Many novels and films make mention of the virtual reality today. Virtual reality system is new technology that creates another world inside of ‘cyberspace’ through computer technology. It creates new sensory circle like real world, and resembles dream and illusion.

However the progress of science and technology is very rapidly, so virtual reality will not be held imaginary or fictional world for ever. Virtual reality will have the sense for real like actual world near the future, then it is necessary for us to reconsider about sense of human being. We have to re-define the former conception of identity and originality. We should modify the conventional conception of firm self or absolute reality, too.

This is the hyper realistic view of the world, Postmodernistic thought acquainted us with.

Digital technology applied to image arts has generally been discussed in an extended context of conventional theories on photography, film and video art. Or it has been thought of and used as merely atool to enrich conventional image technologies.

The thesis, “Perception and image agents”, attempts to find a path to completely different approaches using digital technology in the image arts and is a call for interdisciplinary approaches in this field.

Description of the perception of space and motion in image arts largely depends on new accomplishments in scientific fields such as Cognition science, and research into on Artificial Intelligence and Artificial Life. J.J. Gibson’s ecological approach to perception in particular inspires me to develop new thoughts. His original thoughts had no opportunity tobe applied to computer-generated images while he was alive, however. They should be interpreted in connection with his “affordance” theory and computer-generated space.

Also, Patricia Mae’s new developments in Al and ALresearch have given me great inspiration in traveling in a mysterious digitalworld. So has Jonathan Swift’s Gulliver’s Travels, which l read in my childhood and quoted as an episode in my thesis.

This paper, referring to Cinéma by Gilles Deleuze, discusses the problem of the relation between the real and the imaginary, the objective and the subjective in the cinema and the “new media”.

“Classical” Hollywood movies represent the sensory-motor links between the situation and the reaction that the characters make against it. There the belief is established, as in the “natural” perception, that the objective and the subjective, the real and the imaginary are distinct from each other and that the cinematographic image is basically real and objective unless otherwise marked. This belief keeps spectators from realizing falsehood of clichés and seeing intolerable things as they are.

“Modern” movies since Neo-Realismo present memories, which are preserved in themselves, and, by making the image virtual, surpass the distinction between the real and the imaginary, the objective and the subjective. Thus disappears the belief in the reality and objectivity of the cinematographic image, and spectators see intolerable things as they are.

“New media”, on one hand, have a tendency to break down the false belief in the reality and objectivity of the image, but, on the other hand, have a tendency to intensify that belief and make it subsist in a more subtle form.

When we look back to the history of video art, its relation to TV has become an important moment.

The word “Television Art” came to be heard in the first half of 1980’s when the relationship between video art and TV have begun to be reconsidered. We are now in postmodern condition which the distinctions between high art and mass culture have become blurred. I think that we are in the time when we can assert TV as art-form, and then video art supports the deconstruction of Arts TV programs and might be deemed avant-garde aesthetic practice on TV.

I consider what Television Art means, making reference to the transition of the relation between the world of TV and the world of Art (especially, video art) from the following issues and historical events:

〇 the idea of “TV-gallery/TV-exhibition” by Gerry Schum;

〇 A brief history of video art in U.S.;

〇 Monitorism and Channel 4 in the history of arts television in Britain;

〇 A international video exhibition “The Arts for Television” (1987–88);

〇 DocArt(Docunentary and Art);

One reason that the film industry is so small is that film makers have not been able to be innovative because of many barriers. One of the biggest barriers of film making is the huge budgets required to make a movie, which reduces the willingness of producers to take risks or to attempt to implement innovations the way Stanley Kubrick did. But digital technology may push through some big changes.

1995 was the centennial anniversary of the motion picture. In that memorial year a Disney film called Toy Story was made without using optical tools like lenses or cameras. Instead, it was a full digital movie, the first movie made only by computer. Toy Story, a joint project of Disney and Pixar, is not a studio-made movie but a desktop-made movie. Although most movie-making is still done with expensive production facilities and equipment, digital technology is expected to reduce costs rapidly.

The production of a film generally is limited to specialists such as directors, technicians, actors, and the film crew, who must attempt to deliver what the general public wants. However, to make the business effective and cohesive, attention to the needs of audiences must be put into proper balance with the desires and training of the production teams. This is the function of the groups responsible for distributing and marketing the product, and their involvement is the basis of the film industry. Several decades ago, the relationship between producers and moviegoers was monopolized by studios and distributors. Studios had everything: human resources, facilities and funds. But now, digital technology is cutting the costs of production and the network, the Internet, allows independent filmmakers to distribute their work by themselves.