Abstract

Imbert's philosophical writings return time and time again to the question of the image. What follows will explore in what terms she does so. The means I will adopt are a lateral exploration of a series of fragments, an assemblage of sorts, which follows the thread provided by a number of images themselves. Steering a path between logic, anthropology and an expanded aesthetics, I will take up the thread of an ongoing concern in Imbert's philosophical project with what she calls the ‘metamorphoses of the visual’. Philosophically speaking, what is at stake, in these metamorphoses, is the kind of realism for which we opt. This question, as I will show, is also the key to Imbert's understanding of modernism.