The aim of this work is to analyze and compare two-dimensional image immersive strategies in artistic production before and after the appearance of digital image. From this moment, the numerically codified images have the capacity to be invoked in a practically instantaneous way and in any order, a process that previously only could occur in the brain. The images are part of a data space that can be navigated in a continuous or discontinuous way. Direct data access causes discontinuity, so that continuity is a condition that must be constructed creating dimensionally coherent positioning systems. In this context, relations between new immersive systems and their predecessors are analyzed, in the fields of screens, vision machines and image production techniques; and differs from works that reconstruct the original registered space and those that create new space concepts, by means of the physical displacement conditions reinterpretation, time spatial dimensionalitation and recombinatory techniques supported by databases.