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À partir de l’exemple des images médicales, nous allons interroger ce qu’est l’image et tenter de cerner les enjeux psychiques de l’image à partir d’une fiction de Adolfo Bioy Casares : L’invention de Morel.Le sujet qui engage ses images dans l’espace commun projette ses propres images de mort. Ces images ne sont pas des images mortuaires mais des images fantomales. La dimension du temps à l’image réintroduit la question du sujet et son rapport aux ancêtres, aux invisibles dans le visible, aux absents représentés. Toute image passe par un dispositif visuel, un support qui la reçoit et un corps qui la construit.

The interpretation and readings that doctors give of medical images leave no room for enigma and doubt, turning the image into a powerful tool for revealing the impossible. The image becomes the real which then serves as a flawless diagnostic support. We are witnessing the current anxiety of sonographers who no longer enjoy any margin for error and run the risk of prosecutions from the patients themselves. Doctors are expected to see and know everything, drawing on technology. This article examines the image and its contemporary figure based on the myth by Adolfo Bioy Caseres, Morel’s Invention. This examination of the image allows us to think through the new technical means (specifically in medicine) which modify the very nature of the image as well as the relation to the body. Henceforth, it is a matter of knowing what a body on a screen is, and how this body is going to be seen and read in medical practice. What body are we looking at via the screen?