It is the power of emotion to interrupt and suspend time and to create a fluid space to site and "organize thoughts" that allows the three-dimensional woman to exist outside of history in the utopian territory of the visual (131). She is not in opposition to but apart from the arrow of 'progress' that has demanded her exclusion from the annals of time. Women's history has been a string of frozen moments where she was powerless to act and was largely silenced. Brossard reinstates the virtual woman into a new vision of history, but one that is a radically re-envisioned space:
In Picture Theory, ...history is the present moment repeated ad infinitum, light waves optically encoded for future reconstruction. To change the language is to change the picture: memory is skin, skin the dictionary of all words revealed at the moment when...the love-making of two women opens the field of light, radically alters the picture, and opens the spiral chamber of the vagina which touches the 'gyno-cortex' (Weir 350).What Picture Theory makes clear is that there is no one correct image of a woman or of women, but that each image--containing a representation of the whole--is vital. This is why the spiraling three-dimensional woman embodies the "hope in the hologram" (original emphasis; 151) that exists only as a positive image (that is to say that, unlike photographs, holograms have no negative.) This is also why utopia can exist only "as a fiction" (147), mirrored in the book and in the third dimension of the female universe: the Imaginary or the 'volume' (134) of the textual depiction of her image(s) in a pyramidal space. It is an embodied vortex of space perpetually opening between dimensions that allows woman's voice to meet in the gateway between universes to become a chorus, to become both unspeakable and "singular from one book to another" (135). Like Alice, the utopian woman can move through the looking glass to enter into and out of time (169), slipping between its pages like silence between words.