Over the centuries and in various disciplines, the term ‘image’ has taken on a plurality of meanings and nuances, both semantically and aesthetically as well as ethically. In the contemporary age, the image has been the object (and at the same time the subject) of radical transformations, in parallel with the introduction and, above all, with the spread of new techniques and technologies of visual communication. This started at the end of the nineteenth century – with photography and then cinema – and continues today following the digital technology and the emergence of artificial intelligence (AI).1