Abstract:

The society where we live is principally visual, where the images are decisive. The image is the main entity in the visual studies and the most important legacy which has been arranged in sequence from histography. The mental image configuration is a issue of interdesciplinary interest. The burden and the power of image association, in our visual society, make possible multiple researching paths. We will treat both instigator and induced images, which have the ability to create a associative relation between ideas, concepts or other images. In this work we will analyse the image configuration from an internal view. We will treat the reception, memory and temporality concepts wich travel integral to this constitutive process of the image. We will display the image concepts with implied legacy, associated images, that are common to the culture as long as the images that create other images.

In the humanity formative studies, the configurative structures of what is visual are preferencial and polarize the speaches along the history. Our past is full of history, of memory legacy, wich ones are words that create images. What is told, images, are pieces of ourselves and those images, at the same time, are capable if appeal to words in the mind spectator.

Consequently, our future expires in the images. And that so the image is the residual trace of the human change. They are those images from screen, TV, cinema, photography, video; images constrained to a random body which make dependent our own body to meet, to measure, to comfor itself, to estimulate its attention, to feed its memory channels, to draw its lines. Recognising on them, their time masks, their gravity effects. Visual, haptic, loud... experienced images.

Keywords:

Art, image, visual, experience, aesthetic, photography, spectator.