of the project, or with the help of a portable on-line to the telephone system allowing the update in real time or an adaptation to the situation with an immediate solution of the problems by permanently connection with the different consultants of the project.

It's an actual fact : the book or the interactive virtual folder is already in the imaginary of the children, in their own virtual mental.

SidKids, Siggraph 94 If the apprenticeship of the numerical Virtual is made generally with pervert manners by games, the sex, the advertisement and films of violence with special effects, it is without doubt because the teaching has not known again to integrate it rapidly in its programs and to seduce the youth, the ascending generations. It is also because the technique distributed through games, the sex, the advertisement and films have not seduced the professionals that have seen in it puerile ways, poor profitable and precise bit to exploit them to their profit in their owne domain. But in these development may be there are first sensibility, complexe strategy, interactivity, personnal score, more the dynamics : the dynamation, the perception and the control of the dynamics who develope the sensorium and the anima, the understanding of the phenomena, that we never find in standard education who is oriented to the development of the spirit or the body. May be only in arts but not on aesthétics or on history that use often only the speech not the image. If "At the begining was the speech, the speech was the action and the action was the light" and if "God created human in his own image", then, beside the religious theological or philosophic notions of God, if the "light" (of the world) create the virtual image as the "light" (of the human) create the mental Virtual, his own imagination of his imaginary, may be the human could to meet with his anima, his own inside nature and his own outside nature, the notion of social world, the anima of the nature. May be it is an other more human fashion to understood the notion of God and resolve.few problems on the earth before adjourning it for an eternal Virtual.

Nevertheless many indices are significant

the youth spends a lot of energy, intelligence, virtuosity and, all games are not so idiots that one wants well to tell it and the strategies multi-used players are often more complex, more reflexive and more efficient (virtually) that those used in the standard life ;
games to payment by coins or by cards of" credit "(number of parts, units, or duration) with bonus (gratuitous parts), the television to meter with precise billing, are techniques of distribution of services adapted to needs ;
needs to learn are very important : for example, the simulation mechanical workshop (virtual tools utilisation for simulating machines), the realisation of matrix, the presentation of the mechanical principles (engine), the surface and material manipulation (elasticity, force of twist), delicate assemblages, the movement of robots outside of the chain of production, the manipulation (with or without the forces or sensations feedback) with different scales (molecular, cellular, human, environmental, spatial) ;
needs of pluridisciplinar applications are numerous : for example in architecture of the Landscape where of the tree (nature, ecology) in pass by the 3D architecture (building, city), plans (cadastre, geography, town planning, environment) and grinds (geology), necessitates a process very complete of the idea to management; a technological integration in an environment constraining as the installation of an elevator for paraplegic in a classified monument, imply a research of solutions, compromises or viable solutions between constraints gathering the architect, the curator, the physician all as much that the mechanics ;
the notebook of check "small plump", invented there are close to 20 years, where a signature validates both a contract of work, social costs and a salary, arrives as extreme situation ;
the virtual enterprise, independent professionals and unite in telematics networks, begin to organise to form teams of idea and realisation of projects ;
manufacturers of the game in US., tempt to obtain close to 50% of profit on the educative market.

To ask a lot of questions

The question puts in term of adaptation of a population to an other for to collaborate and create a new cloth or a new social texture, therefore in term of communication where each turns and goes to the other, and where the way of communication is the support of the Virtual, the numerical unimedia.
Then why not to construct a world, to construct worlds, to construct its own world, to live this world, on the moment or differed, objects and subjects, relational and functional, equipment and proprioceptif, structural, organisational, and phenomenological, that it is determinist, teleologic, or erratic, stochastic, chaotic or systemic ? But this world is not our own image ? a mirror of Cocteau for the company as for ourselves, a passage of the life to the death for an other life, an escape in the past or an escape of the past ?

A answer is possible by questions or exclamations (synthesis of some posed reflections in the course of the conference on the virtual reality at Geneva) : Why not to leave to seduce by the image of the magic and the magic of the image, the magic of the game and the game of the magic, while nevertheless the image in the game loses its senses in the profit of the reflex conditioned meadow and the immersion in the Virtual provokes the anaesthesia of the reflection ? Is this an other "drug of the people"? The image seeks an echo while the game researches a clientele! The computer confuses with the image of the video game that fathers reductionist concepts and a vision without look! The Video sphere is for the look but no the creation and the action, a market of the visual, the football culture where, rather than to buy with real information, one sells a pretense on virtual catalogue as an assistance with the decision that for to make better sell confuses a visual cost notebook and a notebook of the visual costs! How to answer to the paradox : in the virtual reality, the real is beautiful but inevitably the image, but in architecture the image is beautiful but inevitably the reality ? Then has one to make to resemble the virtuality to the reality or the concrete reality to the virtuality ? The virtual reality is the almost true, the no entirely false; but is the almost true of the almost true the almost true or the totally false ? If the photography of synthesis is good, is the project good ? Then is the computer an end or a way ? Is the computer important by what it is, or by this to what it serves, or by what one could find or create with ? Is it necessary constraints on the visual similarly typical that the law on the untrue advertisement ? Or is the lie rigor as the rigor is a lie ?

But in fact, this world is it not a double mirror where coast together the realism, sometimes hyper and so sure, the non-realism, and the trans-realism that, to leave from the knows of the realism, project us in the imaginary and projects by idea and creation our own imaginary in the concrete of all days. Why the composed music necessitates always an orchestra to create it, to interpret it, to concretise it ? This numerical Virtual that by its cybernetics double mirror creates a crossing or transition place, a resonance place by the multimedia reasoning , for finding us with the handicaps of the concrete, there where arms are not that pistols of cow-boy of operetta but those of the stylet, the pistol to paint, to construct, to compose and to create, there where the "brush of ubuesque merdre" serves to problematiser, to reflect and to solve.

But solving to act from now

Indeed to give good conscience, it is always possible to regroup between teaching colleagues and industry sponsors ; there to put important means and to organize annual training's for 8 to 10 well silvery persons, or to accumulate close to 700 students by week in a room of 13 low computer positions of range stations, two hours by week !

And even if the numerical Virtual can be a Troyan horse for the concrete and the abstract, the concrete of the numerical Virtual being cleaner and sometimes easier to manipulate that the concrete or the concept himself, finally a child can write and paint on walls, without parent neither personnel for cleaning, neither "detergent to clean it". To the risk to be narcissic by diving alone in the Virtual, the projection of it-self among others gives to reflect and sometimes more than in the concrete.

Will one have a day the courage to bring to everybody, tools of the future in equipping ours amphitheaters, in order that they are not left the temples of the vocal and linguistic Virtual, with the current multimedia equipment, indispensable to the polyagogic communication of today associating the concrete, the abstract and the virtual.

New aera of the production of image that reflects an experience and a conscience, the numerical Virtual becomes a means to discover others relationships between the subject, that thinks, and the object of the environment (and not only the distraction).

The science, born of the conceptualisation of the concrete for purposes of necessity to imagine it, has been preoccupied with the technique by need to understand the physics. Its rationalist's simplifying and reductionist methods, occupying the objectivation of facts, allow it to qualify, experimental or exact sciences, and leave to human sciences the care to manage the subjective, and leave to letters the imaginary, the poetical and the fiction. Arts, ahead to confront the subjective of the sensitive and the objective of the ground, have sought the inspiration of the comprehensible of letters and the sciences and its own observations of the nature and have based their own reflection on the permanent confrontation of the theory and the practice. If arts and letters have often made good spares, art relationships and sciences are incontournables :

The Arts closed to the concrete have appropriated Sciences, technologies and Letters to perform its imaginary and its reflection.
The Sciences to evolve in keeping their efficiency have need to introduce the observer and its different points of view in the process and to widen its models to a more visible nature, more complex.
And The Letters correspond to the needs of scenario, indispensable to all projection in the future of a lively world, but also partitions in language of order or programming of the action and the interactivity to express and communicate ours thinks and our imaginary.

So knowledge and knows to make for an alone human ? The true problem is therefore that the teaching and the training at one time.
Then how to give the time to the time in order that our time is in time
perhaps tempting ?
May be to shorten the time by living the knowledge and the know-hows in virtual space.

The PolyAgogic Cyber Space : A project to give few answers.