マジック・メモとスケッチパッドにおけるイメージと痕跡の関係

抄録

This paper examines a particular relationship between the image and the mark in Sigmund Freud’s Wunderblock and Ivan Sutherland’s Sketchpad in order to better classify images in the information society.

In order to explore the relationship between the image and the mark, my paper first investigates N. Katherine Hayles’s notion of “Inscription technology,” Gilles Deleuze’s theory of painting centered on Francis Bacon, and William M. Ivins Jr.s’ research on the history of painting. From these theses, it becomes clear that the image, throughout its history, has been strongly tied to the mark. However, Sketchpad and Wunderblock imply new possibilities for an image-generating device because “no direct mark” on the surface is needed to generate the image. The user of a Wunderblock can draw any image and erase it over and over again because the image and the mark are separable although they appear as one. The Wunderblock generates images with marks via a process whereby the same mark occurs on each of the three surfaces, and is thus a traditional image-generating device. However, the Wunderblock also showed new possibilities for the separation of the image and the mark, a major element in inscription technologies. From Sutherland’s statements, we may say that his Sketchpad is a device which generates images via conversion. This occurs because of the inherent separation between the image and the mark found in inscription technologies, one made clear by Freud’s Wunderblock. Moreover, this principle of conversion annuls the relationship between the image and its mark.

Therefore, there are two types of images in our information society: one is the traditional image which has a strong relationship between the image and mark, the other is new type of representation which annuls the traditional relationship between the image and mark itself.