The effects in Warp are produced with the software Image/ine (written by Tom Demeyer) and consist of twisting segments that are "time-warps" and endless multiplication through "slit-scan" processing. What happens in the twisting is an inversion of time into space, because the temporal course of the movements performed are presented spatially, so that we can say time is enveloped, immersed in space. The visual result of slit-scan presents an endlessly multiplied view of Steina that builds up to a multi-perspectival view, not unlike Futurist painting.
Yvonne Spielmann © 2004 FDL
However, here the sculptural form results from real motion in real time that in slight delay is fed into the digital system and transfigured into a freely moving object in space. It becomes evident that the digital computer emulates the analog. Needless to say, the spatial presentation in itself multiplies when the image sculpture travels through a series of screens. The non-fixity of the digital matrix potential, in a sense, gets frozen and fixed, because the sculptural image form encompasses time and linearity, but does not act it out. It only exhibits the potential of temporal expansion, and it does so in another dimension, which is space. In this regard, the theoretical concept of the digital - to optimally present in simulation any direction and multiple dimensions - has been turned into an aesthetic "perceptual environment."