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If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going somewhere, whereas, while reading pictures, we need go nowhere. The proof of this is simple: it takes many more minutes to describe what one has seen in a picture than it does to see it. If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going somewhere, whereas, while reading pictures, we need go nowhere. The proof of this is simple: it takes many more minutes to describe what one has seen in a picture than it does to see it.
However, the stone we have offered as an example is not really typical of our present situation. We can walk right up to a stone, but we can do nothing of the sort with most of the things that determine us at present— either the things that occur in explanations or the things that occurin images. The genetic information or the Vietnam War, or alpha particles, or Miss Bardot’s breasts are all examples. We may have no immediate experience of any of these kinds of things, but we are nonetheless determined by them. #stone #image
**However, the stone we have offered as an example is not really typical of our present situation. We can walk right up to a stone, but we can do nothing of the sort with most of the things that determine us at present— either the things that occur in explanations or the things that occurin images. The genetic information or the Vietnam War, or alpha particles, or Miss Bardot’s breasts are all examples. We may have no immediate experience of any of these kinds of things, but we are nonetheless determined by them. **
#fiction
We must therefore ask how the various symbols of the world of fiction relate to their meanings. This shifts our problem to the structure of the media. If we take advantage of what was said in the first paragraph, we may answer the question as follows: Written lines relate their symbols to their meanings point by point (they “conceive” the facts they mean), while surfaces relate their symbols to their meanings by two-dimensional contexts (they “imagine” the facts they mean — if they truly mean facts and are not empty symbols). Thus, our situation provides us with two sorts of fiction: the conceptual and the imaginal; their relation to fact depends on the structure of the medium. We must therefore ask how the various symbols of the world of fiction relate to their meanings. This shifts our problem to the structure of the media. If we take advantage of what was said in the first paragraph, we may answer the question as follows: Written lines relate their symbols to their meanings point by point (they “conceive” the facts they mean), while surfaces relate their symbols to their meanings by two-dimensional contexts (they “imagine” the facts they mean — if they truly mean facts and are not empty symbols). Thus, our situation provides us with two sorts of fiction: the conceptual and the imaginal; their relation to fact depends on the structure of the medium.
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