“Informal art” is open in that it proposes a wider range of interpretive possibilities, a configuration of stimuli whose substantial indeterminacy allows for a number of possible readings, a “constellation” of elements that lend themselves to all sorts of reciprocal relationships.
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According to an ancient etymology, the word “image” should be linked to the root “imitari”. Thus we find ourselves immediately at the heart of the most important problem facing the semiology of images: can analogical representation (the ‘copy’) produce true systems of signs and not merely simple agglutinations of symbols? Is it possible to conceive of an analogical ‘code’ (as opposed to a digital one)? We know that linguists refuse the status of language to all communication by analogy – from the ‘language’ of bees to the ‘language’ of gesture – the moment such communications are not doubly articulated, are not founded on a combinatory system of digital units as phonemes are. Nor are linguists the only ones to be suspicious as to the linguistic nature of the image; general opinion too has a vague conception of the image as an area of resistance to meaning – this in the name of a certain mythical idea of Life: the image is re-presentation, which is to say ultimately resurrection, and, as we know, the intelligible is reputed antipathetic to lived experience.
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