So one obtains a framework, a model, a method and an instrument of production of single events from their non deterministic character, non repetitive and enriched by perception, the representation and the emotion of each interactor. For that purpose, it is necessary to start with a simple relation between an actor and a system and to find the means to communicate between them not only in term of communication of state or information but of reciprocal regulations and in real time. It acts to some extent, to take an analogy of the mirror, as a passive instrument of thinking about an image to a mirror which returns part of its image that one can enlarge without deforming, with a mirror which gives another indication of your image, as a double which perceives the impression that you want to transmit to it as to the public, and not yourself. In term of repercussions on the interfaces of the communicating set-up , nothing then prevents one from imagining a dialogue of collaboration in which the purposes will reflect part of yourself (personalisation) and part of the impression that you wish to give of you outside (adaptation).
The Mises en Sc nes project opens up a great potential number of application, which concerns potentially art, cognitive sciences, man-machine interfaces and industrial control. The Mises en Sc nes project allows the representation of new types of interactive devices, truly multimedia.
The relationship between the partners of the spectacle is modified. The contents of the spectacle appear at the same time as its form. The new relations with space and the public make it possible to consider scenography in very varied spaces multimedia: interactive events, teleconferences, exposures, museums, theatres. In the field of cognitive sciences Mises en Sc nes is a platform for study of communication in the everyday life whose multimedia spectacle represents a particular case. The system should improve the means of dynamic study of the concept of creation and improvisation, of analysis and comprehension of human emotional aspects starting from varied sensors and the development of possibilities of non-verbal interaction.
Artistic expression and daily expression reflect one the other, nourish one the other. Some examples: Moli re, Brecht, Becket in the theatre, Stravinsky, Dvorak, Armstrong and folk music; Martha Graham, Cunningham and the introduction of industrial body gesture into contemporary choreography. It is not chance that the terms used are the same. We frequently intend to speak about the scenario of everyday life when it is a question of describing typical situations of life of every day. We often employ the word theatre to indicate the place of such or such topicality. The means of expression are often common. To quote only one example: the descriptive industrial one, that of the codes of conduct or the codes of publicity, the advertising images use the same laws of colour, the same symbolic system of lines and forms as the plastics technicians. It is the use of the same semantic fields which allows the relation between the opera and the witness . The metaphor of the scene is based on the stylisation of the daily means of expression. It is a notation symbolic of everyday life. The scene of the life to the scene of the spectacle, the distance is often not very large.