El punto de fuga
El punto de atención
NOTAS DE INVESTIGACIÓN
I . T h e Family of Images Two things must immediately strike the notice of anyone who tries to take a general view of the phenomena called by the name of im- agery. T h e first is simply the incredible variety of things that go by this name. We speak of pictures, statues, optical illusions, maps, dia- gr ams , dr e ams , hallucinations, spectacles, projections, poems, pat- terns, memories, and even ideas as images, and the sheer diversity of this list would seem to make any systematic, unified understanding impossible. T h e second thing that may strike us is that the calling of all these things by the name of image does not necessarily mean that they all have something in common. I t might be better to begin by thinking of images as a far-flung family which has migrated in time and space a n d undergone profound mutations in the process. If images a r e a family, however, it may be possible to construct some sense of their genealogy. If we begin by looking, not for some uni- versal definition of the term, but at those places where images have differentiated themselves f rom one another o n the basis of bound- aries between different institutional discourses, we come u p with a family t r e e something like the following:
Juan Carlos Asisten (?) Comunicación visual y tecnología de gráficos en computadora. Ministerio de educación ciencia y tecnología.
W. J. T. Mitchell (Spring, 1984) What Is an Image? New Literary History, Vol. 15, No. 3, Image/Imago/Imagination, 503-537.
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