Abstract symbolic representations versus aesthetic animated representations

As a matter of fact, this representation method using mental animated images, complementary to the abstract symbolic representation method, marks a return to the very origins of humanity when the prime pre-hominids, standing on their legs, wanted to tower above the bushes. They became visual animals and our afar ancestors’ first attempts to pictography translate powerfully the desire to represent reality as it was unfolding in their mind and before their very eyes. However, they could not express symbolically both their abstract thinking and the reality as perceived through their emotions and their feelings at the same time. As human beings, they could also feel the desire to express the beauty of their emotions in all its static and dynamic dimensions. These human beings also appreciated beauty and were attracted by it. They did not have the technological tools to animate the rocks and stone tablets on which they were drawing. They could only produce static art. It was impossible then to represent both abstract ideas and aesthetical perceptions at the same time. They had to make choices. Through words, they could communicate only ideas and very little aesthetical emotions. They had to progressively abandon these static images, too restrictive, unable to translate all the complexity of their thoughts and human emotions, and develop instead abstract conventional signs detached from sensitive reality such as our static symbolic writing methods.

Consequences on the development of human societies

This was not done without consequence on the way human beings approach reality. With rational thinking and writing, symbolic languages climax. Art and aesthetic emotions are more and more relegated to a position of secondary importance.

«One of the main consequences of alphabetization and book culture was the drastic desensitization of our culture, for which art creation has attempted to make up. Books are not only this recess zone for words but they also reflex the total dryness and austerity ever ventured by mankind to codify his experiences and express his knowledge. (…) It is clear that the TIC (Technologies – Information – Communication) benefit to the return of the body, reset the motion of verbs and add some flesh, images and sounds.» - L'intelligence des réseaux, Derrick. de Kerckhove, ed. O. Jacob, Paris, 2000, p.10


The solution proposed : go from text to animation.

Unimasoft is committed to resume this emotional and aesthetic expression of the body. Give back to the body its semiotic function by restoring the other animated and aesthetic forms of representation, along with the symbolic and abstract forms indeed. To express something means to express ideas and feelings generated by one’s own thoughts. This new language form would allow the aesthetic and sensitive imagination to find a technical support that was lacking in communicating this imaginary perception of reality. Of course now that we can animate images and produce stone tablets capable of motion and modulation, it has become possible to retrieve the original writing project. We would thus benefit from this complementary representation method added to the one that has dominated human history from the beginnings. 

Nowadays with cinema, television and computer, mankind has gained the means to animate images. We can now revive the primal form of representation by converting text into images.


Past failures

Many firms in the years 70 or 80 have tried to convert text into images. The results are inconclusive… Indeed, it is not a question of translating ideas into animations, but rather finding the equivalences and correspondences. Ideas pertain to the semantic field, while animation belongs to the aesthetic field. The former aims to express truth while the latter aims to express beauty..

Winning conditions

Unimasoft has formulated the question differently : From a general theory of animation, how to convert text into animation? Three conditions should be fulfilled: 

1.    An adequate formulation of a theory of animation; 
2.    An appropriate writing system compatible with this theory of animation; 
3.    A distribution and marketing system capable to offer to the various cultures this new form of representation.

Such a project represents a large-scale international enterprise entitled Visumation. The fulfillment of this daring project could contribute enormously to the evolution of mankind.