Engaging on a perception from a material, electronic, symbolic or digital environment, implies that the participant assumes itself (I, perceptive unit) as an hybrid component of an interactive construction in which the subject and the object are arranged on a similar axiological plane.

Thus, the identifiable cause of a phenomenon, which as a device (virtual or material), must show the complexity of what is perceived by the subject.

The virtual world does not simulate the natural world in this way (or does it?) from a perspective in which the images are semiotized as the perception of what it is understood as “real”.

In this study of “reality”, the undifferentiated understanding of time and space can be considered an important basis for the emergence of a new perception of nature that is expressed through digital means.

Thus equating (coincidentally) in the viewer, ideas of time and space on which reality is sustained in a visual articulation of the world, interconnected at times in an (il)logical way. Thus, the perception of time and space probably arises from an effort to visualize and formalize objects.

This unique form of spatial perception rises in a sense, from everyday life and artistic expression, giving rise to still/cinematic images of a homogeneous and infinite continuum in which space and time are omnipresent and mutually (mutably) sensitive parts.

For its author, Mylene Zozaya Tinoco, space could not be perceived independently of the element of time or the objet trouvé that makes up the perception/convention of what is “real”.

In this way, Untitled no.11 (both chronological and conceptual designation) is simultaneously a computer flow and a symbolic process in which (with a certain ubiquity) the “I” and “nature” are presented, as stated by its author, “as a digital dispossession found by the side of the road or like a rose in a public garden”.