(i) In order to produce: a) fully animated demo files and b) source files (containing 3D meshes) compatible with VR aplications development software, the design of vpoems and correlationals (visual systems produced around the dynamic of virtual unitary objects –recognized by their color or thickness– proposing an extensive sense of what could be consider as vpoetry, that of geometric structures) with advanced CAD and animation software.

(ii) The use of those programs (also known as VR authoring), real time computing hardware (ultra-high polygon rendering performance) and interface devices (HMD&Track, spaceball, immersion probes, etc.) for the development of an interactive environment that supports vpoetry 3D models and let them to be "manipulated" appropriately, modeling its behaviors with a large series of reactions like objects in the real world. For example, a VP model could react by impact, presence, shot.. spreading its structures, linking with other models within the environment, morphing its geometry into alternative models, playing sounds or setting particular colors in response to certain semantic attributes, etc, etc.

(iii) The opening of this domain "inhabited" by vpoems connected to the Net. This will provide remote access from any computer to other established as the "base"; "sharing" the Virtual Poetry Domain with whoever puts on a head-mounted display, "telnets" to the system, wires to it and takes a "cyber-reading-tour". You could move about the domain by gesturing with your data-glove, viewing the texts as they are generated (rendered) with the information stored in the VP computer. You could interactively specify "flyby" paths so as to "float" above the vpoems to "read" them from many angles, reaching out to "touch" them, etc. This sort of wired process is not available yet, but undoubtedly will be in a few years, since the field of VR and the Internet are rapidly expanding.

(iv) The semiotic development of a universal text –electronically supported– with many codes of different segmented "continuums", from within the digital domain and by means of a large series of tools specially designed for this purpose; this implies the use of a new graphic 3D interface. That is to say, in the previous points I mentioned, vpoetry models appear in the domain after they have been made up with the use of CAD software. It also happened with the models here shown in still images. Thus, creation process takes place outside the interactive environment where its products would be settled at last. On the contrary, the whole system may not only permit the discernment of aesthetic qualities of previously inserted models by an "immerse" reader but also the entire series of operations to internally produce these virtual works by an "immerse" creator.

Virtual poetry seems to distance from all the other kinds of poetry creation developed and contained in real "physical" space (physical supports) and/or in a two-dimensional space (here I also include "traditional" hypertext, which although uses a digital support, accomplishes 2D or non-vectorialized procedures).

As we have said, VPOETRY = VR + POETRY; the production of texts with poetic function within the virtual reality support. It is very important to distinguish that even if a VP image is static and it seems to be such a visual work, VP exceeds the field of visual poetry because it codes many other aspects of the virtual phenomenon. These studies and developments related with VP allow to "gradate" (in its semiotic meaning) the VR field with respect to all the possibilities of languages, and then, to other codes that could be produced within the VR environment.

Some comments about the digital domain - Ladislao P. Györi - B.A., May 1996.