I say this in response to the implicit demands of the digital medium ... in response to the available resources. If an economy of means demands the full use of that which the system provides, then let us economize!. Let us make an extensive use ... which does not sacrifice its potential to our conventional debt to the real.

All transpositions of real events into virtual space, or of digital entities into real space, imply a waste of the digital medium –if we are referring to poetic or aesthetic functions–. The former enter the virtual space with the typical restrictions of physical reality or with well-known codifications; the latter lose the distinctive characteristics stamped on them as "products" of the original medium as they leave it (even in those provisional "exits" such as a video or an impression of VPoetry itself).

Genesis, development and appreciation of the work should be totally incorporated in digital virtual space.

This idea-force can be found in the very foundations of the project under discussion: the Digital Domain of Works of High Entropy, an "encompassing" field of all the unified phenomena of creation, open to global connection through networks and, fundamentally, to interactivity; thus all its "contents" are constantly being reformulated, in changing arrangements and adapted to an arborescent and, above all, an interventionist "reading" of the text, not limited to a simple sensorial acquisition which leaves it "intact".

We can make the following suggestions:

(i) Effective use of Virtual Reality as a preferential medium, due to its optimum capacity to interactively manipulate digital phenomena.

This means that, in dealing with a project in which the "virtualised" subject (with its corresponding immersive interfaces) should digitally navigate the domain and not only count on an approximation to the real physical space of the transposed digital phenomenon, by not being able to operate any other technique with the necessary freedom of VR in the integrated manipulation of the whole digital process, this will become a key and irreplaceable factor in the project.

(ii) Implementation of a 3D graphic interface system, able to direct an open navigation through the whole domain, recognize and integrate the immersion interfaces of VR machines and provide the required applications.

In other words, faced with the usual 2D graphic interfaces used by everyday operating systems, in which commands, documentation, etc. can be accessed through superimposed "windows" or "pull-down menus", this same access will be approached from "sub-spaces" within the domain, to which one will turn with the aim of completing a determined task or command. This will permit the introduction of a long series of special operations which executed and visualized in 3D, will create a totally new creative and design practice. We could refer to, amongst others:

a) Availability of creative tools and editing of entities to receive instructions and/or acquire the data required through gestural commands (e.g. hand-movements) and aural (voice recognition), instead of the traditional methods of written commands or icons accessible by 2D pointers.

b) Simultaneous availability of non-overlapping n texts* through search, replace, etc., or through the activation of additional versions (random, chronological ...).
(*in the general semiotic sense –not merely verbal– as: "the result of the coexistence of various codes or, at least, of various subcodes" - U. Eco).

c) Spatial "unfolding" and "folding" of texts and the possibility of semantic, morphological, phonetic, etc., links. A distance detection routine, for example, to activate the linking functions which refer to or call up other textual sectors related by some form of syntactic, semantic, etc., mark (a similar process to "associational memory", in which a "fragment" recalls the "whole"). This behaviour "launches" an opening of the text similar to the complex arborescence characteristic of the Global Semantic Universe.

d) Another vastly important function is that which activates the solicitations of a signic unity by moving it in space, in such a way as to make evident through its new position the connections which act simultaneously in any of its aspects and which conventional syntactic ordering, with its tendency to linear semanticity, represses. Etc.

(iii) In the first case –through some codes– production of the following: literature (VPD: Virtual Poetry Domain), 3D music (virtual aural languages), 3D digital visual arts (morphology and dynamics of Vobjects), general signic, always in relation to a probable institution of code.

(iv) In the second case, functions of the unification of domains:

a) At the level of the occupation of the same sub-space or convergence of diverse processes in a particular zone of digital space, but fundamentally,

b) At the level of an integration of diverse texts with the aim of semiotically producing a universal text, in which units from numerous codes and languages can coexist, as occurs in the overall processing of information in the human brain*, and as shown in the Vectorial Theory of Semantic Fields - J. E. García Mayoraz.
(*in which many networked routes are activated through neuronal connections, showing the competence of all signs, even if from the "furthest" field which for whatever reason is connected to the unit which initially enters the cerebral "space").

(v) All contemporary production, as a result of countless contact points –be they predictable or haphazard– with the world which anticipates it and principally with the rapid derivations which continue from it, no longer resists its role as the support of a system which refuses to consider modifications, expansions and reintegrations of the material it contains, without this implying a total reconstruction, i.e. a new "making" or fabrication (e.g. the addition of a single letter, image or note demands a total reprinting of the book, video, CD ... and the discard of the preceding edition).

This constant process of re-elaboration which transforms all the information in a "living" organism open to interconnectivity, requires a domain, at the moment possibly digital, in which all the activities of information production are developed in an integrated manner, allowing for the renovation and updating of the materials it contains, seeing that the process of gestation, emission, reception, critique and re-alimentation of messages must take place inside it, without any transposition to external media –which lighten the burden of the "specific weight" of that which was digitally conceived–.

DDWHE may appear to be an excessively ambitious project. It is hard to imagine any other system which, without contemplating the listing attributes, could successfully achieve the fundamental aim of smoothing out future aesthetic creation.

Towards the Digital Domain - Ladislao P. Györi - Buenos Aires, October 1995.