To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.

The research on vision machines was mainly conducted at the Stanford Research Institute in the US. So, we can say that the events that took place in the Kosovo War were a total confirmation of the thesis of The Vision Machine.

Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.

The simulator is the stage in-between television and virtual reality, a moment, a phase. The simulator is a moment that leads to cyberspace, that is to say, to the process because of which we now have two bottles instead of one. I might not see this virtual bottle, but I can feel it. It is settled within reality. This explains why the word virtual reality is more important than the word cyberspace, which is more poetic.

Look at the Intifadah in Jerusalem. One cannot understand that phenomenon, a phenomenon where people, often very young boys, are successfully harassing one of the best armies in the world, without appreciating their freedom to move!

France and Germany were opposed to a maritime blockade of the Adriatic Sea without a mandate from the United Nations (UN). So, what we witnessed in Kosovo was an extraordinary war, a war waged solely with bombs from the air.

I am of course thinking here about new planes such as the Sukhois. There is very little discussion about such developments but, for me, I am constantly astonished by the current developments within the Russian airforce.