In the following essay, I try to understand and then to show whether the feedback of the stimulus from the imaginary receiving space contributes - and in what way - to the consciousness of the subject as a matter mainly of vision, depending on the respective cultural period and the corresponding production relations. I examine this through 7 frames where I place works of art in relation to the means of representation they highlight and in relation to the respective cultural and political background of their creation. So my intention is to connect medium and object by historical currents and what that meant for the subject. This will include outlining a set of relevant events that produced critical ways in which the senses, and especially vision, were discussed, brought under control, and embodied in cultural and scientific practices.

This work can be seen as a fragmentary writing of the history of aesthetics, at least of my own interpretation and perception throughout my years of study, as the points of intersection in the processes of production of the historical "becoming", "the pickles" and "the valleys" of the dynamics of experience. The text is a multifaceted and fragmented text written at different times and in different moods, and perhaps according to Roland Barthes it is a text "in a multidimensional space in which a variety of scripts, none of which are original, are mixed and clashed.»