Summing up the chapters, it is suggested to assert without reservation that the sensory presentation is crucial for the interaction of the audience. Simulation iconicity, as an interface, and as a zone of communication, fundamentally designs the user's interventions in the midst of itself and thus, moreover, also what is fed back into the underlying mathematical model. What arrives there is processed again and wrapped in a sensuous dress. The iconicity (broadly understood) thus has a regulating effect in both directions – towards the audience and towards the program – without exhausting itself in this mediating role. Simultaneously, however, the iconicity that comes with interactive simulations is always installed in the position of privilege.
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